Preview highlight and shadow clipping mask in second monitor

Hi, I'm new in the forum and just starting with the new LR3. I have a question about to preview highlight and shadow clipping in the second monitor, becouse I can't check the mask clipping in my second monitor as in the LR2... Is there a possibility to change it to preview the mask in the second monitor?
Thanks and regards
Daniel

Yeah, thanks.... but I mean that when you are in develop mode and you try to see the highlight or black clipping mask, red or blue, now in LR3 only appears in the main monitor, not in the second monitor as well like in LR2... Maybe I'm not explaining very well the difference...

Similar Messages

Are highlight and shadow clipping must be avoided in any image?

Are highlight and shadow clipping must be avoided in any image?
Because in some cases, let's say, night scene, usually has many black pixels in the sky. Which perform nice contrast against the colorful signs.
Please check the attached image for reference(01.tif).
I know there's nothing in the sky, so I would like to keep all the pixels to be clipped. Is this right?
Some of my students says that other instructors told them to keep all the pixels in the histogram.
But I tell them it depands on how would you like your images to show. Am I correct?
As the attached image, it's impossible to pull the black pixels back to the histogram and I think it's acceptable in this case.
Let's see the 2nd case(02.tif), this image has highlight clipping in the clouds.
I like the way this image looks, which looks like a watercolor painting.
If I pull the white pixels back, the image will change a lot and I will get a very dark overall.
My question is, is it that important to keep your images without having highlight or shadow clipping?
This is not apply to any image, right???
THANK YOU

For a more in depth discussion of clipping, it should be noted that clipping can occur in either the raw file or the rendered white balanced file. In the latter, it can take the form of luminosity clipping or saturation clipping. Saturation clipping occurs when the chosen color space is too small to accommodate saturated colors at a high luminance. In ACR, saturation clipping is indicated by a colored line or shoulder at the right of the histogram. The remedy is to use a larger color space. Luminosity clipping in ACR is indicated by a white line or shoulder at the right of the histogram and the remedy is to adjust exposure or use highlight recovery.
Examination of the OP's histogram shows a yellow line at the right, indicative of saturation clipping of the red and green channels. The OP could try a wider space such as ProPhotoRGB.
Here is an image of a a flower rendered into sRGB using the ACR defaults and the Adobe Standard camera profile. It appears overexposed and the yellows (actually reds and greens) are clipped as indicated by the yellow line at the right of the histogram.
The raw histogram (produced by Rawnalize) shows that the image is well exposed. The red and green channels are just short of clipping. The image appears overexposed with ACR, since ACR uses a baseline exposure offset for the Nikon D3.
However, when white balance is applied for this daylight exposure, the red channel is multiplied by approximately 2.21, and this should result in clipping of the red channel. This did not work exactly as expected with ACR, so I used Iris (a freeware astronomical program which allows extensive control of the conversion process) and examined the histogram of the resulting image in Photoshop. Note that the green channel is just short of clipping, as expected and that the red channel is clipped.
To avoid clipping with the white balance in ACR, it is necessary to use negative exposure to offset the red white balance multiplier. I chose to use a bit of highlight recovery as well to tone down the highlights while maintaining a pleasing value for the midtones. Here is the resulting preview with rendering into ProPhotoRGB.
In this case, I was able to avoid clipping. However, when the image is printed or viewed on a display with a limited gamut, some clipping would undoubtedly occur.

Highlight and shadow clipping preview not working in LR5

There's a gap between the edge of my tonal information and the end of the histogram box on both sides of the graph. No matter how bright or dark I make the image it does not show clipping and the values do not slide to the far edges of the box like they used to. Also, holding down option when dragging the 'whites' and 'blacks' sliders no longer shows me clipped values no matter how bright or dark I make it. Ugh....I use these features all the time and feel blind without them.

You didn't post the original, before adding the +5 exposure.
I played around in LR5 with some of my photos, and I found this one that exhibits similar results on adding +5 exposure, but it starts off as underexposed and low contrast. Anything a bit more exposed or with a slightly brighter area (e.g. make dog's front leg a tiny bit brighter) does clip. (Note - this is the original photo without adding any exposure).

