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Auto Tone, Auto Contrast, and Auto Color

From: Photoshop CS5 One-on-One: Advanced

Video: Auto Tone, Auto Contrast, and Auto Color

I have gone ahead and saved my changes as Auto money.psd found inside the 14_levels_curves folder. And I think the Auto commands are fairly obvious in terms of their purpose especially when applied to a low colored graphical image like this money right here. However, when we move on to more nuance digital photographs which contain more subtle luminance transitions and far more colors, while then the Auto commands become a little bit more difficult to predict. So I am going to show you how they behave with a couple of different digital photographs, but I want you to know this, the Auto commands do their best work on two kinds of images, either images that have color castes, and as you know both the Auto Tone and the Auto Color commands, will remove color caste from an image but strictly speaking you don't need a color caste, because if the colors are okay, you can just go ahead and apply the Auto Contrast command, what you definitely need inside of an image, what the Auto Commands are designed to do, is correct low contrast images.

Auto Tone, Auto Contrast, and Auto Color

I have gone ahead and saved my changes as Auto money.psd found inside the 14_levels_curves folder. And I think the Auto commands are fairly obvious in terms of their purpose especially when applied to a low colored graphical image like this money right here. However, when we move on to more nuance digital photographs which contain more subtle luminance transitions and far more colors, while then the Auto commands become a little bit more difficult to predict. So I am going to show you how they behave with a couple of different digital photographs, but I want you to know this, the Auto commands do their best work on two kinds of images, either images that have color castes, and as you know both the Auto Tone and the Auto Color commands, will remove color caste from an image but strictly speaking you don't need a color caste, because if the colors are okay, you can just go ahead and apply the Auto Contrast command, what you definitely need inside of an image, what the Auto Commands are designed to do, is correct low contrast images.

So, notice that I have got my control layer selected inside of Auto money.psd and you can see here, this is the original version of the money and you can see that we are missing shadow detail and we are also missing a little highlight detail and as a result the entire histogram is squished, it doesn't take up the entire horizontal space provided by the graph and as a result what we have is the low contrast image. The Auto commands will go in and stretch those histograms there by liberating the contrast inside of an image. Let me give you a couple of other examples here.

I have got this image called Washed out and badly caste.psd, also found inside that 14_levels_curves folder. It comes to us from Photo CD which is a group that works with the Fotolia Image Library about which you can learn more at fotolia.com/deke. Now, when you look at this image, the first thing you see a reddish color caste, but it's not nearly as much of our pronounce color caste as you might think, because she naturally has ruddy skin tones, and she also has red hairs and she is wearing a red sweater, so she is already naturally trending toward red.

Her biggest problem is that she lacks shadows. So you can see here inside the histogram panel, that all of our histograms are bunched out up to the right, meaning that we have got plenty of highlight detail to work with here but we are missing shadows, that's another kind of low contrast image, because once again the histogram is squished and it's relying on the Auto commands to liberate it. All right, I will switch to my last image, which is La Pyramides.psd and this is an image that I shot in the Saint-Remy area of Southern France, and I will go ahead and hide the Histogram panel for a moment, so that you can see the entire width of the image.

Notice it's got this really cool sundial here that provides us with a little bit of a puzzle in terms of it's numbering system. Anyway, I will let you investigate that on your own if you are interested. I will bring back the Histogram panel and notice this time that we're lacking highlights, so all of our histograms are bunched up to the left hand side, plenty of shadows, well we could use actually a little more shadow detail, but we really need more highlights. So once again the histogram is squished needs to be liberated, that's the whole purpose of the Auto commands. So what I am going to do here inside of this exercise, I am going to go ahead and apply each one of the Auto commands to both of these images and we will just see what happens.

And then in the next exercise, I will take the results of those various Auto commands and I will merge them together to create the ideal correction. So let's switch back to Washed out and badly caste.psd here. And what I want you to notice about this is how the shadows are arranged, such as they are that is to say. So notice that we start with the blue mountain right here, and then the green mountain overlaps, and then quite a distance away, the red sets in. So, as a result our shadows are looking quite red, because red is a brightish channel where the shadows are concerned, and that's where the real color caste is creeping into this image.

