Darktable Edit #3 – Sunrise Waves

Hi everybody Harry here with another Darktable Edit

This is a shot I took this morning Sunrise, as you can see Nice big waves, ten or twelve feet, pounding all night; very nice As you can see here, the image format is DNG I shot this using Magic Lantern's Dual ISO option, which lets me use alternating scan lines of different ISOs

This one was shot at 50 and 1600 ISO: quite a bit of range there And then it's re-combined with software to create basically an HDR image Let's get started We're going to want to bring out the shadows The image looks a little blue

It probably needs to be more yellow This side is dark over here The bottom is dark this way This bay is dark I understand it's dark from the shadow from the sun on this cliff, but I think we can still do something about it

Let's set our White Point and get the darn thing straightened out to start, though There's a couple of ways you can straighten an image One of them is you can change your Aspect Ratio to Freehand and that allows you to put your line anywhere you want, and you can do it by eye You can rotate here with the angle Another thing you can do is you can right-click with the mouse, keep it held down, make sure that you go as far to the other side as from where you started, because, see, there's a little hump in the middle? If you just go to the middle and make it parallel, you're not going to come out straight

So, we're going to come all the way to this edge, and try and get our line straight When you let go, there you go; it snaps to that line Now you know three ways to rotate it White Balance: the first thing we should look for is some way to cheat We've got some plants here

I know that plants should be about 2 yellow to 1 green, so let's zoom in on them and see if we can use them Boy, they're pretty dark Okay, well, let's lighten them up and then see if we can use them Go over to your Color Picker, use the Eyedropper Tool, make sure you're on Area instead of Point, and select as large an area as you can find that is contiguous Now, let's see; how about right here

I like that Okay, now we're looking for 2:1 You have to click Add because this value here will not update as you make changes Once you click Add, these values will change This is in LAB, okay, Luminence your first number; A channel, which is green on one side and magenta on the other

This is a positive value, so we know that it's on the magenta side instead of green And then this is the B channel, which is blue vs yellow, and it's got more blue than yellow So, we've got trees that are magenta and blue They're supposed to be yellow and green, so let's fix that

We go over here to our White Balance We want a little more green, and we want more yellow Okay, what do we have now? We've got green and we've got yellow, but we don't have 2:1, so let's get more yellow There we go; now we've got 2:1 Let's see what the rest of the image looks like when we did that

Make sure to turn off this Tone Curve We only did that so we could get enough data to work with Zoom out Oh, boy; I like that better I like that much better

Okay, let's work on our dark areas first We're going to use Tone Curves to do large scale adjustments Drawn Masks and Gradient Fills This one looks like it starts getting darker around here and is darkest over here, so: Gradient Fill, we'll spin it, make it a little bit bigger, and then make it a little warmer Ah, that's changing this side instead of this side

See this minus here? Click that If we click this, it gets rid of this indicator here Now, as we make changes, it's happening on this side like we wanted That looks good to me This bottom part is dark

Let's do another one A little smaller Now, this effect's going to be going up I can show you that with the Mask Indicator We want it to go the other way, so I'm going to hit this minus here

Then we'll bring this up Lighten it up, a little bit, quite a bit, actually There's still a bit dark over here in this corner Let's do another one I'm not trying to get everything right the first time

I'm just doing gross adjustments here, just so that I've got something that I can work with Bring this up Alright, now you'll probably notice I rotated it 180 degrees instead of hitting the Minus They both work the same This bay is a little dark

Let's see if we can lighten that up As a matter of fact, this whole side's a little dark, so let's do that first and then we'll worry about the bay Alright, now let's do something about that bay I can make this larger with my mouse wheel I grab this area here, use our Mask Blur to make everything softer edges, so we don't have an abrupt change, turn off our Indicators

I don't really want to touch this dark part so I'm going to find out where that is Let's see: like right around here So, I'll put a point here; that will lock it so it doesn't move I want to change this White Point That's like, right up here

