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issue149:darktable

Ceci est une ancienne révision du document !


If you have been following our Darktable tutorials, you will know we are working with the latest version, not the version that is bundled in the Ubuntu Software centre. This time, I want you to get a RAW picture. There are a few sites on the internet we can download RAW images from. Please feel free to substitute your own. Sites like: https://www.wesaturate.com/ or https://raw.pixls.us/#repo - be aware that many sites offer RAW downloads but mean raw as in uncooked and jpegs. (The struggle is real…). 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 sur Darktable, vous savez que nous travaillons avec la dernière version, et pas avec la version disponible dans le Centre des logiciels d'Ubuntu.

Cette fois-ci, je veux que vous troviez une image RAW. Il y a quelques sites sur Internet où vous pouvez télécharger des images RAW. N'hésitez pas à le remplacer par le votre. Des sites comme : https://www.wesaturate.com/ ou https://raw.pixls.us/#repo - sachez que de nombreux sites proposent des téléchargements de RAW mais ils confondent raw avec « cru » ou jpeg. (la lutte est réelle…).

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 et certains outils ne fonctionnent que sur des images RAW.

Disclaimer: In no way am I an expert in photo manipulation, I just know a guy who had a dog that gave me some fleas. I thought I may help you scratch an itch also. (Everything I do can be found here: https://www.darktable.org/usermanual/en/index.html).

Attention : Je ne suis nullement un expert en tratement 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://www.darktable.org/usermanual/en/index.html).

The image we will be working with today, is: https://www.wesaturate.com/photo/cPSYvxuz - please download the RAW image. I created an account for you to use: User: culiz Pass: 123QWE123!! It is a .nef file, but Darktable opens it just fine (and .xmp file).

L'image sur laquelle nous allons travailler aujourd'hui est : https://www.wesaturate.com/photo/cPSYvxuz - Merci de télécharger l'image RAW.

J'ai créé un compte que vous pouvez utiliser : Utilisateur : culiz Mot de passe : 123QWE123!!

C'est un fichier .nef ; Darktable l'ouvre sans problème (et le fichier .xmp).

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, but should have used Darktable instead of Photoshop presets. Have you ever seen a model that has been ‘shopped’ so hard she looks like she is made from plastic? This is what this edit screams to me. The picture itself is great in basic photography rules, one third sky, one third mountains and one third ground. Our motto here is “less is more”. When you download the file, you will notice it downloads the edits too. Please delete the .xmp file. Here is a copy of the image for those reading this who have no access to the site. (In the immortal words of Little Britain: “Yes, but no, but yes, but no.”).

From the website: The original: Let’s see if we can fix this? Turn on the “Chromatic Aberrations” module. This is an automatic process. Ninety percent of the time you can do this before you do anything else. You do remember where to find modules that you do not see, right? If not, download the previous issues of Full Circle magazine and see. (Hint: more modules). The main issue we need to address immediately is the light. Open your tone curve module. Change the “blend options” to “drawn mask”.

This tutorial has lots of screenshots, but bear with me, as this is intended for those new to Darktable. We have not talked about these options before. The area we are discussing is between “drawn mask” and “invert mask”. The first icon looks like a pencil “add brush”, but we are interested in the last square icon, “add gradient”. Click the “add gradient” and click in the centre of the picture. (You may also have noticed that the mouse icon next to “no mask used” illuminated). You should see a line appear. The line has two handles that cross your line at ninety degrees, forming a cross. If you grab the ends (small circle) you can rotate the line. If you click on the centre square where the lines cross, you can use your mouse wheel to adjust the width of the tool. Should your line have appeared vertically instead of horizontally, use the above mentioned handles to rotate it. Pay attention to the two handles. You will see one is filled while the other is hollow. This indicates which way your mask is facing. Hollow indicates the fill side. Align it more or less with the river. *If you have OCD, you can straighten the picture first, but I am just trying to teach you fun stuff. The little off-kilter never hurt anyone. Now if you are unsure of which way your fill will happen, there is a yellow square at the very bottom of the module. When you click this, it will fill the screen with yellow for you to see.

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!

Done? Good! Like the previous tutorial, we will now use the same tool to make changes in contrast to a small area. This repetition enhances your ROTE learning. Also it will help you think “outside the box”. I hate that term, this will let you get creative with the tools that you already know. Let’s dissect the picture as it was presented to us. Darkened skies that looked like a four-year old took a brush to it. We do not want ours to look like that. We want to enhance the natural clouds by contrast. How would we do that? First answer to misc@fullcirclemagazine.org wins a free digital copy of issue 1! 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.

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!

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).

issue149/darktable.1570690642.txt.gz · Dernière modification : 2019/10/10 08:57 de d52fr