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Photoshop CS5 One-on-One: Fundamentals
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Using Color Balance


From:

Photoshop CS5 One-on-One: Fundamentals

with Deke McClelland

Video: Using Color Balance

In this exercise, I'm going to show you how to neutralize a colorcast using the Color Balance Command, which offers the advantage of being available as an Adjustment layer. In the next exercise, I'll show you what I consider to be a more satisfactory command variation. However, you have to apply it as a static adjustment. I've gone ahead and opened this image called Tough boys.jpg. It is of course my two boys as captured in the cabin of a cruise ship. And the image photographed under incandescent light is too warm. What I need to do is cool it down.
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  1. 39m 52s
    1. Welcome to Photoshop CS5 One-on-One
      1m 49s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the DekeKeys keyboard shortcuts
      8m 10s
    4. Remapping Mac OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 8s
  2. 53m 36s
    1. There is nothing you can't do
      2m 1s
    2. The power of Photoshop
      4m 43s
    3. Duplicating a layer
      4m 49s
    4. Liquifying an image
      4m 43s
    5. Adding a layer mask
      5m 54s
    6. Loading an alpha channel
      7m 42s
    7. Selecting with Color Range
      4m 10s
    8. Making a Hue/Saturation layer
      2m 53s
    9. Luminance blending
      7m 21s
    10. Mask density
      5m 9s
    11. Making a knockout layer
      4m 11s
  3. 51m 23s
    1. The best way to work
      41s
    2. Setting General preferences
      5m 33s
    3. Changing the pasteboard color
      5m 41s
    4. File handling, performance, and units
      7m 25s
    5. Touring the Photoshop interface
      11m 5s
    6. Creating and saving a workspace
      7m 21s
    7. Changing settings and updating the workspace
      6m 4s
    8. Resetting the preferences
      7m 33s
  4. 2h 46m
    1. The amazing Adobe Bridge
      1m 17s
    2. Making a new image
      5m 11s
    3. Opening an image
      7m 7s
    4. Opening and closing multiple images
      5m 24s
    5. Opening a problem image
      4m 23s
    6. Adding file information
      8m 37s
    7. Introducing Adobe Bridge
      7m 37s
    8. A whirlwind tour of Bridge
      7m 21s
    9. Adjusting the interface and thumbnails
      8m 18s
    10. Using the full-screen preview
      8m 5s
    11. Rotating images on their sides
      5m 38s
    12. Assigning star ratings and labels
      8m 40s
    13. Filtering thumbnails in the Contents panel
      9m 13s
    14. Moving, copying, and deleting files
      6m 34s
    15. Creating and assigning keywords
      6m 38s
    16. Searches and collections
      7m 3s
    17. Batch-exporting JPEG files
      8m 57s
    18. Batch-renaming
      7m 15s
    19. String substitution and regular expressions
      8m 50s
    20. Grouping images into stacks
      7m 21s
    21. Comparing images in Review mode
      5m 58s
    22. Playing images in a slideshow
      4m 49s
    23. Customizing and saving the workspace
      7m 17s
    24. Using Mini Bridge in Photoshop CS5
      8m 36s
  5. 1h 1m
    1. Learning to swim inside an image
      37s
    2. The tabbed-window interface
      5m 19s
    3. Arranging image windows
      4m 26s
    4. Common ways to zoom
      5m 31s
    5. New zoom tricks in Photoshop CS5
      4m 24s
    6. Hidden old-school zoom tricks
      4m 34s
    7. Scrolling and panning images
      4m 8s
    8. Viewing the image at print size
      6m 42s
    9. The Navigator and "bird's-eye" scrolling
      2m 56s
    10. Nudging the screen from the keyboard
      2m 39s
    11. Scroll wheel tricks
      3m 41s
    12. The Rotate View tool
      3m 36s
    13. Cycling between screen modes
      6m 17s
    14. Using the numerical zoom value
      6m 14s
  6. 1h 6m
    1. Imaging fundamentals
      58s
    2. What is image size?
      7m 45s
    3. The Image Size command
      6m 0s
    4. Selecting an interpolation option
      4m 56s
    5. Upsampling versus "real" pixels
      5m 22s
    6. The penalty of pixels
      5m 35s
    7. Print size and resolution
      7m 26s
    8. Downsampling for print
      6m 39s
    9. Downsampling for email
      7m 28s
    10. Options for upsampling
      8m 13s
    11. Better ways to make a big image
      6m 1s
  7. 44m 43s
    1. Frame wide, crop tight
      1m 2s
    2. Using the Crop tool
      8m 8s
    3. Fixing out-of-canvas wedges
      5m 31s
    4. Crop tool presets
      6m 53s
    5. Previewing the crop angle
      4m 24s
    6. The Crop command
      4m 47s
    7. Straightening with the Ruler tool
      4m 18s
    8. Cropping without clipping
      5m 1s
    9. Perspective cropping
      4m 39s
  8. 1h 41m
    1. Making drab colors look better
      1m 20s
    2. Brightness and contrast
      4m 10s
    3. Adjusting numerical values
      4m 26s
    4. Introducing adjustment layers
      5m 17s
    5. Editing adjustment layers
      2m 51s
    6. Saving adjustment layers
      4m 35s
    7. Adding a quick layer mask
      4m 23s
    8. Introducing the Histogram
      4m 34s
