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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 want to think of this movie as more of a demo than it is actually of making an enhancement to the photograph, and what I want to demonstrate in particular is how we can work with Tone and how that then affects color. Let's go ahead and focus in on our basic controls, and so far we've really been just zeroing in on how this can correct tonality. Well, what's happening to color along the way? Well, when we work with Exposure, let's say we brighten the image up, it becomes much brighter and whiter. We can see that in these different colors, say, the red on the door.
Well, if we do the opposite, say, darken, we're going to see that this red is now this deep, or darker, or blacker red. Let's double-click this control to set this back to normal. All right. Well, what about some of these other controls? Well, Fill Light is pretty interesting. It works on the lower tones in our grayscale, and as we brighten this up, we can see that what's happening is that it's kind of muting out our color a bit. It's brightening it up, but not too much. Well, if I want a deeper red there, I can simply bring up my Blacks. Now as I do that, I'm coming and bringing back that nice, deep red.
So I not only brighten the image, but I also darken or deepen my Blacks to kind of bring back the color. That's why these two sliders like to travel together. Now, Blacks is almost always trailing behind Fill Light, but again, I kind of like to move those in unison. All right. Well let's look at our Preview now. If we click on our Preview, here is before, and then here is after. All right. Well, let's make our way down to Contrast, say. When we increase Contrast, we're going to increase Color Saturation. You can see that this red is now more of a candy apple red.
Well, let's decrease Contrast and see what happens to that same red. Now it's a much more pale and much more muted red. So one of the things we have to start to pay attention to, especially with Contrast, is that Contrast is great. It makes images look good, but what can happen occasionally is we can oversaturate our images, especially with photographs of people, and their skin tone can look a little bit strange. So we just want to pay attention to that and take note of that when we are making these adjustments, we are in turn affecting color as well.
Now, a lot of times, in order to get good color, what we're going to do is modify all of these sliders together, changing our Brightness, or Exposure, or our Recovery in order to get this exactly where we want it. Of course, we can also make our way down to some of the other controls, like Vibrance and Saturation, which we'll be talking about later. But again, the intent here of this whole movie is simply to get you to begin to think about how when we modify tone, at the same time, we are also affecting the colors in our photograph.
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