Automatically reduce noise, change colors locally, and the new LR / ACR interface

Adobe just released a substantial overhaul of the interface used by both Lightroom (LR Classic v9.3) and Adobe Camera RAW (ACR v12.3). You can now adjust hue locally, create smart noise reduction presets that adapt to ISO, the interface has changed significantly, and there are the usual bug fixes and new camera/lens support.

 

ISO adaptive presets

Both LR and ACR now support new “ISO adaptive” presets. The most obvious use here is to easily apply noise reduction scaled to the noise in the image caused by high ISO. This a great way to establish smart defaults right when you import your images. I would have loved to have had this feature back when I was shooting weddings, where you take thousands of images across a range of probably ISO 64 in mid-afternoon sun vs ISO 6400 during the reception. I can see this being similarly useful for sports and wildlife photographers who need to continuously optimize ISO in such of the fast shutter speeds needed to keep up with the action and use of long lenses.

I’ve already created an ISO-adaptive noise reduction preset that you may download for FREE for your own images. While it is based on my own testing with Nikon D850 images, it should be a great starting point for most cameras and you can edit the settings in my XMP file with any text editor. I’ve tried to add a few comments in the file to help make that easier.

Here’s how these new ISO adaptive presets work:

  • A single preset is designed with settings for two or more ISO values. You can import a preset created by someone else or create your own via LR or ACR.
  • When the preset is applied, slider settings are interpolated for any image with an ISO between the lowest and highest value used to create the preset. If the image uses an ISO below or above the values in the preset, the preset is applied using the nearest match (ie, values are not extrapolated, the sliders are simply set from the nearest ISO preset value).
  • Interpolated is based on the number of ISO stops. So if you create an ISO 100 with 0 noise reduction and ISO 6400 preset with 50% noise, ISO 800 (not the simple ISO average 3250) would get 25% noise reduction because it is right in the middle in terms of ISO (three stops above ISO 100 and three stops below ISO 6400).
  • There is an important “gotcha” with greyed out sliders: they are ignored from that source image. So if you set luminance noise reduction to 0 for your lowest ISO image, the “Detail” and “Contrast” slider values will not be recorded in the preset. When you then apply the preset, the nearest value will be used instead of interpolated. So if you want to make sure that those sliders are interpolated as well, try a “Luminance” slider value of 1 instead of 0 so that the other sliders are not greyed out.*
*If you’re comfortable, you can also open the resulting XMP preset in a text editor and manually copy and adjust the missing values. Note that these grayed slider values will show up as metadata values above the ISO-specific sections of the XMP file. If you do edit the file, make sure to restart LR in order to apply it (otherwise, you’ll be working with the settings that were in the file when LR launched). It’s also a good idea to test and to make a copy in case you make any mistakes, as LR won’t warn you if the file is invalid.
To create your own ISO adaptive preset in LR:
  • Process two or more images with the settings you wish to use in your preset. The images do not need to be related (you could pull the settings from an image of a bird and an image of a car for example and it won’t matter).
  • <shift> or <ctrl/cmd>-click to select multiple images in the Develop module.
  • Click “+” next to Presets in the left column and then “Create Preset…“.
  • Choose which settings you wish to include (just like normal when creating presets) and then be sure to also check the new “Create ISO adapative preset” at the bottom. If that option is grayed out, make sure you have selected multiple images and that they were shot at different ISO values.
Of course, you may wish to use these presets in ACR as well. There is a way to have LR presets automatically show up in ACR…  Victoria Bampton (aka the “Lightroom Queen“) shared this great tip with me: If you go to LR Preferences / Presets and uncheck “Store presets with this catalog“, then LR will use the ACR location for managing presets and this will keep your LR and ACR presets synced. If you like to export your catalog to share with other computers, you’ll have to manually share the presets, but you can right-click the presets and click the option to show one of the actual preset XMP files in order to copy all of them.**
** Note that if you previously had this “Store presets with this catalog” option checked, you will likely find that your export presets go missing (because this setting affects all presets, not just develop presets). You can simply migrate them from the catalog, which are in “Lightroom Settings” and its sub-folders starting from the folder where your catalog is saved. So if your LR catalog is saved in your user folder, you’d need to go to ~/Lightroom/Lightroom Settings/Export Presets” to find the presets that were saved with your catalog. You then need to copy them to the new shared location, which you can find by going into LR Preferences / Presets and clicking the “Show All Other Lightroom Presets” button.
A few quick notes on limitations with ISO-adaptive presets:
  • If you want to apply them in bulk to multiple images, there are at least three ways to do that:
    • Apply the preset on import (you can right-click the preset and choose “apply on import” to set this up).
    • In the Library module, select multiple images and use the saved presets dropdown in the “Quick Develop” panel.
    • In the Develop module, select multiple images (you must do this first or hold the <ctrl/cmd> key) and then click the switch on the “Sync…” button at bottom to turn on the “Auto Sync” feature. While this feature is active, using an ISO-adaptive preset will properly update all the images based on their ISO. Just be sure to turn it off or select a single image after you’ve applied the preset to avoid making other synchronized changes later.
  • Do not right-click the preset and use the “Update with Current Settings” command. Doing so will not change the ISO-specific values, it will overwrite the preset as if you were creating the preset from scratch (and there is no ability to undo).
  • ISO adaptive preset work with most sliders (not including white balance), and do not support binary checkboxes such as “Remove Chromatic Aberration” since you cannot partially check a box. As a result, it’s a good idea to either test the preset or open the XMP file and see which settings have been used in the ISO-specific sections of the file.

