Tip de B&N: El módulo de contraste de color es tu amigo.

Con los dos sliders en 0 queda el canal L de Lab, con los sliders en valores bajos (0.2 ó menos) queda un casi-monocromático bastante lindo.

Anduve compartiendo la comunidad en un grupo de Canonistas en Facebook que quería saber sobre software fotográfico en Linux, espero no les moleste ;)

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Les comparto mi método (fiaca de traducirlo, así que va en inglés)
There's a small trick I want to share: the EQ module works wonders for softening skin textures (something like negative values in Lr's clarity, but with fine tuning), but restricting it's use is an issue. in Adobe-land the custom is yo paint over the faces, but with DT we have a better and faster way: conditional blending.

What I usually do is:
1) turn conditional blending on the EQ module
2) color pick the face of the subject (you'll get an indicator of where your pick is in the color channels)
3) restrict Luma, Chroma and Hue channels as best as I can (the display mask switch helps). Applying some blurring to the mask may help.
4) (since i use dev builds) restrict the mask to the face (there's usually other parts of the image with similar colors)

This is WAY faster and more precise than painting the face with a brush, since the parametric mask takes care of the borders.

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Darktable curve shape mask: trying the new feature in darktable, allowing you to create curves to specify image sections where the module should affect. pretty awesome, uh?!

Saludos a todos y gracias por la invitación! Cualquier cosa en que pueda ayudarles, quedo a su completa disposición :)

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Me da fiaca re-redactar el post en castellano así que resumo:
+3EV en exposición y con zonas de color levanté la luminosidad de rojos/naranjas/amarillos. esto me dejó un ruido cromático impresionante así que puse monocromo con mezcla normal de 95% de opacidad para que le deje un pelín de color. Usé ecualizador para jugar un poco con el contraste, y le agregué grano para mejorar (y resaltar) un poco el look ruidoso.
A portrait I took last sunday.

Since I had to amp up the exposure by 3 EV and the chromatic noise was made awfully evident, I opted for going monochromatic (darktable's monochrome module) but blended at 95% opacity so a hint of color is left. I also upped the exposure for red/orange/yellow a bit to lighten the face with some conditional blending to soften the highlights and shaped the contrast a with EQ. Oh, and I added some noise with the grain module; if I already have a lot of noise a slight use of that module gives a nice touch.

Gente, desde hace pocos días darktable no me lee las imágenes .nef, aparece una calavera pixelada diciendo "imagen no disponible" no se ni a que atribuirselo y como solucionarlo. Alguna idea o alguna solución?

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Couple of #cosplay  shots I took today.
Both processed with #darktable . Here's how I did it:

The Clockwork Orange one was taken at f/2.8 with an Sigma 30mm f/1.4 (APS lens). For processing:
- I applied some coarse contrast with EQ
- and some more detail independant (meaning: normal) contrast with Zone System (control point 2 pixed, point 1 goes darker, point 6 goes a bit lighter)
- I also desaturated using two instances of Color Zones: first selecting by saturation I took the low saturated colors and desaturated them further, and then selecting by hue I desaturated the reds a bit (face) and the blues all the way down (jean on the background)
- I used the profiled denoise,
- some vignetting
- and highpass with overlay blending ("clarity" y adobe-land)

Robin Sparkles here (cosplayed by my good friend +Ana Bertola) was a different story, since I wanted to give her an 80's look and wasn't even sure what an 80's look is supposed to look like. The picture was taken with the wonderful Canon EF 100mm f/2 at f/3.2
- EQ and hishpass are the same as the other image
- Zone System is similar as the other image, but I took the effect a bit further (more contrast)
- I used the shadows and highlights module to recover highlight/shadow contrast (default values but softened with bilateral filter)
- With Color Correction I took the shadows to the bottom-left (blues) and the highlights to the top-right (reds), afterwards blended the module at 50% opacity because it was a bit too much.
- I also took vibrance to 100% and velvia to 25% with 1.0 midtone bias (theese are the default values for velvia)

I think that covers it. Hope you liked the pictures, and that you find my description of the developing process useful if you use darktable.
2 Photos - View album

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I was wondering how to darken the guitar, and then inspiration struck me :-D

THIS is the power of ifblend. Add multiple instances (avaialable on dev builds right now), and you can do this kind of selective adjustment many times over.

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Some portraits with natural lighting I took yesterday with the Canon 100mm f/2. Here's how I developed them with #darktable  (a git build):

1. some shots were underexposed, 0.5 ~ 1 EV fixed that.

2. EQ: first, second, sometimes third control points on the L-curve go up in a progressive curve, no further than the first background grid line. this gives a slight (but visible, and very important) coarse contrast. New trick here: conditional on L-channel moving the inward upper control point to the middle of the spectrum on the output range; this solves blown highlights caused by this particular use of EQ. 
2a. Sometimes I use a conditional-blended second instance of EQ restricted to skin tones to smooth the shadows on the faces (second, third control points) and/or skin textures (third control point onwards)

3. Color Zones: selecting by hue, saturation of green goes up a gridline and half, red and yellow go up by half a gridline. On lightness the reds and yellows go up by half to one gridline, greens sometimes go down half a gridline.
3a. sometimes I separate this in two instances and do something similar to the "new trick" for the instances that heightens the skin tones (red-yellow).

4. Zone system helps get the shadows down to a nice, contrasty black without altering the rest of the histogram. just pick the right end of the second or third zone so it stays fixed, then drag left the right end of the first zone. this is very useful on a very wide range of pictures (and I whish this module could be conditional-blended)

5. as per usual, I use highpass on 10/5/overlay/100/uniformly settings for a nice sharpening (adobe calls this clarity; I checked, it's this same technique)

6. the watermak is an SVG applied with DT's watermarking module at 50% opacity, nothing fancy here. (I should design a logo...)

I think that covers it all :-D
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