So while the new chroma and luma sliders are interesting and often useful, they are often just another way of working.Drawing on a neural network that is trained using billions of image samples, DxO PhotoLab 6 now features DeepPRIME XD, DxO Wide Gamut, improved retouching tools and a revamped library system. Now I could have achieved exactly the same thing by creating another control point over the yellow petals, which would have applied the same exposure and vibrancy settings to them – this time it would be targeting the yellow tones. The issue here is that the control point is targeting the greens of the leaves but not the yellows of the petals – so if reduce the chroma sensitivity to zero, this brings in the yellow tones too. It looks OK, but the yellow petals are still quite dark and subdued. I’ve added a control point to the green leaves of this bunch of narcissi, increasing the exposure, contrast and vibrancy (keep in mind that these adjustments are in different tabs in the U-point controls, so you don’t see them all at the same time). It proved quite difficult to find images that might benefit from reduced chroma sensitivity, but here’s one. The pipework has toned down rather nicely and now has more contrast and depth, and while the blue pained part of the motorcycle have darkened slightly, it’s not enough to need correcting. At the same time, I don’t want my adjustments spreading into the blue fuel tank above, so I try setting the chroma sensitivity to maximum. The metalwork I want to tone down has a wide range of brightness values and I suspect the control point’s default settings are not targeting all of them, so I’ve reduced the luma sensitivity to zero. Changing the control point luma and chroma settings Boosting the contrast helps, but doesn’t fix the issue. If I put a control point on the exhaust piping and reduce the exposure, it just looks a bit muddy. First attempt, default control point settings This detail shot of a vintage motorcycle is all right, but the exhaust manifold is a bit bright and distracting and the ‘Henderson’ badge on the tank doesn’t exactly stand out. It’s a much better outcome and it was worth checking the control point settings and adjusting them. The control point wasn’t having much effect on the whole car because it was targeting the sunlit part too tightly.īy reducing the control point’s luma sensitivity, I’ve spread those color adjustments over the whole of the car, including the parts in shade. If I try reducing the luma sensitivity value I can see the problem – and the solution. It’s not always very clear which areas are selected until you start changing the chroma and luma settings.īy default the control point chroma and luma settings are set to 50. There is a ‘Check Mask’ box at the bottom of the window to show the control point mask as an overlay to see which areas it’s selecting. It’s not had much effect, though, so I suspect the default mask is too selective. I’ve placed a control point over a sunlit pat of the car, increased the radius to include the whole car and made some adjustments to reduce the exposure and increase the saturation and vibrancy. A control point adjustment is ideal here because it can quickly target the color and area I want to fix. This classic car was in part sun, part shade, so the exposure was always going to be a compromise and the color does look pretty undersaturated. Here’s a sample image I can improve with some selective adjustments. Here’s a run-through of how PhotoLab control points work, and how and when to use the new chroma and luma sliders. What the new chroma and luma sliders do is allow you to fine-tune the sensitivity to make the control point mask either more or less selective.ĭxO PhotoLab 5 control points and chroma and luma sliders in action So already, PhotoLab’s control points are pretty selective. As you move it, the central point will move too and will change the mask to reflect the tones directly underneath it in its new position, applying the same adjustments but to a different area. You can change the size of the control point (the radius of its effect) and you can also move it around. PhotoLab control points are for making quick and powerful local adjustments in a way that’s quite unique and different to any other program.Įach control point works over a circular area but creates a mask automatically within that, based on the colors and tones directly under the central point.Įach control point has pop-out controls for adjusting, exposure, contrast, saturation, white balance and more. So how do these control points work, are they useful and do the new sensitivity sliders make a difference? Now it’s enhanced them with chroma and luminance sensitivity sliders. PhotoLab control points were inherited from Nik Software’s clever U-point local adjustments (aka control points) when DxO took over the Nik Collection.
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