Local hue adjustment

The HSL panel in LR (or “Color Mixer” now in ACR) has always allowed you to change the hue, saturation, or lightness globally across the entire image. A lot of users have asked for the same capabilities for local editing. And if you use a “range mask” with a gradient or brush, you can change the saturation or “lightness” (via exposure slider) of specific color ranges even in the old interface. However, you couldn’t change the local hue until now.

With the new interface, local brushes, gradients, and radial gradients all have a local hue adjustment. When you use it, it will change all the colors within your brush stroke or gradient. On its own, that probably won’t get the results you want from most images. However, if you also use the “range mask” targeting color, you can now change the hue of a specific color in a local area. For example, in the demo above, you’ll learn how to change the color of just a couple of flowers without affecting the rest or the green background.

Tips for working with local hue adjustment:

  • If you want to make more precise changes to the hue, hold the <alt/option> key while sliding to temporarily “use fine adjustment“.
  • Use a “range mask” based on color. When sampling color, you can click and drag to target a range of colors. You can also use the <shift> to add more colors without having to drag over unwanted colors. You may <alt/option>-click to remove any of the samples, but there is no way to create block specific colors other than not selecting them. Use the “amount” slider to control feathering of the targeted colors.
  • Try to use minimal feathering in your gradients or brush. The range mask should do the heavy lifting here, and further feathering of the adjustment itself may cause mixed color results toward the edges of the adjustment.
  • If you are working on an old image and do not see the local hue adjustment, go down to the “Camera Calibration” tab at the bottom and update the “process” to version 5 (you will need to use at least version 3 to see local hue).

 

The new ACR / LR interface

There are several common elements which are improved in both ACR and LR:

  • RGB curves are now much simpler to access and are shown in color. This makes them much more intuitive for color grading. For example, you can clearly see that dragging down the blue curve will shift the image towards yellow.
  • The look and feel of the interface has been modernized.

 

Ultimately, the most obvious change to LR is the new curve design. It should feel immediately intuitive to use. ACR is a different story, and has changed much more dramatically in the update. There are also several changes in ACR which make it more intuitive and / or bring it closer to the LR interface.

