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Adjusting color balance using the Info tool and the Tone panel

From: Color Correction in Lightroom

Video: Adjusting color balance using the Info tool and the Tone panel

{QTtext}{width:960}{textColor:65280,65280,65280}{justify:center}{timescale:1000}{backColor:0,0,0}{plain}{font:Verdana}{size:20} In this movie, I'd like to add quantitative analysis and adjustment

Adjusting color balance using the Info tool and the Tone panel

and down arrows to start adjusting th RGB values and then we In this movie, I'd like to add quantitative analysis and adjustment just watch down at the bottom as we move away from the blue. to our Lightroom tool bag that we have for color correcting images.

And, there we go, 71.2, 71.9, 71.8. In this case, we're going to use the ski pole image. And could we fine tune this by going down to the tenth? So, just select that and then press the D key to go to the Develop module. Yes, we could, but we don't really need to. And let's begin a kind of analysis of our image visually. That's pretty darn close. Look at the horizon line, that's way off. That's all within 1% value of this image. And the reason why I'm using this image is to kind So, the key here, what I'm showing you is of remind you and me both that any sort of dimensional using the Eyedropper target, don't click with the Eyedropper. correction or adjustment you need to make, do that first, because That would neutralize the snow. it's going to alter the pixels that are actually in you image. We'll do that a little bit later. And you may do some adjustment based upon some pixels, and then And we'll see something it's effective and sometime it's not. rotate the image for a better horizon, and then lose those pixels. In this case, we're just using it as a measuring tool. We go to this tool, go to the Angle tool, and we And then we highlight the field over on the righthand side. just drag that across the horizon and then click the Enter key. And then use our up or down arrows to adjust the temperature. Now we can start to analyze the color and the tone in the image. We monitor the RGB values right down there below. Over here, in the histogram, we see we've got a high key image, We've done our color adjustments. which it should be, it's a bright sunny day and lots of snow. And by the way, that's what we want to do first always. We can see that there's no clipping on Do your color adjustment first and then do your tone adjustment. the highlight or the shadow end, which is good. I think what we've done previously sets that up. Which means we can push things out a little bit. If you do the tone adjustment first and you've But we're gon, want to be careful not to clip, in this image in got a color cast, one of those colors is particular because there is so much snow, you don't want to lose detail. We can also see here there is a bit of a blue cast. going to blow out first, you end up moving Now, the next thing that I very often do, back and forth between the color and the tone adjustment. is I locate the critical highlights and shadow areas. Balance the color and then go after the tone. So, I'm going to come down here. So, I'm just going to look over on the I want to Option or Alt+Click on the white. right hand side and you'll see I'm tabbing down. And just drag this over until I see the portion of And typically, I always do the highlights first. the image that is the critical white highlight in the image. And I'm just going to use my right arrow, just to raise this, now See if it's specular, which is, shouldn't have detail watch the image and you'll see where the highlights are blowing out here. or gets its diffuse white highlights which should have detail. Just go a little bit to high and then I'll put Notice it's in the sky. my Eyedropper right over that area and then I just start backing Also notice there's a yellow-green lights that come off and I watch not only the red pixels but I out which mean that it's a little bit warmer. watch the RBG values and I want to get this down to 95%. I suspect that the foreground is going to be And so, the reason why I'm going 95%, that's a good white highlight then I a little bit bluer based upon what we see here. know it's going to print on just about all That's not uncommon, by the way, for a background to printing devices that I might be working with. be a little bit warmer than the foreground or vice versa. And if you've got a value that you prefer to work with, What do we want to color correct? 96, 97, 98, if you know you can hold those values, fine. In this case, it's going to be the foreground. Alright, notice that it's a little bit warmer there, the We want to get the snow correct. red and the green are a little above the blue, 2%. If the sky is a little bit warmer, that's not going to be a big deal. And that's different from the foreground and that's okay. In fact, it's fine to have it a little bit warmer. If you're working in Photoshop you can mask that Alright, so we can see, that's going to be the critical highlight. area and do it separately but it's really unnecessary. Let's look at the shadow. Okay, then let's move down to the blacks and do the same thing. And let's just rotate this up a little bit so we can see. Now, notice that earlier and I saw this remember the detail in the blacks were. Hold down the Option+Alt in Windows. Let's put our info panel right up in there. And then drag this over. And we can see 4.8, 4.8, 4.3. We see where the shadow portion is. We're not concerned about color balance here, And it's going to be right on the handle of the ski poles. we're just concerned about the tonal values. So, we'll double-click on those just to return everything to normal. As I move this around in here, I can see that the highest values are in the 4s. Remember, you can just double click here to return all of these to normal and And actually, I'm not going to make this any darker. then we'll come up here just to make sure that all the clipping has shown up. In fact, I want to make sure that these things And then, let's go about deciding what we're are going to print so we're not going to lose shadow detail. going to correct and how we're going to do it. So, I'm actually going to move this in the other direction. So, I'm going to click on that black field and Very often, if I go to diffuse white highlight, like we have in this image. then I'm going to choose one of the darker areas in I would focus on that in terms of my color correction, but because I here and I know it's going to be below 5% and know that that's probably a little bit warmer than what the foreground is, I'm then I'm just going to actually move it away from that. probably going to use the foreground here, which is going to be more of the quarter I'm going to make it a little bit lighter tone and mid tone, which is where most of the data is in this image. to make sure that that shadow detail is maintained. So, this is one of those adjustments that we And if you watch the image while we're doing this, you can make that we have a critical evaluation of the see that that detail actually pops out a little bit on that handle. image and go, oh, in this case the white So, I want to raise this to 5% to make highlight is not where we're going to focus our attention. sure that all that shadow detail is going to print. It's going to be more in the mid-tone. And notice, by working with the blacks rather than with the exposure, And just to confirm that this is indeed blue like I'm primarily focusing on just that deep shadow portion of the image. the histogram indicates over this portion of the image here anyway. And it does move the whole histogram over Is that we can look at those RGB values and a little bit, which lightens the overall image. notice that it's 70.8 and I'm looking right over here. And I can always use my highlights, or my exposure 66.8, 65.6, sure enough, the blue is higher than to bring it back a little bit if we want to. the green which is slightly higher than the red. But I'm perfectly happy with the way it is. So, we do have a blue color cast here. But this is why I typically start with my whites, and my blacks. Now, we can do an adjustment just by looking at those RGB values. Set my highlights and shadow ends, and then I can adjust But what I like to do is, I like to take my Color Sampler tool and move it the interior, and we'll do a little more of that later on. over here because it brings up this target and Okay, so there's using our target using numeric values using our arrow keys. see the RGB values at the bottom of the target? And using our fields over in the right hand side, so we 68.2, 69.2, 70.2, then I can look at the image can monitor the RGB values, and monitor the image at the same time. and look at the RGB values at the same time. Just hit the Enter key, and then just hit the Y key. And then, instead of moving back and forth over And we'll look at our before and after. here, we know we're going to have to move our temperature Pretty significant difference between the two. slider away from the blue, but instead of having The snow is really popping here. to move back and forth, what we do is we. We were able to neutralize the snow. Select the field, move our Eyedropper here over what we want to And we know, because the RGB values of the sky were right at about 95%. be representative sample of the snow and then just use our up That the detail in the sky is going to be maintained and down arrows to start adjusting th RGB values and then we and compare the handles here with what you see over here. just watch down at the bottom as we move away from the blue. And you'll see even in 100% view you can see that there's more detail in the handle because we lightened it up a little bit. Alright, so there's using numerical analysis and adjustment with some keyboard short cuts using live fields. And our Eyedropper as a measurement tool to monitor our RGB values while we adjust the color and tone in our image.