User set cliping points for Highlight and Shadow

OK I know Lightroom 3 is currently available as a Beta version and is not complete and there may be more features to come.
But
Wouldn't it be nice in the develop module to set the point at which you get clipping warnings for highlight and shadow.
I ask this as a lot of my work goes straight out for repro, and it would be usefull to be able to set the highlight to say 90-95% and the shadow to about 15-20%.
OK I know I can run a tool over the image and see what the percentage is, but it would be a lot esier if I could set my own limits and just watch for the red and blue "blobs"
Just a sugestion
John c

I too find the FTP server implementation to be sorely lacking in OS X Server. There is no option to share out only the designated FTP root folder without showing the other share points. It seems impossible to lock down subdirectories to specific users with letting them see the contents of the root directory. Maddening!
I'm looking at other FTP server options. Rumpus comes highly recommended, but I also just found CrushFTP which also looks intriguing, especially its option to integrate with LDAP - something that Rumpus does not do. CrushFTP is also significantly less expensive.
-Doug

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid co

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid contrast, colour, radius, high tonal width and low tonal width.
If anyone has any suggestions as to how to access this advanced section, I'd be most grateful.

Hi David-
The advanced adjustments in the Highlights & Shadows tool were combined into the "Mid Contrast" slider in Aperture 3.3 and later. If you have any images in your library that were processed in a version of Aperture before 3.3, there will be an Upgrade button in the Highlights & Shadows tool in the upper right, and the controls you asked about under the Advanced section. Clicking the Upgrade button will re-render the photo using the new version of Highlights & Shadows, and the Advanced section will be replaced with the new Mid Contrast slider. With the new version from 3.3 you probably don't need the Advanced slider, but if you want to use the older version you can download it from this page:
http://www.apertureexpert.com/tips/2012/6/12/reclaim-the-legacy-highlights-shado ws-adjustment-in-aperture.html

Aperture to export photos either TIFF or JPEG files, highlight and shadow transition has obvious faults, this problem solved!?

Aperture to export photos either TIFF or JPEG files, highlight and shadow transition has obvious faults, this problem solved!?

What problem?
You will have to be _a lot_ more specific if you'd like responsible feedback.
I export thousands of TIFF and JPG files a week with no obvious faults.
(Sent from my magic glass.)

Highlight and Shadows Problem

I use a 2GB Imac Intel 2 Ghz If i set Highlights and Shadows in the RAW window to anything above 0.0 when i use the loupe to view close up the loupe isnt as responsive its like the adjustments are eating up all the CPU time, the loupe usually has fluid movement around the image, but not if i enable Highlights and Shadows?
Any ideas?
Cheers

yup. the hilites/shadows settings eat a lot of processing power.
Cheers,
Karl

Highlights and Shadows Adjustment Panel

Hi
Since upgrading to 3.3.1 yesterday, I have lost the Advanced segment of the Highlights and Shadows adjustment panel.
It will show up on photos which had been previously edited using this segment, but not on photos which have not been edited.
Photos are on an external drive.
Any fixes?

See Kirby Krieger's Thread:
How to not miss that olde-tyme Highlights & Shadows 7-slider Brick
Basically you use an image, that still has the Version 3.2 Highlights & Shadows adjustments and create an adjustment preset (effect) from this image. Then you can use the advanced controls again for all images.
Regards
Léonie

LR 4.1 where did highlight and shadow recovery go?

I just upgraded to lightroom 4.1 and the highlight and shadow recovery sliders have disappeared. It now looks like me old version 2. What happened to the new sliders?

You may be seeing Lr3 settings i.e. Process Version 2010 rather than Process Version 2012, or vice versa. Anything imported into Lighytroom 4 that wasn't edited in an earlier version will be Proces Version 2012, which uses a completely new set of adjustments. Anything edited in an earlier version of Lr will be PV2010 or earlier.
In PV2010 we had Highlight Recovery and Fill Light, both only operated in positive direction, which was/is usually thought of as recovery. The terms hightlight and Shadow recovery don't apply in PV2012 because the new sliders operate in both positive and neagtive directions. You can switch between the two process version by first selecting the image then choosing the appropriate option form the Process drop down menu in Camera Calibration panel (DEvelop module)
The following screenshots are from Lr4.1 and might help address your concern.
PV2010
PV2012

Playback window showing highlights and shadows

I am assuming I have enabled a feature to show the highlights and shadows during playback. I cannot seem to find the feature to turn this off. When playing back video, or importing video, FCP X colors the shadows and highlight areas as bright colors.
Any help would be greatly appreciated in turning this feature off.

