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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.
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Tint is the green-magenta axis, temperature is the blue-amber axis.
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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 ...
15
Within the white balance module you can select "spot" from the preset drop-down list to remove color cast based on a selected area. By default, the entire image except for a margin around the edges is selected; better results are usually obtained by selecting a part of the image that should be neutral gray or white (be careful about including any areas with ...
14
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 ...
14
Graphic Design Stack Exchange: How to cut how hair accurately
Advanced hair extraction tutorial
First off, plugins and simpler methods are available. This is if you want to get higher quality results.
I'll be using this photo from Photo by
Ariana Prestes on Unsplash.com:
Note: I'm going to be doing the body in a separate layer so I'll be ignoring it for ...
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 ...
12
Our eyes and brain do things on a daily basis that make LSD's effects seem relatively tame.
One of the things our brains do is a color balancing activity of their own. No one knows why for certain, but its theorized we do it so that it would be easier to track prey as they dodge in and out of shadows (prey reflect the blue sky while in the shadow, so they ...
12
The color replacement tool isn't working for you because its default mode is "Color", which changes hue and saturation, but not luminosity (brightness/value). That's why you get the blue or the gray→gray effect. Changing this the tool's mode to Luminosity may get you what you want. I don't have Photoshop, so I'm not the best-suited to answer that.
For an ...
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 ...
11
The gear actually isn't as important in your situation as the workflow to preserve color accuracy. The main issues you'll need to consider are:
Accurate white balancing when shooting. This typically involves shooting in RAW format (so you need a camera that shoots in RAW) with some type of color reference in the frame--something like a WhiBal or ...
11
Another relevant term is Clipping, see: https://en.wikipedia.org/wiki/Clipping_(photography)
Images exhibiting Clipping will often show areas of solid white, but it can also mean that any specific color channel has been maxed out.
For example, it's not unusual for red features to exhibit channel clipping in daylight shots (primarily seen with flowers and ...
9
I tried hard to find a source for that information, but no luck. However, it doesn't sound right to me because the idea behind putting a gel on a flash is to alter the light to match the ambient, be it tungsten, fluorescent, etc. That activity is independent of the sensor or the film in and of itself, it's simply about making the light outputs match each ...
9
I see no problem at all with any of the images you linked to.
I suspect the actual problem is how your display is adjusted.
I'd suggest you try this page and see how that works.
The sample you posted looks bright and well lit with good contrast. A glance at some of the other images (which are in reviews) gives me the same conclusion.
The fountain image ...
9
Just to expand on Matt's answer a bit.
Most B&W films used during the first half of the 20th century were not panchromatic. They were much more sensitive to the energy in blue light than the energy in red light.
Even if a panchromatic film were used, if a blue filter were placed in front of the camera's lens, it would reduce the amount of red light ...
8
No. Don't try gels.
Your camera should have a custom white balance setting. Something like this:
You need a 3 step process for this:
1) Take a photo of a white object using either Sun White Balance or Flash White balance (I prefer using sun). You can use a sheet of paper but as they can vary in the color you probably need a professional-grade gray card ...
8
I used to work as an assistant to a guy who shot accessions for the Corcoran Gallery in DC. He used a standard copy photography lighting technique with two Lowell D (now DP) hot lights reflected out of 60" silver umbrellas placed at 45° angles to the art on each side of the camera with their throw pattern overlapping a bit for greater evenness across the ...
8
Not all color wheels are alike. The traditional/old school RGB color wheel (like Krita's) begins with the three primaries at 120˚ intervals; which places red opposite cyan, such as this wheel.
However, more modern color wheels use the opponent process colors which places red/green and blue/yellow opponents at 180˚ intervals... such as the adobe color wheel.
...
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 ...
7
The short version of the answer to your question is that you do it both "in camera" and in post-production.
A longer answer breaks out into a few thoughts:
In Camera
Light the subject correctly. I really recommend using an incident light meter (a decent hand held one) to calculate the correct exposure for the subject rather than relying on the ...
7
The first step is to observe. The main diference is a slight color on the first image.
Method 1
Technicly that is a duotone, it is the easiest way to work it anyway.
1) In Photoshop, convert the image to grayscale Image > Mode > Grayscale
2) Convert it to duotone Image > Mode > Duotone
3) Choose Duotone on the dialog box, not tritone, or monotone.
4) ...
7
The flower is supposed to be dark violet, but it's come out light blue.
That indicates the image is overexposed. If the flower is dark, the image of the flower should be a similar tone. So for a start you need to lower the exposure and darken the flower.
The reason for the color change from violet to blue is that the reds in the image are blown (or ...
7
Despite you saying that this does not happen with 55-250mm objective I claim that this is the problem with camera settings. If you finally upload the photograph made with 500D and 55-250mm I may update the answer.
Cameras do not generally make neutral images because it is impossible to clip while selling cameras which do not produce the image which make ...
7
Visible color of an object looks like something objective — if it looks yellow then it looks yellow, why change it in the first place? I just don't see how this color alteration is useful.
This is the fundamental misunderstanding. Visible color is not objective at all. That sounds surprising if you haven't really stopped to consider or investigate, but it ...
7
If you look at any color wheel, you have two axes on the wheel:
To correct any color cast, this is usually enough. You can correct the main source of color shift in natural light on the temp axis (blue/yellow), and then do the fine tuning on the tint axis (magenta/green). Tint most often occurs through artificial light.
magenta
red |
...
7
Filters don't add anything, they only attenuate (reduce) part of what is already there more than they reduce other parts of what is already there.
If the light source has a low CRI due to missing portions of the visible spectrum, then no filter will improve that.
If the light source has a low CRI due to one single narrow part of the visible spectrum being ...
6
I think you hit the nail on the head with talking about looking at old photos (or other photos anyway) and coming back to it. In general, the important thing is to go to photos that have different primary colors or lighting and work on them for a bit. When I'm working through a large number of photo touch ups, I regularly jump from outside picture to ...
6
You can't. Lightroom (LR) ignores the in camera settings that were in effect at the time the photo was taken and applies its own preset or auto settings.
I'm a Canon shooter. When I first open a Canon raw .cr2 file with Canon's in-house raw convertor, Digital Photo Professional (DPP), the application applies the in-camera settings that were active at the ...
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.
...
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