Color Makeovers

Many people are intimidated by the thought of adjusting color images. No need to be. All the basic exposure-correction skills used in Chapter 3 to correct grayscale images apply here as well. The only difference is that when you work with color images you are adjusting multiple channels instead of just the one that you have in a grayscale image.

Other than that, you are still fighting the good fight by setting highlight and shadow points — whether qualitatively (by eye), quantitatively (by the numbers), or a combination of the two. If an image contains a diffuse, white highlight (or other neutral area), or color areas that people tend to recognize off the bat, such as skin tones (known as memory colors), it's nearly always best to make the correction by the numbers. (That way you can make sure the onscreen result is correct, and confidently prevent — or remove — unwanted color casts.) If no neutral or near-neutral area is available, then usually histogram data can help you do an accurate color correction (as with the grayscale images in Chapter 3).

As with correcting grayscale images, there is usually a preferred order in which to adjust color images. Image evaluation should always be your first task; you will want to determine which por-tion(s) of your image is (are) most critical to get right. Often one part of an image, such as a background, may be ignored, while a more important part of the image, such as a face or product, should receive most of your attention. You will nearly always look for neutral areas in your image, as correcting neutrals provides you with known values that you can use to correct color across your image.

Your actual correction sequence will typically be as follows: Highlight and shadow adjustment (often neutralization), midtone neutralization, memory color adjustment, brightness, contrast, and (finally) sharpening.

0 0

Post a comment