4/6/2024 0 Comments Lower brightness gimpIn the Layers dialog at the top where it says Mode change it from Normal to Soft Light. NOTE: This could be done reversed to protect the highlights. That mask will protect the shadows from the coming effect. In the Layer Mask dialog click the radio button next to Selection and click OK. Now select the top of the two remaining layers and right click on it. Back in the Layers palette right click on the Threshold layer and delete it. Now from the Select menu get By Color and click anywhere that's white. Pull the slider to the left until the value is 60 - that's the shadows now showing black. So click on the top dupe layer and from the Colors menu select Threshold. What we're going to do is going to raise contrast and the shadows are already dark enough. Do it again so there are two dupes of the original. In the Layers palette right click on the background layer and from the pop up menu select Duplicate. In GIMP starting with the top photo: From the Windows menu select Dockable Dialogs/Layers. "Pop" is not a photographic term but I think I know what Jess is after - the bottom photo. I took the camera JPEG, white balanced it and used Levels to normalize the tone response and I got the top photo - very close to the camera JPEG as cameras do pretty well under classic conditions. Here's a photo under classic full sunlight of a scene with a full contrast range. For a very broad, technical understanding of this subject, I would recommend this book - not though, this is not a book on photography, digital or otherwise, but rather strictly about color theory. It's theory is pioneered by Josef Albers and is covered in his book, The Interaction of Color. The issue is how it should be carried out and controlled. Every color has simultaneous contrasting pairs, so the technique can be applied in any situation. Simultaneous contrast is kind of a tricky subject, for which I don't have as much experience with. This technique is subtle, but can work provided you don't get too carried away, it may also be carried out in Hue/Sat. I have also tried some approaches in HSL Hue Curves, by making warmer colors warmer and cooler colors cooler in increase vibrancy. For example, if you have a red object next to a blue object, adjusting the blue object to be even slightly more cyan/green will cause the red object to appear more vibrant. The other way to control vibrancy is through simultaneous contrast, which is how the eye perceives color when placed next other colors. I can think up at least one other way, but it's weird and too complicated to describe here. With practice, you could probably be able to predict how the results will turn out. You can then apply a curve to this directly and compose the HSV image back into an composite color image. What GIMP does permit is HSL decomposition, which splits the layers into HSL components, with the S component representing saturation. If you're interested in this approach, feel free to PM me for details. Experimental techniques I've employed using Blender have also been very powerful. Photoline32 does, and I believe that this is planned for GIMP in the future. Some tools do permit you to adjust saturation directly. One way to do this is to place a curves adjustment on saturation layer mode in an RGB color space, though this method is a bit kludgy and doesn't really work linearly. Very few tools allow you to adjust saturation directly, without adjusting hue and luminance as well. We expect brighter regions to be desaturated, and having a color cast in the hilights permits them to compete for our attention with what the eye expects to be more vibrant. Having clean, desaturated hilights is probably the biggest thing that will help the appearance of vibrancy. By making areas of high vibrancy more accessible to the eye, we interpret the adjustment as an increase to vibrancy. Because saturation is directly coupled with and influenced by the brightness of the RGB composite channels, adjusting contrast will cause less vibrant colors to become more washed out, while making more vibrant colors even more bold - incidentally while adjusting tonal contrast, you are also adjusting saturation contrast.Īdjusting saturation contrast makes an image appear more vibrant because the eye is drawn to more saturated colors over less saturated colors. The most basic way of increasing vibrancy is to increase contrast in RGB mode. Thus, vibrancy, or how saturated a color appears, is tied to it's brightness. You can have a very saturated color, but it may appear mute if it has high luminance. Given how you posed your question, you may already be aware that the visual appearance of saturation is not always tied to a color's mathematical description of it's saturation.
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