Greg,
I had hoped there was a solution to this problem using CM and Masks - the skin mask nicely grabs the hands and one can adjust to roughly get it right (see below).
But I am then stuck - how do I save the mask, so that next time I go into CM, I can invert it and do the rest of the image?
I would actually prefer to do it the other way around
a) save skin mask for 2nd CM pass
b) invert mask & adjust rest of image
c) save
d) 2nd pass with mask selected before entering CM
e) just adjust the hands to match rest of the skin tones (using Hclocks)
Help!
DoubleCast image
You can do this using masks....
Hope this helps....
Greg
- Open the layer in CM
- Create the initial mask.
- Use the copy Channel Icon. This copies the layer to the clipboard. Kind of holds it static for you.
- Press Ctrl-Shift-I to invert your mask in CM and make the adjustments you want to make.
- Close CM, make a new mask layer and paste the copied original mask into the layer.
- Use this layer to make any adjustment you want.
Hope this helps....
Greg
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As always Greg, you spot the bits I miss - thanks
But nitting back(!), I dont like the colour of her hands with your pinning.
I find the grey areas on her faces most frustrating, which I assume are a result of the flash interfering with the down light. There does not seem any obvious way of removing it - I tend to be against cloning (probably because I'm lousy at it).
Rather like Mike's questioning about how blue shadows should be/not be - I find it quite difficult with my theatre shots to know how much to correct the tungsten light to become 'normal'.
For instance, here is a recent shot - out of camera and then skin pin 8.
Which gives the impression of a stage performance best? Should one colour balance properly?
But nitting back(!), I dont like the colour of her hands with your pinning.
I find the grey areas on her faces most frustrating, which I assume are a result of the flash interfering with the down light. There does not seem any obvious way of removing it - I tend to be against cloning (probably because I'm lousy at it).
Rather like Mike's questioning about how blue shadows should be/not be - I find it quite difficult with my theatre shots to know how much to correct the tungsten light to become 'normal'.
For instance, here is a recent shot - out of camera and then skin pin 8.
Which gives the impression of a stage performance best? Should one colour balance properly?
Personally I would go with the second one. I prefer natural colors to the red-yellow of tungsten. When I use a warming..I tend to go for the more yellow sunlit look.
I grew up in the right film for the right lighting age..I would have shot EPT-160 in that light or filtered the lens with EPD. It seems to me that more and more those color shifts are accepted as OK.
It seems odd to me that they would be considering how easy the correction can be. The real problem you must face almost all the time is the mixed color lighting...or worse yet the complementary light where they use magenta and green lights to make a white light with red and green shadows. Then the skin tones are really a mess with makeup and mismatched filters.
Greg
I grew up in the right film for the right lighting age..I would have shot EPT-160 in that light or filtered the lens with EPD. It seems to me that more and more those color shifts are accepted as OK.
It seems odd to me that they would be considering how easy the correction can be. The real problem you must face almost all the time is the mixed color lighting...or worse yet the complementary light where they use magenta and green lights to make a white light with red and green shadows. Then the skin tones are really a mess with makeup and mismatched filters.
Greg
More thoughts...
You might want to correct the base image first and then go back and match the hands. Your mask is still valid but, you have to do the center of interest first and to me that would be the face.
As we go forward, I would encourage everyone to think about the main subject and objects that are important. These are the areas we need to focus on. If it is a portrait it is about the person or the face..Zog said it right in the rose picture, that the background is a distraction from the rose image. I would darken the background as much as 20 % maybe more to make the roses look better. In this image there could be a strong argument made that the hands might be a crop problem. If you look at it from a compositional correction you might just get rid of them...K.I.S.S. Keep it simple Stupid...
This is not to say that the techniques and challenges are not valid..Rather that you need to look at the image from a diminishing returns viewpoint. You might spend a large amount of time trying to fix something you could be cropping out later.....
Just another thought as I review the postings...
Greg
You might want to correct the base image first and then go back and match the hands. Your mask is still valid but, you have to do the center of interest first and to me that would be the face.
As we go forward, I would encourage everyone to think about the main subject and objects that are important. These are the areas we need to focus on. If it is a portrait it is about the person or the face..Zog said it right in the rose picture, that the background is a distraction from the rose image. I would darken the background as much as 20 % maybe more to make the roses look better. In this image there could be a strong argument made that the hands might be a crop problem. If you look at it from a compositional correction you might just get rid of them...K.I.S.S. Keep it simple Stupid...
This is not to say that the techniques and challenges are not valid..Rather that you need to look at the image from a diminishing returns viewpoint. You might spend a large amount of time trying to fix something you could be cropping out later.....
Just another thought as I review the postings...
Greg
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