Shadow and Highlight Sluggish in CS6

Shadow and Highlight seems a bit slow, delayed in responding to adjustments unlike improved speed in other filters/adjustments in CS6. I'm on a iMac with a 3.33 GHz Processor Speed, 8 GB of Memory, and a Bus Speed of 1.33.
I have 1.33 TB free, and I alot 6205 MB to CS6, 80% of my RAM, and I don't run other programs while CS6 is up and running. My files are at 100% efficiency when Shadow and Highlight seems delayed in responding. Any idea why this
is happening or what might solve the problem?

Click on the indicators on the Histogram (those little boxes on top).

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Flicker problem with shadow and highlights?

Does Premiere CS6 have the same flicker problem when using Shadow and Highlights as CS5?

Honestly, my recommendation would be to use another effect. There's usually more than one way to get the same result, and some ways work better than others.

Where are the shadows and highlights sliders?

Just confirming that they eliminated the 2 most useful editing sliders. And the option to edit in an external editor is gone, too? This app is not ready for prime time.

The Shadow and Highlight sliders are in the optional set, that you have to reveal.
In the Edit panel open the adjustments.
If you do not see "Light" adjustments, click the blue "Add" text.
In the Light Adjustments, click the down arrow beside "Auto".
Now you will see several sliders for light values.

IPhoto 9.4 sliders for shadows: and highlights: only give black page. can anyone help?

iPhoto 9.4 sliders for shadows: and highlights: only give black page. can anyone help?

While we all have MacBooks in this forum not all of us use iPhoto. There's an iPhoto Support Community where everybody uses iPhoto. You should also post this question there to increase your chances of getting an answer. https://discussions.apple.com/community/ilife/iphoto

Shadows and Highlights, 101

I've just started working with illustrator and I'm trying to find the best tools for building shadows and highlights in 2d drawings.
So far, it looks like the best way to approach this is with a series of Opacity masks. Using multiple pieces as overlays to highlight and shade the primary object.
I also like the effects of smooth color blending, but I can't see how to blend multiple highlights and shadows into a single object with precision.
As far as the gradient mesh tool goes, it seems to be the wrong effect for 2d designs.
Can someone give me a leg up?
Which tools should I focus on mastering to build shadows and highlights quickly and precisely?
Thanks for your time!
Ken

Not to beat up on you, Ken, but why do people come to an online user-to-user forum and expect to accomplish in a few posts what amounts to a textbook on drawing technique?
You should narrow down the scope of your question a bit by describing what kinds of objects/surfaces (or better, start with a specific example) you want to render.
You said you are new to Illustrator. Are you also new to vector drawing altogether? That is, it is unclear as to whether you just don't know where to find the specific tools or commands for a drawing principle in AI, or if you don't know the principles to begin with.
Very generally speaking, quite realistic rendering has been done in all the mainstream vector programs for decades, using little more than path blends and grad fills. Those are still the most practical/expedient mainstay techniques.
The new vector stuff like gradient meshes are mostly just elaborations on that basic functionality.
Raster effects can now be used as an alternative where blends have been traditional. But there's really nothing new about combining raster elements in otherwise vector drawings. Raster effects make that more convenient in that they are just rasterization performed on-the-fly. Nor is there anything really new about that. (Canvas was doing it long before AI.)
3D features can also be exploited for quick shading, but the geometry is fairly limited to, well, geometric primitives. AI has an advantage there in that its 3D feature at least supports basic surface mapping. But the vector result is often impractically complex for elaborate renderings, and it becomes best to either rasterize it, or use it as a temporary guide for tracing using--you guessed it--blends and grads.
JET

Shadow and highlight clipping

Over the past few weeks I have noticed something with correcting shadow and highlight clipping in LR 5.7 and 5.7.1 I was not aware of and would like some opinions.
In one sentence, it appears that there is highlight clipping both in the White and Highlight portion of the histogram and shadow clipping in the Shadows and Blacks portion of the histogram. Up until recently I had assumed that if I wanted to globally recover highlights, I had to bring the Whites down. However, I have now seem quite a few photos, taken with different cameras (all Nikon), where the highlight clipping warning only went away after reducing the Highlights by -5.

What you are seeing is perfectly normal for images with moderate to high dynamic range. The LR PV2012 Tone controls should be adjusted using a top-down workflow. Here's what I have found that works well:
PV2012 Basic Panel Tone Control Adjustment Procedure
Start with all of the Tone controls at their default 0 settings and adjust them from the top-down in the order shown below.
1. Set Exposure to correct midtone brightness ignoring the highlight and shadow areas for now. Setting Exposure slightly higher (+.25 to +.50 EV) than what looks correct for the midtones seems to work best with most images.
2. Leave Contrast at 0 for now. It’s usually better to adjust this after the first pass.
3. Adjust Highlights so that blown out areas are recovered and “fine tonal detail” is revealed.
4. Adjust Shadows to reveal fine detail in dark areas. For most normal images simply setting +Shadows = -Highlights (Example +50 and -50) works very well.
5. The Whites control sets the white clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping appear with the ALT key.
6. The Blacks control sets the black clipping point, which you can see by holding down the ALT key as you move the slider. Adjust it to the point where you see clipping appear with the ALT key.
7. Now go back and adjust the Contrast control to establish the best midtone contrast.
8. Lastly touch-up the Exposure control for the best midtone brightness.
9. If necessary “touch-up” the controls using the same top-down workflow.