So, let's bring that up And I think this went up a little too much There we go Okay, now let's bring this up a little bit It's getting light here on this edge

I don't want thatNow, where's our line? Yeah, let's make it smaller; I don't like this If I right-click on the entire image, not on one of the pull points, it will delete it, see? We can re-draw this, right in here Now, I've already set my Mask Blur, so I don't need to re-set that Let's bring this up again

There we go; that's better Alright, I want to bring out some of these shadows I'm going to use Tone Mapping for that I only want to apply the Tone Mapping to the darkest parts of the image here and here I will use a Parametric Mask to select the areas I want

Turn on the Mask Indicator; okay, everything's selected We only want the dark parts of the image, so we're going to use these sliders to select just the darkest parts of the image That looks pretty good Now, see, it's getting areas we don't want it to, so we're going to use a combination of the Parametric Mask and a Drawn Mask I'll just paint the areas I want

I'm not going to go all the way out to the edges That will help reduce halos and makes it so that the edges roll off to a nice shadow It will look more natural I'm going to blur my edge so I don't end up with a sharp line Oh, that came a little close over here

Let's select just this Pull Point and right click: it'll delete the pull point instead of the whole bezier curve I can pull this in a little bit Now let's blur the Mask Alright: turn off Indicator; turn off our Bezier Indicator Let's set our Spatial Extent down to some reasonable level

I usually like around 6%, and I like to run my Opacity about Half, so it's 50% the old image and 50% the new image Then I can adjust how muchof the effect I want with this compression Okay, that's with none of it; this should look like our original image As we slowly bring it up, and you use your mouse wheel, that looks good to me: one and a half Alright: without it, see it's dark in here and here; with it, we brought out some of this

I'm pretty happy with that Okay, that looks good enough I want to lighten this up I guess that would be the Gamma I want to do it on this entire lower half of the image, mostly

As a matter of fact, I think a direction from here to here would be good So, let's set up a Gradient Mask again, and this time I'll just rotate it There we go Now it's really big It goes from one end of the screen all the way to the other

I'll turn on the Indicator so you can see what's going on See, very little effect here; maximum effect down here Turn off our Indicators I don't need to Mask Blur it because it's already nice and smooth Then I'm going to find this area right in here and try and bring that out, because I really like this little glow here, and this area in here

Okay, we have an Eyedropper Tool That would be perfect As we slide it around, see this green here? That's from this part that we still left, that was up in the trees I'll remove that There we go

Now we can see what's going on It looks like I want to increase this, right about there Boy, this ended up being a little bright over here, didn't it? So our Bezier Curve, we're going to make it just a little bit smaller I don't think that's helping I'm going to leave that and I'm going to go back to this one that I used before: that one, and bring it down a little bit

See how this is a little out of focus? It was just a little too close to the camera, I think This might need a little extra love, in terms of sharpening and xxxxx When we get going, I'll have to keep that in mind And see at the bottom here, where we've got this little line of color? I think that the bottom scan lines didn't match up properly, so I'll make sure I crop that out when we're all done Just things to remember

The sky I want the sky to be a little richer in these tones I've got a way of doing that

If we go over here to Channel Mixer, there are different settings and we can adjust the Red, Green, and Blue, but we can also adjust the Lightness, and if we adjust the Lightness — now, there's already a lot of red here; I don't want that; I want it to be darker Okay, let's see what the Green looks like We bring up our Green Without it, and with it See, the Red stays about the same image, but the other stuff gets more contrast

Let's see what it looks like if we increase the Blue If we use the Blue for the L Channel I'm sorry: let me explain what I am doing This is basically the L Channel, in the LAB, and I'm using a combination of information from the Red, Green and Blue to create this L Channel, okay? Instead of just going with the way it came out of the camera What I want to do is I want to have the sky and the clouds have a little more separation

It looked to me like the Red really helps us do that The Green really helps us do that, and the Blue does not So let's us the Red and Green Channels We'll combine them We'll start with about equal amounts of each

