G15 - Blown highlights

Hi,
I'm really pleased with my Powershot G15 - great indoors in low light, great outdoors with blue skies but I have one problem which I need help with. Whenever I take an outdoor shot with an overcast all-white sky, the photo turns out terrible.
The edge between the sky and the forground seems to bleed together and look foggy. On the LCD preview, the sky flashes, which I presume means it is too bright?
Apologies - I'm an amateur and shoot on auto mode. Is this a camera fault, or do I need some help on using manual mode for this type of shot? Anything I can do to simply improve this type of shot? My camera phone seems to handle this scenario ok, so I imagine I should be able to get similar results with my G15?
An example is attached. What can I do to improve the contrast around the tops of the trees? The sky looks really bright, it wasn't at all.
Thanks for your help!
Rob

Get out of AUTO & into Program (or Tv or Av) & read your manual to learn about & how to change EXPOSURE COMPENSATION. It's how you correct (on the fly) lighting that fools the metering system.
"A skill is developed through constant practice with a passion to improve, not bought."

Similar Messages

Blown highlights on export, how do I adjust clipping in LR to avoid

I found the thread that explained WHY the highlight were showing in range in LR2 and blown in Cs2. It a matter of LR using a larger color space, profoto rgb and CS using srgb color. I get that. BUT I don't want to deal with changing color space at the end of my processing....
HOW do I change the sensitivity in LR2 to avoid the issue in the first place? Can I just change the colorspace in lr?

There is no possibility to change colorspace in LR.
And strictly speaking, there is also no possibility to set the colorspace to sRGB in CS2.
What you can do in CS2 is
a) embed the sRGB profile into the image
b) softproof the image for sRGB.
As for blown highlights, you can do the following in LR:
a) increase the recovery slider to a value of at least 40 - I sometimes go up to 80 or 90;
b) reduce Brightness and/or Exposure
c) apply a curve that avoids blown-out highlights and blocked-up shadows.
The last one is my favourite option that I use almost on every image, and it goes thus:
In the Tone Curve panel, click on the small curve-icon below the sliders so that the sliders disappear.
You then can grab the ends of the curve and drag them vertically down (highlights) or up (shadows).
I set my endpoints to about 5% for shadows and 95% for highlights. That corresponds to a blackpoint of about 13/13/13 and to a white point of about 242/242/242 in PS. You can leave the curve linear or give it a bit of a S-shape for increased contrast in the middle-tones.
Save your new curve as a preset. When you now open this photo in CS2 - as a copy with LR Adjustments applied - you will notice that CS2 displays it accordingly. If you open the image as "Original" the LR-curve will not be applied, and you rimage in CS2 will look unchanged.
WW
PS: My above remarks about colorspace in CS2 my be misleading. What I meant to say that PS displays images in the profile that you created for your monitor with your calibration software - no matter what colorspace is embedded in the image.
But you can softproof and PS will emulate the embedded colorspace on display.

Showing Blown highlights (and/or shadows)?

I got a new camera, and it has a nice feature of showing the blown
highlights on the LCD after the picture is taken. It also can show the
histogram. So, the histogram is basically the levels dialog. Is there a
way I can duplicate the blown highlights screen in PSE 3.0 or 4.0? I
have a LOT of pictures from my older camera, and I am having trouble
adjusting (especially for shiny faces of the kids) skin tones. I now
think it because there is actually no data on those shiny faces.
I'm sure it's probably either a hue/saturation adjustment layer or a
contrast adjustment layer that I need, but I don't have time to try it
out. Any quick tips? I'm not talking about flashing the
highlights/shadows or anything like that. Just a quick adjustment layer
I can add and then slide the sliders and see where the highlights are
bad and then turn on/off visibility for the "flash" effect :)
Thanks,
Trish

