Training

Imaging Tutorial: How To Edit Shark Photos in Adobe Lightroom

Before and After Black and White Conversion

Erin Quigley

Before and After

How to keep your shark photos sharp in post production.

Sharks are a favorite pho-to subject of mine, and I’ve developed a few post-production techniques that help perfect shark images.

1. Desaturate with an Adjustment Brush to remove unwanted color.

Using the Adjustment Brush and Negative Saturation Panel in Lightroom

Step 1

» In the Develop module of Lightroom, click on the Adjustment Brush icon. Slide the Saturation slider to the left to set a high negative value — you’ll finesse this later. You won’t see anything change until you paint with a brush in the image.

» Brush over areas on the shark where you see a blue- green color cast. If you get sloppy with the brush, holding down Opt (Mac) or Alt (PC) gives you a temporary eraser to tidy up.

» Move the Saturation slider back toward the right until you get the result you want.

2. Add Clarity with an Adjustment Brush to enhance pattern and emphasize eyes.

Clarity increases midtone contrast, giving the appearance of added sharpness and punch. Too much Clarity added globally in the Basic panel can make your image look overprocessed, so it’s better to add it locally using Lightroom’s Adjustment Brush and Filters.

» In the Develop module of Lightroom, click on the Adjustment Brush icon. Set a high positive value for Clarity by moving the slider all the way to the right. It doesn’t matter if you set it too high — you’ll dial it back later. You won’t see a change until you paint with the brush in the image.

» Brush over areas that have pattern or texture that you want to emphasize. Locally added Clarity can also work to punch up contrast in light rays. Adjust the slider back down to the level that looks best. You can also add Clarity with the Graduated or Radial filters.

3. Sharpen teeth, not water

How to Sharpen Teeth not Water in Lightroom

Step 3

Sharpening is the process of emphasizing edges. When sharpening gets applied to water, or other areas of flat color, it can do more harm than good. Luckily, Lightroom’s sharpening controls include a tool that lets you apply sharpening to only areas of critical contrast.

» In the Develop module, open the Detail panel.

» After setting the desired values for Amount, Radius and Detail, zoom out so you can see your whole photo. While holding down Opt (Mac) or Alt (PC), click and drag on the Masking slider. At first you’ll see a completely white screen. As you move the slider to the right, some areas be- come gray, and eventually some areas will be black. Where you see white pixels, 100 percent of the sharpen- ing values set in Amount, Radius and Detail are being applied. Gray pixels indicate a lesser value of sharpening, and black means that there’s no sharpening at all. Stop when you can see all critical detail in white, and flat areas in black.

4. Remove bubbles and bait using Content Aware Fill in Photoshop.

» Open your image in Photoshop. With the Lasso tool, draw a loose selection around the object you want to remove. Go to Edit>Fill, and choose Content Aware from the drop-down menu. If you have a Color Adaptation checkbox (Photoshop CC), click it on. Hit OK and watch the magic.

» Content Aware doesn’t always do a perfect job, but it usually gets you most of the way there. Use Photo- shop’s healing and cloning tools to clean up any details.

5. Use the Targeted Adjustment tool in Lightroom for black-and-white conversion.

» In the Develop module, select an image and click on the B&W tab near the HSL panel. The B&W Mix panel will open, and you’ll see Lightroom’s default black-and-white conversion of your image. Although your picture is now black-and-white, the panel sliders correspond to color channels,which makes the editing process nothing better than a guess if you don’t remember which part of your now black-and-white photo used to be a particular color.

» In the upper left corner of the B&W Mix panel is the Targeted Adjustment tool. Click on its icon to activate, and move your cursor into the image. Click and drag up in an area you wish to brighten, and down where you want it darker. It’s just that simple. The Targeted Adjustment tool also exists for the Tone Curve, another panel useful for creating dramatic monochromes.

Want More Tips for Editing Underwater Photos?

Check out Erin’s Tutorial on How To Remove Backscatter, Tips for Adjusting Water Color and Learn How To Make Sexy Black and White Conversions.

Imaging Tutorial: How To Edit Shark Photos in Adobe Lightroom Read More »

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The post 5 Reasons why PADI Open Water Diver Touch Benefits You as a PADI Pro appeared first on PADIProsEurope.

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What It’s Like Free Diving To Tag Great Whites

Illustration of free divers tagging a shark.

Steven P. Hughes

Team Work
Free divers work together to tag sharks. While one diver focuses on tagging the sharks, the others maintain visual contact with the sharks so that they keep their distance.

To tag a great white, first you must know if it’s a player. By that I mean, will it get close? Many are shy. People believe that if a white shark approaches, it attacks. But luring a shark to the research boat takes work, encouragement. We use bait, which we remove when the free divers enter the water, one at a time and with no splash. Splashes scare sharks.

White sharks are ambush predators. We can free-dive with them only in Isla Guadalupe, Mexico, because the visibility is 100 feet — they can’t sneak up on us like they could in South Africa, where the water is murky.

Our free divers work in teams of three. It takes focus to tag a shark, so while one diver is tasked with tagging the shark, a second acts like a bodyguard, maintaining visual contact with the animal or animals at all times. If they know they are being watched, they’re far less likely to get inquisitive.

The third diver photographs the shark. So far in Isla Guadalupe, 158 individual white sharks have been identified. We want to know whom
we tag: Is it one we have seen before in Isla Guadalupe or a new individual? The pattern of pigmentation around the gills, pelvic fins and tail distinguishes each.

The free diver tasked with tagging must swim within roughly 6 feet of the shark; depending on the shark, this dive takes around two to
three minutes. The V16 tag — stainless steel and 3.5 inches long — is shot into the base of the dorsal fin on the left side. We tag only the left side to streamline the process. We need to know where to look to see if an animal has been tagged. If you tag the same animal twice, it will emit two frequencies, which collide and cause problems.

As soon as the animal is tagged, the diver surveys his surroundings, and then heads straight back to the boat. Then we wait for a new shark to approach.

Nature is unpredictable, which is why my trips to Isla Guadalupe last three months. Sometimes we’ll tag six sharks in three days, and at other times we’ll wait two weeks before seeing one. To tag two sharks in one day is good; five is amazing.

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