PL5 Local Adjustments numerical input?

As long as it’s clear if I’m in the whole image doing my adjustments or on any of my masks, I would don’t complain. I’m, used to Capture One’s “layers” (actually, they don’t have as many layer modes like PS or AP, but I don’t expect a RAW converter to become a super versatile photo-editor).

C1 has the layers very well visible on top of the exposure palette.

Why not put the local adjustments Equaliser in a floating palette that can be moved to any position on the screen. This would satisfy everyone as you could put it wherever you like.

Additionally, you could make it very similar to the standard palettes with the Colour Group, Light Group and Detail Group as switches at the top of the palette.


That is certainly an excellent idea but it could not remain as an equaliser if it is going to be able to cope with the increasing demand for palettes like the Colour Wheel and others to be available for local adjustments.

And, seeing that other palettes can all be either fixed or floating, it might as well follow the same pattern - floating being a simple matter of dragging it from the sidebar if required.

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Lightroom has a separate LA palette with duplicated sliders, which makes it easy to distinguish GA and LA actions.

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Maybe I’ve missed it , but have you tried pulling your mouse to the right or left of the slider after you click on it? The farther away you pull it to the right or left, the greater the granularity of the resulting movement of your mouse as you move it up and down. The smallest temperature change I can control this way is 2K. This trick also works to increase granularity for all the local adjustment sliders in the Windows version,.


It works for me on Win PL5. The mouse cursor does have to be right over the adjustment point for the up/down arrow keys to work.

Are you referring to these sliders, jch ? image
… where do you position your mouse cursor ?


Aah! I was thinking of the Local Adjustments pallet,

where it does work. My misunderstanding. No, you’re right, the arrow keys don’t work in the Local Adjustments Equalizer. And for consistency they certainly should…

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Thanks, but actually you have missed the numerous times I’ve mentioned that and criticised it, including here in this thread, not to mention that it is implied in the comment you are responding to. :grimacing::grin: Again: “… it is supremely arse-about-face to have the increments start big and change to smaller ones on the drag to the side. Who starts his car in top gear?!! By the time you have the finer control you’re 1000k out and you don’t have enough screen space to drag back to more or less where you were so you can make your 25k adjustment.”

If you are able to start at, say, 5200K and drag across and still find you mouse within a 500k range of that by the time you get low gear then I have to admit that your mouse skills are Olympic gold medal standard!

But even if I could do it, I’d still consider it bafflingly back-to-front. I start my car in first gear and as I accelerate I change up a gear. That is the common-sense orthography.

I like your idea of changing the sensitivity of the sliders from slow to fast as you move further away. I have struggled in the past and specially for colour temp and tint.

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Yay! Someone who gets it! :grinning::heart: Maybe it’s a Southern Hemisphere thing. :thinking:

I have been following this thread and always liked your idea so thought I had better talk up and support you :wink:

Not sure about the southern hemisphere thing though :upside_down_face::crazy_face:

Well I hope the PL design team are willing to take a look at control point tree again, considering from what I can find in old manuals for Silver fx, they went from an unobtrusive collapsible tree

Then decided to…

When really, it would have been best to keep both, like the original Nik software.

And then, PL does the following???

Because why? It’s less annoying than it was in Silver fx?

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Like Keith, I’ll speak up too …

Yes, your suggestion makes a lot more sense - - However, even with that approach it’s unintuitive; not something anyone would naturally think of to try unless they already knew about it !

A far better approach would be to provide consistency with all other sliders - just as @jch2103 surmised above, and as has been a well supported request that’s been outstanding for ages … OR, to completely revamp the slider UI for LAs, and relocate them to the palette; as has been mooted for almost as long !!



John, I agree except for one big proviso: only if the sliders could be controlled by the keyboard arrows. I keep my controls on my second screen and I would hate it if I had to pull my mouse, and my eyes, all the way over to my second screen for every control point adjustment. Across the board, consistently-applied keyboard control would be great.

Besides that, there is no harm in also having the less intuitive mouse control if it has its gear shifts in a sensible order. I’d definitely use it then.

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I totally agree with you! That simple monoline slider is way less obtrusive; much more sensible. Would people be complaining about how obtrusive the control points are, and asking to move them to the side if they weren’t made of those unnecessarily wide bars? Who wants to bet those ridiculous wide bars come down from the marketing team who said they want it that way so it can be obvious in their marketing pics?

@John-M, what do you think? Would you feel the control points are unobtrisive enough if they looked like that Silver Ex one?

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The problem is not just how things were/are but, how to accommodate further adjustments, e.g. the colour wheel palette, into a floating equaliser type thing.

And I hardly call the original Silver Efex Pro control convenient - where is the zero point for when you want to apply a negative adjustment?

As it stands, I often have to hide the control point/equaliser in order to see what the effect has done to an image, which then means I have to show them again before I can make a further adjustment.

I rather like the idea of using pipettes, as found in control lines, instead of the “big circle” to denote where the selection point is. What is more, for a control line, or even a gradient, why do we really need a “big circle” at all if the sliders were transferred to the side bar?

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@Joanna On windows, if you move your mouse cursor to the top toolbar then all the control points/lines etc. and the equaliser are hidden. If you then click and hold on the compare button you will see the image without any local adjustments. I use this regularly to compare the before and after affects of local adjustments or just to see what the image looks like with all LA controls hidden. Not sure if Mac is similar so please let us know.

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Ah, yes, I’d forgotten about the idea of adding the colour wheel palette. I don’t operate on that level so I’d forgotten about it. Either way, moving it off to the side will only work for me if I have keyboard control so I can keep my eyes on the area I’m editing.

Re the original Silver Efex Pro control points, I was referring only to its more minimal monoline design and comparing it with those needlessly fat, obtrusive sliders PL currently has. The dot is also too big. It all looks to me like some marketing person decided it made for a clearer marking graphic.

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After 2 weeks using PL5 I’m really impressed overall and flowing smoothly, thanks to the help from you people and DxO techs. Cant say there’s anything missing in my workflow now. I can even laugh now, every time I see that clunky funky control point, but it’s a nervous laugh, like when you tell someone it’s okay they opened the darkroom door. You hope they’ll catch on.