Work with color adjustments inside Lightroom CC, whether that's to make colors pop, to create a cinematic effect, to correct the white balance, or to create a matte effect. Learn how to adjust colors with the point curve or tone curve, then jump into the controls in the color channels.
I mean, right now, I'm in a point curve. If I change this, uh, point curve is turned on or I can turn it off. Tuggle off there. The colors here would allow me to adjust the color behind it. So red, blue and green are three channels and photography. Those are additive colors. Red is red and sigh in its opposite in the channel is science greens opposite is magenta and blues is yellow. So in this case, I want to go on ahead and I'm gonna add in some red to this image and you could see as I drag the red slight the red curve adjustment up I had read. If I brag it that drag it down, I get saying in. And so the reason it's getting that weird green a sigh in is mixing with the yellow that was their produce and green is the colors mix. If I want to reset that, I can right click into that tone curve and here have any options and reset the channel I'm on or to reset all the channels. So again, if you're in a plus spot, we like something bad happened, you can go ahead and recent, the channel. Now ...
the nice part is, let's say like I want to make some scion and my shadow by dragging that down. But I want to put read into the highlight so I can put in their multiple points on that curve to make the adjustment. To control overall brightness and luminosity, reset those channels. This icon right here changes it from, ah, point curve into the tone curve. And what this is going to do is kind of help me stay within the range of not doing anything to extreme with the image. So it's a governor on what the tone curve can dio, and you can adjust these sliders down here to say, Well, where is dark? Where's my midpoint? Where's my highlight? So if I'm coming in to adjust, the highlight area is really limiting. What the effects gonna be on the curb if you've never used curved before? I would recommend you start with the tone curve because you can't get too aggressive in wonky because if you're in a normal tone curve, I can do stuff like that. I can make things do anything I want in there exists that really the underpinning how the pixels are, but it's a really nice way to add it, sometimes at a civil peace in there. So that's your light elements that come into the to the image. Once I've got the overall brightness kind of set where I want, and I'm okay with words at here got luminosity set, which is what all of these up here are before I move on into color. One of the things that a lot of people do is they use the contrast. Slider early is a workflow piece. I would try to get your contrast right using highlight shadow white black exposure first and then use. Contrast is the nuance tool. If you adjust the contrast, your oh, you're basically adjusting the contrast across the entire image with that slider. It's of the localized area. And so if you can get the localized areas where you want and then you can finesse the overall contrast with the contrast letter I find for people who are getting started, it's easier for them to make the subtle edits required with the highlight. And black and whites shadow sliders, if they knew contrast Second Avenue contrast. First they get enamored with contrast, we love couple things and photographs. More than anything, we live sharpness above, out of focus. We love contrast. We love saturation. So when those things are present in a strong amount, it's hard for our brain to override what's there. So by removing that contrast, slider back. It's the easier of the sliders. Most people get started. Contrast makes sense. They understand. If they move it, things get more punchy. But those underpinning sliders in the light panel will actually give you a little bit more control in there. Once I have the light down, I come down to the color slider. So in color, I've got to set the overall color to the photograph. And that's gonna be white. Balance is the peace. We use that in your camera. You can set the white balance and most photo editing programs. You set the white balance, and here in the white balance, we've got a shot. And then I've got some already set up, basically presets for the temperature of light. So daylight cloudy tungsten. They'll have different temperatures on the Kelvin scale of light. The warmer, the light, lower the number. The more yellow and orange red. The light is, the higher the number, the more blue, the latest so daylight kind of mid day light we consider 5000 Kelvin kind of blue like candlelight would be about 1900 Kelvin Normal room light somewhere between 30 to 3900 kelvin. Somewhere in that range is the warm scale we're looking for. So what the's presets are as they exist in that nearly every camera, you set the white balance. The idea is, if you're going to go in and photograph under tungsten lights, you would set the white balance to tungsten and the weird color that exists. There would be neutralised by the camera. So it's tungsten with the camera. Does is it had blue into the image. Now, if you're shooting a raw file, the white balance isn't baked into the file. If you shoot a J peg, it is. That's one of the reasons why raws nice to shoot with, because I can change the white balance after the fact. People ask me if I set the white balance in my camera when I'm shooting, and I absolutely do, because one that little baby that comes up on the back of the camera is a J Peg version of my raw file, and the white balance is showing up there, and it just easier for me to look at the actual image without having to think about how it would be edited. That being said, there are times you're gonna need to come in and adjust the white balance. So if I come into the tool, I can click on this little wand right here, which is the white