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Neutralizing a color cast

From: Photoshop CS4 One-on-One: Advanced

Video: Neutralizing a color cast

In this exercise, we're going go ahead and correct for the color cast of the image, which in my opinion is too pink. We're going to do that by applying some Curve modifications on a Channel by Channel basis. Now, we're not going to go as nuts as we went with the Composite Curve here, because that ends up just getting thoroughly confusing in my opinion; at least I get confused by it. So we're going to apply a fairly simple curve modification, as you'll see. Anyway, if you're working along with me, I still have open-- this is not a catch-up document. It's just the original High-contrast elephant.jpg image.

Neutralizing a color cast

In this exercise, we're going go ahead and correct for the color cast of the image, which in my opinion is too pink. We're going to do that by applying some Curve modifications on a Channel by Channel basis. Now, we're not going to go as nuts as we went with the Composite Curve here, because that ends up just getting thoroughly confusing in my opinion; at least I get confused by it. So we're going to apply a fairly simple curve modification, as you'll see. Anyway, if you're working along with me, I still have open-- this is not a catch-up document. It's just the original High-contrast elephant.jpg image.

What you would do, if you just want to catch up right now, because I want to show you this other thing, I want to show you how to work with presets, and what you would do is you go ahead create a new Curves adjustment layer; you know how to do that. You just go here to the Adjustments palette, and you go ahead and click on this guy right there to add a new Curves adjustment layer. Why don't I do it with you, so that we're doing it together, what the heck? So I'll go ahead and throw that one away. Here is my original elephant. I'll go here, add Curves. Actually, you know want I'm going do, I'm going to Alt+Click or Option+Click on that icon right there, and I'll call it elephant correction or something like that, and then click OK.

Then notice I have got my flat curve once again. I don't want to sit there and add all those points; we had like eight points in that curve just a moment ago, I'm going to go up to the palette menu and I'm going to choose Load Curves Preset; I invite you to do the same. Then you would burrow your way into the 13_levels_Curves folder, that's inside of your exercise files folder, presumably on your desktop or some place, and then get this guy, Reduce contrast.acv. This will be your points that will load into the graph as soon as you click on the Load button. There they are, just like that.

Notice this Reduce contrast item now appears as a preset up here at the top of the Adjustments palette, and you can see that you've got all these other presets you can choose from. Photoshop CS4 shifts with a ton of color correction presets you should know, for all kinds of different commands. Some of them are fairly useful. I'm not sure that you're going to be applying any of them on a regular basis. What's more useful in my opinion is just to know that you have them there and that you can use them for your own purposes. You can create your own presets that you can use over and over again, like Reduce contrast right there. You can switch between, you could say, hey, there is Increase Contrast, wow, does that not work for this elephant? There is Color Negative, ha, ha, ha, not really what we're looking for, but, hey, it looks about as good as the original did.

Then we can come back to Reduce contrast and go oh, that's better. So how do we compensate for the color cast? Well, I'll tell you, here is what we're going to do. I want you to switch to the Red Channel; and I'm going to do it from the keyboard, because I'm really struggling by the way to come to terms with these new keyboard shortcuts in Photoshop CS4 for switching between channels, it's just, I got to get this down. I'm really having problems. I'm so used to the old 1, 2, 3 for Red, Green, Blue and now it's 3, 4, 5, which doesn't make any darn sense. But anyway, it's Alt+3 for Red; that's Option+3 on the Mac, there it is.

I'm going to click right there in the center to set a point at 128, 128, and then I'm going to press Shift+Down Arrow three times to reduce that Output Level to 98. So we're mapping what was formerly 128 to 98. That means we're really taking the red out of this elephant and there goes the pink. So that's taking the pink out of the elephant. That's good. Now, we want to maybe add a little bit of color to the grass. I'm going to add a little bit of blue and a little bit of green. So let's go ahead and press Alt+4 or Option+4 on the Mac to get green. By all means, if any of you come up with a way of remembering these darn things that I can convey to other people, that would awesome. I haven't come up with anything, but I haven't really tried, I have to say.

Anyway, click in the middle. I did it, you did it too, if you want to. Press Shift+Up Arrow to raise the Output Level to 138. So we're going from 128 to 138. Then Alt+5 or Option+5 on the Mac to go the Blue Channel. Click in the center again. Gosh, I'm good at clicking in the center, and then press Shift+Up Arrow twice to change the Output Level to 148, and we have ourselves a beautiful pachyderm here, to give you a sense of the difference. Actually, the first thing I'm going to do is I'm going to press Alt+2 or Option+2 on the Mac to return to the RGB composite, and I just want you to see, isn't that awesome seeing all of those Curves on top of each other there? So you should see the black composite curve, which is pretty complicated, and then this simpler red, green, and blue Curves. Then that gray thing in the middle is just showing you the mean, the original diagonal line. You can just see where everything ultimately came from.

