particularly true when working with raw files. However, you need to capture some highlight detail to bring it back with the Highlights slider. Mention that increasing the Shadows slider is useful for revealing detail in shadow areas but that it can leave a photograph looking washed out or flat. Decreasing the Blacks slider can compensate for that.
Setting white and black points The Whites and Blacks sliders are useful for boosting contrast by setting the brightest areas of a photograph to bright white and the darkest areas to rich black, respectively. Have students hover over both the Whites and Blacks sliders to see which tones in the Histogram panel each of these sliders primarily affects. Remind students to use the Highlight Clipping warning, as demonstrated in this section, to avoid losing too much detail in the highlights. The Shadow Clipping warning is less crucial but can also be useful.
Adding positive or negative clarity In this section, students use the Basic panel’s Clarity slider in the positive direction to add punch to a photograph. Positive clarity increases midtone contrast and adds edge definition. Warn students not to increase Clarity too much if they want a photograph to have a natural look. Remind students that the Clarity slider offers another effect—the soft, diffuse glow of negative clarity—that often looks good on a portrait.
Controlling color saturation Both the Vibrance and Saturation sliders in the Basic panel can be used to make color more or less intense. Explain the difference between the two sliders. Increasing the Saturation slider intensifies all colors to the same degree, whereas increasing the Vibrance slider has a stronger effect on desaturated colors and protects colors common in skin tones from oversaturation. Encourage students to experiment with each slider and even to try applying them in combination.
Fine-tuning contrast in the Tone Curve panel Adding a tone curve on top of Basic panel adjustments is optional. Curves are a relatively advanced subject, but the good news for all users is that Lightroom’s Tone Curve panel simplifies the process of creating curves. Curves can also be applied in Photoshop, but it makes sense to apply a Tone Curve to a raw file in Lightroom before rendering the image into pixels in Photoshop. This section introduces several ways of creating curves in the Tone Curve panel— dragging sliders in the Parametric Tone Curve panel, working directly on the image
Adobe Lightroom and Photoshop for Photographers Classroom in a Book