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CHAPTER 4 DEVELOP MODULE IMAGE EDITING352
Auto Tone
White Balance
Exposure
Contrast
Highlights
Shadows
White Clipping
Black clipping
Tone Curve
Clarity
Saturation
Vibrance
Color adjustments
Split Toning
Sharpening
Noise reduction
Black & White
Lens corrections
Eects
Process version
Calibration
Start settings
4 4 4 4 4 4 4 4 4 4 4 4 4
Light contrast
4 4
SFX-Cool tone
4 4 4
*RESET Special Eects
7 7 7 7 7 7 7 4 7
Black & White infrared
4 4 4 4 4 4
Sepia split tone
4 4
Cool tone
4 4
Burn Corners
4 4
Final settings
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
Figure 4.138 The alternative approach is to break the Develop presets down into smaller
chunks so that you apply a sequence of Develop presets to build an effect. This chart
summarizes the series of Develop preset steps that are applied in the step-by-step example
that begins on the opposite page. The final setting does include lots of red tick marks where
the settings have changed cumulatively, but this does not matter as much as in the Figure
4.137 example because the whole point is to build the settings up one step at a time. You will
notice that I included here a *RESET Special Effects step. This preset is designed to cancel
out previous preset settings and therefore acts like a “clear settings” button. To illustrate
this I have used crosses to indicate that these items are returned to their default settings (the
Process Version box must always be checked, though).
Preventing preset contamination
As I mentioned earlier, one way I like to work with presets is to trim them down so
that each preset performs a discrete task, such as a black-and-white conversion or
a split-tone coloring effect. That way I find I have more options to combine differ-
ent settings and prevent getting into a situation like the one shown in Figure 4.137
where the end result was a contaminated mess. For example, I may apply one
preset to modify the contrast and another preset to apply a coloring effect. I then
keep these stored in separate preset folders so that it is easy for me to locate all
the presets that can be used for applying different black-and-white conversions
or cross-processing effects. The Figure 4.138 chart summarizes the steps that are
described over the next few pages. You will notice how I added a series of presets
to build a combined effect. Therefore, when applying different split-tone effects
I can click on each of the presets in turn to see a full-screen view of what the end
result will look like, without fear of messing up any of the settings that have been
applied already.
NOTE
The preset names must be unique.
You can’t have two separate presets
called “Cool tone,” stored in separate
folders.
209


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