    9. Working with the Histogram panel
      6m 27s
    10. Using Color Balance
      7m 18s
    11. Introducing the Variations command
      4m 51s
    12. Luminance and saturation controls
      3m 54s
    13. Fading a static adjustment
      3m 21s
    14. How hue and saturation work
      4m 28s
    15. Rotating hues and adjusting saturation
      6m 4s
    16. Creating a quick and dirty sepia tone
      4m 42s
    17. Adjusting hues selectively
      5m 32s
    18. The Target Adjustment tool
      4m 24s
    19. Photoshop CS5 Target Adjustment enhancements
      53s
    20. Adjusting the color of clothing
      8m 44s
    21. Enhancing a low-saturation image
      4m 23s
    22. Refining saturation with Vibrance
      5m 1s
  9. 1h 57m
    1. Photoshop versus the real world
      1m 21s
    2. Meet the selection tools
      10m 26s
    3. Marking the center of an image
      4m 9s
    4. Drawing a geometric selection outline
      4m 45s
    5. Blurring a selection outline with Feather
      6m 8s
    6. Copy and paste versus drag and drop
      5m 31s
    7. Creating a graduated selection
      4m 29s
    8. Aligning one image with another
      4m 45s
    9. Accessing the Move tool on the fly
      3m 34s
    10. Invert and Match Colors
      5m 4s
    11. Matching colors selectively
      3m 52s
    12. Feathering and filling a selection
      5m 14s
    13. Dressing up a composition with effects
      5m 34s
    14. The incredible image rotation trick
      2m 18s
    15. The Magic Wand tool
      4m 12s
    16. Tolerance and other options
      7m 7s
    17. Grow, Similar, and Inverse
      5m 39s
    18. Quick selection and the Magnetic Lasso
      7m 27s
    19. Evaluating a selection in Quick Mask
      8m 52s
    20. Saving and loading selections
      6m 14s
    21. Placing an image with a layer mask
      3m 23s
    22. Eliminating edge fringing
      7m 43s
  10. 1h 58m
    1. Brushing to correct
      56s
    2. How brushing works
      4m 52s
    3. Working with spacing
      7m 32s
    4. Changing size and hardness
      7m 45s
    5. The heads-up Color Picker
      7m 17s
    6. Flipping a mirror image
      3m 33s
    7. Setting the source for the History brush
      3m 42s
    8. Brightening details with the Dodge tool
      7m 49s
    9. Darkening details with the Burn tool
      3m 5s
    10. The Sponge tool
      4m 29s
    11. Backing off edits
      8m 4s
    12. Patching eye bags
      8m 57s
    13. Evening out flesh tones
      7m 23s
    14. Smoothing away whiskers
      7m 41s
    15. Reducing shadow noise
      7m 0s
    16. How healing works
      4m 40s
    17. The enhanced Spot Healing brush
      4m 52s
    18. Using the better Healing brush
      4m 23s
    19. Introducing the Clone Source panel
      3m 49s
    20. Cloning from one layer to another
      5m 30s
    21. Working with multiple sources
      4m 44s
  11. 1h 23m
    1. The layered composition
      1m 0s
    2. Making a new background layer
      6m 58s
    3. Working with "big layers"
      6m 24s
    4. Move, Duplicate, and Scale
      4m 11s
    5. Transforming a copy and repeat
      5m 15s
    6. Stacking order and eyedropping a layer
      5m 15s
    7. Adjusting multiple layers at once
      4m 22s
    8. Switching between layers
      4m 56s
    9. Making a digital star field
      5m 9s
    10. Blend mode and clipping mask
      4m 50s
    11. Dragging and dropping from your desktop
      4m 38s
    12. Black + Lens Flare = glow
      6m 16s
    13. Locking transparency
      5m 42s
    14. Adding gradient layers
      8m 12s
    15. Stacking an adjustment layer
      4m 12s
    16. Adding shadow and stroke
      6m 9s
  12. 1h 17m
    1. Outputting from Photoshop and Bridge
      1m 32s
    2. Printing an RGB composite
      5m 31s
    3. Customizing the subjective print file
      3m 15s
    4. Gauging print size
      5m 35s
    5. Scale, position, and page orientation
      5m 6s
    6. Three important printing curiosities
      4m 41s
    7. Introducing the Output options
      5m 34s
    8. Establishing a bleed
      5m 52s
    9. Using the Color Management options
      7m 21s
    10. Generating a PDF contact sheet
      6m 18s
    11. Creating a contact sheet template
      6m 8s
    12. Saving and opening a PDF contact sheet
      4m 18s
    13. Introducing the Web Gallery
      7m 53s
    14. Exporting and editing an HTML site
      3m 58s
    15. The Airtight Photocard site
      4m 56s
  13. 1h 9m
    1. Rules of the web
      1m 1s
    2. Introducing web graphics
      6m 59s
    3. A first look at Save for Web
      5m 47s
    4. Scaling a layered image versus a flat one
      7m 30s
    5. Incremental downsampling
      3m 1s
    6. Adding text, bar, and stroke
      4m 24s
    7. Assigning copyright and metadata
      6m 21s
    8. Comparing GIF, JPEG, and PNG
      4m 59s
    9. Determining the perfect JPEG settings
      6m 31s
    10. Saving metadata
      3m 52s
    11. Working with an unprofiled RGB image
      4m 35s
    12. Downsampling graphic art
      4m 49s
    13. Saving a GIF graphic
      6m 1s
    14. Antiquated GIF versus the better PNG
      4m 6s
  14. 1m 37s
    1. Until next time
      1m 37s

