EDIT THE SHOT
1
BLACK AND WHITE POINTS Define the overall tonal range by pushing the Whites slider to the right and Blacks to the left, until just before detail begins to be clipped. This will add contrast to the shot and ensure oil-like density.
2
CONTROL SHADOWS Prevent deep shadows from becoming areas of solid black, which can occur when metering from highlights from undiffused lighting. We pushed Shadows to +52, exposure to +0.30, and pulled Highlights to -63 to compensate and prevent clipping.
3
REDUCE WARM CAST I like the warmer highlights this lighting is generating but it’s a little strong. In the Blue Channel we pulled up the Tone Curve to neutralise some of the yellow, while pulling down the Reds at the top.
4
HSL AND SPLIT TONING To further target colour balancing use the Hue, Saturation, Luminance panel. I reduced the Orange/Yellow Saturation and boosted the Red Luminance. I added light green colour tint to the shadows using Split Toning with a low Saturation.
5
DODGING AND BURNING Due to the high contrast and directional light it is necessary to make localised adjustments. Use the Adjustment Brush to selectively reduce brightness and lift deep shadows on the dark side of the spread. Some bright areas also received some positive Whites and Clarity.
6I
TEXTURE OVERLAY As a final optional step dragged a texture file over the image and changed the blend mode to Overlay (I shot one but many can be found online). This added to the canvas effect, finalising the oil painting style. Reduce layer Opacity to taste.
Right
OIL ON CANVAS
With the colour cast reduced it now looks like morning light streaming through a window. The texture and lighting give a lovely oil colour quality