Adobe® Photoshop® Intensive

Lesson 44/68 - Auto Color Adjustments


Adobe® Photoshop® Intensive


Lesson Info

Auto Color Adjustments

So now we're going to spend the rest of the day retouching we're going to start out with some color correction and unlike yesterday we're going to tackle the hard stuff first we're not gonna end with hard stuff we're gonna end with the easy stuff has that sound a lot better okay the first thing we're gonna do I'm gonna open up image number three in our day three folder and it's a beautiful image of the interior of a an apparently blew texas capital I assure you it is not blue this is the example of your instructor forgetting to change her white balance when she went indoors to shoot she's been shooting outside so my my capital looks blue that's really not a nice cream color so what we're going to do with this image we're going tio change the way that photo shop auto corrects color because there really are some pretty cool auto color correction tools in the program and so we're going to change what colors we really want tio have occur in our image when we're doing our color correction b...

asically when your color correcting your telling photo shop what really should be black in your image or what really should be quiet if you can give it that information then it will go through and adjust all the other colors according to what really is supposed to be black and what's really supposed to be quite well if you think about what pure black, impure wide is if you think about it, there could not possibly be any detail in pure black, ok, if you have shadows that are solid black there's, no detail in the shadows, what you really want, his shadows that are merely black, same thing on the highlight end of it if you are dealing with highlights that air pure white there's no detail in pure white, okay, so what you really want? Perfect highlights are almost pure white, but not quite so what we're going to do is we're going to a telephoto shot. We're going to reset our target color values, which just means we're going to tell photoshopped what are best case scenario color of black is in our best case scenario color of white, and in doing that, when you use any of photo shops, auto color, corrections, if he used the auto button inside of levels, which we're going to look at in the auto button inside of curves, then it will use these new ideal colors of black and white that we're going to give it and you only have to do this one time, okay, so that's, what we're going to do now, we're going to reset our target colors, ok, so the first thing you want to do, we're going to do this with a levels adjustment layer and then once we set our target colors, then we're going to go in and I'm going to show you a shadow highlight adjustment then we're going to come back and jump full bore in tow levels and we're going toe it's been quite a bit of time talking about that and what it means and how to use it and all that good stuff, but for right now we're going to use the levels adjustment just to get at the dialog box that we can tell photo shop hey my favorite color black is really this really, really dark charcoal gray and I like my whites to be slightly off white no, not pierre why just really really light gray so I'm gonna go down to the bottom of my layers panel and click the half black, half white circle just to get it all my adjustment layers yesterday we were used in the layer menu this time we're going to use the little icon at the bottom of the layers panel and we're going to choose levels immediately. The adjustments panel is going to pop open now the investments panel was new and either cs four c s five so if you're using cs three, you may not have this, but what you will have is this adjustment will pop open in a separate dialogue blocks same controls a little bit different placement on your screen so what you want to do is hold on a modifier key in its option on a mac all on my pc, and you're going to single click the auto button while holding down the option button in this dialog box really controls how some of these auto color correct er's right here, auto tone, auto contrast, auto color work, that's what the style of boxes for so what we're going to do is we're going to change the way photo shops, auto color, correct er's work just a little bit weird to tweak them. So the first thing we're going to do is we're going to turn on the mathematical algorithm or math voodoo that's going on in the background that makes all this stuff happened, we're going to change the way it works. We're going to click to turn on, find dark and light colors. This particular algorithm locates the average, lightest and darkest pixels in the image. Ok, so it looks at all the pixels, and it finds the average for the lightest on the darkest pixels, and it uses that information to increase contrast throughout the whole image. Now you're the one that's really set to from the factory is called enhance per channel contrast that one, adjust all three of your kind of color channels individually. Okay, so you're red channel your green channel in your blue channel for rgb, it adjusts all those channels individually and the highlights and every channel get a little bit lighter and the shadows and every channel get a little bit darker, even if I don't need it. Okay, so this change right here in the algorithm section in the box makes the auto color correct. Er's work a little bit more subtle, okay, you're going to get more of a visual difference by leaving it set to enhance per channel contrast, but that doesn't mean is more of the pixels in your image or shifting when they may not need it. So I like to change in mind, tio find dark and light colors, because you're making photoshopped, we'll take a closer look at your image before it starts tweaking it. So that's, the first thing we're going to change, the next thing that we're going to do is we're going to turn on snap neutral mid tones, and this one takes nearly neutral color, initial color simply colors that have the same level of brightness in all channels and by channels I mean has the same level of brightness in the red channel, in the green channel and in the blue channel, and that it suggests that neutral color so that it really is neutral. Okay, so you want to turn that on? The next thing you want to do is we're going to click in succession each one of these little color will's right here and that's going to open the color picker and that's where we can tell photo shot what are ideal color of black, white and even gray for our mid tones is so we're going to single click the black color will just give it a single click and you're going to pop open the color picker and right now if we look at our rgb numbers they're zero zero on the two hundred and fifty six levels of brighton the scale which is what we're dealing with in our image is two hundred fifty six zero counts is one so that's why there's two hundred fifty six so zero is a level of brightness and it is solid black okay if I zoom back out you can see that okay numeric value for rg and be red green and blue does yield solid black well, we already discussed that solid black cannot possibly contain any detail at all, so we want tio use almost black so we're going to change that number two ten in all three channels so in your our field go ahead type ten and then press tab top ten in the green field press tab and type ten in the blue field now you're not going to see any difference in the color chip previews up here in the color picker, but if you notice I zoom in the little circle that signifies what color you've chosen in this big area over here it was way down here in the corner now it's popped up a little bit, so that means we're dealing with just a slight off black okay, we have a greater chance of actually retaining detail in our shadows by changing this number now we're gonna press ok, now we're going to click the gray color will give it a single click and our mid tones are set for one hundred twenty eight, which is the midpoint between pure black impure why so we want to offset that just a little bit we're going to change that number tow one thirty three so go ahead and double click to highlight your redfield and type one thirty three press tab one thirty three press tab again to move to the next field type one thirty three and you'll see here if I zoom in to our current color in the new color we've lightened our mid tones just a touch go ahead and click ok, now we're going to come down to the highlights color well we're going to click that little white swatch and this time we're seeing that our rgb values are two fifty five that is pure white ok, we want to back off of that just a little bit. We're going to change that to two forty five so type two forty five in the redfield press tab and talked to forty five in the green field press tab and type two forty five in the bloomfield and now this one you can really see inside the color picker the difference so instead of pure why, if you were to use any of photo shops auto color, correct cher's, your highlights will never be forced to pure white. Ok, they will be forced to a very, very, very, very, very light gray, okay, and that does keep she from doing what's called clipping your shadows. Your highlights when you're doing color correction it's really easy to push it too far enforce your dark shadows to pure black there by stripping them of detail same is true on the highlight in the scale. If you push your color correction too far, you can force your highlights to pure white, which strips them of detail it's a bigger problem in the highlights because they're usually more visible, you know, but you can have detail in shadows too, so this will keep that from happening so much if you were to use some of photo shops, auto buttons so we're gonna go ahead and click ok and the last step in this thing that you're only going to have to do one time is turn on the save as defaults checkbox then we're gonna click ok, now I'm gonna double click to collapse my justin it's panel so we can see see my layers pale and now I'm gonna toggle the visibility I often on of this layers adjustment so there's our before and there's our after that's actually what it looked like inside the state capitol had I not had my the white balance sending on my camera, incorrect and again, the white balance sitting on your camera is just your way of telling the camera what color of light you're shooting under, so I will tell you that with the adjustments we just made, too, that, uh, set target colors dialogue, in essence, is the equivalent of us running the auto color command okay, which is not available as an adjustment layer, but with changes, we dismayed to those target colors and two that algorithm change that we may we change the way that it works a little bit. We've kind of created an auto color adjustment layer. Now you may never use thes guys, but if you do click the auto button and curves or levels which sometimes that might make your image look fantastic, then you can rest assured that you're not clipping your shadows of your highlights with those changes that we just made. Okay, that's, the only time we have to do that. So now we're done with that.