PS Shadow and Highlights feature in Lightroom.

I would like to see the Shadows and Highlight features (the entire thing)
added as a palette in Lightroom. It would be very useful in my opinion and
does such a great job in Photoshop.
Robert

> I like the ability to have it automatically apply it when you bring it up. I
also like the ability to adjust the settings and save them as a default. So
if they added both of these to LR (as well as the other slider controls)
that would be great.
They are (presets for the first, ACR defaults for the second).

Flickering after adding shadow and highlight effect

I seem to be getting a flicker, in any shot that has had the shadow and highlight effect added. It is as if premiere flashes from an uneffected frame and to a frame after "correcting" with shadow and highlight. Sometimes hardly noticeable until I have "make movie" and play it as an avi.
regards

Bill Hunt wrote:
Well, as with most of the "auto" Effects, things work well, only if everything stays the same, like lighting, etc.. If one has a Clip, where lighting, exposure, white-balance, etc. changes, then the auto Effects WILL "pulse," or "strobe." It's sort of like the old days, with auto-aperture, and "seeking" for exposure.
Lock down the camera, and do not change the lighting, exposure, or white-balance, and the auto aspect of Highlight & Shadow (plus most other "auto" Effects), will work just fine.
I use Highlight & Shadow fairly often, but seldom on its "auto" adjustment - I almost always manually set the parameters manually.
Good luck,
Hunt
This thread isn't long, and clearly in the several posts above, we discuss that the bug (which Adobe refuses to fix after years of bug reports) occurs regardless of whether automatic or manual control is being used. So you are not offering a solution; Adobe needs to do that.

Default in Shadows and Highlights

Why has Adobe set the default in Shadows and Highlights to lighten the shadows automatically? I have to teach students to always return it to zero so they can evaluate their image and apply only what is needed.
Mary Lou

Why has Adobe set the default in Shadows and Highlights to lighten the shadows automatically? I have to teach students to always return it to zero so they can evaluate their image and apply only what is needed.
Mary Lou

IPhoto on iPad: 'Shadows' And 'Highlights' ?

Two of my most used adjustment tools in iPhoto for the Mac is 'Shadows' and 'Highlights'. Is there an easy way to approximate these effects in iPhoto for the iPad?

No, changes done on the iPad will not sync back to iPhoto on your mac.
But you can transfer the edited photos back to your mac - share them to the camera role or send them by mail. Any edited image you add to the camera roll can be imported into your iPhoto Library, when you connect your iPad to yourmac via USB.
But there is no real syncing of iPhoto libraries on your mac and IOS devices.
Regards
Léonie

Odd difference between shadow and highlight clipping

A newly imported RAW file I started to process shows what I thought to be odd behaviour when the shadow clipping button was pressed ; initially the trunk of a tree in deep shadow showed large areas of shadow clipping , and was so mostly blue .
Then , when the Fill Light slider was pulled across from 0 to say 30 , the blue colour indicating shadow clipping started to disappear , and definite detail started to appear . Examination at 300% shows that differentiated pixels appear directly from the blue ones , and aren`t just adjacent to the blue originally .
I thought that shadow clipping was exactly analogous to highlight clipping , and that pixel info had been permanently lost from these areas , with RGB;0:0:0 , just like blown highlights .
So is the shadow clipping indication an absolute measurement , or is it somehow relative , and if so to what ? Anyone able to suggest the underlying mechanism and any answers ? Thanks in advance .
Nikon D70 NEFs into XP on an Athlon XP 2200 with 1 GB RAM .

The clipping (shadows and highlights) indicates clipping in the current rendering, not in the RAW data. If the "RAW" data is a JPEG, you can't recover highlights, just shadows. If the "RAW" data is a RAW, you can't tell from the clipping indicators if the RAW data is clipped or not. You may be able to recover using the develop tools.

Photoshop elements 4.0 shadow and highlights

Hi,
I've a question about shadow/highlights.
In Pse4 S/H has three different values (Lighten Shadows, Darken Highlights & Midtone Contrast). What are those hidden fixed values in Pse4 that are visible in Pscs3 S/H options ?
Is radius value fixed about to 100px in Pse4 ?

