13:19 When someone says “My raw photos are straight out of camera, no editing!” what they’re really saying is they let the color and tonal qualities of their “art” be decided not by the photographer, but by the corporate technical teams who designed the default looks of the camera hardware and the raw processing software. Those who edit understand that instead of settling for some defaults that faraway engineers decided was right, we will take creative control and responsibility for how our personal work looks.
I fully agree with the comments below. An additional benefit for me was to realize that parts of my images were unnecessary and that I need additional cropping.
An exceptional video covering colour control in a way I've not seen anywhere else. Thank you. (Might be late watching your next video as I revisit past colour decisions in my image library!) A real masterclass.
i always found color management the most difficult part of photo editting, but with these techiques, I’ll probably mess up my colors a lot less. thanks for sharing this gold mine, Blake!
This tutorial is really good stuff to add into my knowledge. I was having problem with Creating focus in my work. Eventhough I matched color perfectly, they always look flat. This trick might me a good guide for me to improve further. I use COLOR and LUMINOSITY BLENDING MODES for color adjustment in my Photomanipulation. If you turn it into COLOR blending mode, it will show the image in a grayscale version. Then mostly using the EXPOSER adjustment layer I can easily adjust the brightness of two images. and the after that I change the 50%Grey Layer into LUMINOSITY Blending mode, by this I can compare their Saturation and Adjust it.
We have been teaching these principles in our NPPE Masterclass program for sometime and it was a joy to have you present and explain this information with this great value-added tutorial. Well done and I also agree that if you want to work with images only from your camera-- then good luck with your post modernist theory of color nihilism!
Wow! I mean Wow! I just tried this on a photo that I thought was really great and it brought out a whole new fantastic look. What I thought was white fur was part green and cyan. The face was not nearly as punchy as I thought until I brought the colors up. Wow! Thank you for this video.
Thanks for another great video. I just tried it on one of my waterfall images, that was very similar to the one you used. My white water was way to blue and I didn't notice until I tried your method. I was able to make a solid improvement to the image. Thanks again!
Gracias Blake, conozco muy bien la teoría del color pero con tus tutoriales, tan bien explicados, aprendí a aplicarla en Photoshop. Te sigo en tu canal, atento a todo lo que compartes. Saludos desde el norte de Argentina 👍👍
A great "how to" video. I do way too many photos per shoot to do this, however, I think this would be great my IG posts to push color in a way RAW processing does not. I've noticed that there is a shift from what I see with the exported picture on the computer to the one on IG after I post. Looking forward to giving this a try.
Excellent!! This is so helpful for an area I constantly struggle with. I wish you had shown a dark image, like a Milky Way shot. I’m pretty sure almost all the image would be below 128. Perhaps I could use a darker delineating layer (96, 96, 96, for instance).
If you change the picture-mode to Lab an disable the L- channel, you will see the same (almost): BUT you have two channels seperate! May be an extra possibility?
It's very possible. That's the exact same thing as a grey layer set to luminance. I built this because I don't want to go into Lab in the middle of my workflow. I don't like switching modes because you lose adjustment layers. With this method we lose nothing but gain the color information.
Good concept which gave me some other ideas. So I had to look up the grayscale values for the zone system. I'll paste what I found and please correct me if I'm wrong. For example, I know that the video black test pattern is RGB 16-16-16 and that the 100% gray test pattern is RBG 235-235-235. Some variance on monitor verses print. photo black = RGB 0-0-0 video black (0% gray) = RGB 16-16-16 10% gray = RGB 38-38-38 20% gray = RGB 59-59-59 30% gray = RGB 81-81-81 40% gray = RGB 103-103-103 50% gray = RGB 128-128-128 60% gray = RGB 147-147-147 70% gray = RGB 168-168-168 80% gray = RGB 191-191-191 90% gray = RGB 212-212-212 100% gray = RGB 235-235-235 or 256-256-256🕵 I was given those numbers but they were incorrect and I've had to correct 5 which you correctly gave. Bing and Chatgpt don't know.
@@f64Academy I don't think these are the same matching values to zone system. Tried to find it on the web and this was the closest I could find. Do you have the others in your notes.
@@friendfortheartists I could use my test swatch to find them, but I don't know what the application is other than seeing what colors are above or below a tonal value and I think that may be looking too far into it, in my opinion.
@@f64Academy The first thing I'm looking for is the exact values at each zone in RBG. It would help me insure my eyes aren't giving me the wrong perception perhaps to push a value in one zone to another. Also low key and high key photos or paintings could be adjusted or evaluated against what I'm seeing. Kind of the idea of finding truest black you can find but applying it to each value in a precise way. Mostly to insure judgements are correct and adjacent values aren't influencing my perceptions.
Reminds me of a technique I've learned long time ago, which I think was dubbed as "Adaptive contrast" and it involved using 50% gray layer and the "Calculations" command in the Image menu (I wonder if this command still exists in newer versions of PS). I wonder though if you have any more ideas to use that command for creative purposes?
It's kind of like that. It's the separation of color from luminosity without using lab which will affect your workflow. This keeps that separation in RGB so you don't have to switch modes and lose layers/adjustment layers. But yes, very much the same concept.
I wonder if Adobe is aware of your level of nerdish tweakery. It would be like you buying a pickup truck and then the Ford reps see a YT video where you get the thing to fly by using the e-brake while opening the glove box and putting the wipers on level 2 intermittent. Mind. Blown. As. Usual.
no, I dont buy it. Hey; I do understand it perfectly though (and well explained), but today (if that changes I plan to correct it here) I find it about as helpful as if I was told to improove walk or climbing through proper use of spirit levels... That could be proved.
I think when you need this knowledge you'll know its importance. I hate to say it that way, but people who don't find this fascinating and helpful don't truly understand color and the importance of knowing the colors in their image. It's more of an advanced concept that can lead to profound ah ha moments.
