Advanced Color & Tone Correction Using Levels in Photoshop
Hi there in this video, we are going to look at advanced levels. We're going to set white balances. We're going to adjust channels separately. We're gonna look at cool little options that show us things like clipping to make sure we don't destroy the image. Look at a couple of options. Let's jump in there now. Before after let's get level advanced Alright in your images for oh four fixing images. Open up levels one and two. Thanks to the photographers, Jeff Finley and Jacqueline bills. I mentioned this in the first video but anything from unspool ash, I've added the actual photographers name because they have donated these images free to the world and you can use them commercially too. So just go to unspool ash dot com and check out these photographers. All right. So let's look at kind of advanced levels and the essentials. Course we covered the basics. Let's go in a bit deeper now. So what I'm gonna do is I'm going to go to adjustments and I'm going to click on levels to make sure it'...
s an adjustment layer. One of the cool features in Photoshop. It's just clicking the auto button, kicking back and saying Photoshop, do your magic. Okay. And it's done pretty good. I'm gonna turn the eyeball on and off. It's pretty nice. But what you probably didn't know is I'm going to undo. You can hold down the key on a pc or the option key on the Mac and click on auto and it just gives you like that's the default when you click on auto, but there's other autos go high, you can just work your way through and say, is this the auto that I want. Like think of them, don't worry too much about the names. Think automatic option and three and see which one works for you. If you find after a while you're like, I always prefer this one instead of this one, you can set it as the default for that order. Let's say, we don't like any of the auto ones. Let's click cancel. One of the nice things you can do is this photograph here instantly when I saw it, I was like this is going to be easy with this tool here. Okay. The white balance tool, what you can do is you can tell Photoshop that I know click on this. I know that that is pure white. Probably okay, it's probably just white card printed off. So if I click on it, it kind of makes adjustments as that being pure white. So it kind of adjusts per channel rather than just kind of sliding these kind of three little adjustments that actually goes in every channel and makes an adjustment because it knows what the white is and tries to counterbalance that kind of, we have a kind of a blue hue to it which is not wrong. It's just what this image was kind of shot at. It's got that kind of instagram greeny moody fuel and that's why photographers will use something like this. I've just gone to amazon and if you put in great cards or white balance cards, you end up with these things. So what they'll do is they'll set them up in a photograph. Okay, So we'll set them up next to the subject. So instead of doing it in Photoshop later on with these white, gray and black settings. Okay, you can tell Photoshop what's black, what's gray, what's white? You can do it in your camera before you actually take the photograph, you can set the white balance 18% gray card and the black. Perfect. If you're doing product shots and you have to, you know, you might as well spend the time there with your camera getting everything set perfect. Rather than having to fix it all up here in Photoshop later. Okay, so we're happy with that. Let's go to levels too. Let's look at a couple of other advanced features. So under adjustments, let's go to levels. And what we want to do is let's say, we just want to tidy this up this way. Okay, that's generally what you do with levels. Right, bringing these two houses either side before they're kind of like halfway up the hill either side and then use this gray slider in the middle here to decide which kind of which way it needs to go where that needs to be lightened up in the mid tones or darken down. But what's really cool is if you dragging these guys because after a while right, it starts kind of going this kind of full black and you start losing details, but that happens quite early on, but it's hard to know like when does it start happening properly? If you hold down the old key on a Pc or the option key on a Mac while you drag it, can you see, you get this kind of like weird color that appears and that's just showing you like over here, pretty much nothing's getting clipped. Okay. And when does it get closer into this hill? These, it's a little hard to do. I'm pointing out with my nose. Can you see the tree down here? Okay. It's really dark in here. So as we make things darker, you can see it's starting to kind of just, that's all becoming one color. So just making you aware of what's happening, okay, you might still have to go for it. Same with the whites, click hold and drag and it's just the opposite. They've inverted the colors. Okay. To show you what's gonna start blending as far as whites go and it's all this kind of white clouds behind here. You can still go ahead and do it. It's not wrong. It's just showing you that okay, there's going to be lots of detail in here because it's the back of the clouds. I'm okay with it. I'll be making sure things like the eyes and stuff weren't getting clipped by dragging these in. Now this trick here works on, it's not going to work for the gray one because it is, it's not shuffling between these two. These kind of clip the ends, but this is just shuffling in between them. You'll find there's actually a lot of settings that will allow you to do that okay, in your adjustments panel, if you start dragging a lot of these different options like curves and exposure. If you hold down the key or the option key on a Mac and while you're dragging it will give you like a little visual preview of what you might be destroying. Potentially. I'm going to reset it to its defaults to get back to the beginning and I want to show you another little trick. So we're dealing with RGB channels, RGB you probably know is red, green and blue. They make up this image instead of dealing with all of them in one go. You can actually look at the different channels separately and adjust them separately and it gives you a lot more fine tuning, especially when the color cast, you'll find, you can fix up the color cast in levels. You don't have to jump out to say conor balance as the adjustment. That's what I mean is let's start with red. Okay, and just do the same. Okay, halfway up here or just at the beginning of the hill here. I'm gonna do the same for green. You can use your shortcuts. It is. Hold down the old key on a Pc and tap 345. You can see it toggles there between red, green and blue on a mac is option 345. I'm going to do the same here, bring these guys in and you can see it's starting to get to a more natural color. There's some mid tones that I want to adjust and I find it really hard to adjust the mid tones using these separate things. I prefer to go to RGB and do all of them in one big go. Alright, so that's a more advanced Photoshop stuff. Okay Auto. If you hold down the alt or option key and click on auto, you get some extra adjustments. You might be able to set the white balance here for the cloud. You could click on this white one and click on the clouds. I find it never gives me an exact result using nature as your kind of backdrop but as something kind of artificial like white paper, it's pretty good. Also remember holding down the option key on a Mac or a pc. You can kind of check to see if you're clipping anything and don't be afraid to jump in and fix the red, green and blue channels separately and that's gonna be it. We're all ignoring the strange shaped mountains. I didn't notice them until halfway through this video, I've stayed growing up about it but I feel like it needs to be acknowledged before we move on to the next video, grabbed an next video.