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In Photoshop CS5 for Photographers: Camera Raw 6, Chris Orwig provides in-depth training on Camera Raw 6, the CS5 component that enables photographers to open and manipulate images in non-destructive and now even more efficient ways. This course covers the benefits of the raw processing, which makes it possible to more precisely control an image's appearance—exposure, shadow and highlight detail, color balance, sharpness, and more—including new workflow procedures and technical concepts and issues. Learn the entire Camera Raw workflow, from opening and resizing, toning and cropping, to sharpening and saving. Exercise files are included with the course.
You can think of this chapter as a bit of a bonus chapter. And here, all we are going to do is just have some fun with color and take a look at how we can use Adobe Camera Raw in some non-traditional ways, in order to come up with some interesting and creative color combinations. We are in this first image, what I want to do is create perhaps a couple of different kind of surreal, kind of interesting color effects. Well, because this image only really has a couple of colors in it, what I can do is push things pretty far. Let's say I want to warm this image up, and I also want to change the overall tint.
Well, already the image is looking kind of interesting. I could next then the Contrast and the Blacks and also add a little bit of Fill Light there, and then desaturate a touch as well, in order to come up with this interesting kind of muted look. Now from here we could go into some of our other panels to have even more precise control. For example, let's say that we want to go over here to our HSL/Grayscale panel. We can go under Luminance. What I can do is I can control the density of the sign. I can bright that up or darken it.
I could find just the right spot for that particular area of the photograph. In Saturation, well, I can control the color of that sign. And again, it depends on the effect that I am going for. But you can see here you can come up with some pretty interesting combinations without a lot of effort. Next, I will go over to my Split Toning panel, and here I am just going to add a different little color shift in the image, and it gives me quite a different way to process this image. I am just going to try to find a nice spot for this here. And I will lower the saturation until I find a good way to bring in these colors.
And then again, I have yet another way to process the image. Now of course, if ever at any point we want to take this back, we can scale back these tones. But you can see here by kind of layering these different color adjustments together, we can come up with some really fascinating results. Now whenever working with colors, it's always a nice idea to go back to working with Tone. One of the ways I like working with tone is inside of the Tone Curve panel, and in particular in the Point Curve. Because I know in Photoshop that what I can do is lower density by clicking and dragging down, or I can increase contrast by clicking and dragging this slider up.
I have just precise control over the different areas of the photograph, and I can bring brightness into the image in some pretty interesting ways. Well, the next thing I want to do here is go back to my Basic panel, and then I am going to lower the Saturation just to create a much more muted and kind of vintage type of a look here. And I think that one looks pretty good. Now, one of the things that is fun to do is to go through the different adjustments that you have made, to press the P key to toggle your preview on and off. For example, what did we do here inside of Basic. Here is our before and then our after, when we consider how this particular set of adjustments interacts with the other adjustments.
We will go over here to our Tone Curve. Here is our before and then after. We will make our way to HSL/Grayscale, press the P key, before and after, pretty subtle, but nice way to brighten up the colors there in the Saturation. And then next, we will click Split Toning. Press the P key. Here is our Before and then after, and again, a subtle adjustment but yet, nonetheless a significant adjustment. And what we are doing here is we are working a little bit like how we work in Photoshop. In other words, we have a layer. We apply adjustments to the layer. And then we have a new layer, then a new layer.
And as we go through it, it's a combination of all of these different layers together, which many times leads to interesting results.
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