Your description is very vague.
Does it look like this on the left?
If it does you have accidentally switched on the Luma Video Scope.
To turn it off press cmd 7

Highlight and Shadow Recovery in Aperture?

Hey folks,
I am still pretty new at using Aperture 3, but I was very curious to know if it has a similar feature as Lightroom 4 does with its highlight and shadow recovery feature. I am really impressed with how this works in Lightroom 4 and would be curious to see if this would work in Aperture. Thanks!

DiploStrat wrote:
Andy, you owe us an advanced tutorial on shadow recovery.
I find it interesting that 3.5's "Auto Fix" always seems to include a healthy dose of shadow lift.
LOL. I haven't forgotten Frederick, honest. But a few things have been happening that put it down the priority list.
And, I've become increasingly frustrated at the way things are being run over at DPR, in particular the way the so called moderators in some of the forums are deleting content, not only for alleged rule breaches but based on their personal opinions and friendships it seems. Complaints either go unanswered, or given the generic 'moderators actions can't be discussed'. Gee - 'Can't be discussed', hardly surprising some of them feel they have the power to do what they like! If it can't be discussed, my only real power is to take my clicks and content somewhere else.
So I'm in two minds if I want to publish it on DPR or just leave it until my new site is ready.
But it's actually a partially related subject that has really side-tracked me. I've beed in touch with the developer of the old Enfuse Edit Plug-in for Aperture to find out if there were any plans to make it compatible with Aperture 3.
He explained he doesn't have the resources to work on it at the moment, so I offered to take the Plug-In and make it compatible.
I've now done that and have it working on my system, and I'm just putting the finishing touches to an installation script to work around some gatekeeper/quarantine issues. The first version is going to be a little rough as it's essentially just a recompile of the old beta, with a couple of inelegant work arounds for the issues encountered. If there's any interest in it, I'll start finessing it a little.
If you're unfamiliar with Enfuse, it's a command line program that takes multiple images with different exposures a blends them together using the best exposure from each (base on some settings).
enfuseEdit is an Edit plug-in for Aperture where you can select the images to be blended and have the result returned directly to Aperture.
Here's a small example I made with the plugin:
The two exposures (actually 2 versions of the same raw with different exposure adjustments):
And the 'enfused' output:
Andy

Highlight and shadow recovery sliders?

Do the highlight and shadow recovery sliders in the brush and gradient tool panels do the EXACT same thing as those sliders in the main panel? I know they will only apply to the area affected by the brush/gradient while the main panel is a global adjustment.
For example, does a 100% shadow recovery on the main panel result in the same result as a 100% shadow recovery brushed into an area, when comparing the same area?

Interesting -- I would have (naively) guessed there wasn't a difference. But a simple test shows there are small but noticeable differences.
Start with an original photo. Make two virtual copies. In one copy, apply the global shadows +50. In the other copy, apply the adjustment brush with feather, flow, and density = 100 and automask off across the entire pic; then set brush shadows = +50. Export the two virtual copies as 16-bit TIFFs into Photoshop. Stack them as layers in a single image. This lets you see small differences just by enabling or disabling the top layer. With my test pic, I can clearly see small differences.
To quantify the differences, set the top layer's blending mode to Difference, merge the two layers, and invoke Image > Adjustments > Levels to see the histogram.
Here's my original test pic:
And here are the differences as computed in Photoshop:
As you can see from the histogram, the differences are in the range of 5 parts out of 255. They are greater in the shadows than the highlights.
Here's a Dropbox folder with the original raw and the two exported TIFFs.

I just downloaded lightroom 5.6. Why do I have fill light and recovery but not highlights and shadows?