Notice also that we have only red highlights, where the highlights are concerned, the green and blue channels are under represented. All right so let's see how the various commands fair. I will go ahead and click on the Auto Tone layer, turn it on as well, so that we can see it, notice the image still looks the same, because after all this is just a copy of the background layer and then I will go up to the Image menu and choose the Auto Tone command which is going to stretch each one of those histograms outward. Notice that the shadows continue to be offset from each other, that's very important, because we will how that differs from Auto Color in just a moment. Now, the command has done a brilliant job of compensating for the color caste, in fact it's probably gone a little bit too far again.

So we have some bluishness inside the skin, also we have tones of shadows now. In fact I would say, this image is a little bit too dark. All right, let's switch over to auto contrast, turn it on, now you would figure Auto Contrast isn't going to work too well with this image, because after all we have this very pronounce red color caste, but think again, go up to the Image menu and choose Auto Contrast and it actually looks halfway decent because the fact of the matter is, the Color caste isn't as pronounced as you might think.

All right, but probably so far we need to blend between these two corrections before we are going to come up with the right result. Anyway, I am going to click on Auto Color this time, turn it on and then I will go up to the Image menu, and I will choose the Auto color command. Now, normally this command stands the best chance of succeeding, because it goes in there and tries to neutralize the highlights and the shadows and the mid-tones and so on. In the case of this image though, it fairs quite poorly. It makes the skin-tones bluer than ever and we are actually starting to lose the redness inside of sweater a little bit, and the reason is notice what it did to these masses of shadows right there.

It went ahead and tried to align them with each other and that does strictly speaking make for some neutral shadows, but in doing so, it has moved a lot of the other luminance levels around and that's not ultimately suiting the image that well. But as you will see in the next exercise, I am going to actually employee all three of these adjustments, in order to create the ideal correction. All right let's switch over to La Pyramides.psd once again. Click on auto tone, turn it on as well. Go up to the Image menu, and choose the Auto-tone command and we end up getting this correction right there, which is a little blanched a we are warming up the image I think a little bit too much.

Notice it's getting a little bit yellow here, once again all the command has done is stretched each one of those color channels independently. So bear in mind every time you apply any one of the Auto commands to a different image, you are going to get a custom result. All right, now I will switch over to auto contrast, turn it on as well, and then I will go out to the Image menu and I will choose the Auto Contrast command, which is pretty darn successful, and not surprisingly given the fact that this image doesn't have much of a color caste in the first place. All right, now let's switch over to Auto Color, turn it on and then I will go up to the Image menu and choose the Auto Color command.

And this time, Auto Color fails brilliantly, this is a terrible correction, in fact this could be the Before image, before we get around to correcting it, it looks like it's been sitting in the picture frame in direct light for the last 20 years, and it's faded terribly. So obviously Auto Color is not the champ this time around. In fact, nobody is quite doing everything exactly right, which is why we are going to go ahead and merge the results of the Auto commands in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Advanced
Photoshop CS5 One-on-One: Advanced

