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Color Techniques For Retouching

Lesson 15 of 30

Photo Filter Adjustment Layers

Lisa Carney

Color Techniques For Retouching

Lisa Carney

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Lesson Info

15. Photo Filter Adjustment Layers


  Class Trailer
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1 Class Introduction Duration:02:35
2 Describing Color Duration:04:21
3 Color Settings Duration:05:53
5 Blend Modes Duration:06:46
6 Gradient & Layer Style Duration:10:34
8 Levels Adjustment Layers Duration:29:58
9 Auto Color Correction Duration:04:13
10 Curves Adjustment Layers Duration:10:56
11 When to Use Solar Curves Duration:13:45
15 Photo Filter Adjustment Layers Duration:08:43
17 Color Look Up Duration:07:30
18 Gradient Map Duration:09:07
19 Selective Color Duration:07:09
20 Review of Adjustment Layers Duration:06:28
21 Using Smart Objects Duration:10:52
22 Color Techniques Workflow Duration:20:11
23 Match Color Image Adjustments Duration:06:36
24 Change Hair Color Duration:19:04
25 Color Gradient: Libraries Duration:04:45
26 Adobe Capture: Color Duration:09:04
27 Even Skin Tone: Hue Duration:06:10
28 Color Adjustment: Curves Duration:05:27
29 Image Adjust Color Match Duration:11:31
30 Color Match: Curves Duration:15:04

Lesson Info

Photo Filter Adjustment Layers

Photo filters, the ubiquitous photo filter. This is another filter that is pretty common. It's from the old days when you open it up, and you guys notice I'm always just grabbing it from down here? I pre-prepped these files so they're here already but they're just right there. They default to photo filters 'cause those geeky photographers use two films. Remember those days? And we have our 81A filter, and be like, "Hey, grab your 81A filter. "Everyone looks pretty." And it defaults to a low opacity so for those folks who aren't photographers wondering why it says 85 and LBA and 82. That's 'cause those were filtered to (indistinct talking) and we screw them onto the front of your lens. Bob you're the only one in the room who knows, back in the good old days. Again, preserve luminosity. Why does it have that because when you change color, you change color tone and so you have to stick that in. So it's the same kind of thing. They have can looks, so the Instagram filters they use this kin...

d of technology. So it's all very can. I absolutely never use it this. This is the only time I would do something like this is because it's been given to me on the job. It's not that it's bad, it's just oh, I'm gonna say the C word. It's a consumer filter. This is more like a consumer job as opposed to a professional. Only because with professionals, it's not that we're better than a consumer. It's just that we answer to more people so we need more flexibility. Consumers had shapes to themselves. So I dug my way out of that one. Alright and oh look you can use the color pickers. So this basically no different than the solid color really or the black and white filter with tints. Except the solid color doesn't give you a preserved density button, and the solid color, you can change the density this way. The solid color you have to do it in the actual layer opacity. I'm trying to show you the combinations that you can use. So photo filter, you're not stuck with what they have. You can pick a color, it's up to you. It's perfectly serviceable. It's just a little limited. So if you had to ask me today what I would do. Rather than this filter, I would probably use black and white filter and pick a color that way. But I think what happens is some folks don't know what that 85A, what color that is. So they don't know how to find it. What color is that is, well all you do is go to color printer and then you write that number down, and then you can go back to the color filter or make a swatch out of it. Add it to your swatches. I did that very quickly. I just clicked on the color, use this for 81A. What I did, I'm sorry I did do that fast. When you're in the color picker, you can always click on added swatch and name it and do whatever you want with that swatch, okay. And that's the photo filter. It's exciting, it's fun and it's a little limited, but it's not bad. It can be your friend on a cold night. Question, let's see from photo maker. Will select color range work on a monochrome image to make the black and white filter adjustments selectively? Will selective color range 'cause that's a select-- Select color range. Okay, will select color range do what? Work on a monochrome image to make the black and white filter adjustments selectively? I don't believe so let's see if I can interpret. I love these challenges actually, they're very fun. So I have a monotone image and I go to select color range, and I wanna pick a tone. Not gonna work so I am not sure I understand the question but it would sound like are they trying to make a... Read the question one more time. Sure, will select color range work on a monochrome image to make the black and white filter adjustments selectively? So I think that was when you were showing us how changing the colors. Right, yeah, well no, I don't think it will and I love these questions. I'm gonna see if I can do a work around here. If you want to do a selected color, I suppose what you could do is not going to select color range but go to the channel and pick a channel, and select a channel and make a selection for it. However and this is a big however, if you have a monochromatic image, every single channel is the same. Look at that, blue channel 'cause there's no blue color. Green channel, red channel, they're exactly the same because there's no color. So if you go back to a color image. Blue channel looks different than the green channel looks different than the red channel. Now let me see if I can pop their heads off with this one point. In the old days before that black and white filter, in the old days before the black and white filter existed. We, me would come into the channels and go, oh that red channel is great for the sky. Oh that blue channel is great for the ground. So I would select command A, command C, copy the blue channel. Go back to my layers, oops I just closed the library, silly girl. And I would match that in and I'm not sure this on point but I'm giving it a go. Just making my brush bigger. I would match that in for one section, I would go back to my channels. I think the red channel is better for the rest of it command A, command C to copy. Paste, command V to paste. There's my red, and I'd make a composite that way. I'm not sure if that's their question but that's that's how in the old days we'd do it. We'd make a composite that way, we stood (indistinct talking) and really old days, cut negatives and do that never mind. Or in the dark room but that's another way of doing it the same way a channel does it. Just Photoshop now does it mathematically with a photo filter. That photo filter did what I just did only without cutting and pasting. So if a client ask you for a grayscale image or a black and white image and you're fairly confident that they are asking for an actual black and white. Would you hand them an RGB black and white image or a grayscale? I think I love you, I do, I think I love you. That is such a great question. When a client wants a grayscale file, do you give them a grayscale. Literally a mode, grayscale file. I would give them a CMYK grayscale file, CMYK. But you gotta remember I'm a current retoucher and my stuff goes to print. I would give them CMYK. If you give them a grayscale file, it prints flat as can be. Does that answers your question? Yeah, those are great questions. So let me repeat that. When you deliver a black and white image, you don't wanna deliver a grayscale file. You wanna deliver an RGB or CMYK because it will print Richard. Otherwise it will print flat and I mean flat and icky.

