Skip to main content

Using Curves with Color

Lesson 19 from: Photoshop for Photographers

Ben Willmore

Using Curves with Color

Lesson 19 from: Photoshop for Photographers

Ben Willmore

buy this class

$00

$00
Sale Ends Soon!

starting under

$13/month*

Unlock this classplus 2200+ more >

Lesson Info

19. Using Curves with Color

Next Lesson: Color Correction

Lesson Info

Using Curves with Color

well, let's suck it into using curves for color and looking at some or complex documents when they see what I have your curves for color every year. If you really want, understand how curves works on color images, there's a little background you should know. It's stuff that's not critical to know. You don't have to know this stuff, but I find it to be useful. It makes it so my brain feels more comfortable with what I'm doing because I don't feel like I'm blindly following steps. Instead, I feel like I got some idea of what's going on behind the scenes. I'm gonna feed you a little bit of that. Hopefully will help. So if you look at this image, it's just the color spectrum presented in two different ways in behind the scenes. In general, all the pictures you open are made out of three colors of light red, green and blue. That means every pixel it makes up. Your image has a value of how much red is in it. How much green isn't it? How much blue isn't it? You can usually see that informatio...

n in the info power. We'll just see numbers showing up in there. Or if you ever open the channels palette, it'll show you visually. How bright is the red, green or blue? But I can take any image and Aiken separated into red green in blue, do that to anything. In fact, one of the actions that's in the action pack lets you do that to your images, where you play the action and suddenly off three layers one for red, one for green, one for blue, and you can move them around just like I am right now. It's not fun to try to do that if you have to do it manually to separate it like that. So, anyway, all your images behind the scenes are made like that. It's just a combination of regulating blue that makes it up. That's one piece that's useful to know. Another piece that's useful to know is that every color has an opposite. And if you look at a color wheel, you can figure out what the opposite of every color is. The way you do it is you pick any color you want. Just pick any color, whatever your favorite color is, as long as your favorite color is not black or white because those aren't really colors. You can have those in black and white photos. You know they're not color. So if you pick any color and you want to figure out what the opposite is, what you want to do is mentally draw a straight line between the color you're looking at in the middle of the color wheel and then extend that line in equal distance beyond the center of the color wheel. So you're on the other side of the color with and you'll be looking at the opposite color. So on this image, if I am thinking about this shade of green right here, the one I have a mouse on, if I want to see the opposite of that color by looking at the color wheel, I'm going to mentally draw a straight line between this in the center of the color wheel. And then I'm gonna extend an equal distance beyond and right there is the opposite. All right, so it works is if it's like a seesaw air teeter totter in one colors in this hand, the other colors in this hand. If I make an adjustment in photo shop and I tell it to increase the amounts of one color, it's automatically decreasing the other color, the opposite. They work like that. It would be valuable to know the opposite of the three colors that make up your image, because a lot of your color adjustments will allow you to adjust the amount of red, green and blue in your image, because your image it's made out of red, green and blue. So let's look at this and figure out what the opposites are. So right now, if you look at my screen and you look at the color wheel, here is red. Draw a straight line in your mind to the center of the color wheel extended an equal distance beyond. In the opposite of red is science. Let's find the opposite of green. Here's green frustrate line to the center extended an equal distance beyond the opposite. Agreeing is magenta, and then the other color we need to think about would be blue straight line to the center, Equal distance beyond we get yelled. It would be useful if you could remember those opposites, but I don't expect you to. The way I remember them is in my head. I always remember RGB mode, and I never mess up the order of those letters. Most people remember RGB mode. I find you don't hear him calling it B g R mode. You know, they say RGB if they remember the letters it all right seem like Came out is a little different. Sometimes people mess up the order of those because a lot of people that work in the printing industry will list them in the order that they're put down onto the sheet of paper. And so if they put him down in a different order, they won't say seem like a they'll say, you know, sey K Y m or something. But if you can remember just the two main color modes, which is RGB and seeing like a then let's see if I could go up here