247 video lessons · 32937 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 2s
    1. Welcome
      2m 1s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 6s
  2. 1h 5m
    1. What you can do with Photoshop
      1m 46s
    2. The mission-critical eyes
      2m 44s
    3. Copy Merged and Paste in Place
      6m 52s
    4. Sharpening details to match
      4m 34s
    5. Masking eyes
      9m 22s
    6. Working with clipping-mask layers
      9m 5s
    7. Shading with layer effects
      8m 10s
    8. Color and highlight effects
      4m 2s
    9. Refining layer masks
      5m 43s
    10. Fabricating the highlights in the pupils
      7m 33s
    11. Using a merged copy to sharpen
      5m 34s
  3. 2h 14m
    1. Highlights, shadows, and midtones
      1m 16s
    2. Introducing the Auto commands
      7m 23s
    3. Adjusting Cache Level settings
      6m 8s
    4. Reading a channel-by-channel histogram
      6m 21s
    5. How the Auto commands work
      5m 22s
    6. Auto Tone, Auto Contrast, and Auto Color
      7m 7s
    7. Blending the Auto results
      4m 4s
    8. Introducing the Levels command
      6m 15s
    9. Using Levels as an adjustment layer
      3m 12s
    10. Applying custom Levels adjustments
      6m 8s
    11. Understanding the gamma value
      7m 39s
    12. The futility of Output Levels
      2m 56s
    13. Selections and adjustment layers
      5m 48s
    14. Opening up the shadows
      3m 40s
    15. Previewing clipped pixels
      4m 51s
    16. The black, white, and gray eyedroppers
      5m 7s
    17. Gray card tips and tricks
      6m 5s
    18. Making channel-by-channel adjustments
      7m 29s
    19. Introducing the Curves command
      7m 44s
    20. Curves dialog box tricks
      7m 16s
    21. Curves adjustment layer tricks
      5m 45s
    22. Correcting an image with Curves
      5m 32s
    23. Filling in the highlights
      5m 42s
    24. Neutralizing casts and smoothing transitions
      5m 37s
  4. 1h 46m
    1. The art of enhancing edges
      1m 26s
    2. How sharpening works
      6m 2s
    3. The single-shot sharpeners
      6m 7s
    4. Introducing Unsharp Mask
      6m 19s
    5. Radius and Threshold
      6m 24s
    6. Sharpening colors vs. luminosity
      5m 56s
    7. Gauging the ideal settings
      8m 59s
    8. Unsharp Mask vs. Smart Sharpen
      7m 1s
    9. Using the Remove settings
      9m 30s
    10. The More Accurate checkbox
      6m 8s
    11. Saving your Smart Filter settings
      5m 31s
    12. The Advanced sharpening settings
      7m 52s
    13. Accounting for camera shake
      6m 18s
    14. Sharpening with the Emboss filter
      6m 43s
    15. Sharpening with High Pass
      9m 23s
    16. The new and improved Sharpen tool
      6m 22s
  5. 1h 34m
    1. Edge's evil twin: noise
      1m 12s
    2. Color vs. luminance noise
      7m 21s
    3. Reducing color noise
      7m 45s
    4. Reducing luminance noise
      4m 59s
    5. Relegating an effect to the shadows
      6m 27s
    6. Switching between layer and mask
      6m 59s
    7. The Dust & Scratches filter
      4m 56s
    8. Adjusting shadow saturation
      5m 52s
    9. Combining High Pass with Lens Blur
      6m 57s
    10. Masking a layer of Lens Blur
      7m 34s
    11. Painting away High Pass sharpening
      8m 22s
    12. Building up a noise pattern
      6m 40s
    13. Converting noise to texture
      4m 24s
    14. Bleeding colors into paper
      6m 16s
    15. Matching different noise levels
      8m 31s
  6. 1h 32m
    1. We are the stuff of light
      1m 24s
    2. Applying automatic lens correction
      5m 53s
    3. Introducing Shadows/Highlights
      3m 44s
    4. Shadows/Highlights in depth
      7m 59s
    5. Creating a "bounce" with Gaussian Blur
      4m 43s
    6. Sharpening on top of blur
      7m 3s
    7. Sharpening the merged composition
      6m 16s
    8. Grouping and masking layers
      5m 40s
    9. Adjusting the density of a mask
      7m 14s
    10. Creating a Shadows/Highlights shortcut
      5m 47s
    11. Restoring detail with Shadows/Highlights
      6m 23s
    12. Changing the Shadows/Highlights defaults
      6m 21s
    13. Smoothing skin details with Gaussian Blur
      3m 56s
    14. Smoothing with High Pass
