How to reveal our photos respecting the direction of light
The discovery sees many crazy things on social networks. These portraits with the black background and a light that you can not believe in your face. Or the landscapes in which a tree is illuminated on the right and the sun rises on the left … With the help of the Luminosity masks in Adobe Photoshop, we control the light of the photos without any problem.
One of the keys of the world of development is not to notice them. May everything be natural. It seems that you did not touch the file and that everything ran like from the camera. However, if we begin to reveal without rhyme or reason, without thinking, we will have problems and people will notice that the photo has passed the computer.
We know that there are several ways to reveal. From a photographic point of view, through pictorialism into the world of graphic design. All are valid as long as they are reasonable. But there is one mistake that is too often. Take the photo in any condition and think that everything is fixed with the computer. And if this facade of the church is not lit, it rises with the plains and ready.
The coherence of light
This term has been in my mind for a long time. You just have to try to shoot when the light illuminates exactly what you want. It can not be run at another time. And if you do not come back, you need to look for a frame that matches our lighting. It may not be as nice as we thought, but that’s the way it is.
We have to work the light in the digital laboratory. The idea is to get closer to what you saw at the time the shutter was released using the Adobe Photoshop tools. We can not invent it unless we spend hours on long and complicated techniques like Dodge & Burn. And if we do not know how to do it, everything we are going to be bad or worse will look like an HDR in a bad sense.
If we wanted to collaborate with a portrait and to illuminate the eyes of the model, we would have had to be forward-looking and see if they were lit at the time of shooting. If not, it will be unnatural. As many photographers say, it’s a mistake to trust everything to develop. The photo will be taken at the moment of the shot and its values will be improved in the development. It does not help destroying what we need to do to create something else, such as inventing the intensity of the sun because it did not come from the side we wanted …
However, it may happen that we can not see the light in the photograph. Or we have doubts about how to handle it during development. The same is a flat picture. There are many ways to see this, but the clearest, especially if we want to develop radically, is working with the masks of luminosity.
See the light with the luminosity masks
There are easier ways to search for light in archives using Adobe Photoshop. However, with the help of Luminosity masks, the process becomes finer and more perfect. And with the ability to control everything with the help of customization levels. You just have to have some light intensity mask and practice.
Since the luminance masks work with all nuances from black to white, the result becomes more natural, as it gradually gets darker and we avoid the typical binding effect that we observe in some works.
In the sample photo, I want to give the lighting that the background turns black and looks like studio lighting. So I’m sending it to Adobe Photoshop, after revealing it as usual, without worrying about our future development intentions. We can also accentuate it, but we’ll have more control when working in Photoshop with the technique you’ll see.
- We open in Adobe Photoshop as an intelligent object to possibly use it as a possible placeholder.
- We seek our effect of luminosity masks and develop them.
- If we want to make the shadows darker, we need to look in the Channels window for the luminance mask, which selects everything we want to treat without touching the lights. It is clear that we have to look under the four or five shadow masks that offer the actions.
- In the sample photography, I prefer SHADOWS II, but I want the lights to be a bit more protected, so I can fine-tune the layer mask later.
- Now the usual routine with the luminosity masks. I mark the selected channel, I click on channel as selection and in the settings window I select levels or curves.
- Since I want to set it a bit more, I hold down the Alt key and hit the level of the adjustment layer (to see it), and I start the magic with the Brush tool. You need to go to the bar and select the configuration in Superpose Merge mode. So we can paint in black or white, without influencing the opposites. The key is always to work with an opacity of 30-40%.
- After adjusting the layer mask, click the adjustment layer icon and the photo will reappear. We also activate the Properties window to change the layers or curves.
- The effect is achieved immediately and can be changed later at any time.
As I said above, when we do it with masks, the gradation of the lights to the shadows is more natural. And you will not see a face with soft light surrounded by a background of hard light. Of course, this can be used with any photo. And above all, if we want to exaggerate the light, it will never be noticed. Everything has to be coherent.