Colin,
These "guys" are essentially one guy, who has finally hired one more guy
to help him :) . If you are wanting to do "creations" you have to buy
other programs. IMatch supports full IPTC editing and most camera RAW
versions, DNG, XMP, etc.
The scripting capability is really handy. Someone wrote a web gallery
script, which I use. You can modify the templates, or add you own very
easily (unlike PSE 4.0). On the IMatch forums, people regularly share
scripts and help each other out. So far, the 3 friendliest forums I have
found are this one, Nikonians and IMatch.
The big thing right now is Mario is redesigning IMatch. That will be a
brand new release rather than a patch. We've been anticipating it for a
long time (over a year), but Mario won't give us any time frame. So, it
will be like going from Elements 3.0 to 4.0 and cost some $$$. However,
with all the new RAW formats coming out all the time, that has delayed
him quite a bit. He has a service pack that will come out here shortly
to fix another couple of bugs and add RAW support for the Nikon D200.
Sorry, I'm rambling on. If you are a power user, want IPTC editing
capability, etc, IMatch is the tool for you. He doesn't gear it towards
the "mom and pops" type, but there are plenty of us who use it.
Definitely try the evaluation version. 30 days, no charge - can't hurt.
-Trish

Recovering detail from 'blown' highlights in Aperture

Like Camera Raw Aperture will recover detail in blown highlights even when there is detail left in only one of the RGB channels. Here is my basic workflow for recovering blown highlights.
1. Boost - Under RAW Fine Tuning slide the Boost lever all the to the left so that the setting is zero. This replaces the gamma curve with a linear 'curve' and reduces contrast.
2. Exposure - Slide the Exposure slider to the left to reduce or eliminate the spike on the far right of the histogram. This will reduce exposure and will darken the image.
3. Highlights & Shadows - Slide the Highlights slider to the right to further bring out detail. Slide the Shadows slider to the right to restore the darkened mid-tones. Then 'fool' with the Advanced controls to refine your work.
I have found that this process works very well to recover any detail that may be there.

Here is an example of the original RAW file and one processed with my workflow. I would then use other Aperture/Photoshop editing tools to add back "punch" to the picture. Click on the link below and then click on Nikon D50 Tests.
http://www.fototime.com/ftweb/bin/ft.dll/pictures?
MacBookPro, 2GB, 2GHz Mac OS X (10.4.6)

New HDR user - blown highlights

Hi,
I am just starting to experiment with HDR. I am using a Nikon D200 and Photoshop CS3. I am shooting 1 stop plus/minus and merging to HDR. It seems that the highlights are always getting blown out much more than the middle image. The shadows are brought up fairly well, but the entire upper end of the curve seems blown out with loss of contrast. I have been experimenting with different methods during the 32 to 16 bit conversion to correct it but have not been so pleased with the results. I can get the highlights back down, but the upper end is fairly washed out with loss of contrast. It seems like the middle part of the curve is also pushed up a bit which would account for the loss of upper end contrast.
I have looked at several tutorials on the net. They don't seem to address this specific situation and how to correct it. Also, the screen shots right after the HDR merge sure look alot better than mine, and don't seem to be blown out at the upper end.
Any help, pointers, links, etc would be so very much appreciated.

Using PS takes a fair amount of practice using curves (to precisely isolate blown highlights). Another method is to blend the adjustments in with a layer/mask to target the worst areas.
Having said that, getting the right range of exposures to begin with is probably the most critical part of the process. Use the camera's histogram to make sure you're getting a nice spread.
And...there is a fair amount of discussion about this (and other) hdr issue(s) available on the net. Try the Flickr hdr group for one good source.

Trying to make a selection of blown highlights???

I was developing the other day in LR my fingers hit a key on the keyboard that sent the marching ants around the blown sky on my image. I was able to bring back ALL the detal in the sky by sliding the highlight slider down and I can tfigure out how in the world I got that selected? Please can anyone help? Thanks!!:)

Hmmm, never seen marching ants in Lightroom but perhaps close to your scenario is Highlight Clipping on the “J” key. This displays blue and red masks over black and white clipping, respectively. Reducing the Highlights adjustment will reduce the red mask until the white clipping has been avoided. Increasing the Blacks adjustment will do the same for the blue mask and black clipping. Or you can just click'n'drag the Histogram area.