      5m 44s
    15. Lowering contrast with Gaussian Blur
      7m 4s
    16. Inverting a sharpening effect
      7m 5s
  7. 2h 32m
    1. Color becomes monochrome
      1m 31s
    2. Converting an image to grayscale
      6m 49s
    3. Extracting luminance information
      7m 37s
    4. Introducing the Channel Mixer
      10m 23s
    5. Aggressive channel mixing
      9m 42s
    6. Proofing CMYK colors
      7m 49s
    7. Color settings and intent
      7m 6s
    8. Practical Channel Mixer variations
      4m 30s
    9. Saving variations as layer comps
      7m 57s
    10. The default grayscale recipe
      8m 55s
    11. Creating a custom black-and-white mix
      6m 59s
    12. Shadows/Highlights in black and white
      4m 58s
    13. Introducing the Black & White command
      5m 55s
    14. Adjusting Black & White settings
      9m 39s
    15. Mixing a Black & White portrait
      6m 32s
    16. Black & White vs. Channel Mixer
      9m 21s
    17. Adding tint and color
      8m 0s
    18. Introducing the Gradient Map
      7m 10s
    19. Loading custom gradients
      4m 32s
    20. Editing gradient color stops
      9m 58s
    21. Colorizing with blend modes and Opacity
      7m 13s
  8. 2h 10m
    1. Two great commands working great together
      1m 18s
    2. Introducing the Color Range command
      5m 13s
    3. Setting key colors and Fuzziness
      5m 38s
    4. Predefined vs. sampled colors
      3m 57s
    5. The Localized Color Clusters option
      5m 41s
    6. Defining a selection with care
      4m 44s
    7. Introducing the Quick Mask mode
      5m 20s
    8. Testing edges with the Magic Wand
      5m 14s
    9. Hand-brushing a selection
      5m 39s
    10. Saving and loading an alpha channel
      4m 35s
    11. Converting a selection to a layer mask
      2m 46s
    12. Switching between an image and a layer mask
      6m 58s
    13. Protecting elements with a layer mask
      8m 5s
    14. Duplicating and editing a layer mask
      7m 34s
    15. Introducing the Refine Edge command
      4m 46s
    16. Accessing the various Refine Edge options
      5m 35s
    17. Refine Edge's preview options
      6m 21s
    18. The Adjust Edge values
      4m 11s
    19. Edge Detection and Smart Radius
      6m 5s
    20. Using the Refine Radius tool
      8m 8s
    21. Using the Decontaminate Colors option
      7m 30s
    22. Old-school masking adjustments
      7m 7s
    23. Four micro mask adjustments
      8m 33s
  9. 3h 13m
    1. Photoshop's vector exceptions
      1m 11s
    2. Making text in Photoshop
      6m 18s
    3. Creating and editing a text layer
      6m 56s
    4. Font and type style
      7m 35s
    5. Type size and color
      7m 52s
    6. Combining layer effects and type
      10m 57s
    7. Drawing a custom shape layer
      8m 34s
    8. Side bearing, kerning, and tracking
      10m 36s
    9. Point text vs. area text
      8m 26s
    10. Selecting and formatting a paragraph
      5m 19s
    11. Copying and pasting unformatted text
      7m 45s
    12. Creating text inside a custom path
      6m 26s
    13. Creating text along a path
      8m 13s
    14. Adjusting baseline shift
      6m 16s
    15. Drawing a fading arrowhead
      7m 29s
    16. Fading a shadow with a layer
      5m 32s
    17. Logo creation and Fill Opacity
      7m 44s
    18. Stretching a background element
      6m 9s
    19. Drawing with shape outlines
      6m 18s
    20. Combining vector-based shapes
      6m 42s
    21. Masking vector-based shape layers
      6m 7s
    22. Correcting spacing problems
      7m 44s
    23. Drawing the ultimate specular sparkle
      8m 45s
    24. Preparing text for commercial output
      5m 9s
    25. Saving a high-resolution PDF file
      7m 11s
    26. Inspecting the final PDF document
      7m 8s
    27. Saving large poster art
      9m 32s
  10. 2h 36m
    1. What filters ought to be
      1m 25s
    2. Layer effects vs. filters
      6m 14s
    3. Carving with an Inner Shadow effect
      7m 45s
    4. Selling an effect with Drop Shadow
      7m 17s
    5. Creating blurry shadow type
      5m 30s
    6. Saving custom default settings
      6m 22s
    7. Creating a custom contour
      7m 3s
    8. Introducing Bevel and Emboss