Incidentally, if you don't like seeing that great diagonal line in the middle there or you don't like seeing anything; you actually have a lot of control over what you see inside of this palette, you can go up to the Adjustments palette menu right there, and you can choose this command, Curve Display Options. Then you can, for example, turn off Baseline, that will turn off that gray line right in the middle. Did you see it go away? You can change the number of intersecting grid lines there by clicking on that little guy, if you want to, or you can click on this to set it back to the way it was. You can turn off the Histogram, if you like. I wouldn't do that. I'd keep the Histogram on. Channel Overlays is something you can turn off too. See all the stuff. Intersection Line by the way, I'll go ahead and show you what that is.

I'll click OK. Intersection Line is this line that you get when you're moving a point around, like that. See those lines, the vertical and horizontal lines that are going off to the sides there. All right. Let's undo that modification though. I don't want that. One other thing; this is completely out of context, but you can change the number of grid lines just by Alt- Clicking inside the graph, that's an Option+Click in the Mac. Isn't that weird? So you can just do that one on the fly if you want to. That is old school Photoshop I have to tell you. Anyway, I want to show you one more thing. Let's go ahead and load the preset from disk that goes ahead and creates the color cast compensation. It's the exact same correction that I have already applied here, but I want to show you the different between the two.

So let's go up to the palette menu, choose Load Curves Preset. I'm going to grab this guy right here, Pachyderm protection, and click Load, and this is this Channel by Channel modification that I have applied. Just so you can see the difference between them. This is without the Channel by Channel modification. See how pink she is. Now, you can see, yeah, she is pretty darn pink. She is pretty in pink, but she is pretty darn pink. She shouldn't be that pink, and she should be like this instead. That looks more elephantine to me. Just so you can see how far we've come with this image in general, this is the before version of the image, which has a startling level of contrast, and sort of has a certain effects quality to it that you might actually like for some sort of image, but this color compensation that I have applied there, this adjustment layer, if I turn it back on, that's a more naturalistic elephant, I think. A better effect all the way around, thanks to the power of Curves here in Photoshop.

