Arthur Meyerson and I discuss the power of color.
July 17, 2012 | Leave a Comment
In this Quick Tip, Julieanne demonstrates the new Color Lookup Adjustment layer and walks you through how to download a template to quickly apply these new “looks” to your images.
The files she references can be found here. http://adobe.ly/Ng3afA
Images with lighter palettes tend to be brighter and less saturated (though driving colors towards white desaturates them), while those with heavy palettes tend to be darker and more saturated (though driving colors towards black desaturates them).
Brighter less saturated colors seem lighter, while darker more saturated colors seem heavier.
Colors can be matched or contrasted by weight to control visual dynamics. Here yellow and blue are matched in weight.
Many psychological attributes have been assigned to color, such as temperature. It’s so natural to think of color having temperature that we often don’t think about how this is an associative meaning rather than a physical fact. Physically a blue fire is much hotter than a red fire. Nonetheless, red is universally (in all cultures and periods of history) considered the warmest color and blue the coolest color. It’s quite likely that this comes from our experiences with fire (generally red, orange, and yellow) and water (typically blue in large quantities). You might think the ascription of temperature to color is particularly strong for photographers who assign white balances to their images based on the color temperature of the light a photograph was made from to reproduce color accurately. But, it’s equally strong with painters and designers who use temperature associations to create expressive color schemes.
One other useful psychological attribution to color is weight. Does yellow feel lighter than green? Does purple feel heavier than orange? Most people would say yes. Of course, our response depends on the specific variation of each broad color family. You can make a green seem lighter than yellow if you make it brighter, either with luminosity or saturation or both.
So how can you use this information? Here are four ways.
1 You can strengthen comparisons or contrasts between two image areas by making their relative weights appear more or less similar.
2 You can also set the tone for an entire image. Set a brighter airier tone by using lighter colors. Set a darker earthier tone by using heavier colors.
3 You can attract the eye more strongly to specific areas. Once a predominantly light or heavy palette has been set, you can accent it dramatically with smaller accents of contrastingly weighty colors.
4 You can create comparatively lighter and heavier palettes for specific areas of an image, such as a lighter color scheme for higher areas and a heavier color scheme for lower areas.
It’s useful to note that weight is also associated with gravity and thus vertical location.
That the word ‘light’ can be used to describe both the appearance and the mass of an image speaks volumes. Psychologically, color has weight. With only a little practice and more sensitivity, you can use this to make your images more effective.
Sensitize yourself to the weight of color by matching the weight of colors.
1 Create two or more colors. Match the weight of two colors from the same color family, such as blue.
2 Create two or more colors. Match the weight of two colors from different color families, such as blue and yellow.
Sometimes the things we resist influence us the most. For me, this was certainly the case with the paintings of Mark Rothko.
As a young man I found myself alienated from many modernist works. I felt they were overly intellectual; you needed a degree to begin to approach them much less understand them. They didn’t meet the audience half way. Some of them even needed critical interpretation to be fully resolved.
Nonetheless, my intensely emotional reactions to Mark Rothko’s paintings were undeniable. Standing before these fields of color produced a physical sensation, much like listening to music. Rothko was able to communicate powerful emotions with the simplest means. Often his canvases were composed no more than two rectangles inside the larger rectangular field of the canvas or as few as three colors. Unlike DeKooning, gesture isn’t what communicates emotion – Rothko’s canvases are stained. Rothko’s use of scale, quite different than Albers’, also impressed me; the large fields immerse you in the sensation of color, further intensifying it.
Rothko’s painting was more than an exploration of optics, it was also a spiritual quest. It’s not just color-for-color’s sake; it’s color placed in the service of the human spirit. Upon further study, I found that many early modernists shared a similar spiritual impulse and used abstraction in a quest for a universal language that reached beyond time and culture. For me this was the link between the modernists I appreciated and the ones that left me cold. It was a quest I resonated with. It started a chain reaction within my thinking about and appreciation of art. I continue to search for similar qualities in my own work.
Who are your influences and what do they mean to you?
“The new Color Lookup Adjustment Layer in Photoshop CS 6 has several options (3DLUT File, Abstract, and Device Link) that are used to load different “looks”. These looks are achieved by remapping every color in the image to a different one using a lookup table (LUT). I think that many photographers and designers will find their resulting color shifts quite interesting. You can think of these tables as a sort of meta-adjustment, a way to apply pre-packaged adjustments (sometimes lots of adjustments together) in one step.”
Julianne Kost has created a file that you can download free and test all the new CS6 Lookup adjustments on your image. Simply open the file and replace the contents of the Smart Object in it with one of your own images. It’s a great way to visually compare the various results in a ring around.
I love color. I love it because it’s exciting and energizing. I love it because it’s physical and sensual. I love it because it’s emotional and expressive. I love it because it’s interesting – scientifically, historically, socially, psychologically. I love color because you can look at it literally, abstractly, or symbolically. I love color because it has a rich history and diverse cultures and people have done such different things with it, but somehow I can connect with most of the things they’ve done with it, even if I don’t have the same culture or language. I love color because it’s a language that we can all do so much with.
Do you love color too?
What will you do with color today?