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Photoshop CS5 One-on-One: Fundamentals
17h 33m Beginner May 07, 2010

Viewers: in countries Watching now:

Photoshop is the world’s most powerful image editor, and it’s arguably the most complex, as well. Fortunately, nobody knows the program like award-winning book and video author Deke McClelland. Join Deke as he explores such indispensable Photoshop features as resolution, cropping, color correction, retouching, and layers. Gain expertise with real-world projects that make sense. Exercise files accompany the course.

Download Deke's free dekeKeys and color settings from the Exercise Files tab.

Topics include:
  • Assembling photorealistic compositions
  • Understanding image size and resolution
  • Correcting the brightness and color of images
  • Creating accurate selection outlines
  • Retouching and healing photos
  • Mastering layers and effects
  • Printing and exporting to the web
Subjects:
Design Photography
Software:
Photoshop
Author:
Deke McClelland

Using Color Balance

In this exercise, I'm going to show you how to neutralize a colorcast using the Color Balance Command, which offers the advantage of being available as an Adjustment layer. In the next exercise, I'll show you what I consider to be a more satisfactory command variation. However, you have to apply it as a static adjustment. I've gone ahead and opened this image called Tough boys.jpg. It is of course my two boys as captured in the cabin of a cruise ship. And the image photographed under incandescent light is too warm. What I need to do is cool it down.

So take it away from the reds and the yellows and so on. And I'm going to do that using Color Balance. So I could either go up to the Image menu, choose Adjustments and choose the Color Balance Command right there. Or my preferred way of working is to go over to the Adjustments panel here, and click on this little guy. I don't think that icon could possibly make any more sense. It's obviously a balance. Go ahead and Alt+Click on it or Option+ Click in order to bring up a New layer dialog box, which I tend to advise is the best practice, because that way you can name and create your layer in one operation.

And I'll go ahead and call his cast correction, because we are trying to get rid of the colorcast. And I'll click OK in order to make that new layer. And there are our Color Balance options. Now, you primarily want to pay attention to these three sliders, which allow you to weigh the colors either toward Red, for example, or toward its color complement, that is effectively its color opposite Cyan. Or you can weigh things toward Green or its complement Magenta, or toward Blue or its complement Yellow. So you have three axis of color manipulation to work with here.

Now, in our case, I am going to move things over a little bit so that we can see more of Max. In our case, the image is obviously too red. So we would need to subtract red from it by essentially adding cyan. And you can see that that results in a negative value over here on the right-hand side of the panel. Now, at this point, I say well gosh! I guess it's too Green too. So I'll compensate more toward Magenta. But that seems like I'm going too far. And at this point it's too Yellow. So I should go toward Blue perhaps. But that just doesn't look right.

And that's one of the problems with using Color Balance. All these sliders are dependent upon each other. So you spend a lot of time back-and-forthing, adjusting one option after another and going back to the first option and so on. And who knows if you want to touch the Shadows or the Highlights or the Midtones. Well, here is what I recommend you do. First of all, let's go ahead and reset the options in this panel by clicking on this Reset button down right. And then, I am going to bring up my History panel already open. Make sure that you're looking at the Expanded View right there. And I am going to switch from Luminosity to Colors this time around so that I can see the various color channels.

And this helps me evaluate where the reds, greens and blues are as well as where the cyans, magentas and yellows are, because I can see them right here inside the panel. So we are most concerned about our reds or greens and our blues, because this is after all a digital photograph, which is going to be an RGB image. So we are seeing that the reds have a propensity to drift into the highlights. The greens are occupying the Midtones. And you can see where the greens and reds overlap. We have yellows. Where the greens and the blues overlap, we have cyan.