These ACR changes include:

  • White balance picker moved next to the white balance sliders.
  • The Transform tools are now part of a panel instead of an icon (called “Geometry”, whereas LR is “Transform”).
  • The cropping tools are now much easier to find and use in LR. The straighten/rotate tools and aspect ratio options are now clearly part of the cropping tool.
  • Zooming and scrolling can now be set to work the same way they do in LR. To use this, go into the settings and check “Use Lightroom style zoom and pan“.
  • Single” panel mode mimics “Solo” mode in LR and is the default. You may <ctrl/cmd> click to open or close additional panels without closing the others, or you can right-click the panels and turn on “multi panel mode” in ACR to leave multiple panels open by default.
  • Holding <alt/option> in ACR now allows you to quickly reset an individual panel to its defaults like LR via shortcut (though the appearance is different).
  • ACR now offers a grid overlay via an icon at bottom-right (which produces an overlay similar to using View / Loop Overlay / Grid in LR).
  • The full-screen and settings icons look much more intuitive/obvious.

 

For more information, please see Adobe’s official information in LR Classic v9.3 and ACR v12.3, as well as the Adobe blog post on the new hue adjustment tool.

How to clone out tricky distractions using luminosity masks

Great photography is all about simplifying the scene. It can be so aggravating when a beautiful scene is disrupted by something that has nothing to do with the emotional message you want to convey with your photo, like the white PVC pipe in this scene.

Howard Thompson sent me this image from rural Arkansas asking how he could clean it up. Clone jobs like this get really tricky when you need to work around lots of detailed edges, such as the red farm equipment here untouched. You could spend hours of painstaking work to manually work around these little details, but thankfully luminosity masks offer a faster and more precise way.

Note that if you are using Lumenzia on Photoshop CS6, you should <ctrl/cmd>-click “L” in order to get the same red targeting I got by clicking the red color mode swatch in the video here.

 

The general workflow is:

  1. Create a replacement background (duplicate the image and use the clone stamp, healing brush, and patch tools)
  2. Create a copy of foreground elements (duplicate the image and reveal the foreground through a layer mask). This layer isn’t always required, but helpful when targeting the distraction itself may be challenging. You’ll need a layer mask to reveal the foreground elements and allow the cloned detail to show around it. I used the red color of the foreground here to make the mask by differentiating between the pipe and metal. Every image will have its own unique characteristics, the settings I used here are specific to this image. Try to find what’s most unique about the foreground or background to isolate them.
  3. Refine the layer masks and cloning as needed. Luminosity selections are an ideal way to deal with any halos or fringing by showing or hiding the layers as appropriate.

 

However, you’ll need to adapt the workflow to your specific image. Here are a few general guidelines to consider:

  • This technique is only as good as the quality of your rough cloning. Try the patch tool for large areas (with generous margins to avoid edge issues). Use the healing brush where you can (it tends to work well for objects you can completely remove, but not very well along remaining edges). Use the clone stamp where the other tools fail (it requires more time and sampling, but avoids the blotchy or discolored results the healing algorithm may create). The new Content-Aware Fill tool is often excellent for large objects.
  • I was unable to easily target the white pipe here because it had a full range of tones from bright white to deep shadow, and was also reflecting the surrounding green/red color. However, if you are able to target the distraction well enough, you can skip step #2 above and simply paint white through a luminosity selection onto a white mask in order to reveal the cloning where it is needed.
  • Customized selections are critical to getting the precise results you need. In this video, I used two custom luminosity previews. For the first, I created a red mask and brought the white slider in the orange levels all the way in to target the red metal. For the second, I used a L1.5 selection with the red and yellow to the minimum, which helped me target the white pipe.
  • Here’s another video some other ways to create custom luminosity selections.
  • Using luminosity selections to directly control the clone/heal brush is not typically a good approach. The primary challenge is that you’ll need multiple brush strokes to fully paint the new cloned pixels when working through a luminosity selection. You can do that if you have checked the option to keep the brush aligned. In general, you’ll get better and faster results by creating a rough clone job and then revealing it through a layer mask.

