Edit with masks

Ge­orge Cairns helps you to use masks to pre­cisely se­lect ar­eas for tonal ad­just­ment

NPhoto - - Contents -

Pre­cisely de­fine spe­cific ar­eas of an im­age for tonal ad­just­ment us­ing Light­room’s Ad­just­ment brush and clever Auto Mask fea­ture

Last is­sue we demon­strated how to use the Ad­just­ment brush to dodge some dark stand­ing stones, while burn­ing more de­tail into the brighter sky. By al­ter­ing the size, soft­ness and flow of the Ad­just­ment brush, you can tar­get and tweak the tones of spe­cific ob­jects with pre­ci­sion.

When you click on a photo with the Ad­just­ment brush you place an Edit pin. This pin records the po­si­tion and strength of all the tonal ad­just­ments you make. Thanks to Edit pins you can make mul­ti­ple ad­just­ments to a photo and then click on a pin to fine-tune its ef­fect at any time. If you click on a pin and drag it to the right, you can in­crease the value set­ting of each as­so­ci­ated slider to, say, brighten the im­age more or boost the con­trast more. Drag left on a pin to re­duce the slider set­tings.

Last is­sue we also in­tro­duced masks. By mov­ing the mouse over a par­tic­u­lar pin, you can see a red mask over­lay that in­di­cates which ar­eas are be­ing ad­justed by that pin. The Ad­just­ment brush strokes we used to lighten the stones were fairly soft and im­pre­cise. It would be quite easy for the brush tip to stray over the back­ground and lighten the sky or ground. This time we’ll show you how to use auto mask­ing to dodge and burn with much more pre­ci­sion, so you can lighten the com­plex jagged edges of the dark rocks in our start­ing im­age with­out blow­ing out the back­ground de­tails.

We’ll show you how to use auto mask­ing to dodge and burn with much more pre­ci­sion

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