Where everybody overlaps we have gray. So that tells us that the greens are occupying this whole region right here. So solid Midtone territory. And the blues are occupying the Shadows. So what that tells me is I need to ease off the reds considerably. And I'm going to do that by taking this value down to -40. And I need to emphasize the blues quite a bit because I need to brighten them. And I am going to do that by taking them up just as far to positive 40, because the blues and the reds were formerly fairly symmetrical.

I'll show you what I mean. I will turn off this layer for a moment. And notice that our blues could be a flipped version of our reds here inside the Histogram panel. Now, I'll go ahead and that Adjustment layer back on. It's selected so I can see its settings inside the Adjustment panel. And I am going to click here inside Magenta and Green. This becomes a subjective decision. Do I go ahead and reduce the Green's value in order to add Magenta to the image? Or do I take up that Green's value? And to my eye things look too Green when I raise that Green value.

I am making the neutral areas, that is what should be gray inside of Max's shirt too green. This neutral wall was not that green either. So I am going to take that value down actually to -10 by pressing Shift+Down Arrow. And then, I am going to go back to Cyan Red and I am going to take it down to -50 by pressing Shift+Down Arrow as well. So these are the values I come up with. It's a little bit of science that is a little bit of reaction to the information I'm seeing here inside the Histogram panel. And it's a little bit of subjective playing around. And notice something you should be aware of when you're manipulating an image inside a Photoshop, your Histogram is going to start to exhibit gaps.

That's always going to happen. I'll go ahead and click of this Update icon so that you can see any place where we are seeing a gap line, in that Histogram means that there are no pixels associated with that specific Luminance level. So that is to say, even though we are working with an Adjustment layer, which is "nondestructive", we are applying a big modification to the colors of this image. And we will as a result wreak a little bit of havoc inside of that Histogram. It's just par for the course. Now let's say, I go to Highlights.

And you typically do not want to make big modifications to your Highlights and Shadows, because after all that would bring out color inside the Highlights and Shadows. And right now, they're pretty neutral. That is to say we have these nice white eyes and we have these deep dark Shadows. But I probably do want to drag the Highlights down a little bit inside of the Red. So I am going to click in this Cyan Red value and I am going to press Shift+Down Arrow to reduce it to -10. And that's not bringing out any color inside the Highlights. But it's hopefully adding to the neutrality.

But notice if you go too far with an edit, you are going to see it and it is going to negatively impact the image, especially when you're changing Highlights and Shadows. All right, I am going to restore that Yellow Blue value back to 0. So where Highlights are concerned, we have a Cyan Red value of -10 and we have 0 for both Magenta Green and Yellow Blue. Now, let's switch to Shadows. What I need to do is brighten the Shadows inside this image. And ironically, what that means is we want to reduce this Yellow Blue value so that we are sending the Shadows more into Yellow territory, which is going to expand that shadow information like so.

So in this case, where Shadows are concerned, Cyan Red and Magenta Green are 0 and 0, Yellow Blue -10. There's my Midtones value, -50 for Cyan Red, -10 for Magenta Green, and +40 for Yellow Blue. Then at this point, if you like, you can check out things, look with Preserve Luminosity turned off. Sometimes that ends up producing better results, sometimes not. In our case, the Luminance that is the core brightness information inside the image was fine as is. So I am going to leave Preserve Luminosity turned on.

And that is my modification. Just so you have a sense of what we've been able to achieve here, this is the original version of the image. Obviously too orange. And this is the corrected version of the image. Thanks to the application of the Color Balance Adjustment layer.

Find answers to the most frequently asked questions about Photoshop CS5 One-on-One: Fundamentals.


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Q: While following along to the tutorial, my copy of Bridge does not have the same Export options as shown in the video. Why are these options missing in my copy?
A: For some reason, Bridge CS5 shipped without the Export options. They were included when Bridge updated to version 4.0.1. Updating Bridge will restore the export options.
Q: While following along with the exercises, next to the background layer on my Layers panel \, it shows a brush instead of the small picture, as it does in the video. What can I do to fix this? I erased the exercise files and started over, but it still shows the paintbrush.
A: This will occur if the Layers panel preview is turned off. To fix this, right-click in the empty gray area below the Background layer. Then choose Large Thumbnails. The thumbnail previews should come back immediately.
Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Application Support/Adobe/Adobe Photoshop CS5/Presets/Keyboard Shortcuts

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
Q: How do I load the color workflow setting for this course? I downloaded the exercise files, and when I attempt to load the setting into Photoshop, they don't appear in the Finder.

A: These days, it's easier to assign the workflow settings manually. In Photoshop, choose Edit > Color Settings. Then change the first RGB setting to Adobe RGB, and click OK.

 
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