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 ...
17
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.
17
Tint is the green-magenta axis, temperature is the blue-amber axis.
15
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 ...
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 ...
13
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 ...
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
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
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 ...
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 ...
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 answer is: sRGB = (255, 241, 234).
The details of the calculation:
I calculated the spectrum of a blackbody at 5800 K using the Planck’s
formula, then multiplied by the CIE color-matching functions of the
standard 2 degrees observer and integrated over the wavelengths to get
the (X, Y, Z) color. I then divided by X+Y+Z to get the chromaticity:
(x, y) =...
10
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 ...
8
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 ...
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 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 blue/...
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 color you probably need a gray card https://www.google.com.mx/...
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 ...
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 ...
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 reflective ...
Only top voted, non community-wiki answers of a minimum length are eligible
