issue149:darktable
Différences
Ci-dessous, les différences entre deux révisions de la page.
Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente | ||
issue149:darktable [2019/10/10 08:44] – d52fr | issue149:darktable [2019/10/16 10:15] (Version actuelle) – andre_domenech | ||
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The reason I want you to use a RAW image is that a lot of the .jpeg or .jpg photos you find have already been manipulated and some tools work on RAW images only.** | The reason I want you to use a RAW image is that a lot of the .jpeg or .jpg photos you find have already been manipulated and some tools work on RAW images only.** | ||
- | Si vous avez suivi nos tuttoriels | + | Si vous avez suivi nos tutoriels |
- | Cette fois-ci, je veux que vous troviez | + | Cette fois-ci, je veux que vous ayez une image RAW. Il y a quelques sites sur Internet où vous pouvez télécharger des images RAW, mais n' |
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+ | La raison pour laquelle je veux que vous utilisiez une image RAW vient de ce que beaucoup de photos jpeg ou jpg que vous trouvez ont déjà été modifiées ; de plus, certains outils ne fonctionnent que sur des images RAW. | ||
**Disclaimer: | **Disclaimer: | ||
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+ | Avertissement : Je ne suis nullement un expert en traitement des photos. Je connais simplement un gars qui a un chien qui m'a donné des puces. Je pensais que je pouvais vous aider à vous gratter. (Tout ce que je fais peut être retrouvé ici : https:// | ||
**The image we will be working with today, is: https:// | **The image we will be working with today, is: https:// | ||
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It is a .nef file, but Darktable opens it just fine (and .xmp file).** | It is a .nef file, but Darktable opens it just fine (and .xmp file).** | ||
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+ | L' | ||
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+ | J'ai créé un compte que vous pouvez utiliser : | ||
+ | Utilisateur : culiz | ||
+ | Mot de passe : 123QWE123!! | ||
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+ | C'est un fichier .nef, mais Darktable l' | ||
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**First things first. This file is a horrible edit. What we have is a very bright sky that the photographer tried to make ‘dramatic’ with post processing. The guy has a great eye for photography, | **First things first. This file is a horrible edit. What we have is a very bright sky that the photographer tried to make ‘dramatic’ with post processing. The guy has a great eye for photography, | ||
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(In the immortal words of Little Britain: “Yes, but no, but yes, but no.”).** | (In the immortal words of Little Britain: “Yes, but no, but yes, but no.”).** | ||
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+ | En premier lieu, cette photo est horrible. Ce que nous avons est un ciel très lumineux que le photographe a essayé de rendre dramatique avec un traitement ultérieur. Le gars a un excellent œil pour la photographie, | ||
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+ | Quand vous téléchargerez le fichier, vous noterez qu'il télécharge aussi les modifications. Merci d' | ||
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+ | (Dans les termes immortels de Little Britain, une comédie à succès sur la BBC: « Oui, mais non, mais oui, mais non. ») | ||
**From the website: | **From the website: | ||
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The main issue we need to address immediately is the light. Open your tone curve module. Change the “blend options” to “drawn mask”.** | The main issue we need to address immediately is the light. Open your tone curve module. Change the “blend options” to “drawn mask”.** | ||
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+ | Tiré du site Web : | ||
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+ | L' | ||
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+ | Voyons si nous pouvons régler ça ! | ||
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+ | Ouvrez le module des « Aberrations chromatiques ». C'est un traitement automatique. Quatre-vingt-dix pour cent du temps, vous pouvez le faire avant de faire autre chose. Vous vous rappelez sûrement où se trouvent les modules que vous ne voyez pas, n' | ||
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+ | Le principal problème que nous devons résoudre immédiatement, | ||
**This tutorial has lots of screenshots, | **This tutorial has lots of screenshots, | ||
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+ | Ce tutoriel a beaucoup de copies d' | ||
**You can turn off the yellow by clicking the same icon again. Please also click the pointer icon I mentioned earlier to turn off the line. Now go back up to the tone curve and drag the top left corner of the white line to the vertical centre dark grey line. You should see the logs ‘pop’. Like bones bleached in the sun! <insert dramatic pause>. Already the light balance in the picture will shift to a more ‘neutral’ feel. You want to match the lightness of the sky. The reason for this is that it makes your uniform edits look more natural. Collapse the tone curve module. Do you remember the four icons on the right? When you middle-click the very last one, you will create a fresh instance of the tone curve for you to play with. It should read, “Tone Curve1”. | **You can turn off the yellow by clicking the same icon again. Please also click the pointer icon I mentioned earlier to turn off the line. Now go back up to the tone curve and drag the top left corner of the white line to the vertical centre dark grey line. You should see the logs ‘pop’. Like bones bleached in the sun! <insert dramatic pause>. Already the light balance in the picture will shift to a more ‘neutral’ feel. You want to match the lightness of the sky. The reason for this is that it makes your uniform edits look more natural. Collapse the tone curve module. Do you remember the four icons on the right? When you middle-click the very last one, you will create a fresh instance of the tone curve for you to play with. It should read, “Tone Curve1”. | ||
Now for your homework: Wash, rinse, repeat what we just did, but vertically, to bring out the trees. Yes, doing things is the way to learn. Once you see how easy it is, you will be editing like a pro. Align your line before or on the tree and this time move the top right and the bottom, (left horizontally only!), until your trees pop, but not over exposing the sky. Small changes!** | Now for your homework: Wash, rinse, repeat what we just did, but vertically, to bring out the trees. Yes, doing things is the way to learn. Once you see how easy it is, you will be editing like a pro. Align your line before or on the tree and this time move the top right and the bottom, (left horizontally only!), until your trees pop, but not over exposing the sky. Small changes!** | ||