How to select and edit a bird with Lumenzia

I recently received an email from Jim Kay, who asked me how he might go about using Lumenzia to help isolate the bird in this image in order to darken the background. He’s done a wonderful job using a 500m lens to help remove distractions, but the background is still very bright and keeps the main subject from standing out as much as it he’d like. An ideal solution is to mask the bird to allow non-destructive darkening of the background.

 

Unfortunately, this is a very tricky task because the bird and branch are extremely similar in tone and color of the background. This limits my preferred solution, which would be to create a luminosity selection and let the image itself help create a perfect mask. The best approach here is to create a crude selection and refine the edges for a clean transition from subject to background.

There are several ways to create a crude selection, and each has its own advantages:

  • The Quick Select tool, which allows you to click and drag to identify the subject, with Photoshop automatically seeking appropriate edges. This is generally one of my favorite tools for making crude selections. To use it to its full potential, use both the additive and subtract modes to refine the selection – do not expect perfection with a single click of this tool. Make sure “enhance edge” is checked.
  • Image / Select Subject, which attempts to isolate humans and animals. In this case, it does a great job selecting the bird (other than its feet), though it ignores the branch.
  • The new Object Selection tool, which uses artificial intelligence to help select a subject from a rectangular or lasso selection input from the user. I tried this as well and felt took more time with this image.
  • The Magnetic Lasso tool. This is a lasso tool which attempts to snap to the edges of a selection. It can work well with high contrast edges when working zoomed in with appropriate settings for width and contrast. However, I find that other tools tend to work more easily on such images and this is an option I don’t use often.
  • Select / Color Range. Unfortunately, when luminosity masks aren’t an option, this approach often fails for the same reason that the color and luminosity of the subject and background are too similar. I generally find this tool less precise than using customized luminosity masks for cutouts and tend to reserve it for other use cases. But if you aren’t using a panel to help create advanced luminosity selections, this is a great option.

Once you have the rough selection, there are several options to refine the edges:

  • The Select and Mask workspace (aka Refine Edge in older versions of Photoshop).
    • The edge detection radius helps automatically clean up edges. This is a global setting for all detected edges. It isn’t perfect, but can often do a great job. Adding a very slight feather (around 0.3 pixels) can also help.
    • The Refine Edge Brush Tool is a handy way to locally target edges. This is best used when the ideal refine radius varies around the image, such as for using painting a large radius over hair without affecting the rest the subject by increasing the radius globally.
    • The standard Brush tool can be used to manually paint in missing ares. Unfortunately, if you activate the standard brush tool and start to paint, the edge detection radius will reset to 0 (which I consider a bug in the interface). So be sure to check and reset that radius if you use the brush.
    • The Quick Select tool can help add missing areas quickly. Try turning on a red overlay and checking the option to show edges, which will help make it very clear when you have properly targeted the edges while working with this tool. Be sure to take advantage of the subtracted mode by holding <alt/option> to cleanup with with tool.
    • Th Object Selection tool is also available in newer versions of Photoshop CC and tends to be very useful when used in the lasso mode.
    • The standard Lasso tool is an option and is most useful in the subtract or intersection modes to help remove unwanted areas of the selection.
  • Painting through Luminosity selections. Even if the main subject cannot be isolated with a luminosity selection, these can often be helpful to refine particular edges of the cutout. Because the pixel color and luminosity is nearly or truly identical to the background, they aren’t useful for a lot of edges in this image.
  • The dodge and burn tools in Photoshop (these are available with ideal settings via the — and +++ buttons in the Lumenzia Basics panel). These are a great way to help nudge grey pixels in the mask towards white or black, and are a good way to do secondary cleanup if needed after using Select and Mask or luminosity selections.
  • Painting with a white or black brush in soft light or overlay blend mode is another popular option to help nudge grey pixels towards black or white. However, I find that the dodge and burn brushes not only provide a better result in most cases, they are also much easier to select that continuously changing the blend mode for the brush.
  • Manually painting with a standard brush. Sometimes the best fix for small areas is to paint by hand, and it’s often quick to make a few enhancements this way. This is most commonly needed when the subject and background have similar colors and tones, which causes problems for many of the tools above.

