How To Create a Non-Destructive Workflow

 

How To Create a Non-Destructive Workflow

 

Lesson Info

Color Balance Adjustment

So then we move on to another adjustment and notice I'm able to add yet another adjustment layer and another adjustment layer and so on and so and so that enables me to apply a wide variety of adjustments and this starts to sort of resemble what we already saw on adobe kamerad different controls maybe but similar in that we just have a set of different sliders and values that we can update there just being presented in a different way so I'm going to choose color balance because maybe I feel that I didn't quite get the color spot on maybe was a little too yellow or I want a little bit more red whatever the case may be so one of the things that I hear from a lot of photographers they feel they just don't have a good eye for color maybe they've developed a good eye for exposure but they don't have a good eye for color I've got a trick for you that will help you with that eye for color, so once again I've added a color balance adjustment layer I can go down to the property's panel take a ...

look at what controls are available I'll have the preserve luminosity checkbox turned on. The only reason I would ever want to turn that off is if I'm trying to create a perfectly neutral gray value in the image which generally speaking I'm not too terribly worried about and I'll leave the tone set to mid tones. In theory, I can focus my adjustment on the highlights versus the mid tones versus the shadows. In reality, there's still going to be a lot of overlap in those adjustments. If you need a really sophisticated color adjustment, I would tend to go to curves basically, what that all boils down to is that in color balance, for the most part, you could just focus your attention on the sliders. If you ever can't remember what the primary colors are, color balance can help you the primary colors for light or over on the right side red, green, blue and for reflected light for for links essentially for pigments sayin magenta and yellow over on the left. So now we have to decide how we're going to approach this adjustment. Well, I started off with my basic tonal adjustment because that's what I thought was the most important adjustment for this for the biggest adjustment for the image, I thought the color was pretty accurate, but maybe the totality might have been a little bit off and I find that's usually the order, but I don't always work in this exact order for my images I start off with what do I think the image needs most? And then work down from there and what do I think it needs most now that that other thing was fixed and then what's most important after that with one exception that we'll talk about a little bit later well two exceptions really so with color balance if you feel that you don't have a good eye for color just get crazy with it so you might not know whether this image as it stands right now is accurate in terms of the shift between scion and red you might not have even ever known that sion was the opposite color of red but that's okay you know that that's wrong that's way too red and you know that that's wrong it's kind of kodachrome looking kind of interesting but it's not very accurate and so if you just swing those sliders all the way through their extremes it will give you a much better sense of what's accurate versus inaccurate like if you've ever done macro photography it will drive you crazy because your eye starts to bug out and go blurry on you so you can't tell if it's in focus or not anymore so you got to throw it out of focus and then bring it back in focus and the part that looks least blurry that's focus same sort of thing here that looks bad ballots off so now that I've swung through the wild extremes here I start to kind of settle down and somewhere, maybe in here, which is a little bit of a surprise because I didn't think the image was to read, and yet I'm liking the slightly sayin version a little bit more same thing for the magenta green slider that's obviously way too green that's obviously way too magenta, but I can kind of start to gradually slow down and narrow down that transition back and forth the most fun that I ever have with color balance. How sad is this is when I'm focused on the image and I move that slider back and forth and I'm not looking a slider, I'm only looking at my image and then I let go and I'm happy with and I look and it's back at zero. I don't know, I get so amused by that, but I do it's the little things, apparently so with the yellow blue slider finally, okay, I've gone through these sliders in order, and I already said that I don't usually go in order. So what order what I really used for these sliders again, there's that principle of what is the image need most? So I'm not worried about going in order or only touching the sliders once it's a free for all, and I'm going to start with what is what I think. The image needs most what color stands out as being a little bit of a problem? So if the image we're looking like this, for example, I would say, gosh, it looks a bit too yellow, maybe I need to shift the slider over toward blue a little bit or if it was over here, I'd say it was two blue and maybe you don't even recognize which color it is. Maybe this looks a little too magenta rather than blue it's no problems start with the slider that seems to be the biggest issue for the image and take it from there and another little tip. Go back and revisit every slider don't feel like you have to get it right the first time on the first pass, go through each of those three sliders and then go through them again and bounce around in any order you want until you feel that the image looks accurate in terms of color. Of course, thanks to white point adaptation for our visual system it's very easy to kind of lose sight of what accurate color is. I'll show you some tricks for actually evaluating your adjustments shortly. Another great trick is to have someone else come look at the photo until he what they think of it well, someone who likes you and it's going to be gentle in their review of the photo, preferably

Class Description

Non-destructive editing helps you maintain maximum flexibility when editing your photos in Photoshop. Learn how it’s done in How to Create a Non-destructive Workflow with Tim Grey.

Tim will show you how to leverage your RAW captures to ensure the best starting point in your workflow. He’ll show how to use adjustment layers for non-destructive edits and how to use Smart Objects and Smart Filters for safe, effective edits.


Software Used: Adobe Photoshop CC 2014.2.2, Adobe Lightroom 5