Noise Reduction – Radius: 0.8 Edge Detail: 2.0Įdge Sharpening – Intensity: 0.4 Edges: 0.5 Falloff: 0.69 Tonal: Black Point: 1.0 Brightness: 0.1 Shadows: 100 Mid Contrast: 10.0
With a little luminance noise reduction and sharpening a fairly good result is possible, leaving me a little puzzled as to why the 2012 process is so underpowered in this regard. Notes: Adobe’s 2012 Process settings (Highlights and Shadows) is unable to raise the shadows any great amount, so the 2010 Process settings were enabled, providing the Fill Light slider. Noise Reduction – Luminance: 30 Detail: 50 Contrast: 50 Color: 50 Detail: 50 Smoothness: 50 Sharpening – Amount: 40 Radius: 0.8 Detail: 25 Masking: 30 Tonal – Fill Light: 80 Blacks: 5 Brightness: +70 Contrast: +30 Clarity: 10 The following are 1:1 crops from near the top right corner of the image. I’ve done my best to produce as pleasing a result as I can in the conversions but, as ever, this is a subjective judgement. Following these adjustments the residual noise in the raised shadows generally doesn’t tolerate much further sharpening (In my own work I would generally apply different levels of noise reduction and sharpening to raised shadow areas than normally exposed areas of the image).
Getting this right is very difficult and in the results that follow there is considerable variation in the amounts that have been applied and the degree to which the process has been effective. Raising such dark shadows introduces a massive amount of noise and thus some amount of noise reduction is necessary. Getting the best result generally involves balancing the adjustments, along with further tweaks to global and local contrast settings. It is, plainly, quite an extreme example but it will push the RAW converters’ shadow recovery features to the limit.ĭedicated shadow recovery features in RAW converters generally include a slider dedicated to just this function, but may also include ‘smart lighting’ type features (DXO, Photo Ninja’s ‘Ilumination’, RAW Photo Processor’s ‘Compressed Expsoure’), which appear really to be souped up versions of mid tone brightness sliders. It was actually the darkest capture in a 5 shot bracketed sequence intended for HDR processing. To test the RAW converters I have chosen an image of Bude Canal. The next section in this RAW converters comparison is to test the shadow recovery abilities of each application.
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