      7m 35s
    9. Adjusting Angle and Altitude
      7m 8s
    10. Exploiting global light
      8m 11s
    11. Gloss and edge contour
      5m 8s
    12. Applying and creating layer styles
      6m 45s
    13. Loading, saving, and merging styles
      6m 17s
    14. Creating a textured bevel effect
      6m 56s
    15. Using shadows as highlights
      7m 39s
    16. Combining filters and effects
      6m 58s
    17. Working with random effects
      6m 55s
    18. Smoothing with Gaussian Blur and Levels
      6m 13s
    19. Masking blacks from whites
      4m 37s
    20. Applying liquid styles
      4m 36s
    21. Simulating liquid reflections
      8m 12s
    22. Finessing and cropping a liquid effect
      7m 25s
    23. Initiating a displacement map
      6m 17s
    24. Applying a displacement map
      7m 37s
  11. 1h 12m
    1. Two words: Free Transform
      34s
    2. Scale, rotate, and constrain
      6m 30s
    3. Using the transformation origin
      7m 42s
    4. Applying a slant (aka skew)
      3m 37s
    5. The four-point "perspective" distortion
      7m 51s
    6. Two ways to make gradient text
      5m 59s
    7. Building complexity from a simple shape
      4m 42s
    8. Duplicating a series of transformations
      6m 3s
    9. Rasterizing a layer with its effects
      6m 41s
    10. Applying a custom warp
      7m 24s
    11. Blending and softening a warped layer
      4m 39s
    12. Creating spherical highlights
      6m 30s
    13. Using a center-source inner glow
      3m 51s
  12. 2h 42m
    1. Distorting reality
      1m 33s
    2. Extracting a foreground element
      6m 45s
    3. Introducing the Puppet Warp command
      7m 20s
    4. Setting and manipulating pins
      7m 48s
    5. Rotating pins and switching warp modes
      6m 41s
    6. Expanding and contracting the mesh
      6m 11s
    7. Changing the Density setting
      8m 0s
    8. Adjusting the pin depth
      5m 18s
    9. Winding an image into a pretzel
      6m 2s
    10. Applying Puppet Warp to type
      6m 30s
    11. Warping single characters
      6m 25s
    12. Editing puppet-warped text
      8m 24s
    13. Extending an image with Free Transform
      8m 46s
    14. Extracting from a white background
      10m 5s
    15. Tracing a shape with Puppet Warp
      9m 1s
    16. Introducing the Liquify command
      5m 4s
    17. Warp, Twirl, Pucker, and Bloat
      8m 53s
    18. Saving and loading a mesh
      5m 59s
    19. Push, Mirror, and Turbulence
      11m 49s
    20. Lifting and slimming details
      8m 22s
    21. Warping fabric, arms, and legs
      7m 1s
    22. Masking and finessing the results
      10m 8s
  13. 3h 3m
    1. Welcome to the digital darkroom
      1m 44s
    2. Introducing Camera Raw
      7m 40s
    3. Adjusting white balance
      7m 0s
    4. Selecting and synchronizing images
      6m 9s
    5. Making automatic adjustments and saving changes
      7m 19s
    6. Creating and managing snapshots
      8m 23s
    7. Adjusting the Exposure value
      6m 24s
    8. Working with clipping warnings
      5m 5s
    9. Adjusting Brightness and Contrast
      7m 35s
    10. Vibrance, Saturation, and Clarity
      9m 25s
    11. Recovery and Fill Light
      6m 57s
    12. Using the Graduated Filter tool
      7m 2s
    13. Painting edits with the Adjustment Brush
      9m 44s
    14. Straighten, crop, and geometric distortions
      7m 49s
    15. Applying manual lens corrections
      7m 19s
    16. Vignette and chromatic aberrations
      6m 21s
    17. Introducing the Tone Curves
      6m 9s
    18. Parametric curves and targeted adjustments
      6m 26s
    19. Correcting a low-noise photograph
      7m 35s
    20. Sharpening and high-noise photos
      8m 25s
    21. Selective Hue/Saturation adjustments
      5m 34s
    22. Selective Luminance adjustments
      5m 39s
    23. Adding grain and vignetting effects
      5m 23s
    24. Mixing a subjective black-and-white image
      7m 53s
    25. Colorizing with the Split Toning options
      4m 29s
    26. Opening a raw image as a Smart Object
      5m 39s
    27. Camera Raw wrap-up
      8m 38s
  14. 55s
    1. Until next time
      55s

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