Show transcript

This video is part of

Image for Photoshop CS4 One-on-One: Advanced
Photoshop CS4 One-on-One: Advanced

218 video lessons · 23838 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 22m 32s
    1. Welcome to Photoshop CS4 One-on-One Advanced
      1m 43s
    2. Installing the DekeKeys keyboard shortcuts
      6m 17s
    3. Resetting the function keys on a Mac
      3m 51s
    4. Installing the CS4 color settings
      4m 37s
    5. Setting up the CS4 color settings
      6m 4s
  2. 2h 43m
    1. Highlights, shadows, and midtones
      49s
    2. Low contrast, bad meter
      5m 57s
    3. Auto tone, contrast, and color
      8m 1s
    4. Cache levels and the Histogram palette
      7m 16s
    5. How the auto commands work
      10m 15s
    6. A first look at Levels
      6m 11s
    7. Target colors and clipping
      9m 6s
    8. Modifying input levels
      9m 44s
    9. Adjusting the gamma value
      7m 34s
    10. Previewing clipping
      7m 17s
    11. The futility of output levels
      4m 56s
    12. Channel-by-channel edits
      11m 54s
    13. When levels fail
      4m 34s
    14. A first look at Curves
      8m 46s
    15. Static Curves layer tricks
      7m 45s
    16. Dynamic Curves layer tricks
      7m 25s
    17. Correcting the composite image
      8m 30s
    18. Neutralizing a color cast
      6m 52s
    19. The Target Adjustment tool in Curves
      8m 29s
    20. Correcting an image in Lab
      10m 7s
    21. The Shadows/Highlights filter
      4m 18s
    22. Radius and tonal width
      8m 11s
  3. 1h 48m
    1. Edge-enhancement tricks
      1m 13s
    2. How sharpening works
      3m 48s
    3. The single-shot sharpeners
      4m 29s
    4. The Unsharp Mask filter
      7m 57s
    5. Understanding the Radius value
      6m 25s
    6. Gauging the best settings
      7m 47s
    7. Previewing how sharpening will print
      3m 37s
    8. Measuring and setting screen resolution
      6m 56s
    9. Tweaking the screen resolution
      4m 28s
    10. Sharpening the luminance data
      8m 23s
    11. USM vs. Smart Sharpen
      4m 23s
    12. Smart Sharpen's Remove settings
      5m 50s
    13. High-resolution sharpening
      6m 16s
    14. When to leave More Accurate off
      3m 48s
    15. When to turn More Accurate on
      4m 23s
    16. The advanced options
      7m 57s
    17. Saving Smart Sharpen settings
      4m 23s
    18. Accounting for camera shake
      7m 7s
    19. Sharpening with the High Pass filter
      9m 8s
  4. 2h 16m
    1. Why would you blur?
      1m 8s
    2. Fading after an undo
      3m 27s
    3. The "bell-shaped" Gaussian Blur
      5m 43s
    4. The linear Box Blur
      3m 6s
    5. Add Noise vs. Median
      4m 50s
    6. Despeckle vs. Dust & Scratches
      6m 31s
    7. Smart Blur vs. Surface Blur
      8m 13s
    8. The Motion Blur filter
      4m 33s
    9. Radial Blur's Spin and Zoom variations
      5m 48s
    10. Mixing filtered effects
      3m 56s
    11. The "Captain Kirk in Love" effect
      5m 4s
    12. Diffusing focus with Blur and Overlay
      8m 50s
    13. Simulating Vaseline and film grain
      8m 2s
    14. Filling a layer with a neutral color
      2m 55s
    15. Old-school contrast reduction
      3m 39s
    16. Three steps to diffused focus
      7m 36s
    17. Averaging skin tones
      9m 45s
    18. Addressing the stubborn patches
      5m 26s
    19. Combining Gaussian Blur and Average
      6m 1s
    20. Blurring surface details
      3m 2s
    21. Smoothing blemishes while matching noise
      8m 6s
    22. Reducing digital noise
      8m 47s
    23. Striking a smooth/sharpen compromise
      4m 36s
    24. Smoothing over JPEG artifacts
      7m 38s
  5. 2h 31m
    1. Independent layers of color adjustment
      1m 7s
    2. Undersea color channels
      4m 2s
    3. Inventing a Red channel with Lab
      8m 20s
    4. Mixing color channels
      6m 55s
    5. Making shadows with Levels
      7m 5s
    6. Applying small color adjustments
      6m 0s
    7. Further modifying Levels in Lab
      8m 50s
    8. Creating a dynamic fill layer
      4m 38s
    9. Brushing and blending color
      4m 42s
    10. Working with "found masks"
      7m 31s
    11. Saturation, sharpen, and crop
      8m 9s
    12. Mixing a monochromatic image
      7m 2s
    13. Masking an adjustment layer
      4m 45s
    14. Working with Opacity and blend modes
      3m 39s
    15. Adding a black-and-white adjustment
      5m 53s
    16. The Target Adjustment tool in black and white
      6m 12s
    17. Tinting a monochrome photo
      3m 19s
    18. Introducing Gradient Map
      4m 17s
    19. Adjusting both color and luminance
      5m 44s
    20. Infusing elements with different colors
      6m 22s
    21. Adjustment layers as creative tools
      4m 33s
    22. Inverting and brightening the background
      5m 14s
    23. Blurring live, editable type
      5m 43s
    24. Hue, saturation, and darkness
      6m 51s
    25. Filling type with a color adjustment
      3m 24s
    26. Using one adjustment to modify another
      3m 21s
    27. Breathing color into the title
      3m 38s
    28. The Hue/Saturation humanoid
      3m 44s
  6. 1h 48m
    1. Parametric operations
      1m 23s
    2. The power of blend modes
      6m 16s
    3. Changing the Opacity value
      5m 46s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      6m 4s
    6. Blend mode shortcuts
      7m 8s
    7. Darken, Multiply, and the Burn modes
      6m 33s
    8. Tempering a Burn effect with Fill
      4m 43s
    9. Saving a blended state
      4m 18s
    10. Lighten, Screen, and the Dodge modes
      8m 22s
