Use Presets To Quickly Reveal The Extraordinary Possibilities Hidden In One Image

Rushing towards perfect, you might miss it. Previsualization (seeing with your mind) is a fine start, but I recommend you use Lightroom to go further and visualize (see with your eyes). After exploring your options fully, you can perfect those results.

You can level up and speed up your game by using Lightroom’s Presets.

(Note, Camera Raw offers Presets that are identical to Lightroom.)

Virtual copies are the easiest way to make side-by-side comparisons.

Presets are the easiest way to preview the many possibilities one image contains.

Presets are also a great way to create a consistent look for two or more images. Once applied, you can tweak settings to optimize individual images while still preserving a unified style.

Presets can record any Edit setting(s) (one, many, or all) and apply them to any other image. A single click can produce results as subtle or dramatic as you like.

The many presets Adobe provides are a great starting point. You can make your own presets by customizing the defaults, by applying someone else’s, or by creating your own from scratch.

 

The Presets panel and the slider settings one preset produces.

How To Use Presets


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3 Qualities Of Light You Can Use To Make Your Images Glow

Color has three elements – luminosity, hue, and saturation. 

Luminosity describes a color’s lightness.

Hue describes a color’s temperature. (It’s the rainbow ROYGBIV.)

Saturation describes a color’s degree of neutrality.

All colors can be described as a combination of these three values.

Each of these elements offers a unique quality and type of contrast. (Think energy.)

While we see all three elements simultaneously, learning to distinguish these three elements from one another is a useful skill that will help you see more clearly and see more possibilities for enhancing your images.

Consider the transformations each element of color offers.

When highlights are lightened with luminosity, this image feels cooler and more brilliant.

When highlights are warmed with hue, the image feels hotter and more humid.

When highlights are intensified with saturation, the image feels more lush and fertile.

Each of these elements of color implies a different atmosphere, a different time of day, or perhaps even season, and, in this case, a state of plant growth. Color becomes a code for many different qualities, and so can offer you many possibilities for creative enhancement and personal expression.

The following examples will illuminate some of the possibilities and pitfalls for you.

 


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Explore The Emotional Possibilities Of 3 Different Tonal Keys In Images

Want more mood in your photographs? One way to do this is to limit images to a single tonal range and focus more on the emotional associations it offers.

Luminosity is often divided into three broad ranges; shadows, midtones, and highlights. If the tonalities in images are predominantly from one of these ranges, they are often described as low-key or high-key. (Curiously, the words medium or mid-key are less frequently used, but it is useful to make this distinction.) By constraining an image to one of these three, you can set a specific mood.

High keys are light and airy.

Medium keys are moderate and balanced.

Low-key images are dark and heavy.

Pursue this a little further by listing as many specific emotions that you feel are related to each of these, and you’ll get a sense of how many shades of expression you’ll be able to explore when you identify them. Read More

How To Avoid Making Viewers Squint At Your Images To See Their Highlights

Highlights are crucial to most images, with a few notable exceptions. If highlights are too dull, the whole image feels flat and suppressed. So, many people try to make them as bright as possible without losing detail. (This is a classic practice that’s part of a style, but some photographers prefer even fuller highlights. Edward Weston and Minor White were two such photographers.) In an attempt to make their images glow more, some people go so far as to make images overly bright, washing out midtone contrast, saturation, and clipping highlights, removing detail at the very top of the tonal scale and producing flat white areas. This is a graphic style more than a photographic style – or at best lo-fi rather than hi-fi solution that often requires additional compromises to image quality to feel convincing. Plus, it renders the frame no longer rectangular.


Don't take ETTR to an extreme.


Do make your exposures light without clipping.


Process your files darker.


If you've got clipping in both shadows and highlights, use HDR bracketing.