AVCHD blown highlights in AE and Premiere Pro CS6

Hi Guys,
I have the NEX 5n and Premiere Pro CS6 on Windows 7 Workstation.
It seems as if Premiere is geting the 0-255 16-235 Levels kind of wrong. AVCHD files of all kinds have clipped highlights when exposure on the NEX or any other camcorder is set spot on before clipping.
In PP cs6 and cs5.5 you can just bring all the Information that is above 1.0 in the waveform down with any 32 bit Filter that deals with Levels. But it schouldnt be up there above 1.0 in the first place or am I wrong?
This also applies to the Canon XA10 camcorder
clipped whites:
[IMG]http://i46.tinypic.com/az9fm.jpg[/IMG]
Levels adjusted with 32 bit Filter in PP = No clipping in highlights
[IMG]http://i48.tinypic.com/ofrl86.jpg[/IMG]
In AfterEffects its different: You would have to work the whole AE Project in 32 bit to be able to save the clipped detail in the whites. If you work in 8bit (which is standard ae project) then AE will just cut off all the info above 1.0.
But the question is: Is Adobe getting it wrong in the second consecutive Version of PP that is supposed to deal nativly with AVCHD? Or why do highlights that are not clipped on any AVCHD camcorder, appear as clipped in PP cs5.5 and cs6
Even the opensource FFDSHOW codec gets it spot on when played with mpclassic (as Andrew Reid from EOSHD.com stated and I also can confirm this)
Also when I connect the nex 5n with hdmi to my Plasma everything plays just fine no clipping at all!

when exposure on the NEX or any other camcorder is set spot on
Are you saying the waveform on the camera is displaying the same image differently to the wfm in PPRO? I would be surprised if that were the case.
That paper kind of looks very "hot" and it doesnt surprise me what the wfm is showing here.
FWIW: I extensively monitor my AVCHD by using level, gray and color cards in my shots. The wfms in the camera, monitor and PPRO always correspond.
Try shooting a color chart and also checkout .some color bars generated by your camera.

How do I check blown highlights?

How can I get clipping indicators (highlight & shadow) on my video itself (like the way Adobe Camera Raw or Adobe Lightroom does it) and histograms of either frames or scenes? Simply adjusting level sliders without knowing if you have clipping going on makes no sense...
Sorry, I am new to Premiere Pro CS6 and can't find it anywhere on the forums nor in the software.

Use one of the waveform monitors, like this:

Highlights Blown on NTSC to PAL Conversion

We made an 80 min DV PAL movie and released it last September. It's sold well (more than paid back the investment in equipment and still going).
We have a distributor in the USA who converted it to NTSC for sale there because at the time, I wasn't able to contemplate learning how to do the conversion myself (and we're on a very tight budget).
He recently sent us a copy of the resulting NTSC DVD and the quality's dreadful. It's not sharp, the colour's far too saturated and the highlights are badly blown out.
I've recently re-edited the movie and it seemed a good time to learn how to convert PAL to NTSC, so I bought the Nattress System and was making great progress until I burned a sample to DVD.
It looks fine in FCP, looks fine in the Simulator of DVDSP - but when the DVD's burned, the highlights are blown out.
This only happens with PAL-NTSC conversions - and I've now tried several including Nattress, Slow-Pal (a-la Ken Stone) and Compressor. Don't ask what settings I've used in these processes, I must have tried nearly all of them!
Why would footage which looks good in the DVDSP Simulator have blown highlights on DVD? It's not the DVD player or TV as they play the PAL version perfectly.
In FCP the "Show Excess Luma" setting gives everything the green light - I've used the 3 Way Colour Corrector to reduce highlights to 210 (from 255) and it makes no difference whatever. I've even used the Broadcast Safe filter set to Very Conservative - no change whatever!
Short of taking up Russian Roulette as a profession, can anyone shed any light . . . (oh dear) . . .
Andy
G5 Quad. 8 GB. 250 & 500 GB Int'l Drives. G-Tech G-Raid 1 TB. FCP 5.0.4 (Studio) Mac OS X (10.4.6) Sony HVR-Z1E . . . I mark my questions Solved or Helpful - and I LOVE FCP.

Did you try looking at the settings for the sequences?
Sequence / Settings / video processing Tab
I think it should be set to "Render in 8-bit YUV" - not sure what might happen if rendering in RGB but maybe that would cause colour shifting.
Also it should probably be set to "Process maximum white as Super-White". If you have shot most of the footage with the Z1 I beleive this will give you "Super-whites" meaning above 100 percent so "Super-white" is the correct setting unless you have corrected each shot individually. I am honestly a bit fuzzy on this, but my process is to use the colour corrector only for large corrections - finish the program and then run the whole timeline through a broadcast safe filter at the end. It is my understanding that in the case of the Z1 PD170 PD150 etc that do record super-white then the sequences you edit it would be set to super-white.
http://www.larryjordan.biz/articles/lj_white.html
http://docs.info.apple.com/article.html?artnum=60864
Best regards,
Paul
ps. What is your movie? Is it publicly available?
Dual 1GHz Mac OS X (10.4.6) 1.75GB ATI9800, FCStudio

Auto highlight correction in LR 4

Is Adobe even considering adding the option of turning off the auto highlight correction inserted into LR4. For anyone shooting white backgrounds this is a terrible nuisance. I personally will have to switch to another image processing software program if there is not a fix for this. I work hard to get a good image in camera with a pure white background, then Lightroom messes with it automatically. It seems someone at Adobe would have realized it was not a good idea to assume that no photographers would want a pure white background.