 

Workflow used for this edit:

I placed a slightly darker copy of the image on a lower layer so that I could paint a white mask on the bird and branch to reveal the darker background below. I used the “Edge” tool in Lumenzia, which ultimately was equivalent to using Select Subject to get the bird, Quick Select to add the feet and branch, and a roughly 12 pixel refine edge radius via Select and Mask to create the layer mask. I then needed a black brush to manually paint out one small piece of the brighter background showing by the bird’s foot.

Once the cutout was done, I proceeded to dodge and burn through luminosity selections to lighten the eye for interest, darken the feathers on the back of the bird, and add some contrast in the feathers around its belly. When working with a cutout, adding a clipping mask is a very simple way to ensure that the dodging and burning targets the subject without spilling onto the background.

The edit was then finished by using a lasso selection to target an area to vignette.

 

This image used here is the copyright of Jim Kay and edited with his permission.

See how easily you can restore beautiful color and detail with exposure blending

Slot canyons feel like a nightmare to photograph. Even the most perfectly captured RAW files will show dynamic range that goes from extremely black shadows to blown highlights. Tools like HDR (automatic blending of multiple exposures) tend to produce very flat results and possibly strange artifacts. Thankfully, there’s a simple way to restore all that beautiful color and detail: exposure blending with luminosity masks.

I originally posted an edit of this image 5 years ago (coincidentally to the day) using Lumenzia v1 (!!!). So I thought it was time to update it and show how to fully take advantage of several improvements in Lumenzia since then. If you want to see just how far things have come since then, you can still see the original video. Some of the key new functionality used in this updated tutorial includes: PreBlend to align and prep the layers, sliders to quickly get customized luminosity previews for better results, split-screen mask views for better quality, BlendIf masks to get targeted adjustments that are more flexible and do not increase file size, BlendIf visualizations, BlendIf sliders for quick and easy customization, and automatic gray working space optimization for higher quality shadow detail.

I am also making the RAW files used in this tutorial available in my Exposure Blending Master Course. If you have the course, please see section 1.2 to download them.

 

Here’s a quick summary of the workflow demonstrated:

  1. Process the RAW images and open then open them in Photoshop. The goal here isn’t just brighter and darker exposures, but to optimize each for the parts of the image where they will be used. And you do not need multiple RAW files, you can create virtual copies and process the same file different ways to blend with itself using the same techniques that follow.
  2. Click “PreBlend” in Lumenzia to stack and align the handheld images to get them ready for blending. This adds black layer mask to the top layer and locks it to prevent accidental painting on the image.
  3. Click L and use the slider as needed to get the desired luminosity preview (in this case L1.5 ). You should see gray or white in target areas for blending, and black in the areas to protect.
  4. Click “Sel” to convert the preview into a luminosity selection.
  5. Paint with a white brush onto the layer mask (through the luminosity selection) to reveal the darker exposure in the highlights.
  6. Click “Split” to see the mask and image at the same time to help find any holes in the mask that should be filled.
  7. When the exposure blending is done, you may put the blended layers into a group. This has no effect on the image, but is a nice way to stay organized.
  8. Click “Dodge” to add a transparent dodge/burn layer. Create an L1.5 luminosity selection to dodge (paint white) just the highlights of the main subject.
  9. <ctrl/cmd>-click for Solid Fill in color blend mode, sample red color, and then paint white onto a black layer mask over purple/yellow areas to simplify colors.
  10. Add a Vibrance layer with L1 BlendIf to improve highlight color. The contribution here is slight, this is an optional step.
  11. Use lasso tool and then click “Vignette” for  inner vignette to bring attention to the main subject. <shift>-click and slide as needed for L0 BlendIf, which helps keep the vignette from making shadows too dark.