Exposure

Good highlight detail starts with exposure. Get it. You have to have it to optimize it. This is one of the two reasons to monitor your histograms during exposure; the other is shadow detail. As long as you don’t “hit the wall” on the right-hand side of the histogram, your file will be fine. Remember, the histogram on your camera is based on the JPEG your camera would produce, while the as yet unrendered Raw file has even more data in the highlights. Don’t take ETTR (expose to the right) to an extreme. At some point, data will be clipped, and just before the point data starts to clip, it will start to lose gradation and shift in color.


Basic Panel


Parametric Curve and Point Curve

Processing

You’ll get more contrast by having something to contrast with; in this case, highlights contrast with shadows. Set them first. The darker shadows are, the more contrast you’ll get. (Losing shadow detail is avoided in a classic style but may be done intentionally for more graphic, gothic, or grunge styles.) Similarly, if you weigh midtones lower, highlights will appear brighter. Every range of tones (shadows, midtones, and highlights) can have its own kind of contrast. To produce more separation in highlights, focus on setting the point where they transition into midtones as low as possible without making the image look too dark. What’s too dark? Subjective. Trust your gut and do it your way.


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The One Simple Trick I Use To Improve All Of My Images With Photoshop

Before

After

Curves offers more precise tonal control than any other tool. So when I need precision dodging and burning (about 80% of the time) I use Curves, which means I use Photoshop (PS).

I look forward to the day we can make local adjustments with Curves in Lightroom and Camera Raw. But currently, Lightroom (LR) and Camera Raw (ACR) don’t have this feature, yet. But can’t you do something similar in Lightroom (LR) or Adobe Camera Raw’s (ACR) using the six Basics sliders (Exposure, Contrast, Highlights, Shadows, Whites, Blacks), in combination with the Adjustment Brush, Graduated Filter, or Radial Filter, even in combination with Color, Luminance, or Depth Range Masks? If close is good enough, yes. If you want to make your images really shine, no.

 

Is it hard to dodge and burn with Curves in Photoshop? No. It’s easy.


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How To Find The Infinite Possibilities One Image Contains

Incubation XV

Variations_Saturation_425

Any image can support an unimaginable number of color variations. So how do you find them? Systematically make many variations. Will it take a great deal of time? It will take a little time but not a lot (maybe five or ten minutes) – and it will take less time and you’ll more thoroughly explore the possibilities if you do this systematically. You’ll find this exploration will be time very well spent. Illuminating more possibilities than you imagined will help you find more creative and personally fulfilling solutions for your images. You’ll deepen your understanding of and personal relationship with color thus your images and by extension yourself. Those who view your works will feel the difference. I can tell you from many years of personal experience that it has made all the difference in the world to me. It will do the same for you.

Before you begin …

Start With Your Strongest Image(s)

When you’re processing a number of related images it’s likely that you’ll find the solutions you choose for the strongest image in the set will apply to the others, with minor modifications. It’s rare to have images in a series with widely divergent color palettes.

Plan To Make Many Copies

Don’t try and remember all of these possibilities; there will be too many to remember.

Instead make copies that you can make side-by-side comparisons with. (In Lightroom make virtual copies. Alternately, in Photoshop duplicate files.) It will help if you organize these copies into Collections in Lightroom or organize them (possibly with folders) in Bridge/Photoshop.

Find The Big Picture, Sweat The Details Later

Ditch your perfectionist tendencies – for now. Worry more about the moves you’re making in color that the tools you’re using to make them with. Don’t get lost in the details, instead focus on the big picture. Avoid getting distracted by one exciting possibility.  Instead of rushing to finished results and committing to the most obvious solution too quickly, spend a few minutes exploring more possibilities hoping to find better solutions. More often than not, you will.

So what’s the best way to do this?

Proceed In This Order – Saturation, Luminosity, Hue

With only three elements of color, you wouldn’t think there could be so many possibilities, but the very things that generate them also make finding them manageable. You’ll quickly find the major moves that can be made if you make changes in these three elements in this order – saturation, luminosity, and hue.