Since the Elements Shadow/Highlight filter is the same as the Photoshop filter minus the ability to fine tune it, I would
assume the hidden values are the same as Photoshop's Shadow/Highlight filter default settings.
The site linked below this paragraph shows a screenshot of Photoshop's Shadow Highlight filter default settings...Show More Options checked. Without the "Show More Options" box checked the filter looks like it does in Elements minus the "Midtone Contrast" slider.
http://www.bwps.org/res/lessons/shadow_highlights/
Edit: To my eye, they look like the same settings...comparing Elements 3 to PSCS3 Default Shadow/Highlight filter settings.
HTH,
Terri

Can you clip shadow and highlights....

in the same way as you can using 'Output Levels' with the levels dialogue in PS?
I have tried multiple methods of doing this, and while i can force the blacks and highlights to clip using a combination of settings, the effect on the tone curve is non linear and therefor not quite desireable.
As an example of what i'm trying to achieve, lets say i take the image, apply settings as i choose, and then wish to recreate the effect of setting output levels to 40 and 230 without changing the linearity of the curve, is this possible?
I know lightroom is not meant to be all things to all people, and that photoshop is the logical destination for advanced/local post processing, but surely this should fall under LR's remit?
Thanks for any insights,
Nick

Sorry Lee,
just tried that and unless i'm missing something that solution wont cut it....
have a look at the linked image by one of my contacts on flickr for a good example of what i'm talking about.....
http://www.flickr.com/photos/multifaceted/1132557929/
I can create simmilar affects in lightroom, but not without reshaping the tone curve, resorting to fill light etc, which i want to avoid...
ta

Error using Shadows and highlights adjustmet

Often PS (CS6) freezes when I use Image/Adjustment/Shaddow/Highlights. The dialog boxd oes not open and the cursur changed to the color selection tool. I have to kill the application and start over again. Have you seen this before?

I keep it pretty simple, my preferences are minimal and no addons. I don't
use most of what you described. I updated CS5 to CS6 when it came out.
That problem (freezing in Shadow reduction) has gone away, but I just
wanted to know if this is common or not and if it might return. I am a
wildlife photographer and sometimes bring a bunch of similar images in and
work the same functions for each shot (cropping and resizing, reducing
shadows etc) getting them all ready for the final steps before adding the
watermark and saving. When it freezes I loose all the work put into the
numerous image. I have Lightroom 4 also, and maybe I will start to get
more into it. I have been using PS since version 6. Thanks for any
insight you can provide!
Bob
On Mon, Aug 12, 2013 at 9:24 AM, c.pfaffenbichler

Shadows and Highlights

Working on an image this evening, vintage car detail shot with a Canon 5D MKII, in ACR 7.1 trying to get some more detail of a grill, and noticed that playing with the Shadow slider it removed the clipping from a very specular highlight. Would not have thought that would have happened, but I have been wrong before. The highlight in particular was located in a high value area, so that was my thinking the Shadow control should not have pulled down the highlight?
Amother interesting factoid if I push the shadow slider all the way to the left the highlight clipping indicator comes back on, push a small way to the right and the clipping indicator shows no clipping.
MK

MadManChan2000 wrote:
Some day (and that day may never come ...) I'll do a white paper or blog post about it. But until that day ...
Me hopeful, but not expectant...
MadManChan2000 wrote:
... my general advice is to use the sliders top-down...
I'm sure, in general, that's good advice - thanks Eric.
But, I would caution people against being too rigid, procedurally (order-wise).
I just went back and processed one of my favorite shots, that I had done in my earlier days with PV2012. It was a very low contrast shot; my settings were:
* exposure: -.2
* contrast: 100
* highlights: +35
* shadows: -50
* whites +30
* blacks -20
* clarity 10
After reprocessing, the main difference being the use of whites & blacks before contrast, are:
* exposure: +.3
* contrast: 65
* highlights: -10
* shadows: +20
* whites: +50
* blacks: -60
* clarity: 0
The overall tonality is approximately the same, but the reprocessed result is significantly better (PV2012 rocks!). Note: there were also some local adjustments, and tone curve, not listed.
My point is that, in this case, doing contrast first inevitably leads one to max out contrast, which is still not enough, then resort to highlights & shadows to get additional "contrast", then take it the rest of the way, contrast-wise, using whites & blacks. As re-processed, there is less compression of highlight and shadow tones, yet still plenty of midtone contrast: clarity absolutely not needed nor desirable with this much tonal separation via the other controls.
Moral of the story: Heed Eric's wisdom, but be light on your feet too!
PS - although this was not a "normal" photo, my point still stands.
Final notes: I always watch exposure like a hawk in PV2012, regardless of what I start with, and in the reprocessed case, the tone curve is a de-brightening one, since it seems PV2012 tonability is sometimes enhanced with greater than "ultimately-preferred" exposure.
Before ( no adjustments ) - AdobeRGB, not sRGB, which means you must click for a properly displayed view, since this website ignores color profile in inline view:
After final adjustments: (AdobeRGB, not sRGB, which means you must click for a properly displayed view, since this website ignores color profile in inline view):
This picture was taken outdoors, in the evening, long after sundown, no flash (nor any other form of added light, except Lightroom ).
Cheers,
Rob

Shadow and Highlight Sluggish in CS6

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