Lessons
Class Introduction: Profiles
09:34 2Light
04:34 3Color
05:36 4Effects
15:22 5Details
08:33 6Optics
03:49 7Geometry
04:12 8Crop
04:39Lesson Info
Color
So here we've got another photo, and I'm going to quickly choose a profile for it. Um, and I could choose all sorts of, but I like the idea of being fairly vintage. So I'm gonna click on this top warm one that might be a little bit too much. Let's go for that. That looks pretty vintage. Um, so this is just Ah, it's called warm three. All right, so now that I have that, I want to go through the color and work with the color itself. So I'm gonna go into the color tab and inside of the color tab, I can obviously turn it to black and white here. So if I click on black and white, it's gonna apply a completely different profile. So I'm turning it back to color and unfortunately, went back to the wrong one. So there we go. All right. So don't turn it black and white if you want it. Teoh, if you want to have a specific profile because it goes to its own profile. So generally when I go to black and white, I'm going to go to the profile browser and choose a black and white Um if you don't care w...
hat kind of black and white use, you can push that so below here, we're gonna play with the temperature. Obviously, we have custom white balance eso we can choose what kind of white balance we want to use in this case. I'm just going to use what was already customized there. And I'm gonna increase decrease if it was shot with Flash. I can come in here and say flash, and now it's neutralized for the typical flash output. Um, and then I'll take my temperature up a little bit. And I think the tent is where I want it to be now. Saturation vibrance vibrance protects the warms, the skin tones. And it does so if I take vibrance up, it tends to protect the skin tones, whereas if I take saturation up, it gets really ugly. Like yellow and warm are orange. So we don't want Teoh Very, very, very, very rarely will take saturation up positively. Mostly, I'm gonna bring saturation down and then vibrance itself. I can take up because vibrance protects those skin tones and mostly tries to increase the the intensity of like blues and greens and things like that now, Once I've done that, I also have further control over individual colors. So I'm gonna go in to the individual colors here, and I'm going to click on the individual color and I'm going to choose what color I want to effect. So all of my colors right down here and I can also choose whether I'm gonna work on their hue, their saturation or their loom in It's so I can do that individually by color. So I'm going to choose to work on the Reds, which is already selected. And at that point, I'm going to say, Well, what I want the reds toe look like how saturated do I want them so I can increase the saturation and see how I'm playing around just with the Reds and the Reds are obviously a huge part of this particular photograph. So I'm going to play really specifically with the Reds. I want I want toe get exactly the right amount of red. So that is about the right saturation and I can also play with the hue of it. So do I want it to be more orange? Do I want it to be more purple so I'm just going to kind of play with it until it's the right richness. So you can see how I've gotten kind of this muted look to the entire photograph. But I want the Reds to kind of pop, so I'm playing around with the Reds, and then I can also take the Luminant up and make it the Reds brighter. Or I can make them darker and more saturated. So I'm gonna just kind of play with that dial until I've got it just right now, you don't necessarily want to play with every single color in the photograph. What you're really trying to do is globally with the temperature intent. You're trying to get the right look, and then usually there's one specific color that needs some help or that will make a better statement. Or maybe someone's wearing a blue shirt and that blue shirt is a little bit too bright. And if you take the entire blew down or the sky, the skies kind of a bright blue and you want to bring it down, and most of the time that works really well. But you have to be careful because if you work on a sky that's blue and someone has, uh, shadows on their dress, Those shadows air, blue. Or if they're wearing a blue tie or something like that, it's going to It's a global adjustment still, so we're still working globally. But we're just working on specific color areas, not not areas, but color types. So just be careful that you're not affecting all the other colors and just be subtle about it. We don't want to go crazy on any of this because you'll start to create problems in your photograph. Okay, so we've played with the color on this photograph, and I really like the way everything is looking for color so we can shut that down. And with we've got the color. Now, remember, if for any reason you don't know what the white balance is, you can always click on this little white dropper here and then that allows you to go through and find something that you know to be white and simply click on this check box to confirm that white balance. Um, I don't necessarily want to do that. I'm not all that interested in. So I'm going to just undo what I already just did. So the undue is right up here, I'm just gonna undo it.
Class Materials
Bonus Materials with Purchase