Then we're going to apply this with Soft Light as a Blend Mode There we go Excellent Alright, we've replaced our L Channel with the Red and Green without any Blue information You can even go negative on the Blue if you want

See? So, whatever Blue information there was, it creates an inverse of that in the L Channel That's kindof nice We don't need any of that down here; it just makes it dark We're going to apply this whole thing with a Drawn Mask Gradient again

Make it smaller with the mouse wheel It's hard to turn when you're close to the image Little changes make a big difference See, if you get way down here, this is with me still holding onto the mouse wheel, you get finer tune adjustment That's a good tool to use

There we go Get rid of that Indicator Without it; with it; I love it That really helps This is looking better

This is looking better Okay, the bottom part of the image definitely needs more highlights Another Gradient Fill Start about there I don't mind having a pretty abrupt transition because I think when, in the ocean it gets darker towards the horizon, that actually helps you see the distance

So, I think that's fine I'm going to reverse the effect, so as I lighten, it'll be down here Get rid of this Indicator I don't want to lighten everything because I don't want it to blow out some of my information, so I'm going to figure out what's going on in here and lighten up this end of it, and bring down this image There we go; that creates a little more contrast in here

Without it, and with it; nice Everything looks a little lighter The image is starting to look more balanced A couple of other things I like to do: RAW Denoising You can only do that when it's in RAW format, and it's the most powerful denoiser in terms of thetrade-off between denoising and losing details

Let's see what our noise looks like Now, we've got a lot of color noise going on Let's get rid of the Chromatic Aberrations Oh, that helped a lot We're going to use this RAW Denoise

I'll bring it all the way down to zero, and then I'll slowly bring it up until I start to lose detail Oh, there we go: we go back one: 003 Now, I still have a lot of color noise See how it goes Red-green-red-green? I'll show you a trick I come over here to Low-Pass Filter

I can set my Radius maybe down around 3 or so, maybe a little bit higher, turn off my Contrast, and now I just have the color channel See, it's just the color information There, if I apply that to only the Color Channel, under Blend Mode, oh that gets rid of a lot of the color noise See that it's green here and magenta here, and it seems to alternate And I open that up, and now it's a lot smoother

I can make it a little bit bigger too I'll go to 4 pixels Hey, I'm happier with that Let's make sure it doesn't make any of the image less sharp Without it; with it

I think xxxx got rid of a lot of the noise I'm going to take an initial pass at sharpening this up I zoom in using the mouse wheel, in case you were wondering This is called the Equalizer It allows you to increase contrast and determine edges based on the size of details

We don't want to apply it to the whole image because this stuff already looks good, so we're going to use a Mask again We'll work on just this area I'll make that a little bit smaller, and here we go We won't turn on any indicators so we can see That didn't work; there we go

There's our indicator Turn off our Bezier This is a little bit of a blur on the edge We don't want any of xxxx changes Now, we'll start increasing the Contrast based on size, starting at the right, working to the left, and find out what sizes we're working with here

We bring it all the way over to the right: we start with the fine first Not much tune We'll use a snapshot so we can see this better each time I'll take a snapshot of what we've got If I click on it, that pastes it in half the window

As I slide this back and forth, the side on the left will be the original and the side on the right is the changed side If I want to change that, I can click on this But this is fine Go up to the next size Oh, that gave us a little bit of contrast in the right size

Let's try the next size up Oh, that's getting a little large So, it looks like it's going to be in between these two, right here So, we'll pull up this whole right about there We don't want too much contrast

Now, I want to use this Edge option, here The Edge Option won't do anything if you don't increase the Luma Contrast So, first you've got to increase your Luma Contrast, then you can work on your Edge Detection We'll bring out Edge Detection up even higher than our Luma Contrast because we really want more edges Now let's see what that's like

That's an improvement Now, here's another thing we can do We can use this High Pass Filter We'll use the same Mask If you go to Drawn Mask and you go to No Mask Used, you'll see an existing shape that we just used, on Equalizer