if I just write them down, are G B C m. Why? And I don't need the k the opposites air directly across from each other. So if you can remember the way you say the color modes RGB in seem like a I just count down in my head. RGB. It's like what color is it? is it? Let's say I want the opposite of yellow. So I think of the mode that has the word yellow in it. What letter is it? Is it the third letter? And then I just think of the other mode and say, OK, what's the third letter? It'll tell me the opposite. So if I want to know the opposite of yellow, I go that CME wise The third letter. Okay, what's the other mode? What's the third letter? Red, Green, blue. So blue is the opposite of yellow. I can see it. If that doesn't help you, then you could do this instead. If you look at your screen and you go to the window menu, you can open the info panel in the info pound. It will list RGB in the left seem like a on the right. So you don't have to remember the order of he just visually look right here. The opposites air directly across from each other. All right. If you could remember those opposites doing color adjustments will be much more intuitive. So if you don't remember him in your head, don't worry about it. Just open the info palette, then you can always glance up there and just look at what's across from each other. So then, when it comes to color, the numbers that show up in the info palette are very important. I personally don't care what the numbers are. I don't want to even look at the numbers, but I know that they can be useful when working in Futter shop. So I deal with the numbers. Let's look at how they kind of work here. We have red, green and blue, and what this really is is these are as if I have three flashlights. A red flashlight like we read gel in front of it green, one of the blue one, pointing right at. Yet that's what you see right there in the middle. If you want to see what I'm talking about, if I move the red one, there's my red flashlight. Here's my green one, and there's the blue one left over. If you happen to combine red, green and blue in equal amounts, what you get His wife Balanced amount of regulating blue gives you white. You've seen white light sent through a prison before having you in the rainbow colors comes out the other end. It's kind of like doing the opposite. We're taking the rainbow of colors, at least three of the colors red, green or blue putting them together, and it looks white. If we vary, how much of each one of these we have. And I'll do that by lowering the opacity of these like 70% or something else. We create all the colors you see, so each one of these colors has a formula of the amount of red, green and blue that's used to create it. You don't have to remember those numbers at all. All you have to know is every color you ever see in photo shop could be described with those numbers. And if you ever need to see them, you're looking the info palette to see him. Those numbers will allow us to adjust our images in ways that we otherwise couldn't if we weren't willing to pay attention in the numbers. You don't have to understand the numbers. You don't have to look at it and go, What is 90 40 and 10 mean now? All you have to know is put your mouse on top of something in the numbers that show up. Describe it. What that means is you have somebody with sunburn, put your mouse on top of it. Look at the numbers it will describe the sunburn. Put your mouse onto an area that doesn't have sunburn. And the numbers will be different because the color is different. If there is a way we can find an adjustment that allows to type in before numbers and after numbers, we could type in sunburn numbers for before type ins, non sunburn numbers for after. And it will do the adjustment for us and make it so the sunburn looks exactly like non sunburned skin. Only if we're willing to look at these numbers, I don't have to understand the numbers. All you gotta know is they mean something to photo shop in that you're willing to deal with some numbers that because I don't about you. I do visual stuff cause I hate math. I ate numbers like that in So, uh, but they're sometimes when I'm willing to deal with them because I find it be overly helpful, huh? There's one thing, though, about the numbers. One little formula for a certain kind of color that would be useful to know, but it will be hard to forget it once you know. So don't worry about, you know, like think of a bunch of numbers. And that is, if I use red, green and blue in a balanced amount, meaning an equal amount of red, green and blue. None of those colors conglomerate. In the end result, you get shades of gray. Okay, and that's a useful thing to know. What that means is, if you ever move your mouse over something and you look in the info palette if the numbers are balanced, where their number for red, green and blue they're all the same. What's under your mouse is a shade of gray that's very useful for doing color correction. It's easy to remember, though, isn't it? Equal balanced means great. Anything out of balance means it's not great. All right, so that's all the prep information you need to know for starting to really understand how color works in photo shop. If