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+ | Vous pouvez enlever le jaune en cliquant à nouveau sur la même icône. Cliquez aussi sur l' | ||
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+ | Et maintenant, votre travail personnel : refaites ce que nous venons de faire, mais verticalement afin de faire ressortir les arbres. Oui, c'est en faisant des choses qu'on apprend. Une fois que vous aurez vu combien c'est facile, vous ferez des retouches comme un pro. Alignez votre ligne avant ou sur l' | ||
**Done? Good! | **Done? Good! | ||
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Collapse “Tone Curve 1”, then wash, rinse, repeat, to add another tone curve, “Tone Curve 2”. This time, we will be framing the clouds with not one, but two drawn masks! You can use this technique whenever you want to place emphasis on a particular part of your photograph. We want to darken our clouds a little – maybe set a mood, but we want it to seem that the sun is just out of the frame. A more natural mood, in contrast to the fake blued mess we saw originally.** | Collapse “Tone Curve 1”, then wash, rinse, repeat, to add another tone curve, “Tone Curve 2”. This time, we will be framing the clouds with not one, but two drawn masks! You can use this technique whenever you want to place emphasis on a particular part of your photograph. We want to darken our clouds a little – maybe set a mood, but we want it to seem that the sun is just out of the frame. A more natural mood, in contrast to the fake blued mess we saw originally.** | ||
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+ | C'est fait ? Bravo ! | ||
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+ | Comme dans le tutoriel précédent, | ||
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+ | Réduisez la « courbe des tonalités 1 », lavez, rincez, répétez et ajoutez une nouvelle courbe des tonalités, « courbe des tonalités 2 ». Cette fois, nous encadrerons les nuages non pas avec un, mais avec deux masques dessinés ! Vous pouvez utiliser cette technique chaque fois que vous voudrez insister sur une partie de la photo. Nous voulons assombrir un peu nos nuages, mettre peut-être une ambiance, mais nous voulons que le soleil semble être juste à l' | ||
**Now you need to pay close attention: | **Now you need to pay close attention: | ||
Add two line masks on either side of the clouds. The catch is they have to be facing each other. When you click the yellow icon, it should fill a space between the two lines and not all over the picture. Turn the yellow off and go to the tone curve graph. This time, click the “eye-dropper” icon above it. On the right, “color picker” - expand and choose area as we did in the previous tutorial. Select an area in the clouds, preferably with some cloud in it. Just above the eye-dropper icon, change the “RGB” to “Lab independent channels”. (We touched on these in the very beginning of this series). Make sure the “L” is highlighted. You should now see a pink area highlighted inside the square, where your line runs through. This is the area that you need to work in. We will get back to RGB when we play with the colours next issue. On the left side of the pink bar is your black balance and the right your white balance. You can drag your white up (staying on the pink bar’s edge), and your black down. Staying on the edges to create a mini S-curve. The clouds should darken and the white edges should appear more prominent, as if the sun is just outside the shot. Please play until you are happy. It should look much more natural than the very first picture!** | Add two line masks on either side of the clouds. The catch is they have to be facing each other. When you click the yellow icon, it should fill a space between the two lines and not all over the picture. Turn the yellow off and go to the tone curve graph. This time, click the “eye-dropper” icon above it. On the right, “color picker” - expand and choose area as we did in the previous tutorial. Select an area in the clouds, preferably with some cloud in it. Just above the eye-dropper icon, change the “RGB” to “Lab independent channels”. (We touched on these in the very beginning of this series). Make sure the “L” is highlighted. You should now see a pink area highlighted inside the square, where your line runs through. This is the area that you need to work in. We will get back to RGB when we play with the colours next issue. On the left side of the pink bar is your black balance and the right your white balance. You can drag your white up (staying on the pink bar’s edge), and your black down. Staying on the edges to create a mini S-curve. The clouds should darken and the white edges should appear more prominent, as if the sun is just outside the shot. Please play until you are happy. It should look much more natural than the very first picture!** | ||
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+ | Maintenant, vous devez être très attentifs : | ||
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+ | Ajoutez deux lignes de masque de part et d' | ||
**Next issue, we will enhance the colours. This is where we are at. (I did not take a snapshot at the start, forgive me, but it is far enough back to see the change in clouds).** | **Next issue, we will enhance the colours. This is where we are at. (I did not take a snapshot at the start, forgive me, but it is far enough back to see the change in clouds).** | ||
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+ | Dans le prochain numéro, nous améliorerons les couleurs. C'est là où nous en sommes. (Je n'ai pas fait la copie d' | ||
issue149/darktable.1570689850.txt.gz · Dernière modification : 2019/10/10 08:44 de d52fr