Adobe Camera Raw For Digital Photographers Only by Rob Sheppard

Author:Rob Sheppard
Language: eng
Format: epub
Publisher: Wiley Publishing
Published: 2011-10-08T16:00:00+00:00

8-12

8-13

The photo has a serious adjustment problem. Haze in the sky weakens its contrast and tonal qualities. This haze-induced problem needs to be fixed as obviously haze can’t be removed from the air at the time of exposure (and it is overemphasized by the camera). Otherwise the photo will never quite look right and colors will never reach their potential. In most cases, those tonalities must be adjusted first before critical work is done on the white balance. Here’s how to adjust this photo with these concerns in mind:

> Blacks. This is the critical adjustment, not just for contrast and tones, but also for color, as you quickly see. Increase this setting until blacks begin to appear in the shadows at the bottom of the photo, as shown in figures 8-14 and 8-15. Immediately, a more dynamic dusk shot appears.

> Fill Light. Using a bit of Fill Light here gives more of a feeling of dusk rather than night, as shown in figure 8-16.

> Exposure. It’s just about perfect in figure 8-17. Any increase of Exposure removes colors from the lights. Any decrease of Exposure only makes the photo dark. Recovery also has little beneficial effect on the image.

PRO TIP

Haze, whether it comes from fog, morning air, or smog, affects both the color and contrast in a photo. If the air is very hazy, don’t try to over-adjust the white and black points through Exposure and Shadow. This can lead to an unnatural contrast for the conditions so that the photo looks harsh and unrealistic. Look for a balance that reflects the mood of the scene. Color is another story. Sometimes, you want to get rid of smog color completely, but on the other hand, a sunrise fog results in beautiful color that should be retained.

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