I tried to get Krista to send me the raw, but she/he has moved on - given up on PV2012 due to difficulty preserving fine detail in upper highlights whilst maintaining solid white background.
It is true that there are 2 potentially bad things about PV2012:
1. It doesn't like for you to have all white or all black anything (auto highlight recovery and auto shadow recovery). - this is usually, but not always, a great thing...
2. PV2012 can lose fine detail in the whites due to compression done presumably to preserve tone & color relationships when 1 or more channels are clipped., but yielding a less-than-optimal trade off in some cases, see this thread:
http://forums.adobe.com/thread/1050188?tstart=0
Don't get me wrong. It could be that these photos would look stellar with a little more finessing of whites/exposure/highlights to bring out detail in the brighter highlights (and maybe some clarity). But also, its possible that Krista has indeed bumped up against one of PV2012's not-so-good "features", and he/she knows it, and isn't willing to "fight" with it to get satisfactory results.
Summary: In general, PV2012 handling of upper highlights / whites / clipping is very nicely done, but in some photos, it's "potential" bad things become real bad things.
Krista - have you tried negative highlights? It may be that you need to go easier on the +whites, and/or enhance highlight detail using -highlights, then paint the surrounding wall white if need be. Hard to tell without having a raw to work with. Also, your exposure may need to be dropped, especially if you've bumped the whites.
In general, in PV2012, I think it's best to handle subject detail and white wall separately - i.e. do what you need to do to get the subject looking nice, then use locals to repaint the wall, if you really want it solid white. If you don't want to resort to locals for repainting the background, then you won't be the first to abandon PV2012 for "product photos" against white (or black) backgrounds. And also or instead of, consider using locals to further enhance subject. I sometimes crank whites up a little much then use -highlights locally in selected areas.
PS - I hope there is a PV2014 which further improves Lightroom's ability to deal optimally with upper highlights / whites, for all cases... (ditto for blacks).
I adore PV2012 in most (but not all) ways.
UPDATE: I couldn't resist downloading the posted jpeg samples in lieu of a raw to work with. I think it's entirely possible that Krista is losing detail in the wings due to the "White Mud" phenomenon - PV2012, in it's quest for recovering blown background and integrating with the rest of the photo, may be compressing the non-blown whites (brightest part of insect's wings). I think this phenomenon has become my least favorite aspect of PV2012. It affects not only photos with white backgrounds, but any photo with blown highlights - and it doesn't necessarily take a lot of blown pixels to negatively influence all whites in the photo (even if all such pixels have been cropped out!). Reminder: +whites is far from a panacea in dealing with "white mud syndrome". A tone curve with an upward inflection in the whites can help a little, but only a little - push it too far and the rest of the image will deteriorate.
I don't think Adobe has any intention of improving this in PV2012 - hope I'm wrong. They could add another control in a fashion that doesn't influence previous edits, to refine handling of top-most whites, and release it as a minor revision - I would be both shocked and delighted if they did that.
UPDATE #2: After further consideration of the jpeg (really wish I had that raw), I have reversed my previous hypothesis. I thiink this is a photo that can be processed to perfection, easily, in PV2012, even with almost completely clipped background. Note: the following enhancements were made to the (already processsed and baked) PV2012 jpeg, and so may NOT apply to the raw.
* Much Lower Exposure (high exposure was compressing upper highlights)
* Much Lower Contrast - this is a photo where (presumably) high contrast is not desirable, and the upper half of the tonal range is nicely served simply by dropping contrast.
* Negative Highlights - a lot: wing detail is totally recoverable / enhanceable (NOT a victim of "White Mud Syndrome").
* Positive Shadows - same amount as Negative Highlights (except positive, not negative).
* Positive Whites - just enough to clip the background, no more.
* Positive Blacks - a lot: in this case, it helps maintain the "softer" look of the PV2010 version, and keeps intra-shadow contrast down. - brightens the photo with less highlight compression than exposure.
* No Clarity - totally unnecessary, and gives it a harsher look.
* No Tone Curve - totally unnecessary.
Example for comparison (hint: context-click and open in new tab, then in WebPhotoBrowser: click next, next, next to compare, instead of next, prev, next, prev...)
Krista - Consider practicing more with PV2012. It is far more capable than it seems at first. I mean, continue to use PV2010 if need be, or you're in a hurry... - but keep honing your PV2012 skills too!
PV2012 rocks!
Cheers,
Rob

