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22

Color Management is a scientific process by which various devices used in an image processing workflow can be used despite differences in their supported color. Every device is only approximating some of the total range of colors humans can see, and this limited range is called its "color gamut". Each device has limitations, but those limitations differ from ...


19

That comes down to color temperature of the ambient light. Flash always has something similar to daylight (5500-6500K), so you need to use conversion gels from daylight. Most useful gel is CTO (color temperature orange), which will color daylight to tungsten (3200K). Usage is as follows:Stick CTO gel on flashSet color temperature to tungstenShoot This has ...


18

The reason is that the red light is a light source, therefore it's much brighter than any other parts of the scene. The pixels showing it are overblown - meaning there was more light coming than your camera sensor could capture. The light is not pure red, it emits enough green and blue light to blow these color channels of pixels too. The hood is just ...


15

I cannot give an exhaustive answer for everything you could improve, but I think you have a problem I am frequently noticing in my own images: oversaturation. This is especially well visible in the third image - in my experience, dead reed does not have such a rich golden hue, especially on a cloudy winter day. Oversaturation happens frequently, because a) ...


14

Gray cards are super cheap (e.g., $2.49) - I wouldn't bother. :)


13

My solution is to set a timer and stop editing when it goes off. I won't edit any single shot for more than 15 minutes and try not to edit for more than an hour. Go for a walk, look out a window, see some reality (not just browse the web) -- even 5 minutes is generally enough to restore my reality and save me from the terrible progression of excessive edits. ...


13

Don't use auto white balance - choose a color temperature that looks well and stick to it (or use a gray card if the color accuracy is important) Close all the windows - the daylight color changes based on weather, if possible use only flashes and photographic color balanced lights, if you must use normal indoor lights try not to change light bulbs, if you ...


13

From my point of view - or how I use my gels - there are two main usage points: Adjusting a color to get a color effect. For example make your flash-light red/green/... to get a interesting background color spot. Adjusting flash color to the color of ambient light, so that your picture have only one color of light. If you have different light-colors in one ...


11

Some post processing is needed for some images, and most images benefit from some post processing. When you take an image like this, where most of it is blue, the automatic white balance will be fooled into thinking that the image should be much less blue. If you had used the "daylight" setting for white balance, it would have been a lot closer to the ...


11

Yes, their main purpose is to have different colors on different lights. However in the vast majority of cases (if not always) you simply cannot reproduce this setup in post. The human eye is quite good at detecting natural light falloff and it will detect the things which are Photoshopped, especially if we talk about a setup with multiple lights (we ...


10

I'm surprised no one has suggested the most important thing you can do to improve that picture: Take the photo when the light is better. Let's say that row of houses faces east. There's going to be a window of time in the morning where the low angle of the sun is going to cast a nice warm light on that facade while at the same time the sky behind it is ...


10

The color correction is acting as expected. The point of using a color target is to adjust for the color of light to assume that the light is white. If you want to have the color that is present when shooting, you should instead use a fixed white point that you consider to be standard white, but naturally people's eyes will adjust quite a bit for the color ...


8

Spot-meter the palm of your hand (be sure it's lit appropriately, however). Seriously. It, or a Caucasian face, will meter about 1 stop brighter than you need, which means it's easy to compensate for.


8

The trick here is that the scene was lit with a single incandescent (hot) lightsource. The sun is also an incandescent lightsource, just shifted a bit in the spectrum. This means it's really easy to make the bonfire shot look like daylight, as all the frequencies are present, just shifted. All I did was load the RAW into Adobe's RAW converter and drop the ...


8

The interesting thing here is that's not a colour cast, the hue values are messed up. It's not just that all the colours have been pushed toward purple, which can happen for certain white balance settings, what's actually happened is that all colours are shifted round the colour wheel, blue/cyan -> purple, orange/brown -> green. Here's the right hand part ...


8

The third is a result of the first two. You have to set a ratio for each color in relation to another. If you turn up both the blue and the green, this effectively reduces the red. Similarly, if you go all the way towards yellow and magenta, then you increase the red. Put another way, green/magenta is the balance between green vs red and blue and ...


7

The amount of processing is always a matter of personal taste, you can see some people to prefer almost straight-from-the-camera images, while others apply significant contrast changes to achieve their typical look. So the matter of post-processing is always a matter of your personal taste (and of course how much do you want to go with what people around ...


7

I would think that a lab's color-correcting quality is dependent upon the lab and the skill of the technicians. There probably is not a single, globally correct answer here, as every lab will use different equipment and have different people with different levels of skill. That said, when it comes to color correction for print, taking the paper into account ...


7

IT is enough to add a cooling filter (25% Cooling Filter (80) in Photoshop) to the image and increase a little the contrast and saturation (10% or so). Do not overdo it or the result will be unrealistic. You could use a polarizing filter for a darker sky. always shoot in raw to be able to change the white balance later. If unsure of the details you whant to ...


7

I'm surprised nobody mentioned a polarizing filter. That can do wonders on a blue sky, depending on the angle from the sun. Think about what sky light actually is. It's light from the sun getting scattered from small particles in the atmosphere. Those are going to be largely dielectric, so will be polarized over a range of angles. The light from any one ...


7

As far as i know, many Photographers just shoot in Auto WB in such a case. But if you can get the WB correct at the time of shooting you can skip this step in post or you only have to do minor ajustments instead of figuring it out completely.


7

You would convert the image to the sRGB color profile. This profile is indended to match the color capabilities of a monitor. This is commonly used for images that are used in web pages, and for example offered as an option when exporting images for web in Photoshop. By converting the image to sRGB the color profile can be omitted from the file, which ...


6

If you're using photoshop, select all of them in Adobe Raw Converter and then select your white balance by either adjusting the sliders or using the color balance eye dropper tool. I'm assuming the use of photoshop since your question is tagged with photoshop.


6

Perspective and settings - like Darkcat Studio said. Direction of the light - in the second background, the side of the tree branches facing the camera near the couple are in shadow while the couple is lit from the front - you have to choose a background that has the same light direction has the foreground picture. Quality of the light - hard light vs. soft ...


6

Without referencing a white object in your photo, we cannot decide which one has a better white balance. In short, white balance is process of removing unrealistic color cast on your image, i.e., correct the white area in your image that captured as gray. So it cannot be judged by histogram. If you know what part of your image should be white and the image ...


6

If light colors don't match (or you don't want them to match and they do) then you can't correct for this in post. Lights interact with each other and there is no good way to tell which light is contributing where in a reliable and automatic manner in post. This means that you can not adjust the color characteristics of an individual light after shooting. ...


5

One thing to consider when you have this kind of flat lighting and subdued colors is to go grayscale. Taking color out of the equation means you have the ability to control the contrast to enhance the textures and mood of the image without worrying about distorting the colors and worrying about the snow being too blue or yellow. Or, if you want to keep the ...



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