Class Description

There are countless options for manipulating, changing and correcting color your photographs. Clear up the confusion by joining professional finisher, Lisa Carney in her exclusive class focusing just on color. In this course, Lisa will identify and clarify different adjustment layers, walk through a professional’s workflow for color correction, and dive into working with curves.

You’ll learn:

  • How to work with gradient fills and gradient maps
  • Working with Hue and Saturation
  • Setting up a Color workflow system
  • Using Gradient Maps for Color Correction
  • How to use curves for matching color and tone

Handle color like a pro by learning from one of the best retouchers in Hollywood. Join Lisa for this extensive and in-depth look on working with color in Photoshop®.

Software Used: Adobe Photoshop CC 2017



Another awesome course by Lisa Carney, packed full of information This course is really a comprehensive look at colors ... I learned so much, and even stuff I thought I knew pretty well, I found some pretty eye opening new information. I find Lisa Carney to be a wonderful teacher. When she has an important point to make she'll say her point, pause and then repeat what she just said, just to lock it into your memory. Fantastic. Side note: I signed up for the CreativeLive creative pass as soon as I realized how great all of Lisa Carney's classes are. I'd started to buy them one by one and quickly realized they are all wonderful. You can watch this class from beginning to end and get great information ... but to get the most bang for the buck you'll want to pause, hit rewind, get a cup of coffee, open Photoshop and try out her tips while you watch. There are sections I rewound and watched about 5 times, to be sure I understood all the subtle points. Lisa Carney is pretty amazing - she works really hard to thoroughly explain the process she uses to solve problems, and she never glosses over anything important. To cover a particular point, she'll start with a finished file with all the layers - and instead of simply explaining each layer like a mortal would do, she'll literally delete all the adjustment layers and start from scratch to show the process. This is incredibly empowering since it gives you an understanding of just how easy the process can be once you get the hang of it


This is an EXCELLENT class for Photoshop users! Lisa is very professional, knowledgeable and, also, a delight to watch and listen to! Not only that she explains the concepts but she also shares her own experience and her practical ways of using those concepts! Great, great class! Thank you, Lisa and CreativeLive!

a Creativelive Student

This course has an abundance of useful information along with professional tips based on actual field experience. This course is definitely one I will come back to from time to time to reiterate the information. For this reason the way it is organised is perfect to find information about a specific technique or adjustment layer. It is well composed with some humour and advanced information. Loved it and highly recommend it for people who want to deal with the little details and get things exactly the way they want. Not suitable for lazy or sloppy people who just want to get the job good enough for sharing but don't care about getting it perfect for print.