any of that didn't connect with you, don't worry about it. You can still do everything without knowing that junk. It's just, if you know that you can feel more comfortable when you learn about stuff, so let's take a look. That's image doesn't look so great. So first, let me find out what's going on a little bit with it. Clouds are usually shade of gray in general, aren't they? It's not like you see pink clouds and listens at sunset. This isn't sunset. Instead, the clouds air usually near gray or white or something leering. If I put my mouse on one of these clouds just by looking at the numbers in the info palette, I can tell you something's weird with this picture, because how do you make a shade of gray use a balanced amount? Right? If I look at this, the red is way high and the blue is way low compared to the other numbers. So I'm like, OK, I know something's up there, but you don't have to fix it yet or anything, so let's go into curves and actually only use an adjustment layer because I'm not even used to see in that dialog box curves. All right, in Kurds, we have a pop up menu right here. When that pop up menu is set to RGB, you're trying to just change the brightness of your picture when I change it to read. Now we're affecting how much red light is used in the picture. It would be useful to know the opposite of red light. I don't know if you remember, but if you don't, you could always go to the info, pal. If you look in the info panel, what is the opposite of red light saying, Okay, so imagine that I have Scion in this hand and I had read in this hand all right. See if you were wide enough lens with if this thing is here. Um So if I had read in one hand science on the opposite If I'd tell photo shop to increase the amount of red, it's gonna automatically be doing something else, too. It's gonna decrease the opposite if I tell it to decrease the amount of red, it's gonna automatically be increasing the opposite. It can't not do that because what happens is Science Inc absorbs red light. That's the relationship. So if you put down a lot of scientific on the sheet of paper, you absorbed all the red light. If you put no sigh in income, the sheet of paper, he led as much red light that falls on the sheet of paper bounce off of it. And so the two are related. He doing a movie over there? Um, let's see. So that means that this might have the choice of regulating blue. But we can also affect sign magenta and yellow because they're directly connected to it in opposites. Right? So let's check it out. I go to read. I click anywhere on here and it push it up in. The image is going to get more red. If I push it down, the image is going to get less red. And once we've absorbed all the red that was in there, let's say there was an over abundance of it. Then it's going to start looking more like the opposite of red, which is science. I go over here to green. I push it up in the image, should look more green. Yeah, and if I push it down, it should absorb green and eventually give us push us towards the opposite. Agree? Then I go here to blue. If I push this up, the image becomes more blue. If I push this down, it absorbs blue and Eventually I see the opposite. So you see why it's useful to know the opposite of red, green and blue. So you got the info, pal to remind you, you got the names of the modes RGB versus seemed like a And if you just think of the order like you can figure out the opposites and that's how this works. The problem is, now we need to figure out How the heck do I know what to change things too? What? One way I could know is I could open the info panel. If you just go to the window menu in choose info, it will open and you can move these panels around cause right now it puts it in the The same area is where my adjustment waas so it doesn't show me both at the same time. I'll grab one of these tabs. Just drag it, see if I could drag it down below like that. So they're separate. Practically. Just drag this out so I can move him around there. Alright, so I've seen both at the same time so I could do this. I could put my mouse over this cloud knowing how you make gray in the clouds and usually gray. I could look in there and look at the info palette, and I see that blue looks really low compared to the other numbers. You notice that if you look in the info palette at the RGB numbers, there's two sets of RGB numbers. The numbers on the left is what you started with. The numbers on the right are what you're doing based on this adjustment. So if I move blew up, the number for blue will raise on the right. So what I could do is put it on top of something that should be gray and I look at it. This the numbers tell me Well, the top two numbers air somewhat close to each other. But blue is really low in comparison. So then I could grab that little hand tool. I click on the cloud, his drag straight up intel. The number for Blue is similar to the other numbers. Did you see it get similar then, after doing so, I could notice Number for red might be a little bit high, and I go over here to read Pull it down until it's like the other numbers. Okay. Now, do you notice that all three numbers for RGB are equal? And that's how you make gray clouds