This tutorial shows the workflow using Lumenzia, but you can also use my free luminosity masking panel to create the required luminosity selections for blending.

 

How to Get Beautiful Color with the Infinite Color Panel

Even though I’ve come a long way as an artist, I still find it can be challenging to find the right color to enhance my image. That might be because I’m unsure which color to blend with existing color. Or perhaps I’m stuck in a rut and having a creative block. You might find that some of Photoshop’s adjustment layers (such as Selective Color or even using Curves to generate color) are a bit tricky.

My friend and professional portrait retoucher Pratik Naik has created an awesome software add on for Photoshop called the “Infinite Color Panel” (or “ICP”) to help get great color and creative inspiration. So in this tutorial, I wanted to demonstrate how it works and how you can take fully advantage of it it by customizing the results, including with the use of Lumenzia to generate luminosity masks or BlendIf for more targeted results.

 

I’ve also coordinated with Pratik to allow you to get ICP at a great discount (this also includes the bundle for his other similarly creative Black and White panel). Through April 7, use “GREG40” for $40 off ICP during checkout, or “GREGBUNDLE” for $15 off the ICP + BW bundle. Use the blue button above for more details or to get ICP or the ICP + BW bundle.

 

How to generate great color in ICP

ICP has several options below the “Create” button. Anything that is brighter white is selected. Here are the various options and how to use them:

  • Light / Medium / Intense controls the strength of the effect. If you are trying to get the result in one go, you might choose the lesser options – but I prefer to just always use “Intense”. I then use opacity as outlined below to reduce the effect if needed. And when using luminosity masks or BlendIf, the strength is naturally dialed down a bit, so it helps to use stronger adjustments to start.
  • Curves is great for adjusting both color and luminosity. This is an ideal starting point for adding some punch to the image.
  • Color Balance is somewhat similar to curves, but with less effect on the luminosity. This is a great way to create a more unified color across the image, and I like to start cycling through color balance variations after finding an ideal curve.
  • Selective Color adds a lot of color to the shadows. This is great if you want to create a stylized look, but it probably isn’t something you’ll use on a lot of landscape images and the opacity should generally be turned down.
  • Gradient Map has a lot in common with Selective Color, as it also affects the shadow color a bit- but also changes color more evenly across highlights and shadows. This is also something you may not use as much for landscape images.
  • Color Lookup is great for controlling contrast and tonality of the image. I like to cycle through the options here after setting Curves or Color Balance first.
  • Harmonize. This helps push the image towards a color triad based on the dominant highlight color. If you want to create a bit of that hipster color filter look you get on sites like Instagram, give it a try. This is a self-contained option that is otherwise unrelated to the other options.
  • The Shuffle column is a way to cycle through different versions of a specific layer you have already created (without changing all the layers in the ICP group), or to add an effect to an existing group. It is also not a setting that you turn off/on. See the demo video on this page to get a better feel for this.

Once you have the options you want, click “Create” to start generating the requested adjustment layers. Keep clicking the “Create” until you get a look that is headed in a good direction. It does not need to be perfect at this stage, the goal is a good starting point. And if you want to go back to a variation you blew past, just use the history panel in Photoshop (or undo shortcut keys).

 

How to refine the color

Once you have you have a group of layers that looks promising, you can start to tweak the results. Here are a few adjustments to consider:

  • If the overall result is too strong, turn down the opacity of either the group or of individual layers in the group for even more control.
  • If the color is close but perhaps too blue, magenta, etc: try turning off and on various layers to find which one is causing the unwanted color. You may then tweak its settings, reduce the opacity, or delete/hide it to remove it completely.
  • If you only need the effect in one part of the image, add a layer mask to the group (or a specific layer) and paint it in just where you want to reveal the adjustment. Great options to do this include soft brushes or the radial/linear gradients, as all of these allow you to create a soft transition for a natural look.

Of course, this last option for using a layer mask can be taken even further by using Lumenzia to create luminosity masks.