Read More

6 Reasons You Need Photoshop’s Selective Color

SelectiveColor_original

Original 

SelectiveColor_pastels

Tints with less black

SelectiveColor_blacks

Shades with more black

Either it’s because it’s old school (It’s one of the first tools introduced in Photoshop.) or because it’s subtle (And it’s wonderfully precise.) or because it’s misunderstood (Is this really an issue with CMYK?), Selective Color is one of the most overlooked color adjustment tools in Photoshop. But I consider it an essential tool.

Photoshop’s Selective Color image adjustment feature is great for two things.  First, it’s great for cleaning color casts selectively out of highlights, shadows, neutrals - or for adjusting specific ranges of colors with great precision. Second, it’s great for turning colors into pastels, either lighter or darker, which can soften a palette exquisitely.

Here are six reasons to use Selective Color.


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How To Increase Hue Contrast In Your Images With Lab Color Mode

09_Alignment_XXXII_Lab

Instead of RGB, you can use Lab color mode to increase hue contrast in your images in powerful ways that no other color space offers.

How do you do it?

In Lab color mode use Curves to accentuate contrast by creating s or reverse s curves for the a and b but not the L channels without moving the midpoint.

It’s that simple. (Yes, I promise I’ll expand on this.)

However, when you use this technique there are many details that it pays to be aware of.

When To Use It

While this technique can be used on any image, it’s particularly useful when you are processing files that are predominantly one color – forest greens, oceanic blues, sandstone reds, etc. The resulting hue contrast gives these images more life by making subtle variations in hue more pronounced and more three dimensional by accentuating the differences in hue between highlights and shadows.

10_Alignment_XXXIV

Original
11_Alignment_XXXIV_Sat

Saturation increased12_Alignment_XXXIV_Lab

Lab a and b channels adjusted

Comparing It To Similar Techniques

This technique is similar to split-toning or cross-toning images, introducing one color into the highlights and another into the shadows, except that the hues are the captured colors accentuated rather than colors that are arbitrarily added. (For this reason this technique won’t work with black-and-white images.)

This technique is similar to increasing saturation or vibrance, which also makes different hues more pronounced but sometimes intensifies them to the point of making them appear unnatural. By comparison the modest increase in saturation boosting hue contrast in Lab produces is surprisingly naturalistic – and you may choose to keep it or not.

To the untrained eye the differences between this technique and others may seem subtle but once you train your eye you’ll appreciate the color richness it offers; they can approximate but never equal it. It’s like comparing the sound qualities of low and high fidelity audio recordings. Lab offers hi-fi color.

What The Heck Is Lab Anyway ?


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The Art Of Color Adjustment

Download your free copy now!

 

The power of color offers you extraordinary creative capabilities and you’ve never had more control than today.

 

Strategies

 

Infinite Variations
The possibilities are almost limitless. Explore your options before you commit to a solution.

Use Presets To Find Variations Quickly
Speed your workflow and visualize many possibilities for your images.

Why Achieving Neutrality In Your Images Is So Important
Make your color more believable, saturated, and three-dimensional.

4 Ways To Achieve Neutrality
How you achieve neutrality sets the foundation for future color moves.

How To Key Your Images Expressively – Go High, Medium, Or Low
Set the mood for your images with tonality.

The Key To Lively Images –  Midtone Contrast – And How To Get It

6 Ways To Get Better Shadow & Highlight Detail
Increase separation in the darkest and lightest values.

5 Tools You Can Use To Make The Most Of Shadows & Highlights Without HDR
You can extend the dynamic range of your images without bracketing exposures.

How To Avoid Making Viewers Squint At Your Images To See Their Highlights
Preserving detail and setting brightness are important first steps.

How To Render Lively Shadows

3 Qualities Of Light You Can Use To Make Your Images Glow

How To Use Simultaneous Contrast To Make Colors Even More Lively

9 Ways To Tell If Your Images Are Overcooked
Avoid these common mistakes.

Enhancing Space With Atmospheric Perspective  | Coming Soon

Deciding Where To Make Your Images Glow And How To Do It  | Coming Soon

 

Raw

 

What In The World Are Raw Files?
Dive in to the strange and wonderful world of Raw files.

