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Chapter 17. Workflow > Step 6—Global Color Adjustment

Step 6—Global Color Adjustment

At this point, any color casts that plagued the image should be gone and the overall brightness and contrast should look okay, which will make it much easier to evaluate the color in the image. The colors in an image will often look rather flat and lifeless at this stage, so I'll add a Hue/Saturation Adjustment Layer and boost the Saturation until the colors come alive (Figures 17.25 and 17.26). If you intend to print the image, you'll have to be careful that the colors in the image don't become more colorful than what your printer is capable of reproducing. When that happens, your printed results will look less vibrant than what was seen on-screen and some color might shift (such as vivid blues becoming dark purple). If your final output will be a print of some sort, then I'd review Chapter 7, “Color Management,” to figure out how to setup the View > Proof Colors command so that you can preview what the image will look like when it's printed and turn on that command anytime you're adjusting the color of the image (especially when increasing saturation). This is also when I'd consider changing the overall feeling of the image to make it appear a little warmer (by shifting the colors toward red, orange or yellow) or cooler (by shifting the colors toward blue or green). That is occasionally needed to prevent an image from appearing too sterile or to add a little personality to the image (Figures 17.27 and 17.28). Shifting the color feeling of the image can be done using a Curves Adjustment Layer and adjusting the individual color channels using the pop-up menu at the top of the Curves dialog box (as described in Chapter 10, “Color Manipulation”).

Figure 17.25. Image before adjusting saturuation. (©2005 Ben Willmore)



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