balance selector that whatever I click on, it tries to make a decision about white balance. You could look at how much I can change the color of that image based on the color right click on what that tool is trying to do. It's an odd tool. So if you think white balance, I should click on something white to get the white balance. What it really wants to click on is something completely neutral. It wants to know that this shouldn't have color on it. It should be neutral. So we shoot a great card in the studio to get that effect so you could come along is randomly click on stuff in an effort to try to find something neutral outdoors. You got a sidewalk. It's probably in the ballpark in neutral. Ah, but other than that, like a white wall, if it's got green light hitting it, it's not a white wall. So it's gonna then put in a bunch of magenta, so it's basically put it in the opposite color. So in general, if you can find something pretty neutral, you know it wouldn't hurt to try to click on it and find it. But that's a lot of hunting and pecking, so that's might get you in the ball park. So use the one to get to the ballpark, and then you're going to use the temperature, slider and the tent slider to make your fine tune adjustments. Temperature controls yellow and blue, so if you move to the left, you're gonna add blue. If you move to the right, you're gonna add yellow. A tent controls green and magenta, and the reason for that is the underpinning brain behind color in light room and in most of our advanced color management editing tools is a color space called L A. B and L. A. B separates luminosity from color, and the A channel is green and magenta. The B channel is blue and yellow, and from that all colors created. Even colors that don't exist get mathematically constructed in that model. And the reason we use that is it's the closest in terms of how colors live next to one another to human vision. So it approximates human vision, even though it exceeds human vision. So we're basically using 10 temperature, underlining to help identify what is the correct place for white to start and colors to pivot off in that space. So that's why the tent temperature are the way they are. If you get in a photo shop and going to the L A B world, you'd see those two channels. So all you're gonna do is you're doing a dragon, right? Lots of yellow, right, left. If you click into the box, you can actually use the arrow keys to make the adjustment, and it finesses it. That slider bar is wicked like hard to move sometimes, so you get the adjustment their 10th same way. So as you move the tent in general, what you're looking for is you want to remove any color you don't want their. So if the image has a blue across the entire thing. You want to remove the blue, so we call it the unwanted color caste. Now there might be wanted color in there, so we want to leave the wanted colored. We just want to move the unwanted color by moving those two temperature sliders. We want to get those two things adjusted first. So in our workflow luminosity color, this is what we say when we define color. It's this white balance, peace. Once that's done, we move down the vibrance and saturation fibres of saturation. Czar, is they? I kind of do the same thing, but they gotta go Two big things that make them different. Saturation looks at the color world, and it says, if you're gonna move up, if whatever it is on, move 10 points up in saturation, it says, take every color, move it up. 10. If the color already has a lot of saturation, just make it hyper saturated. It has less saturation, just moving up tense a little. The whole saturation world does this. What vibrance does is it says skin tones are actually important people. Have you ever punched saturation on somebody? Skin tone they turn orange and red. You're like I want saturation, but not that. So what Vibrant says is, Let's try to protect skin tones. So that's its first. Big thing is it's a skin tone protector. The second thing it does is it says this color already has a lot of saturation, and this one doesn't have as much saturation. So move the less such a saturated colors mawr and the more saturated colors a little less so when it's kind of doing is compressing the saturation range a little bit. And the reason for that is if you're pushing saturation up and you're pushing stuff out of what's possible for the screen to display or the printer to print, you're pushing the colors out to the space is we can't even see them on screen. So vibrance is an attempt to help control that. Now, my tip for this and this is my one of my favorite little tricks is if you're trying to figure out the weird color that's in a photograph, you're moving those tent temperature sliders you like. This isn't working. Crank the saturation to and now you can see across this whole image There's a lot of yellow in there, so yellow is probably the color cast its in the photograph now, whether I want it or not. But moving the saturation up helps now the other tip I like to have, as I like to use vibrates and separatists and separation. That's the new tool I just created trademark Dana Gregory vibrance and saturation together. And the reason for that is I want to try to control how that saturation is moving in the image, so I'll move them in opposite directions. So I'll move saturation up. Say I'll move vibrance up a little more than I want. So you can see is I add vibrance how the colors get more punchy. But like those riel hard reds, they don't changes much. But if I move saturation up, you could see everything kind of a little bit more garish. So what I do is I'll move vibrance up. Let me reset saturation. I moved vibrance up to say 40. Now that's a little more punchy than I want for my taste. But what I've done is those high saturation colors kind of stayed where they are. I push some of those less saturated colors up and then I'll back saturation off just