Techniques For Color Grading Images In Photoshop For Professional Looks – Color coding often refers to a specific color for video color, in photography we often refer to it as color, but however you prefer to call it, this process of deciding to use a certain color for an image is very strong in it. post production equipment.
Although it is not particularly difficult to do, calculating and quantifying it is complicated due to its unique nature. So how do we color? When should we do this? Should we consider color quality before shooting? What is the difference between color grading and color correction?
Techniques For Color Grading Images In Photoshop For Professional Looks
In general, color correction tends to be more realistic, because its purpose is to make the scene as “correct” to reality as possible. For example, if you take a photo with the wrong balance, which makes your subject look a little yellow, you can color correct it by adding blue, which will cool the photo and correct the skin tones for more natural and vibrant color. .
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Color coding and gradation often rely on color correction to change the colors in a scene to represent a certain mood and feeling. This is a subjective process and is not necessarily right or wrong. For example, if your photo is a beach scene, you can add a hint of orange and yellow to the photo through the color gradation to give the photo a fun feel. Conversely, a photo of a mountain runner in post-production can add blues to the image, giving the final image a cooler and more reflective look. Color coding has nothing to do with right and wrong and more to do with personal technique.
Well, now that we know exactly what color is, we can start looking at some steps and examples. You may have noticed that I mentioned earlier that “low color is usually based on a color corrected image”. I personally think it’s easier to color edit photos. There are many reasons for this, but the main one is that it allows me to adjust my color levels if I change my mind later. By using color values and color correction separately, I can still work with the color correction source instead of starting from scratch each time.
In the image below, I first edited the color and then colored it. You may ask why I have to fix it in the first place. Well, it’s because I accidentally shot the wrong color so I can fix it later in the post. This somewhat strange way of working can produce some unique looks.
Actress and model Lucy B shot the concept behind this photo series to create cinematic images. In the first set, I dumped the scene in color with the intention of correcting the color later. This may sound strange (and in fact very dangerous), but if you look again at the shadows, especially around the eyes, you should see that there are soft colors in the shadows and large shots that are beyond the control of the value color. . This subtle yet effective look is everything I love.
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To be clear, color grading doesn’t always require amazingly colored lights already in the shot. Every image can be color graded/toned, I’m just here to show you a great example of color correction and color grading to show the power of this technique.
These are intentional lighting techniques that involve a subtle wash of color on the scene, like in my photo here, that can go hand in hand with color grading as a final look rather than just an afterthought. Photographers will often use the same color wash technique in camera with extreme makeup to make the scene look more natural.
For example, J.J Abrams shot a scene in his original Star Trek movie that was really cool. He illuminated the stage with a strong blue light, and features such as the lips of the actors were painted bright magenta, so that their lips looked normal under the strong blue light and behind another color. This is a type of color with meaning, and while toning and grading can be used for any image, with a little thought before shooting, you can make color a powerful tool.
Check out the three photos below. First is the original file, then the color correction file, and finally more color levels.
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You should now be able to see the structure behind the view, and hopefully things like colored shadows and highlights should make sense.
In the picture above you can see how I put the color correction buttons in the scale with the color gradation scale.
There are many ways to transform an image, so choose what works for you, but I only use curves. The reason for this is that the curves interact in a stronger way than the other shading options. For example, if I adjust the tone of the center, it also affects the shadows and brightens a little, giving a more important color. In addition, the curves are good to adjust many times afterwards and are very easy to work with when you find the effect and colors you want.
In the image above, you can see my Photoshop layout with the color correction layer divided into three color channels: red, green, and blue. Apart from this I also added a new style of curves which are my color curves. In addition, they contain different channels of red, green and blue. What this does is just change the red curve in the red channel, the green curve in the green channel and so on. This makes it very easy to turn channels of the same color on and off to see which color affects what.
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For example, I can come back to the image later and think it’s too red, and then I can adjust that channel accordingly because I know I won’t add any color issues to the project.
Above we can see three curves for each RGB channel key. Of course these curves will be different every time I shoot, but I think this might give some insight into how I arrived at the final color corrected image.
If you’re not familiar with how curves work, they break down like this. Shadow areas can be adjusted by adding and adjusting nodes (small squares) in the lower left corner of the curve window, midtone can be adjusted in the middle, and details can be controlled in the upper right corner.
Adding and moving a node will affect the color and color of the entire curve unless I anchor it somewhere. For example, you can see here that the key notes are enhanced, but it also enhances the middle. A gentle massage with as few points as possible usually produces the best natural results.
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Pro Tip: Don’t forget that you can move black and white points. Here we see that I have moved the bottom left node up a bit. This will add green to all the pure black areas of the image. You can also do the same with the white dot in the upper right corner of the other end.
In the image above we can now see that I have added three more curves that will sit on top of the rest of the color correction layer. I mentioned before that I wanted to try to make the curves as smooth and clean as possible. This means I try to use small notes as much as possible and usually keep it to one note in the shadows, one note in the middle and one note in the main notes. Additionally, I’ll also move the black and white points around a lot (these are the bottom left node [see green curve above] and the top right node). By keeping the curves smooth this way, you avoid sharp changes in tone and color that can add more color problems.
In the slide above, we can see this process again, first with the original slide, then with the color correction version, and finally with the colored version. But you may notice that there is a slight difference between color correction and color value. Let’s take a closer look at the curves involved.
Above we can see the three color correction lines and their effect on the lens.
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With the color correction line in place, there’s nothing surprising about the work here, but it’s worth noting that I’ve lifted the black (bottom left)