Tag: Color Correction
Not every sunrise or sunset is golden, but you can flip the script and make a beautiful photo out of a “blue hour.” Watch me bring out the vibrant colors in this scene. Then, with the powerful Local Adjustments tools, I add the finishing touches to complete his photo.
Getting the color out of your printer to match what you see on screen is the job of your color management system. Both Mac OS and Windows have built-in color management systems to enable this, along with the apps you use for photography. In order for color management to work properly, you need a profile for each of your devices. The profile acts like a fingerprint for the color for the device. The color management system uses these profiles to translate the color interpretation of one device to another. In this latest post I explain how color management works inside of ON1.
One of the most common questions I get is, “Blake, how do I adjust the White Balance in my image when the automated settings just don’t work?” You can adjust the White Balance without slider slamming or guessing, but you have to know a little bit about Color Theory!
Continuing on with our discussion on color, I see a lot of questions on the color channels we can see in our histograms. You could see this in camera if you have your histogram turned on, or you can also see it on all of the various editing apps under the Histogram panels. So what do these channels do? Do they really affect anything? Well, let’s take a look.
In Part 2 of Color Correction with ON1, we’re going to look at some of the more creative aspects of color correcting photos. Especially with our outdoor landscape and nature photos, there is no “right” color for it. So it starts to become more about our personal style and what colors we envision for the photos.
In this first of two videos, we’re going to look at some of the technical aspects of color correcting a photo in ON1 Raw. We’ll look at how we can neutralize color casts, with the White Balance tools as well as take a look at what the Highlight/Shadow Purity controls do.
In this final video I’ll talk about the various options when outputting your photos, whether it be for web, print or something else.
We’ve reached part 7 where we work with portrait photos that include multiple faces which require different skin retouching settings.
In part 2 of this series I am going to do some batch and bulk correction on your portrait photos for your clients. It’s pre-editing for your proofing.
Just a few minutes in ON1 Photo RAW 2017 can transform a photo from dull & flat to detailed & vibrant. I use Develop to remove some distractions and then some basic adjustments to enhance the colors in the photo. I’ll then jump to Effects to darken the bottom of the photo with a gradient mask and “apply to”. Once I’m done I’ll boost the detail with Dynamic Contrast and finish off the photo by adding a spotlight vignette.
ON1 Guru, Blake Rudis, takes us through an entire workflow in this extended video clip. He will show us his classic Tone, Color and Artistic Effects Workflow steps, but with the ON1 Photo RAW spin on it.
ON1 Guru Blake Rudis of f64Academy shows us some cool new features on an otherwise lesser known feature. In the past, Blake has shown us how he uses Apply To to protect various parts of his images. You can still do that in ON1 Photo 2017, but there is one more level of control that makes Apply To even more compelling!
Photo RAW saves both Develop and Effects settings into a single preset. What could be better than that? Saving luminosity masks, too! ON1 Photo RAW includes luminosity masks in saved presets. This feature opens up an entire world of possibilities for powerful, flexible ON1 presets. Join me for a demonstration of using luminosity masks in presets.
A few filters in ON1 Effects is all you need to make the subject stand out in the scene. Watch ON1 Guru Scott Davenport show you the simple yet powerful adjustments that will make your subject pop.
It’s so important for photographers to have a good grasp of what ideal conditions are for the type of photography you are setting out to create. When I’m heading to a waterfall, all I can think about is having a socked in, overcast, grey sky with a little rain. As far as I’m concerned, that’s some of the best shooting conditions for my surroundings in the Pacific Northwest and when those conditions are present during a shoot, I am completely in my element.