› ›kelbyone.com113tions panel of the Develop module: turn on Enable Profile
Corrections to correct for lens vignetting or distortion, and
Remove Chromatic Aberration, which is often seen in the
stars in the corners of the composition.
[KelbyOne members may download the file used in this
tutorial at http://kelbyone.com/magazine. All files are for per-
sonal use only.]
Step Five: Next, use the sliders in the Basic panel of the
Develop module to recover highlights and open shadow
detail. For this specific image, an extra step is taken by cre-
ating a Mask Overlay using the Adjustment Brush (K) to
recover highlight detail and correct white balance in the
tent, while not affecting the pinpoints of light in the sky. In
this example, I’ve turned on Show Selected Mask Overlay so
you can see where I’ve painted with the Adjustment Brush.
The letter O will turn the overlay on and off.
Step Six: The second Mask Overlay using the Adjustment
Brush (K) covers the upper part of the scene to color-correct
the sky. Click the word “New” at the top of the Adjustment
Brush panel to add a new pin to your image. That way you
won’t affect the Adjustment Brush settings that you just
applied to the tent. If your image only contains a silhouetted
landscape with the stars above, this step isn’t necessary. A
Fluorescent white balance is often a good place to start, neu-
tralizing greenish skies while offering a cooler sky tone. You
can also adjust the white balance manually in the sky using
the Temp and Tint sliders in the Basic panel. Skies are rarely
green (not including the northern lights) and, if you’re a good
distance from any metropolitan area, shouldn’t appear as any
other hue besides a deep blue, falling off to a slight orange
near the horizon. It’s how we see most night skies, outside
of a stark black tone. Therefore, balancing your sky to match
this tone helps assist the lifelike aspect for the final scene.Step SixStep Five› › Lightroom Magazine ADOBE PHOTOSHOP