See, there it is We'll have to set our Mask Blur, like we did last time Turn off our Bezier Indicator Now we're going to bring our Sharpness and Contrast to a level where we're just getting our edges Like that

We'll apply this with a Overlay Option, and bring it down; it's just too much to start That's a little bit more edge there Turn this off Well, it ain't perfect, but that's a heck of a lot better Here, we can look at our History

If we click on this value it will show us what happened beforehand I'll do a snapshot, and then I'll go further up our History stack, and we can see what difference we made to this xxxxxx Before, after Well, I think that's probably about as much as we can get out of that We're going to crop it just a little bit Some of this top, and some of this bottom, some of the right

See, this is confusing I don't need this little rock here; that doesn't add anything to the story Crop and Rotate Bring in the bottom a little bit Bring down the top a little bit

Bring it in on the right a little bit Compress Stack just gets rid of any duplicate entries What did we start with? We started with this, White Balance, Tone Curve, Tone Curve, and little by little, working our way up There, that's how we got there Well, this looks like a good starting point

I am going to go ahead and save this, and then re-open it Saving it makes it so that, as I make changes, it doesn't have to re-calculate everything I save as a 16-bit TIF, Adobe RGB I do all my work in Adobe It's tell me down here that it's exporting it

When this is done, I can click Open and the image will be there There it is This is where we were last time It's collapsed it; it's now a TIF; we can start over again, from scratch Very nice

This is awful dark in here, still, and I not only want to lighten it up a little bit, I want to add a little of the color of the sun to this area, so it looks like the sun is shining on it Right now, it looks kind of, like, I don't know where that light's coming from, but I don't get the clue that it's coming from here Here's what we'll do Set up a Gradient Fill that goes towards us, reverse the direction I'll turn on the Indicator so we can see where it is

There it is I want the lighter parts of the image to get more effect, and the darker parts of the image to not get as much So, I'm going to combine this Drawn Mask with a Parametric mask It'll be a combination of the two Bring this slider all the way over

Now, more of the image, oh, sorry wrong way Bring THIS slider all the way over Now, more of the image, more of the effect is going to be in the lighter parts of the image, less of the effect in the darker parts I want to bring up my Highlights a little bit with my Tone Curve and the sun is a little bit red but mostly yellow Not red: magenta

So, I'll bring up my magenta a little bit, not much, and then I will bring up my yellow more, and that should give ma a little xxx Without it, and with it Well, I like it, but I want more effect So, I'm just going to duplicate that exact thing Duplicate Instance

Don't forget to turn it on There Second instance of the same thing Before, and here's with two instances of it Ah, hey; that looks better

Now, I have a little bit of red and yellow in here and over here Nice Alright, it looks to me like my Contrast is a little high in here; it looks a little abrupt I want to even this out a little more I want to bring out this with some highlights

I want more color in the sky Let's see how we can do that Once again: Gradient Filter This time I'm going to go the other way Bring down my Highlights just a little bit

I'll do this I'll do a Reverse S-Curve, because a Contrast Curve goes like this I want to go the other way, like that Hey, that looks great, except not that much So, I will attenuate the effect with the Opacity

With none of it; with all of it, somewhere in the middle Right about there Okay, before, and after Ah, I like it A little less abrupt there

I still want to bring this out, and this out I think I'm going to do it by color, though There's a tool called Color Zones You can go to Lightness There's a Saturation

The Hue is a little tricky; I would stay away from that until you play with it for a while Get an idea where my color is See where it is? It shows me here I can move these sliders over There's a Parametric Mask

Now, if I pull this up, more light; down, darker So, we'll pull it up a little bit Before, and after Okay, I think we can pull that up a little more Before, and after

Nice See, it's affecting the sky too, but I don't mind that; that's helping up here I want these clouds to pop from the background more; they just kindof look like they are laying there The right tool for that, that I like to use, is a Low Pass Filter applied with a Blend Mode of Overlay So here's what we're going to do

