Creating Vivid Color
Vivid color, vivid fund color and let's see what photo let's do this photo photograph some friends in big sur and there's so many ways to work with color that what I want to highlight is combining basic in this one, we have contrast a little bit exposure weekend highlights to drop blacks to drop, but they're kind of limited at that point. Vibrance vibrance basically favors week colors, so it says of the colors week I'm going to try to make it stronger said to protect its a nonlinear color adjustment but just doesn't do it for this image. What sunsets really benefit from a lot is the normal basic, but then also getting into split. Tony, how do I get split tony that fast command plus the four chiana matt control four on windows and in this case, if I just drop breads into my shadows and maybe a little bit of yellows into the highlights, all this and we have like, oh my gosh, like that was the sunset that was it that's, what I experienced and so split toning, while it's often used for a c...
ool little cute color effects like the ladder in the hat or c p a tony or whatever it can also work to create really vivid and vibrant colors with these images, I'm not even really knowing how they're going to relate let's just trying to synchronize the settings across the board. It's a little bit heavy handed on these files, but nonetheless you can see what it did for that image, and if we go back to light room, you can see here's our before and there's are after, you know, just bringing those vivid colors out. Another vivid color example for you is this one here? So this is the close to the final image, and then this was the capture, and it was the end of the day, the last photo from a shoot and open it up and thought I got the guy, you know, perfect, but I didn't get the color, so let's, look at how we can, how we can do that, and what I'm going to do is created a collection for this guy and want to talk about ways that we can combine the best of both worlds to images in tow one and so with that with this image, I'm to start off here in my basic panel, I'm going to do one version of the image, which is cool, so I have contrast shadows and clarity and kind of all that normal stuff that we like to have right now. Good exposure and whatnot and kind of trying to craft. Ok, well, how do what are the cool tones in here? And how can I get those? Then? I'm gonna create a virtual copy virtual copy command apostrophe, but this one I'm going to the office that this one's going to be my warm image, so now I have one cool in one warm I'm going fast, but I think my colors air close enough if we select both of these images. What we can do is we can choose to open these layers and photo shop, and this is so huge when it comes to getting good out of photographs, whether it's exposure or tone or whatever it is. So here when we open these layers, both versions of this raw file will come in tow one layer document, then, once we have that in the layer document, we can combine the two together to try to create more interesting color. In this case, I'm gonna put the the warm one on top, create a mask filled with black, and I'm going to do that by holding down the option chiana mac, all on windows, clicking on the ad layer mask icon that creates a mass filled with black versus one it's filled with white again option or all click the mask icon. Grab my brush tool to be key and I have a nice soft brush looks like those settings are fine and paint with white and I'm just going to bring in sunset colors and here they go I'm just getting them, you know, kind of an already I'm not even totally there up top looks like it's kind of falling apart so big brush press the ex key to paint with black I need to work on that transition area a little bit more already were one step closer having a little bit more interesting combination right? That's fine, but you're like it's a blue sunset and then that one's getting a little bit better other things that we can do and they're out there if you're curious on this one, I have a whole tutorial it takes you know about twenty minutes to really get it to where it needs to be, but this is the first step, which is the most important step. Two images from one raw file combined those guys together inside of photoshopped via masking and many times that could get you to a great spot question. So there the end product what's really good here? Why is there such a difference between what you captured on camera and where we're going to in the end? Yeah like why didn't I have it on camera? You mean our yeah that's well, rookie mistake, maybe. I mean, I don't know, you know, I think I mean, maybe not totally rookie, but I think it's a good question is or like this sunset, you know, sunsets. The way the camera will render colors is tricky. It's, sunset time. You know, if you're shooting right into the sun, sometimes you can get the gold, sometimes you can't. So I think, that's part of it, the other one, I think, you know, for this particular image, if I go back to the raw file, um, you know, it was just late in the day I was hand holding it, and it was just like the guy was about to step through it. So I think, that's part of it, you know, so this may not even fit into bringing the best of the image, but, like adding something to the image, it wasn't there, so it's a it's, a good question, yeah.