 

How to refine the color with Lumenzia

The sort of adjustments you get from the ICP often work even better if you apply them specifically to the shadows or highlights in the image. That makes the use of both ICP and Lumenzia a powerful combination. ICP helps you create great color and Lumenzia can help you apply it where it looks the best.

There are two key workflows I recommend here: luminosity masks on the group, or BlendIf on the individual layers in the group. Luminosity masks have the benefit of giving you additional control and can be applied in one place on the group (something that Photoshop does not currently support for BlendIf). And BlendIf gives you the benefit of smaller files that are more flexible (as you may need to update a luminosity mask if you change the image content in the layers below the ICP adjustment).

The basic workflow for using the group luminosity mask approach with Lumenzia is:

  1. Select the group layer
  2. Click on the various previews (D1-D5 or L1-L5) in Lumenzia to find the best targeting of highlights or shadows. You may use the slider or tweak the orange levels layer to further customize the preview.
  3. Once you have the preview you’d like to use, just click “Mask” to apply it as a mask on the group.

The basic workflow for using the BlendIf approach with Lumenzia is:

  1. Select the layer you wish to adjust. You may also apply the same BlendIf to multiple layers by holding <ctrl/cmd> or <shift> while clicking to select multiple layers.
    • Be sure you do not select the group. If you add any BlendIf to it, the result is that none of the adjustment layers in the group will have any effect on the image. This is like making the group invisible, and is unfortunately just how Photoshop treats BlendIf on groups (to be more specific, it treats the group as if you changed the blend mode to “normal”, where adjustment layers cannot affect anything outside the group).
  2. Either <shift>-click the desired BlendIf (D1-D5 or L1-L5) in Lumenzia, or change the panel mode to “If:under” and click on the same button. This will immediately apply the BlendIf.
  3. You may now customize the BlendIf by dragging the blue sliders in Lumenzia. (If you see a white slider, that is because the target layer’s layer mask is active and Lumenzia is trying to feather it. Just click on the layer outside the mask to stop targeting the mask, and the slider will turn blue for BlendIf adjustment).
  4. If you would like to visualize the BlendIf, you may click the red “If” button at the bottom of Lumenzia to see a color overlay of the affected areas. <shift>-click “If” to change the color of the overlay.
    • Alternatively (if you are more comfortable with viewing layer masks), you may <ctrl/cmd>-click the “Mask” button in Lumenzia to convert the BlendIf temporarily to the equivalent layer mask. (Just be sure to undo if you want to stick with using BlendIf, this is just a way to visualize the BlendIf, not a way to adjust it).

 

Next steps

I often create several ICP adjustments. Either to build on something I’ve started or because I want different effects in different parts of the image. The key is to create a new ICP group, and there are a few important things to know about how ICP and Lumenzia work:

  • If you have a group named “Infinite Color”, it will be used every time you click “Create”. If you like what you have created and want ICP to use a new group, just rename the group to anything else.
  • If you use Lumenzia to add a luminosity mask, it will rename the layer to add the name of the luminosity mask used. This will give you a name like “D2 Infinite Color”. As a result, clicking “Create” in ICP would then start generating a new group.
    • If you want to be able to mask the group and keep cycling through ICP options, you may rename the group back to “Infinite Color” (exactly with that spelling and no extra spaces).
    • Or, you may go to Lumenzia’s menu and uncheck the option labeled “add luminosity mask name to layer name via Mask”. Once that is unchecked, Lumenzia will stop renaming layers when you use the “Mask” button.

 

Disclosure:

This article contains affiliate links and Pratik provided me with a free copy of ICP to evaluate. See my ethics statement for more information.

 

I’ve also coordinated with Pratik to allow you to get ICP at a great discount (this also includes the bundle for his other similarly creative Black and White panel). Through April 7, use “GREG40” for $40 off ICP during checkout, or “GREGBUNDLE” for $15 off the ICP + BW bundle. Use the blue button above for more details or to get ICP or the ICP + BW bundle.

 


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