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In this Photoshop for Designers course, Nigel French focuses on the tools and features in Photoshop designed for choosing, applying, and editing color. The course looks at concepts such as the color wheel and color harmonies as well as the practicalities of using the Color Picker, leveraging the power of color channels, and the characteristics of different color modes in Photoshop. The course includes exercises on correcting color, enhancing color, shifting and replacing colors, working with spot color channels, hand coloring black and white images, and designing with a reduced color palette.
Photoshop's Color Balance tool isn't that great when you need to color correct with numerical accuracy, but it's very useful when you just need to give a color moved to your pace. Here we see a composition that we've seen earlier in this title. On the left-hand side, I have a warm color palette and on the right-hand side a cold color palette. If we go and take a look at the Layers panel, we can see how this is constructed and I'm applying color balance, in fact, I'm applying three color balance adjustments. Let's take a look at the color balance adjustment that is applied to the Model layer.
So when I double-click on that, it brings up the Adjustments panel and we see the position of the sliders where I left them, we can shift the colors in the Shadows, the Midtones, and the Highlights. Generally, the midtones will affect the greatest change, so that's where I'm going to start and we can see that I've moved towards the yellow so consequently away from blue and slightly towards red. In the Shadows again towards yellow, and slightly towards red, and much the same story in the Highlights. If I now go over to the cooler color palette and click on the equivalent Color Balance Adjustment, we can see that I'm moving roughly the equivalent distance towards the blue as I had previously moved towards the yellow.
So while Color Balance isn't among my favorite color adjustment tools, it's very easy to use and its interface is very intuitive and we see how colors and their complements relate to each other. So if you move towards red, you are, by implication, moving away from cyan and vice versa. Move towards blue, you're moving away from yellow and vice versa.
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