Why You Should Shoot Raw
Get highest quality images from your digital camera.

Why You Should Profile Your Camera
Improve the clarity and saturation of the color your digital camera creates.

How To Get More Than The Maximum A Slider Allows
Get 150%,  200%, 500% or more out of sliders.

5 Reasons You Still Need Photoshop
1  Fine Retouching, 2  Precise Masking, 3   Advanced Color Adjustment, 4  Creative Sharpening, 5  Plug-Ins

 

Tools

 

How To Evaluate Color Adjustment Tools
Identify the go-to, exotic, and redundant tools.

Blend Modes
Make all of Photoshop’s color adjustment tools more precise.

Curves
It’s the most precise tool for adjusting luminosity and hue.

High Pass Contrast
Choose between planar contrast or edge sharpening.

Get Even More Out Of High Pass Contrast
Add Curves contrast to High Pass contrast.

Curves, Clarity, Dehaze, High Pass, Texture and Sharpening Compared
How do you choose between so many ways to control luminosity contrast?

Curing Dehaze Color Artifacts
Try this quick fix to eliminate Dehaze color artifacts.

Hue/Saturation & Vibrance & HSL Compared
They’re the most powerful tools for adjusting saturation.

White Balance, Photo Filter, Color Overlays, and Curves Compared
How do you choose between so many ways to control color temperature?

Selective Color
It makes very precise changes like no other tool.

Use LAB Color Mode To Increase Hue Contrast
Use LAB mode for greater hue separation.

Blending Channels
Use the information in one channel to improve another.

Adobe Camera Raw Filter
Using ACR on layers lets you use Photoshop’s precise masking with it.

Color Lookup
Color grading can give many images a similar look or individuals a unique one.

Color Grading
Make the color in your images more expressive with this easy split toning solution.

Gradient Maps
Add new color into specific ranges of luminosity.

Match Color
Transfer color from one image to another.

Synthetic Profiles
Make big changes non-destructively by redefining color values.

Before You Mask Use The Tool’s Selectivity | Coming Soon
The results are faster and sometimes better.

What You Can Do With Raw That You Can’t With Photoshop Unless … | Coming Soon
Adjust Raw files and individual layers with the most robust color adjustment feature.

 

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4 Ways To Enhance Color Temperature In Your Images

What Is Color Temperature ?

Of the three elements of color (luminosity, hue, and saturation), hue is the one most closely associated with temperature.  This is a psychological temperature, not a physical temperature. Most people associate red with fire or blood (warm things) and blue with sky, water, and ice (cool things), where physically a blue flame is hotter than a red flame. You can identify which hues are warmer and which are cooler by their proximity to the absolute poles of red (warm) and cyan (cool) on the color wheel. When comparing any two hues, you can always ask, “Which one is warmer and which one is cooler?”. Even when comparing two variations of the same hue, very often one will be slightly warmer or cooler. Color temperature is part of what creates color variety, which is one spice of life, a very important one, especially when it comes to visual communication.

The Things You Can You Do With Temperature

Many photographers think of color temperature as something to "get right" during exposure, but you can also use color temperature creatively in post-processing. You can produce many compelling color effects with color temperature. You can make distant close layers feel closer by warming them and distant layers more distant by cooling them. You can make objects feel more three-dimensional by warming highlights and cooling shadows. You can add a warm glow that simulates early morning or late evening light. You can  You can even make day look like night by dramatically cooling it. And every one of these moves will change the emotional tone of an image. Temperature is a critical element for communicating with color.

Lightroom & Photoshop

There are many color adjustment tools in Lightroom and Photoshop that adjust hue. Having used them all since the day they were released (or before), I regularly use four and consider them go-to tools worth mastering.


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