Class Description

In this special photoshop tutorial, you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, author of Photoshop® CS5: The Missing Manual. There is so much to cover in Adobe® Photoshop® CS5 that we need almost a week to cover everything. In this special 4-day workshop you'll dig into Adobe® Photoshop® CS5 with Lesa Snider, internationally acclaimed instructor and author. Lesa is informative yet entertaining with a unique way of explaining difficult concepts so you understand the "why" behind the "how". Get ready to spend a fun, high-energy week digging into the power of Photoshop.

Software Used: Adobe Photoshop CS 5.1


1Introduction: Nitty Gritty Basics + Layers 2Workspace Overview 3Q&A: Workspace 4The Truth About Resolution and File Formats 5Changing Resolution Without Changing Quality 6Q&A: Resolution and File Formats 7Resizing with the Crop Tool 8Cropping with the Ruler Tool 9Resizing with Content-Aware Scale 10Resizing for Print/Web 11Layers and Layer Types 12Duplicating, Moving, and and Aligning Layers 13Q&A: Layers 14Creating Reflections 15Layer Alignment Tools 16Simple Slimming Technique (Resizing Layers) 17Colorizing a Black and White Image 18Creating a Solid Color Fade with Fill Layers 19Layer Masks: Hand Painted Image Collage 20Layer Masks: Gradient Mask Collage 21Layer Blend Mode Collage (Include Load Images as Stack) 1Using Selections Part 1 2Using Selections Part 2 3Q&A: Selection Tools 4Color Selections: Fixing Animal White Eyes 5Tightening Up Layer Masks 6Painting Selections with QuickMasks 7Using Vector Drawing Tools 8Vector Shapes: Creating an Oval Vignette 9Vector Shapes: Rounded Edges to Photo 10Use Channels to Create Selections 11Tough Selections Around Hair & Fur 12Refine Edges Part 1 13Refine Edges Part 2 14Creative Edges on Photos 15Embellishing with Vector Art 16Creative Vector Photo Frames 17Editing Smart Objects 18Smart Objects Template: Creating Dark Edge Vignette 1Smart Objects: Selective Blurring 2Smart Objects: Selective Sharpening 3Sharpening with the High Pass Filter 4Q&A: Sharpening 5Auto Color Adjustments 6Shadows and Highlights 7Using Levels 8When to Use Smart Objects 9Using Curves 10Lightening and Darkening with Blend Modes 11Enhancing Eyes and Teeth 12Changing Colors with Hue/Saturation 13Changing Colors by Hand Painting 14Faux Dodge/Burn: Reduce Wrinkle 15Color to Black and White 1Healing Brush 2Content Aware Fill 3Using Text in Photoshop 4Designing with Baseline Shift 5OpenType Fonts 6Placing Text Behind an Object 7Barely There Text: Faded and Hollow Text 8Pushing Photos Through Text 9Adding Texture to Your Text 10Convert Text to Paths 11Combine Images using Advanced Blending 12Realistic Photo Aging 13Faking HDR 14Wrapping Texture Around an Object