I just downloaded lightroom 5.6. Why do I have fill light and recovery but not highlights and shadows?

Your photo is using legacy processing version (2003 or 2010). Click the lightning bolt up near histogram, or use process drop-down at bottom in dev module (right panel, camera cal section) to use current processing version (2012).

Camera Raw synchronizes highlights and shadows not exactly

I use Camera Raw 8.1 to prepare various NEF-files for stitching to a panorama. It will become multirowpanoramas. Some of these files have a 80 percent of very light sky and some have 0 percent of sky. All files have been exposed manually and equally. Then I open all NEF-Files for one panorama together in Camera raw and select them all.
When I use shadows slider (= Tiefen in German) the effect on the files varies. In the files with much sky the dark earth is lightend considerabely. In the files with no sky the earth is lightened only very moderately. Using highlights-slider (= Hoehen in German) I get a similar problem.
This becomes a big problem, when I stitch these files together!
Why does that happen, and how can I avoid this problem?

The problem is not when I do slight adjustments in ACR but only when I do considerable adjustments. As you propose I save the developed NEF-files as 16-bit Tifs. Then I use Autopano pro to create LDR-Panos. I'm not interested in 360° Panos. If you want to see, what kind of panos I create look here: http://www.martinfranz-muenster.de/index-e.htmhttp:// You can imagine that I have to make sometimes considerable adjustments in ACR before stitching. I am a bit old-fashioned therefore I still avoid HDR-processing.
But I found out something very interesting this morning playing around with ACR: When I use the gradient curve (2nd window, in German: Gradationskurven) instead of the first window with an aperture as icon (in German: Grundeinstellungen):
Modifying these curve in a series of pictures with and without sky (as described above) results in linear adjustments or at least much more liner adjustments! That is what I was looking for!
So I will modify my workflow slightly: I do the first strong adjustments in ACR with the "gradient curve" and minor alterations in a second step with "basic settings" (Grundeinstellungen).
Message was edited by: MartinF13

Highlights and Shadows develop settings are not functions

While implementing an image-processing plugin, I learned something very interesting (to me) about the Shadows and Highlights develop settings. The other basic tone settings (exposure, contrast, saturation, etc.) always map any one color to another single color uniformly throughout the image. But the Shadows and Highlights may map a given color to multiple colors in a single image, depending on the location of the pixels.
For example, in a test image I made with Shadows = +100, pixel (824,286) had its original 16-bit color value (0, 0, 0) transformed to (1724,1387,852). Pixel (861,287) also had original color (0,0,0), but it was transformed to a much different color (3093,2688,1316).
Abstractly, the other basic tone settings are functions (any input color always has the same output color), while Shadows and Highlights are many-to-many mappings (any input color may have multiple output colors). I knew that Clarity was not a function -- the transformed value of a pixel would depend on neighboring pixels. But it never occurred to me that Shadows and Highlights weren't functions either.
Is this property of Shadows and Highlights well-known by expert users of LR? (I.e. Rob, I assume you knew of this?)

Yup - @Lr4 (PV2012) there are 3 adjustments using Adobe's new "magic" algorithm:
* Clarity
* Highlights
* Shadows
I really don't know enough to fill in much in the way of details, except to say that when you use -highlights or +shadows, it "clarifies" the highlights and/or shadows a little bit, by way of the laplace-transform based algorithm Adobe developed. Jeff Schewe has pointed us to a white-paper about it in the past, but I dunno the link.. To me, it's akin to Topaz Detail and/or Topaz Adjust's "adaptive" enhancements - two Photoshop plugins I used regularly until Lr4 came out (Adobe's algorithm is very well done - in my opinion, better than Topaz labs, or any of the others doing similar things, e.g. PhaseOne, DxO, Nikon, ..).
FWIW - this is one of the reasons some people were raising heck when Lr4 first came out - no way to brighten shadows using the basic sliders without getting the clarification effect.. That said, Eric Chan also has informed us that Lr3's fill light had a similar mathematical algorithm backing it, and so Lr4 was not new in that regard, just improved..
Rob

Preview highlight and shadow clipping mask in second monitor

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