(Don’t think for a second that I don’t like black and white or gray; they’re some of my favorite colors!)
In this video, I share my thoughts and feelings on photography and color.
Your choice of a rendering intent tells a color management system how to handle color conversions between different color spaces. This is particularly important when converting colors from a wider-gamut color space (such as an editing space like ProPhoto) to a smaller-gamut color space (like a printer color space). You’ll get different results, even when using the same ICC profile, depending on the rendering intent you choose for a color conversion. You have four choices; perceptual, relative colorimetric, absolute colorimetric, and saturation.
What’s the difference between these four rendering intents?
Here’s the get it done explanation.
Use a perceptual rendering intent for printing images with highly saturated colors. Watch it carefully. To deliver very saturated colors, it may lighten an image or shift the hue of specific colors. Both side-effects can be compensated for with output specific adjustments.
Use a relative colorimetric rendering intent for printing images where the luminosity structure is most important. You may get slightly less saturated colors but brightness values will be most stable with this rendering intent. This makes it the ideal choice for near neutral and black and white images.
Use an absolute colorimetric rendering intent for making a proof of one device on another, like making a proof of an offset press on an inkjet printer. It’s not useful for making the best inkjet print; it will limit the results the printer delivers. Note, you can’t simulate a printer with a greater gamut than the device you’re printing on, only one with a smaller gamut.
Use a saturation rendering intent for eye-catching graphics where color impact is more important than color accuracy , like pie charts. It will so much saturation it will distort continuous tone images in an adverse way.
Here’s the color geek explanation. Read more
Color management is rocket science. But you don’t have to be a rocket scientist to drive the rocket. Instead, be an astronaut. With a few simple steps you can achieve consistent, high quality color with your images every time.
These are the six simple steps to good color management.
1 – Make Profiled Conversions
Assign an ICC profile to all image files either during Raw conversion or scanning. Use appropriate profiles to make conversions into other color spaces with derivative files only. Minimize the number of conversions made.
2 – Calibrate Your Monitor Using Hardware
Once a month, use a colorimeter to build an ICC profile for your monitor. Minimize the influence of other light sources during characterization. Use the colorimeter’s software to help you set monitor brightness between 90 and 100 and choose White Point D65 and Gamma 2.2. Check the results with know target images afterwards.
3 – Set Good Photoshop Color Settings
In Photoshop’s Color Settings (in the Edit Menu) Set Color Management Policies to Preserve Embedded Profiles and Ask When Opening / Pasting. And, choose a wide gamut device neutral editing space. Start with North American Prepress Defaults and then change RGB to ProPhoto RGB.
4 – Softproof
Simulate the appearance of a print before printing. Go to View : Proof Setup : Custom and choose the profile you intend to print with. Check Simulate Paper Color and choose a rendering intent of either Perceptual or Relative Colorimetric. Make output specific adjustments before printing. Use these adjust- ments only when printing these media.
5 – Navigate Your Printer Driver Correctly
Use Photoshop / Lightroom or your printer driver to manage color – not both. In general, favor using Photoshop/Lightroom as this is the most versatile allowing you to use custom output profiles.
6 – Control Your Environment
Edit and evaluate your images in neutral surround- ings. Minimize the effect of extraneous light sources, such as glare on monitors or backlighting. Evaluate proofs and prints in appropriate lighting.
There’s much more that can be said about each of these topics – but, not much more to do. Take these steps and you’ll be well on your way to achieving consistent, high quality results with your images.
How red is red? That depends in part on its context. We see colors in relationship to other colors in our field of vision. The appearance of any one color is modified by the presence of other colors. (This is a perceptual effect not a physical effect; while we experience it, we cannot measure it physically.)
Once you identify the elements in play, you can predict the effect. Simultaneous contrast can occur between any one or multiple components of the three elements of color – luminosity, hue, or saturation.
Place dark colors next to light colors and the dark colors will appear darker and the light colors will appear lighter.
Place cool colors next to warm colors and the cool colors will appear cooler while the warm colors will appear warmer. (Additionally, complementary hues increase each other’s saturation.)
Place saturated colors next to less saturated colors and the desaturated colors will appear less saturated while the saturated colors will appear more saturated. (Additionally, the desaturated color will appear to contain a cast of the saturated hue’s complement.)
Want to make a color appear lighter? Make it lighter or make surrounding colors darker or both. Want to make a color appear warmer? Make it warmer or make surrounding colors cooler or both. Want to make a color appear more saturated? Make it more saturated or make surrounding colors less saturated or both.
Contrast (or lack thereof) is the engine that drives color dynamics. To intensify a visual effect, increase the contrast in the appropriate components of color. This effect is intensified between adjacent colors. It is further intensified if one color surrounds another, partially or entirely. (If a color dynamic is particularly intense it may create the visual appearance of a line separating the two fields of color. Op artists often use these effects to create highly dynamic visual effects that appear to pulsate or move.)
Color management doesn’t yet accommodate these kinds of perceptual effects. Standard color correction strategies don’t tend to address them. But you can incorporate them into your color adjustment methods for greater precision and/or expression. All you need to do is take note of them and make appropriate compensations to achieve the result you desire.keep looking »
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