40d Problem in extreme highlights of image

Few of my images(raw cr2 files) I have noticed strange artifacts in blown out or almost blown out highlight areas. In these areas there is this strange yellow colored pattern. And it shows up when exporting the image to jpeg. In ACR this same raw file has no such problem. Is anyone else experiencing this problem in extreme white highlight areas of their images. The problem occurred in white fabrics of an umbrella and glistening sun on a turtles back in my case.

Let me do a update.
I have some time today to do some experiment to check out how Aperture deal with the Highlight Priority custom function on the 40D when shot in RAW. I shot at a lit lamp shade, overexposing by about 2 stops.
*I found that when HP is turned on, the brightest part of the picture has a red value of ZERO, turning the most blown part of the picture cyanish.* So, please don't use HP when using Aperture until this problem is solved.
But for the parts that are not completely blown, there is indeed some benefits where I can pull back a little more detail compared to when HP is turned off.
And in contrast to some theories floating around some forums, shooting with HP on is not the same as underexposing by one stop. In my experiment, I shot all pictures at the same aperture and shutter speed. Exposure of the shadow is identical at the same ISO, whether HP is on or off. The ISO400/On picture has shadow the same as ISO400/Off; and definitely is not the same as ISO200/Off.
Anyways, after adjusting for WB, I managed to pull back about 2 1/3 stops of highlight from the RAW, even when HP is turned off. There's really little reason to use the HP function in the camera if shooting RAW.
I confirmed another observation someone made in another forum. The RAW data clipped about 1/3 stop earlier when using ISO 160/320/640/1250, compared to the others. In the same experiment, I can only pull back about 2 stops of blown highlights.
I am going to switch my ISO function to the 1-stop only now. There's really little point of using the 1/3-stops anyways, and now there's some reason not to use some ISO settings.
Message was edited by: rkkwan

Curious effect in HDR highlights

For me, I'm afraid, HDR is always a disaster area. I very seldom use it, and when I do I usually spend hours fiddling
and then lose my temper and go back to
choosing the best exposed raw, developing it carefully, and then if there are any blown bits,
replacing those from a better exposure using layers
by hand. But I thought I would try it today with CS5 fully updated.
The subject is a stained glass window inside a church. I took five raws which photoshop Merge to HDR Pro declares to be at +2.32 +1.22 0.00 -0.85 and -1.43 stops. I set the xmp sidecars to force a white balance of 5000K and +58 tint to suit the outside lighting, but otherwise left ACR to its own devices.
The darkest of these images looks like this in ACR (if I go into ACR manually to see):
m
Clearly there are no blown highlights, and we have texture all over the woman's face.
However, after the HDR has been created, there is no HDR toning method that I can find that avoids the following appearance:
m
The slightly greenish grey areas of the face are not blown, they have a value around 212 on photoshops info panel.
Any idea what causes this?
The five raw files are each around 23MB. Could put them up on a web site if anyone feels like looking into this.

Well, I just went through an exercise in which I took 5 images at roughly 1 stop increments. The image has some shaded areas and some bright sky
in it.
I then did the whole Merge to HDR thing and tweaked the controls until I got what looked like a pretty natural image, though the breeze moved the trees enough so that ghost removal didn't work entirely.
I then took the middle (correct or best) exposure, and worked on it in Camera Raw and Photoshop to produce the best possible result.
I see two things:
1. The sky in the HDR result seems bluish, when in fact there was little blue in the part of the sky that was off to the left. Is this another manifestation of the reported highlight color shift? Unknown.
2. After only a very little bit of work, I made the non-HDR image look as good, IMO, as the HDR result. There might be things in the HDR image that one could argue are better, and there might be things in the other one that one could say are better, but from my perspective it is a wash.
Maybe this isn't the best example of Merge to HDR use, and I will look for other extremely high contrast subjects that are to experiment further.
Here are my results. See for yourself.
Perhaps this feature is for very specialized shooting, but I have to say I'm finding it hard so far to see a whole lot of advantages to it.
-Noel

