Vibrance, Saturation, Smart Orton: A closer look at what the TK7 panel can do

I’m well aware that the TK7 panel can seem a bit overwhelming at first. Lots of buttons that do lots of stuff, and it’s not all luminosity masks. That’s why I appreciate Dave Kelly doing some videos that take a closer look at specific features and how to use them. These videos narrow the focus considerably and explore one or two techniques in detail. Knowing how the different functions work provides a sense for what is possible, and once you know what’s possible, you can decide when it might work to add that feature to your workflow. Dave’s latest videos feature techniques that I find particularly useful on many of my images: Saturation and Vibrance masks and the Orton effect.

The first video below goes over how to use Vibrance masks. Saturation and vibrance are both areas of image development that don’t get a lot of attention. Yes, we might adjust them when things don’t look quite right, but there’s a creative side to explore as well. I’ve found that Vibrance masks are often ideal for making a global saturation increase. The correct Vibrance mask in combination with a Hue/Saturation adjustment layer can add a nice saturation pop to the image without over-saturating colors that are already quite saturated. By using a Hue/Saturation adjustment layer instead of a Vibrance adjustment layer to control saturation, individual color channels can also be adjusted independently to fine-tune the effect. Dave shows how to do this. This technique is one of my favorites to try near the end of the processing workflow to make sure I’ve pushed the image’s saturation as far as possible without overdoing it.

Saturation masks are the flip-side of Vibrance masks in a couple of ways. The first is that they target the opposite pixels as Vibrance masks. Vibrance masks are brightest in areas with the least-saturated colors whereas saturated pixels show brightest in Saturation masks. Additionally, Saturation masks often work best with local adjustments (instead of a global adjustment) via a technique called saturation painting. This process loads a Saturation mask as a selection, and then painting gray through this selection onto a special layer lowers the saturation in areas of the image where the color looks too hot. It’s a very precise way to target over-saturated colors without affecting the overall global saturation of the image. Dave demonstrates how it’s done in the video below.

By combining global saturation adjustments through a Vibrance mask with local saturation adjustments via saturation painting, a new (and often better) saturation balance can be achieved in the image. The image will look better because saturation has been specifically addressed using masks that can accurately target different levels of saturation in the image.

The final video below looks at additional ways to add some finishing touches to the image: the Make-It-Glow and Smart Orton techniques. Make-It-Glow is pretty much a one-click technique that adds a nice sense of glow to the image via color blurring without blurring the image’s texture. It works well on warm-colored subjects like sandstone, autumn leaves and flowers.

The Smart Orton action takes the regular Orton effect (which combines a saturation and contrast boosts along with Gaussian blur) and breaks it into it’s component parts. Shadows, highlights, blur, and contrast all have their own layers, and users can adjust them to get whatever effect looks best on their image. It might feel a bit daunting at first, but Dave walks you through the various layers and adjustments in the video below.

Be sure to subscribe to Dave’ Kelly’s Joy of Editing YouTube channel to get the latest TK7 videos along with additional videos about Topaz and Nik filters.

Choosing Sides Part 4: Orton Lights

So far the “Choosing Sides” series has discussed two techniques for using Darks-series luminosity masks to manage image processing (print sharpening and detailed darks) and only one technique for using Lights-series luminosity masks (halo fixing). In the interest of balance and equality, the final post in this series will look at a technique called “Orton Lights,” which once again uses Lights-series luminosity masks to achieve its end. As with the previous posts, some familiarity with luminosity masks on the part of the reader will be assumed.

The “Orton Effect” was invented and popularized by Michael Orton. It is an in-camera technique that involves two transparency images:  one overexposed and sharp and the other underexposed and out of focus. These are stacked on top of each other to create the final image. When viewed on a light table, the stacked transparencies contain detail from the over-exposed transparency and a wash of color (but very little detail) from the underexposed transparency. “Ortonized” pictures are slightly blurry with enhanced color saturation. The elements have a dreamy, glow-like quality which, with the right subject (leaves, water, clouds, or objects illuminated by bright light) can be quite desirable.

Since most photographic capture is now digital, the in-camera process for producing the Orton Effect is uncommon; however, it can also be simulated using Photoshop. There are several websites which can be Googled that will describe how to do this, plus there is information on the necessary Photoshop layers below.

The previous posts discussed how Darks-series masks could be useful both in sharpening an image and for creating enhanced detail. This happens because Darks-series luminosity masks do a nice job of revealing desirable dark halos while at the same hiding unsightly light halos. The Orton Effect, however, is one area where light halos are desirable. The blur associated with the Orton Effect is perceived as glow, and light areas are generally thought to be more glow-worthy than dark areas. So using a Lights-series mask to restrict the Orton Effect to the light areas of the image makes sense. It’s in line with how we perceive things−light things glow, dark things don’t. Using Lights-series masks with the Orton Effect augments the glow by restricting it to visually appropriate tones (the light tones) just as using Darks-series masks with sharpening procedures confines that effect to the most effective tones (the dark tones). So choosing the right luminosity mask helps certain Photoshop techniques to work better. For the Orton Effect, Light-series masks provide the proper selection.

The image below is one where the Photoshop-simulated Orton Effect might be useful. The leaves have brightness and color that separate them from other elements in the image, and the Orton Effect could potentially emphasize this difference. The rollover (it may take a few seconds to appear) shows the Ortonized results, including restricting the effect to the light tones by filtering it through a “Lights” luminosity mask. As expected, the filtered Orton Effect works well for this image. It has increased color saturation in the leaves and added a sense of glow to the lighter areas of the scene. It’s also worth noting that there is still a naturalness to the results. The image has been enhanced, but in a way that doesn’t stand out prominently. The use of the “Lights” luminosity mask blends the Orton Effect into just those areas where it’s most effectual and hides it from those areas where it would look out of place. (NOTE:  The Orton Effect is slightly exaggerated here to make it more visible in the small, web-sized image.)

The blue highlighted layers in this screen capture of the Layers panel below are the ones used to create the Orton Effect.

The bottom highlighted layer creates the necessary overexposed “transparency” by using an unadjusted Curves adjustment layer set to “Screen” blending mode. The overexposed image is then duplicated on a pixel layer above the other layers. A 20-pixel Guassian blur is applied to this pixel layer and it is set to “Multiply” blending mode. This creates the underexposed, color-wash “transparency” needed for the Orton Effect. Finally both these layers are incorporated into a group, and a “Lights” luminosity mask (created before the Ortinizing process started) is added to the group layer to restrict the Orton Effect to the light tones in the image. Generally, the Orton Effect will be too strong at full opacity, so lowering the opacity of the group layer effectively pulls back on the effect. For this image, 50% opacity was adequate.

The picture below once again shows the Ortinized version of the image with the “Lights” luminosity mask in place. This time the rollover shows how the image would look with the luminosity mask disabled, that is, Ortonized, but unfiltered. The rollover, in this case, is over-saturated and the dark tones too blurry. The dark tones are where we’re looking to find detail, but without the filtering effect of the “Lights” mask, everything gets blurred by the Orton Effect. The “Lights” mask appropriately confines the Orton Effect to the light tones where it’s most appreciated while at the same time allowing detail already present in the dark tones, where sharpness is best perceived, to remain visible. In summary, a Lights-series mask generally offers a complementary option for targeting the Orton Effect to the most appropriate tones.

If you would like to try this technique, an action to create it can be downloaded here. Remember, every image is different so experiment to see what works best. Two things to try are to vary the opacity of group layer and to try different Lights-series masks on the group layer to see what works best.

The “Orton Lights” action is also included in the revised custom actions panel.