should be grey. Now they are. And if you look in the info palette, the numbers on the left is what we started with. Then there's a little slash symbol, and the numbers on the right is what this adjustment is doing to the picture. What we're ending up with before and after. And does this image look any better if I turn off before and after? But I don't know about you. I hate thinking about numbers. I hate it. That's why we have accountants and why we have mathematicians and I'm not one of them. All right, so I don't want to deal with that. But you could. So let's try it a different way. I'm gonna throw away this adjustment layer. Just drag it to the trash. Let's start over with curves. Why don't we have Photoshopped do that for us? Well, there are three eye droppers right over here. See him? And the only thing those three operas droppers do is if I grab one and I go on top of my image and I click. It looks at the numbers in the info palette, and it makes him equal by doing the same thing I just did a minute ago, which is by looking at him saying, Hey, which one of these is is so far off? Let's bring it up near the others and let's bring the others down and whatever it needs to do to get them to be balanced. And what that means is thes eyedropper zehr Onley useful clicking on things that should be a shade of gray because that's all they know how to do is make things balanced. The difference between the three is this one. If you look at it visually, is full of white, this one is full of black, and this one is full of grey. Can you see it in the tip of the droppers? This one is designed to click on bright things. This one's designed to click on dark things in this one's designed to click on any brightness in what happens in a picture. Is that the dark area of a picture? The absolute, darkest area of a picture usually doesn't contain any color, even if it's a picture of a bright red apple. Look at the absolute darkest part of the picture and it will be black. Same thing for the brightest party picture. Usually you don't have any color in the brightest part because you would have to win the brightest party or image used less light to get color to show up. Just once you get to the limits of brightness, you lose any color. So what you could do here's grabbed the black eye dropper. And for now, you could guess where the darkest part of the picture is. I'm gonna guess right here. I don't know if I'm right or not, and you can click and it's gonna look at what's in there. If I look in the info palette, I can see it. I can see that Green is really low. I'm sorry, not green. Red is really, really high compared to the other numbers. And when I click there, it's gonna make sure it's balanced. I'm Then I could grab the white eyedropper and I could look for the brightest part of the picture. Wherever I think that is. I'm gonna guess right there I could look at the info palate and I would see that the numbers are way off. They're not near equal, but in the brightest part of your image, that usually should be. So when I click off this, it'll make sure they're balanced. Then I grabbed the middle eyedropper, the one full of gray, and I can look at my picture, and I don't care how bright things are now. I'm just looking for things that would look gray if I just saw him in front of my face under normal lighting, and I'm gonna have to guess. But there's a lot of places in here I could guess. When I talk about grey, I mean any brightness level shade of grey, so anything it could be in a great skill document from white to black. Anything in between. Just It shouldn't contain color. So what about the stripes painted in a parking lot? They're usually white, aren't they? That's a shade of gray. It's just a bright one. I could try it by clicking on it. What about the sidewalk? Well, sidewalks could be, ah, little bit on the warm side. If I click on it and it should be a little on the warm side, it'll pull the warmth out, and it will make the image look a little too cool. But I can try it. See, I made the image a little cool because it pulled that warmth out. Made it neutral metal. If it's dull metal not polished but dull, it's usually somewhat gray. If it's polished metal, it reflects what's around it. There's a blue sky around. It will be blue. If there's green grass, it will be green, this medalis somewhat dull. Somewhere in the shade, it's hard to tell. I might try it in. All I'm going to do is click around on things that would be possibilities for being shades of gray. And I'm going to stick with whichever one makes. The image looked the best. There's a nice handicap parking sign right here, and usually those have a white base color. If it's high enough resolution that I can click on that without grating into the green border, that might not be bad, but I don't know if it's high enough. Rez This thing, whatever it is, looks like it might be white or gray. I'll know when I get the right thing, when the picture looks the best when the color separate the most. Go ahead. It doesn't matter somewhat if it's in shade. Shade is lit by the blue sky above. It's usually cooler in the shade, whereas the sunny areas are lit by the sun, which is a warmer light source. So it depends