Turn our Saturation all the way down; increase our Radius, or decrease it until we've just got the edges of our clouds That looks good It's right around 13 pixels or so Then I'm going to change my Blend Mode to Overlay, lower my Contrast a little bit, and attenuate my effect with Opacity Okay, this is before, and after

Ah, that's what I'm looking for up here, but I don't want to apply it to the whole image, because, look: it makes everything dark So, once again, I'm going to use a Gradient Fill I want the full effect to start before the horizon There So, maybe we'll go like this, make it nice and big, and have it start right here before the horizon

Now I've got the maximum effect before the horizon Without it, and with it It looks a little strong, doesn't it? Let's bring our Opacity down a little bit Hah! That's what I'm looking for Nice

Now, this top, the very very top is just a little dark I'm going to have to fix that Alright; I think it's time to apply some color I don't want to apply color to the whole image First I want to apply color to the areas of the image that have the least color, and then I'll apply color to the whole image

If I just apply color to the whole image to start, then it's going to get out of gamut real quick in some of these areas Once again, a Parametric Mask, this time working on the Chromacity Channel I'll turn on the Indicator Bring this down so that all of the image is getting some of the effect, but most of the effect happens to areas that have less color See these areas have the most color, and they're getting the least effect, so I'm going to steepen my A and B Channels

That's going to give me more Saturation and more color separation Oh, that's starting to look better I want this foreground to be a little bit brighter here I'm going to move this down so it's before my color enhancement Let's see: this area right here

Nice big Blur Is it too big? Maybe a little too big Maybe a little bit smaller Okay, turn off my Indicator, pull up my Gamma a little bit in here I don't want to lose my Black Point, so I'm going to pull this down just a little bit

Let's warm it up a little bit Where is this? Right around there When I took out my Middle Point I started losing what color I had I want to keep the same color; I just want to change it to saturation So, I left my Mid-Point there, and I brought my Blues down a little bit, and I brought my Yellows up a little bit

It gives me a little more sunshine pop right there Before, and after Now, let's add color to the whole image I don't want to introduce noise, so I'm going to add color with a 3-pixel Gaussian Blur, with a Low Pass Filter Set my Radius down to around 3 pixels

We don't need the Contrast Apply it only to the Color Channel And then, we'll use the Saturation Level to adjust the whole image Bring that up I like color, so I'm not afraid to use it

We look like we're doing pretty well How's our sun looking? Our sun looks pretty good too: not blown out; that's nice That's that Dual ISO option; love that Anything need any help? It still looks a little blue on this end to me I think this end should be a little warmer

I'll use the Color Balance for that Drawn Mask Here's our Indicator It's going down this way This is your Zero Point for each of your channels

Gamma shows the convex or concavity of your Tone Curve, and Gain is your white Point of your Color Channels We want to increase the yellow at the high end Oh, too much We're looking over here Before, and after

Hey, that warmed it up How about a little bit more red Not much; half as much as the yellow, maybe a little less, too Remember, we're trying to match this color, so that it looks like that light is affecting it Oh, I like that; that looks pretty good

That looks pretty good Okay, let's do some final sharpening High Pass Filter is good way to start Bring our Sharpness and our Contrast down to the point where we just have our edges There we go

So all these edges will be detected We're going to apply this with an Overlay, and we'll have to bring it way down, because it's too powerful to start Just bring it up until it looks right See, you go too far, come back down a little bit Oh, I like it right about there; that looks good

A little more sharpening We're going to use our Equalizer Tool again Make sure you switch it over to Luma If you change Edges, nothing's going to happen You have to change your Contrast

Bring this up a little bit, maybe over here Let's see what that does for our limu (seaweed) Without it, with it

Ah, our bubbles and our limu look good, but I think I need to bring this smaller details up more That looks better That's it for today's edit I hope you enjoyed it We'll go through the history in the second phase, here

This is where we started, after we saved it as a TIF from our first pass We applied all these Tone Curves There we go Thank you