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This video is part of

Image for Color Correction in Lightroom
Color Correction in Lightroom

33 video lessons · 3091 viewers

Taz Tally
Author

 
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  1. 2m 20s
    1. Welcome
      40s
    2. Using the exercise files
      1m 40s
  2. 7m 18s
    1. Overview of color correction tools in Lightroom
      4m 17s
    2. Using virtual copies for color-adjustment variations
      3m 1s
  3. 10m 40s
    1. Setting up the interface for color adjustments
      4m 33s
    2. Setting up the color tools
      1m 45s
    3. Using Lightroom's soft proofing
      4m 22s
  4. 29m 9s
    1. Understanding how the histogram displays tone
      7m 51s
    2. Understanding how the histogram displays color
      4m 35s
    3. Identifying color casts with histograms and the Info tool
      6m 54s
    4. Measuring skin tones
      5m 50s
    5. Using target-based measurements
      3m 59s
  5. 51m 54s
    1. Understanding the interaction of Lightroom's histogram and tone panels
      8m 27s
    2. Adjusting color balance with the Temperature and Tint tools
      5m 51s
    3. Avoiding highlight and shadow clipping
      6m 58s
    4. Adjusting color balance using the Info tool and the Tone panel
      8m 19s
    5. Using Lightroom's automated adjustment tools
      5m 42s
    6. Adjusting overall brightness and contrast
      6m 21s
    7. Using targets for color correction
      4m 0s
    8. Challenge: Evaluating and correcting color
      1m 2s
    9. Solution: Evaluating and correcting color
      5m 14s
  6. 1h 13m
    1. Evaluating and correcting critical highlights, shadows, and contrast areas in landscapes
      7m 28s
    2. Working with near neutrals and images with no neutrals
      6m 42s
    3. Correcting skin tones in a portrait
      5m 37s
    4. Correcting a faded image
      7m 54s
    5. Adding pop to product images
      7m 58s
    6. Making curve-based color correction adjustments
      7m 40s
    7. Color correcting product shots
      11m 26s
    8. Making creative adjustments
      5m 45s
    9. Automating adjustments
      4m 34s
    10. Challenge: Identifying and correcting a color cast
      1m 2s
    11. Solution: Identifying and correcting a color cast
      6m 54s
  7. 1m 26s
    1. Next steps
      1m 26s

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