on what's important in the picture. If it's a shady part important, I'd be clicking in the shade. If it's a sunny part is important, I click on the sun. So anyway, I'm just gonna click around on all those possibilities the white stripe, the little whatever. That thing is over here that I'm not sure what it is. The sign if I can get to a white part, the metal and I'm just experimenting until it looks the best. If it's off a little bit, then I can go in here and fine tune things manually. Let's say I did this and it just looks a little bit too blue. Well, switch this thing the blue and there's gonna be some dots in there. Usually grab the middle one, and if it's too blue, bring it down, Say less blue and your picture will look less blue. The opposite of blue is yellow. So if you go too far, it's gonna look to yellow. Choose. Undo, though, cause I didn't think it looked to blow but to do color correction within Photoshopped. What we want to do in general is take the white eyedropper and click on the bright things the black eye dropper to click on the dark things in the middle eyedropper to click on things we recognize that we think should be shades of gray. You don't always have something to use the middle eyedropper on the got a picture of blue Skying green grass. That's all that's in the photo. Nothing to click on with. A gray eyedropper can still do. The brightest can still do. The darkest Onley used those eye droppers that improve the picture. If when you click with any one of those eye droppers, the image goes down and quality, choose, undo and skip that eyedropper used the others. I only used the ones that help. So what we're trying to do is figure out what's wrong with the entirety of the picture by inspecting areas that should not have any color. Because the formula for creating those areas is easy balanced. RGB so Photoshopped has some tools that make that easy to figure out the most time works. This is something you could do in addition, toe, white balance and shutter shop. White Balance is a similar idea, and if you find you need to go beyond white balance, I'd still do White balance it in camera. And then afterwards, if I find it's still not, it's still off a little bit. I might do this in addition, uh, make sense. All right, that was eye opening for me and many people online. Yeah, Now there's I haven't given you enough detail in this to do professional quality yet. There's a couple little details I'll add, and I'm sure you're probably getting questions. It'll say Point sample versus something or other average. It'll say finding the brightest and Argus and all that stuff will cover that. I just don't want a add that detail yet. Um, so let's look at before and after on this particular image, all I'm gonna do is turn off the eyeball for this adjustment layer. Here's the original picture. Didn't look all that great. Here's after a little better now. After we do that, we can always create another curve on top of it. And now we can adjust brightness or whatever we want. Just leave it. Such RGB. Now you're adjusting brightness. Today I want to see more of what's inside. Okay, brighten her up. And once you brighten it up, you're like how the sky became too bright. Remember from the other day when we're doing brightness, sky became too bright. What that really means is the part of the curve where the circle is went too high because the dimmer switch right, So I could just add another dot and say, Well, fine, bring it, bring it down more and then I have this change. And if that's a change where I don't want it to affect the sky at all, what do I do? I grab my paintbrush paint with black, and I say, Hey, don't affect this stuff up here. Get out of there so I can get it just where the diner is next dancing. You just continue working like that with whatever you want, but you're color correction could be your first adjustment. If you find that that's what's wrong with your picture. Let's see if we can find some other images. Well, here's one. Do you like those? These ladies hang out outside of temples and I think this was in Burma. They just hang out there. They're trying to make money by having you take their photo. It's kind of freaking what? You run across some of them that, uh, what a weird. So now if color correction is something where it looks, you want to adjust the darkest part of the picture, the brightest part of your picture and something that should be Grey Photo Shop should be able to do some of that for us because it knows where the darkest part of the picture is. Remember we're in Kameron. We moved the black slider. You could show us where something turned black. First, that's the darkest part of the picture. You could do the same thing with the whites and so it can figure that out. And then it could look at the image to see what's closest to be imbalanced with the red, green and blue. Just snap it into being imbalanced. And if you wanted to do that, we can come in here to curves and in curves. There's an auto, but in that auto button tries to do that kind of stuff, but there's some set up for it, and I might not remember where the set of fiscal has been a while here. If I go to the side menu of this panel, there's a choice