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Photoshop CS4 for Photographers is an essential course for any digital photographer who wants to master the software's vast array of image enhancement techniques. Professional photographer and instructor Chris Orwig uses his own compelling images to demonstrate how the power of Photoshop can make photographers more passionate about their work. He covers many aspects of the application, such as working with RAW images, using curves and levels, making images snap, and enhancing bland photographs by converting them to black and white. Exercise files accompany this course.
Hey! It's great to have you back. Great to have you here in this chapter as we start to talk about color correction. In particular, we're going to begin to talk about how we can color correct our images a number of different ways using Eyedroppers inside of Photoshop, and also using Eyedroppers inside of Camera Raw, as well as we'll take a look at how we can use the Auto Color Correct feature inside of Camera Raw. All right, we're going to start up by working on this file here home.tif. What we're going to do is open this one up in Photoshop. So let's double-click this file and then press F to go to Full Screen View mode. Double-click the Zoom tool to take this to 100% and then press the Spacebar to reposition the image.
Here we have the snapshot of my living room. Welcome! I only wish we had a fire in the fireplace there for you. I like this image, it's kind of interesting except there is a problem. There is a blue-shift. Well, how do I know there is a blue-shift? Well, you can grab your Eyedropper tool by pressing on the I key, and then press-and-hold Shift and then click on an area. That will then open up your Info palette. Now, it's showing me my RGB values in my Info palette. Here I can see that I have a low red amount, low green amount and then really high blue amount, all right. There is that blue-shift. Let's go ahead and close that Info palette. I'm going to also dock this one over here to push it out of the way.
All right, well, how then can I color correct this? Well, I may want to try Image > Auto Color. When I do that I say, okay, the image looks a little bit better, here's our before and after. It's not quite perfect, right, it's definitely better, the tone is a little bit more neutral. Auto Color Correct had a little bit of a problem. Let's take a look at our Info palette. Well, here you can see our blue value is still really high. I can hover over this little point I selected, hold down the Shift key and click to move it. And open up the Info palette because I know this mat should be white.
Okay, I'm seeing a very similar color problem. Well, how else then could I correct this? Well, I could use my Eyedropper tools in Photoshop or I could use my Eyedropper tool in Camera Raw. Let's go ahead and close this file, Command+W on a Mac, Ctrl+W on a PC. Press D for Don't Save. Go back to the Bridge, now here, let's press Command+R on a Mac/Ctrl+R on a PC. That gives us the ability. Open up this TIFF file in Adobe Camera Raw. Now in Adobe Camera Raw I can also set points. So I'll go ahead and grab my Eyedropper tool, and I'll click on the fireplace. It will then show me the RGB values for that particular point.
Next, I'll grab my Eyedropper, and I'm going to sample this area. Now this area is going to get a little bit too bright for me. But let's go ahead and click on this area and see what happens. Now when I do that these values are now much closer together. Now are they perfect? Well, no, not in anyway shape or form they are much better. Let's grab this tool here and click on a point on the middle of the fireplace and also here. One of the things again we're seeing is that we're going in a good direction, we're not quite there. What happens if we increase our yellow amount. As I increase my yellow amount one of the things that we can discover is that, yeah, these values are getting much closer together. I also have a little bit of a red magenta prom, so I'm going to go ahead and increase that. And again, I'm just looking to try to bring those numbers together.
Now this may sound like a little bit of a foreign concept to you in order to get those RGB values pretty equal. But as you can see here we've gotten pretty close, let's take a look at our Before and After. Before, wow, blue-shift, After, okay, much better. This area is a little bit too bright for me. All I need to do is grab by Recovery slider, bring down some of those tones, and just keep an eye on my numbers. You'll notice that the numbers dropped a bit, they are still pretty close together which I'm excited about. Looks like I need to add just a little bit more warmth here in order to get these pretty close there and I'm looking at my three values, trying to get all of those relatively in the same spot.
Now, of course, I would probably want to add some Contrast, a little bit more Recovery, I think it might exposures are a little bit too strong in this photo. And I'll need to modify my other sliders. As I'm making those further modifications, you can see that for the most part my RGB values are pretty close. Now, do those RGB values need to be exactly perfect all the time? Well, no, because we have reflected light, right. We have this warm light coming off of here. We have some shadows, we have some bouncing light, we have some light bouncing off of the cello, off of the carpet. We have all of these different values.
What I'm trying to do is to begin to get you to see how you can start to Color Correct your files. Now, are they always going to be this complicated? Well, not necessarily. It's kind of nice to start here, so that we can start with a bit of a problem image. Auto Color didn't work for us. When we came to Camera Raw, it didn't initially work for us, but then we tweaked that and now we have pretty decent color and we'll look at our Before and After one more time. That looks pretty good, and the nice thing about color correcting with Camera Raw is it's non-destructive. We can always undo this later. All right, well let's talk a little bit more about color correction and we'll do that in the next movie.
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