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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.
In these next few movies, we'll be seeing the same image in different color modes. Here, we have the RGB version. I am just going to talk about the characteristics of this image as an RGB image. RGB is the color space in which all our images begin. It's the color space of our monitors; it's the color space of our digital cameras and of our scanners. It's also the color space of the web. If you're creating an image for the web, it's going to be an RGB image. If you're creating an image for print, it is at some point going to need to end up as a CMYK image.
At what point is open to debate, and I will talk about that when we look at the CMYK version. But, for now, the RGB version, it has three color channels; Red, Green, Blue and we have the Composite which shows all three superimposed on each other. Each of these three color channels is made up of brightness levels on a scale of 0 to 255, with 0 being black, 255 being white. If I come and choose my Color Sampler tool which lives beneath my Eyedropper tool, and then take a sample of a very dark area, we can see that on the Info panel, I have low value numbers.
If I now take a sample of a very bright area, we can see that I have very high value numbers. So the more light we add, the higher the number, the brighter things get. In practical terms, in terms of editing an RGB image, using a curves adjustment, this means that if we move the curve up, we are adding more lights, and things are getting brighter, we move the curve down, we're removing light, things are getting darker.
The opposite is true as we'll see when we work with a CMYK image in the next movie.
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