called Auto Options Auto Options. And that means what happens when I hit the auto. But you know what setting should have used. If I go over there to auto options, this comes up and you got a bunch of different choices. But this one right here says, find dark and light colors that means brightest and darkest areas. That means find the brightest in darkest areas and click on him with those little eye droppers we used. Then this one, called Snap neutral. Mid tones, means fine things that are really close to gray. If there's anything and snap it to grab, that means use the middle. I dropped. So this is if we're in a hurry. If we're not looking for highest quality, we're looking for highest efficiency. I'm working on 500 pictures. I got to get him out today. Well, fine, let's have Photoshopped do it for us, But do you remember When I had the diner image open with the middle eyedropper, I experimented, clicking around until I got the best color. This isn't gonna experiment. It's just going to say this looks close. Boom, We're doing it. But what you'd want to do is set it up. So it's called fine, dark and light colors, and you'd want to turn on snap neutral mid tones you choose save as default. So it remembers those settings and you click. OK, then in the future, if you ever want to color correct a picture, you go to curves and just hit the auto button, and it will improve. Most likely the look of the picture. If it was bad to begin with, you see the difference. Let's try that on the diner image. I'll go to curves. Hit the auto button. Dang, not a bad depends on the image. Don't know about it out, so it's trying to do the work for us. If it doesn't do a good job, choose, undo and then manually do it, because when you manually do it with the middle eyedropper, you could move around and experiment with what area you click on until you find the area that does the best job. Yeah, you that auto. And then take the middle one and do it yourself afterwards. It's a middle eyedropper. Yep. So you could just hit auto and then grab the middle eyedropper. An experiment? Um, yes, you could. Would you advise doing like another layer? Teoh? Change the blues? Do you mean like the blues in the sky and stuff you can? What I won't do is if I want to find tune things I can come in here. What I'd actually do for the blue sky is I did human saturation. The reason I do human saturation is because, um, curves can only isolate one area from another if they're different in brightness. That's the way it isolates things. It's all based on brightness from this little bar at the bottom occurs with shades of gray in it. And it's like you have dimmer switches for all the different shades of gray. But you don't have dimmer switches for blue. That doesn't affect green kind of thing. In here. We do so in here I could go in and grab a little hand tool in human saturation, click on the sky and dragged, saying, making it more colorful. All the blues or I could bring down the lightness to say, make it darker and then bring up saturation, more colorful. That kind of stuff can affect all the blues. And if I don't like that, it might affect the reflection of blue in the window. That's when I grab my paintbrush and say, Hey, don't affect the windows Make sense, take a little while I get used to all that, though the main thing is, ah, use hue and saturation when I need to isolate an area based on color only work on the blues kind of thing. I use curves when I want to isolate an area based on brightness. So what we're gonna do is we will work on MAWR images when it comes to color, and I'm gonna show you how to do things like grab the RGB numbers for sunburn in plug in the RGB numbers for that little part of his neck that is not sunburn. To get the sunburn Terry to look like the other part of the neck, you know, we're going to look at those numbers. Do that not gonna be overly difficulty just plug in the numbers on then you paint it in to say, don't affect the whole picture. Don't make the whole image shift that way. You'll pain in the mask and say just his face. Okay, we're gonna be able to do that a little while when it comes to this. This area up here used to be more bluish sky right here. But I took the numbers that made up this area, and I plugged in the numbers that made up this area so that it shifted to this color. And then I painted on the mass to say only affect it right here so that I had this consistent color going across instead of getting bluish greenish that was up there. It will be able to do that. We'll be able to fix things like this. Heck, we might be able to do that right now. I just gotta curves hit auto. It's a lot better. Remember, with curves, though it can shift things you don't want to have shifted in this particular case, look at the brightness difference. Sidewalk became very bright. Sky became very bright in that. Remember how yesterday we had some adjustments with curves that did things we didn't want them to. Mainly, they made the image more colorful, and we change something, prevent that from happening. We went up here and we chose a choice called luminosity. Well, with this kind of an adjustment, we actually want the opposite. I wanted to not change the