The image's context menu needs a bit of pruning. I'm very much used to putting the mouse pointer at a certain spot, right clicking, then selecting highlight, shadow or neutral from the top of the menu. I can't get used to hunting for them!
The following suggestions for discussion:
The ribbon control needs relocating. If it has to stay on the context menu, put it at the bottom.
I'd remove the mode buttons. They are already on the both the curves pane and the ribbon. 3 places is too many.
Show channel, zoom and units are probably not required here.
I still don't know what masks are for, so I'll come back to those. :-[
Remove the OK and Cancel - they should be in one place, and the curves pane is it.
Image context menu
I agree with all of these suggestions. The "Show Ribbon" is there temporarily until I find a more obvious home for it. The perfect place would be a button in the banner so I'll work on that.
Masks are the killer feature of CM3. Here's a 20 second tutorial: Start by using the K channel inverted to alter shadows, or another one I like is to use an inverted Saturation mask, followed by using your saturation slider. This boosts the medium colors only. Or darken and/or saturate the sky with an inverted Lightness channel mask, followed by moves in either the Lightness channel, sat slider, or similar moves in HSB.
In each case, fine tune the mask by moving the endpoints of the mask curve horizontally. Making the mask darker reduces the effect, lighter increases it. Moving both ends toward the middle (rotating the mask curve) makes the difference between masked and unmasked areas more vivid.
Masks are the killer feature of CM3. Here's a 20 second tutorial: Start by using the K channel inverted to alter shadows, or another one I like is to use an inverted Saturation mask, followed by using your saturation slider. This boosts the medium colors only. Or darken and/or saturate the sky with an inverted Lightness channel mask, followed by moves in either the Lightness channel, sat slider, or similar moves in HSB.
In each case, fine tune the mask by moving the endpoints of the mask curve horizontally. Making the mask darker reduces the effect, lighter increases it. Moving both ends toward the middle (rotating the mask curve) makes the difference between masked and unmasked areas more vivid.
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