a tiny bit. And now I bring all those colors back down to where I want, But there are more of a containable range that I feel like I can edit and work with, so I'm still getting to have my saturation. But now I've got two levers to operate that on instead of one. So same it. And I'm adjusting saturation of the image. I've tried to fix the fix the color, and I'm moving saturation, but I'll use vibrance. And saturation is two levers of control verse, one lever of control question when you were using the point curve or the tone curve was that also working with the color? Even though it does, it actually does work with the color and in the way the curve works in here that is affecting color and luminosity together as color is bound to luminosity in the color tone curve. So in here, color saturation is being moved without the luminosity change. So would you recommend not using the point or tone curve till you've done the color or never. So how would you do that? So I would use the RGB curve the gray one to fix overall contrast. Potentially. And then if I had a specific color element to go into, I would potentially go into the color Channel curve. The Red Channel Green Chandler Blue Channel In the tone curves If I come up here If I wanted a monkey with just blue, how come here in the point curve? By the way, this is one of the cool sing Adobe added the curve. The photo shop should have curve goes up, turns green curve comes down turns purple because nobody had ever remember that. It's like this is like one of my like This is a dumb feature, like in terms of like seeing you like And then I was like That needs to be everywhere. Does, uh, can you change to color caste bike setting green and then set in blue there, or the one I could put purple in and I can put blue in, but I ended with magenta. Basically, I'm color mixing basically. Okay, so that's my which one was first on the curve used the first Ah, the default is going to be this gray one, which is the RGB occur for luminosity. And that's right, that's that would be what I would using the light adjustment. This will target here, by the way. It's kind of cool. Peace, not. I'm back up here. If I click on that, it's a targeted adjustment tool. And now, if I come over whatever I click on, you could see how it's adjusting the curve based on what I click on in the image. So I don't have to. It's basically targets exactly on the curve where that adjustments gonna get made, Which is kind of a nice, nice feature. See, asking a question. We find new things. It's a very big program. Okay, underneath vibrance and saturation, we now got the color mixers. This is the H S L panel in classic. So I've got I can adjust the hue and click in there. I could adjust the saturation, Erica. Just blue minutes. So in this case, I'm going to choose jump to a different image to make this particular edit easier to understand. Let's jump to this one. Okay, here's my color mixer. How many would just Hugh first? What is the difference between the start? The pause of my brain was speaking out. Color is, let's be picked the color up here. And then I had the hue saturation of luminant sliders for that specific color. Or I can choose. I want to adjust Hue, and then I have sliders for all the colors, was trying to decide what's gonna be the easier way to explain this, and I've decided on a color This in my world is technically, most likely a regional adjustment. So the vibrant saturation tent and temperature our global to the image this next set of sliders. It sits in the editing workflow somewhere between global and regional. What it does is, it says, if I click on yellow here, the sliders air Onley allowed to edit anything that has yellow in it. If I click on Red, it's only allowed to click on the things that have red. And that's why I consider it sort of regional, because it's gonna come in and target that specific color, even though it will target it anywhere in the image, so that since it's global, so the tools great. If I have something I want to remove yellow from like in this case, I want to adjust the color of the yellow on this fender that's up on the wall. So if I adjust the hue you can see I can actually change the color without masking without brushing without doing anything. But look at the wall because the wall also has yellow in it. I'm also affecting that. And that's the piece. If you've got a really nice isolated color, you can target it Super easy to going to make the effect saturation the same thing. I can punch the saturation up or down, or I can adjust the brightness. I could make that darker or lighter targeted specifically into that yellow. So I grabbed red. I just read. You could see it effects the remnants of that old Coca Cola sign. If I click on the little targeted adjustment tool in here, I can come in here. I'm gonna click on the yellow. I'm gonna change this to que targeted adjustment tool that will become the hue. You noticed what moves Gilo and or its moved together because what actually makes up that color is yellow and orange. So the targeted adjustment tool is gonna make sure you get the right sliders to move. But it's gonna have a more broad reaching effect, cause in this case, I'm oranges now, really going after the wall. There's a lot of orange in there coming to the red if I come into the red read moves, and occasionally what will happen with this is like if you look at the bottom, look at Magenta. The very bottom of that color mixer. The magenta moves from minus one are one to minus 13 so it's dominantly red with a smidge magenta in there, and I couldn't even I wouldn't necessarily know that Magenta and I certainly couldn't mix the magenta at that level just visually, just picking on a tool. I would just assume it was red, but if I want that full movement of the right shift of the color, that targeted adjustment tool, give me that
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