luminosity, meaning don't change the brightness of my picture. Onley change the color and so the other blending motor uses color. When I said it to that, it can't change. The brightness now could change the color, but not the brightness. And so, if you ever do color correction and you find that the brightness here and they just got screwed up, change that menu to color and you're saying let this layer on Lee affect the color. Don't let it change brightness at all. We'll be able to take panoramas, make one side look like the other. This one's already had it done, but this side would usually be all scion instead of blue and will be able to get that even if you don't have as much color on the horizon, you could steal a color out of a different picture. Just grab the numbers, make it up. Plug him into this one, painted it, and you be able to do that. But you, right now in your head, have the foundation for understanding how that color works. So from Ed Hensley, can you again just let us know what the difference between the color and the hue blend Modes are the color and hue. Yes, Hugh means basic color, whereas color means not only basic color but how colorful as well. So if you want to see difference, I could come in here. You you don't have to use thes with adjustment layers. You can use them with painting and other things to use him with painting, you would create a brand new empty layer to put your pain on, and then you could choose the color to paint with. I'll click on my foreground color to choose a color, and then you could pain. So here's just some paint on a layer. If I set this to hew, hew means change the basic color of what's underneath the same color I have in this layer. So you see the blue sky in that area changes to read. That means if you have a blue car. You wanted a red car. This is exactly how you could do it. Just create a new layer paint with radon pain in the car. The only thing is that red will be just as colorful as the original car. If I change this to saturation, it's going to only make the thing underneath. Just as colorful is what's in this layer. That's what saturation means is how colorful is something it's not gonna make it red. It's gonna take what was originally there and say, Make it justice. Colorful is what's on this layer. So the blue that's underneath became real colorful. Just like the red that's in this layer doesn't care what colors in here could be yellow. Could be blue could be green. All it cares is how saturated is the color, and it makes the image underneath just etcetera. Then we have color in color applies both of these qualities hue and saturation. Let me show you. The difference here is just Hugh. Hugh means change, the basic color of what's underneath nothin. Ounce color means change, the basic color that's under there and how colorful it is. So it'll make this guy just a colorful and shift. The color luminosity means only change the brightness of what's underneath so it makes what's underneath. Just as bright is what I'm painting with. So they're kind of weird if you're not used to him blending modes. But they're overly useful in with adjustments the two main ones I use or luminosity for when I only want to change the brightness. And I don't like some sort of color change that happened, and I use color for when I'm trying to change the color. But the brightness is getting screwed up, so color is the opposite of luminosity. There the opposite. I don't know if that was helpful or not with a description, but that's what the differences thank you. Okay, one more clarification question from Thompson World. If you click on the black Dropper to get a balance on, then click with the grade. Rep. Urges it. Discard the information from the black dropper. Add to it. No, it doesn't. It adds to it. Okay, if you actually look at a curve after you apply the eye droppers were the auto thing. You'll find there are a total of three dots on the curve, one for each eye dropper and one doesn't cancel out the other. The only thing cancel something out is if you re use one of the eye droppers, it will move the dot that is associated with that to a different location. So in this image of, I just hit auto and then I go and look at the curves. There'll be a total of three dots on each curve. The dot up here is for the white eyedropper the dot town hears from the black eye dropper. And this one's from the gray one. So this one's not gonna cancel out that one or that one. It's adding to it. You don't have to understand the three dots and that kind of crap. Just just no one didn't under the others.

Class Materials

bonus material with purchase

Bens Actions.zip
Ben Willmore creativeLIVE Class Files Day 1.zip
Ben Willmore creativeLIVE Class Files Day 2.zip

Ratings and Reviews

Jim Pater
 

I taught Photoshop (version 5) to graphic design students at the college level. I had great fun teaching. This is the perfect course to show others how they might go about teaching a Photoshop course. Congratulations Ben, on your excellent teaching style and methods. I thought I already knew quite a bit about Photoshop but this course made me aware that there's always more that you can learn.

Student Work

RELATED ARTICLES

RELATED ARTICLES