The Tone Curve adjustment is a bit more unique. I think of the Highlights and Shadows controls as being primarily focused on how much detail versus contrast I want to present in the image (though again, the reality of the adjustment is a bit more complicated than that). I prefer to think of the Whites and Blacks sliders as being used to establish the white and black point in the image, respectively, though the adjustment goes beyond just affecting the “end points” of tonality. Rather, you can think of each adjustment control as emphasizing its effect on a specific range of tonal values.
That isn’t to say that a given adjustment focuses exclusively on a specific tonal range without affecting pixels that fall outside that tonal range. More Detail: Each of the individual sliders for the Basic and the Tone Curve adjustments focus on a range of tonal values in the image. There is certainly some overlap between the Basic controls and the Tone Curve controls, but there are unique aspects to consider as well. Tim’s Quick Answer: These controls in Lightroom are all focused on tonal adjustments, but they all focus on tonal ranges in different ways. Today’s Question: In the Lightroom develop module what are the functional differences between Highlights, Shadows, Whites, and Blacks in the Basic section, and a similar set of variables in the Tone Curve section?
#Mousepose system preferences allow download
If you’d like to download a copy of the print target that I use for evaluating prints, you can get access by following this link:
#Mousepose system preferences allow series
This involves printing a series of tonal values in a “ramp” for both the black point and the white point, so that I can then determine the appropriate compensation. I generally prefer to take a somewhat systematic approach to evaluating the capabilities of a given printer, ink, and paper combination, so that I can apply a compensation adjustment that is most appropriate to that combination. Opening up those shadow details can help tremendously. In fact, I have often found that when photographers complain about a print that is too dark, what they’re really seeing is a print with a lack of shadow detail that appears too dark as a result. In other words, shadow details get lost in a sea of black. In other words, the darkest black appears the same as one shade lighter, so you can’t actually see a difference between the two. With dark shadow values, I still find that many printers have a difficult time producing distinct shades of black.
In other words, when producing a print with most printers using just about any paper, you are able to see a difference between pure white (no ink on the paper) and the next darker shade of white. More Detail: With the vast majority of printers I find that no compensation is needed for the white point. Tim’s Quick Answer: Yes, I do find that this approach of compensating for a lack of shadow detail is still necessary, even with many of the latest printers. Do you find that this approach is still necessary with the newest inkjet printers? Today’s Question: In your book “ Color Confidence,” you recommended setting the target black and white output values (especially the black value) prior to printing in order to compensate for printers that are unable to produce discrete shades of black throughout the complete tonal range available in the digital image.
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