    11. Linear Burn = Add minus white
      5m 31s
    12. Overlay and the contrast modes
      6m 52s
    13. Fill Opacity takes priority
      6m 19s
    14. Difference and exclusion
      5m 21s
    15. Using difference for golden highlights
      4m 2s
    16. The composite (HSL) modes
      6m 8s
    17. The brush-only modes: Behind and Clear
      10m 31s
    18. Layer groups and the Pass Through mode
      8m 54s
  7. 1h 53m
    1. It's all about the presentation
      58s
    2. Moving a layer a specific number of pixels
      6m 59s
    3. Adding a pixel mask to a layer
      5m 48s
    4. Editing a layer mask
      7m 19s
    5. Combining layers into a clipping mask
      6m 19s
    6. Introducing the Advanced Blending options
      4m 45s
    7. Using the luminance blending sliders
      7m 26s
    8. Forcing through underlying luminance
      4m 32s
    9. Masking with a path outline
      5m 45s
    10. Refining a mask from the Masks palette
      7m 18s
    11. Creating and modifying a layer group
      3m 29s
    12. Establishing a knockout group
      5m 29s
    13. Fixing last-minute problems
      6m 23s
    14. Introducing layer comps
      6m 40s
    15. Exploring layered states
      6m 43s
    16. Deleting layers and updating comps
      6m 18s
    17. Saving a basic composition
      6m 21s
    18. Assigning and saving appearance attributes
      7m 15s
    19. Layer comps dos and don'ts
      7m 27s
  8. 1h 56m
    1. Type: The great imaging exception
      56s
    2. Establishing default formatting attributes
      4m 5s
    3. Saving formatting attributes as a preset
      8m 5s
    4. Making a point text layer
      6m 18s
    5. Editing size and leading
      6m 44s
    6. Working with vector-based text
      6m 12s
    7. Formatting area text
      4m 16s
    8. Creating a layer of area text
      3m 20s
    9. Resizing the text frame
      4m 34s
    10. Changing the anti-aliasing setting
      3m 58s
    11. Obscure but important formatting options
      6m 31s
    12. Text editing tricks and shortcuts
      8m 44s
    13. Creating a cast shadow
      6m 1s
    14. Blurred shadows and beveled text
      7m 16s
    15. Drawing a path outline
      4m 51s
    16. Creating type on a path
      6m 39s
    17. Flipping text across a circle
      3m 18s
    18. Vertical alignment with baseline shift
      4m 16s
    19. Warping text
      4m 57s
    20. Scaling your text to taste
      3m 33s
    21. Applying a custom warp
      6m 24s
    22. Creating an engraved text effect
      5m 11s
  9. 2h 17m
    1. Bending an image to fit your needs
      53s
    2. Creating a canvas texture
      6m 48s
    3. Masking objects against a white background
      5m 42s
    4. Scaling an image to fit a composition
      8m 9s
    5. Aligning one layer to fit another
      3m 51s
    6. Changing the Image Interpolation
      8m 10s
    7. Merging faces
      5m 32s
    8. Rotating the first clock hand
      7m 17s
    9. Adding hands and pasting styles
      6m 40s
    10. Series duplication in Photoshop
      4m 35s
    11. Masking objects against a black background
      6m 34s
    12. Skews and perspective distortions
      7m 57s
    13. Envelope-style warps
      9m 2s
    14. Old-school distortion filters
      8m 50s
    15. Introducing the Liquify filter
      4m 9s
    16. Reconstructing an image
      6m 55s
    17. Using the Warp tool
      5m 16s
    18. The Pucker and Bloat tools
      5m 53s
    19. Push, Turbulence, and Twirl
      6m 41s
    20. The Freeze and Thaw mask tools
      5m 45s
    21. Saving and loading a mesh file
      3m 59s
    22. Creating and applying a texture layer
      8m 30s
  10. 1h 28m
    1. Effects vs. styles
      1m 11s
    2. Of layer styles and masks
      4m 37s
    3. Everything about drop shadow
      8m 2s
    4. Adding a directional glow
      4m 39s
    5. Colorizing with Color Overlay
      5m 18s
    6. Stroke and fill opacity
      5m 48s
    7. Creating a multicolor Outer Glow
      9m 22s
    8. Introducing Bevel and Emboss
      7m 48s
    9. Contour and Texture
      4m 35s
    10. Simulating liquid reflections
      6m 28s
    11. Saving layer styles
      6m 18s
    12. Applying and appending styles
      4m 36s
    13. Saving and swapping style presets
      3m 16s
    14. The five effect helpers
      3m 47s
    15. Blending the effect before the layer
      5m 1s
    16. Colorizing a signature
      3m 30s
    17. Clipping an effect with a mask
      4m 5s
  11. 1h 50m
    1. Welcome to the digital darkroom
      1m 46s
    2. Opening Camera Raw in the Bridge
      5m 44s
    3. The Camera Raw 5 interface
      4m 39s
    4. Adjusting the white balance
      5m 0s
    5. Finessing and saving changes
      7m 55s
    6. Using the White Balance tool
      2m 43s
    7. Working with the Exposure controls
      7m 34s
    8. Straightening and cropping a raw image
      5m 53s
    9. Applying automatic exposure adjustments
      6m 6s
    10. Exposure warnings
      5m 44s
    11. Clarity, Vibrance, and Saturation
      4m 47s
    12. Using the Graduated Filter tool
      3m 33s
    13. Dodging with the Adjustment brush
      9m 24s
    14. Tone Curve adjustments
      6m 54s
    15. Using the Spot Removal tool
      2m 48s
    16. Removing noise and sharpening detail
      4m 5s
    17. Adjusting HSL values
      4m 18s
    18. Adjusting luminance, color by color
      4m 14s
    19. Black and white and split toning
      5m 16s
    20. Camera Raw tips and tricks
      7m 32s
    21. Correcting JPEG and TIFF images
      4m 42s
  12. 57s
    1. Until next time
      57s

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