RAW Highlights Problem with conversion from Canon 5D

Hello All,
I recently upgraded my camera from a Canon 20D to a Canon 5D. I shoot only RAW and I recently shot a couple of images of a beautiful sunset out West. I was bracketing the exposures all over the place since the light-drk contrasts were really large and the light was changing so fast. The images looked great on the Camera's LCD but, when I ran them through Aperture I got some really nasty artifacts on the conversions around the highlights. Here are examples:
Full scene
http://www.flickr.com/photo_zoom.gne?id=307781903&size=l
Full scene detail:
http://www.flickr.com/photo_zoom.gne?id=307781906&size=o
Another example:
http://www.flickr.com/photo_zoom.gne?id=307781905&size=l
the problem I see is with the nasty transition from yellow to white in the blown highlight. I also don't like the broad areas of flat yellow - the tonality is completely missing. These are the default RAW settings exported to JPGs and the poor image quality of the highlights looks identical on screen between the RAW images in Aperture and these JPGs, so it's not a JPG artifact.
I don't recall having this problem with the 20D - is the 5D conversion more difficult for Aperture? Might I be doing something wrong? Is there a way to fix this? I ran the RAW file through lightroom and it didn't have the same problem. Please help!
-Steve G

I have the same problems when I shot the sun rise and sun set.. It is very nasty transition from yellow to white or white to yellow from the sun. I don't think Aperture can fix that. It was over the exposure with the sun. And yes, it looks great on 2 inches LCD. I think you need to use filter when you shoot the sunset or sunrise to get the perfect lighting. Let me know, if you know the tweak with Aperture.. I will check out lightroom... I have alot of sunet and sunrise photos to correct.. and i checked out this place http://www.all-creatures.org/pics/sunset.html they have the same problems with yellow to white...

PV2012 highlight warnings "real"

I only noticed this recently and think it is a wonderful feature of PV2012.
At default settings, PV2012 only shows highlight warnings where the highlights are blown and unrecoverable. Manipulating sliders will allow you to, in most cases, to lower the highlights to reduce the warnings, but those areas that were blown will never properly recover their detail or color. If all channels were blown, the best you will get is silver/grey coloration.
With PV2010, the highlight warnings might show, but areas might still be recoverable....i.e. they were not actually blown in the raw, but were the result high exposure, brightness, and/or contrast settings.
In discussion with Eric Chan, he said, "Highlight recovery is always enabled in PV 2012. Combined with the highlight shoulder in PV 2012, this means that areas that would've shown as blown in 2010 may actually show as not clipped in 2012. (Also, 2012's HL recovery is improved over 2010, for better detail extraction.) This is the reason for the HL clip warning differences between 2010 and 2012."
I think this is a great asset of PV2012. I doi a lot of bracketed exposures with EC adjusted to get the optimal raw exposure (highest EV without blowing highlights). This means I need to review at least 3 shots be image to select the ones I want to work. Being able to quickly spot those which have blown highlights quickens this effort.
I would be interested if others have noticed this and agree.
John

This isn't what is being sought. He's looking for the triggers behind Real Time Warning maintenance, which is independent of SPC.
This functionality is controlled by the RTW_DEFECT_RATE table.
If an item/resource/operation combination has a RTW set, there will be information recorded in this table when an SFC is completed.
Pass_count and Fail_count are stored as integer numbers of the SFCs that have passed or failed (where failed means it had an NC recorded at that step).
The Yield is calculated from this as an integer % and compared with the low/high limits (also integers) stored in the RTW maintenance screen. This also takes account of the group size or the time interval as appropriate.

Why can't the adjustment brush add color to white/highlights?

I recently tried to use the adjustment brush to add som color to white/highlights, without success . I have learned that the color chosen for the adjustment brush will mix with the underlaying colors. The surrounding areas were colored as expected, however apperently no effect on the white/blown highlights. Am I doing anything wrong?
Christopher

I did this in LR. There's no detail at all in the window with or without Recovery set to 100.Here Recovery is set to 0.

G15 - Blown highlights

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