Forums > Digital Art and Retouching > How to achieve this tone ?

Photographer

Bertrand Noel

Posts: 4

Paris, Île-de-France, France

Hello,

Do you guys know how to achieve this tone ?

Do you think is just by using Gradient Map with blend mode ? Or Hue/Saturation with colorize ?

https://drive.google.com/open?id=0B4OyS … nplTzdhZVE

I'm having a hard time trying to get that toning correctly but it wasn't so good.

Thank you for your help.

Mar 20 17 08:14 am Link

Retoucher

anchev

Posts: 939

Sofia, Sofija grad, Bulgaria

Bertrand Noel wrote:
Hello,

Do you guys know how to achieve this tone ?

Do you think is just by using Gradient Map with blend mode ? Or Hue/Saturation with colorize ?

https://drive.google.com/open?id=0B4OyS … nplTzdhZVE

I'm having a hard time trying to get that toning correctly but it wasn't so good.

Thank you for your help.

As in many similar threads - it matters where you start from. If you show your input image, someone may be able to help. Alternately you may try to reverse engineer the toning by degrading the image, making it as close as possible to your photo and then invert the process. Watch the neutrals, the skin tones (things you have some idea about) and work from there.

Mar 20 17 08:57 am Link

Photographer

Thomas Van Dyke

Posts: 3015

Washington, District of Columbia, US

Bertrand Noel wrote:
Do you think is just by using Gradient Map with blend mode ? Or Hue/Saturation with colorize ?

Bertrand it appears you are on the right track with this enchanting image in your book...

http://photos.modelmayhem.com/photos/130106/04/50e9721cd32b9.jpg

My compliments...

That said I find using a Selective Color Adjustment Layer to get the effect I'm after then reduce the opacity to taste...

And please accept an apology for the initial reply to your query...
Sadly it seems that Retouchers once they have achieved commercial success are rather unwilling to assist newly emerging talent... Possibly George may rethink his initial post and offer actual applied wisdom/methodology  to the mix... I certainly would like to see another retoucher with tenure share their thoughts here...

Hope this helps or is at least food for thought...
I wish you well Bertrand...

Mar 20 17 11:33 am Link

Retoucher

anchev

Posts: 939

Sofia, Sofija grad, Bulgaria

Thomas Van Dyke wrote:
And please accept an apology for the initial reply to your query...
Sadly it seems that Retouchers once they have achieved commercial success are rather unwilling to assist newly emerging talent... Possibly George may rethink his initial post and offer actual applied wisdom/methodology  to the mix... I certainly would like to see another retoucher with tenure share their thoughts here...

Thomas, there is nothing to rethink. I would appreciate if you don't speak on my behalf and post unsolicited personal conclusions directly or indirectly. Not because I am concerned but because it is off-topic. I don't feel I have abused anyone, so please - you don't need to excuse me.

I have already said what I think: input matters and I am not saying it casually. I will keep reminding it on any similar occasion because this is crucial to understanding color correction/grading. You cannot give a valid recipe for a color shift if you don't know what you are shifting. In an older thread a bunch of people attacked me when I said this, then later after they understood it is actually so, they started sending PMs here and on FB to apologize. We had some fun and it was a friendly talk but please let's not start this again. In case you haven't noticed, I gladly help others when I have time, for various problems and that has nothing to do with commercialism, success or anything like that.

There are so many threads in which people ask "how to get this look" and they rarely show actual input. Often the OPs don't even come back. Meanwhile someone comes along and starts "helping" with noble recipes without having the slightest idea about what the raw image looks like, often giving even lengthy instructions with details like "keep opacity 23-27%" and stuff like that. Is that wisdom? What if the scene was shot with some luminescent light with terrible spectrum? Or if the environment added a strong color cast? Or something else? How will you handle different light in case you create a procedure based on rgb luminance (which is what people here suggest in 99.99% of the cases)? You see - such recipes fail instantly, so they have no value. Good post-processing, especially color-wise, starts at the time of shoot planning when you choose the color palette for your scene.

So if you really want to apply some wisdom: 1) look 2) understand what you see 3) work. I think that's the most helpful thing one can learn.

If the OP shows an input image I would be glad to be more specific. But without that I have nothing to add. I hope you don't mind.

Mar 20 17 01:18 pm Link

Photographer

Bertrand Noel

Posts: 4

Paris, Île-de-France, France

Thomas Van Dyke wrote:
Hope this helps or is at least food for thought...
I wish you well Bertrand...

Thank you Thomas for your help !

Mar 22 17 12:43 am Link

Photographer

Bertrand Noel

Posts: 4

Paris, Île-de-France, France

anchev wrote:
You cannot give a valid recipe for a color shift if you don't know what you are shifting..

Anchev, I understand what you say about the interpretation of an image and I totally agree. I edit my images for years and I know it takes experience and work.

I do not want a recipe ready to use on any image, I just want to know how to get a homogeneous shade similar to the photo of my first post without losing the original colors.

I tried using different methods (as gradient map, hue/saturation, selective color, etc.) starting from images very different but I am not satisfied with the result, that's why I came here to ask the opinion of retouchers and photographers.

Have a nice day!

Mar 22 17 12:58 am Link

Retoucher

a k mac

Posts: 476

London, England, United Kingdom

I find it useful to break down the process into stages.

First establish the tonal values/relationships/contrast. This can often best be achieved by viewing the image in greyscale.

The next stage is often to deal with the saturation balance across the image and locally.

Once you have tonal values and saturation under control you can focus on the hues. At this stage there are many options globally and locally. Constraining global adjustments at this stage by using the Hue Blend Mode can be helpful.

More often than not, global adjustments are backed off significantly by reducing the opacity of the adjustment layers, and the final overall look may be achieved by using a number of adjustment layers - Colour Balance, Selective Colour, Gradient Mapping etc, etc.

Then you might move on to texture and grain ( I find it best to float this layer on top, so you can deal with image sharpening later without sharpening the actual grain).

And finally deal with local contrast and image sharpness.

The above approach is just a broad suggestion - in reality, you tend to move back and forth, making interactive adjustments as the work progresses. But the main thing is to have a clear idea of how each of the individual elements (tone, saturation, hue, texture, sharpness etc) contribute to the whole picture, and to be able to identify and manipulate them separately and systematically.

Mar 22 17 04:12 am Link

Retoucher

anchev

Posts: 939

Sofia, Sofija grad, Bulgaria

Bertrand Noel wrote:
Anchev, I understand what you say about the interpretation of an image and I totally agree. I edit my images for years and I know it takes experience and work.

I do not want a recipe ready to use on any image, I just want to know how to get a homogeneous shade similar to the photo of my first post without losing the original colors.

Well, that comes down to the same 1-3 which I mentioned. Homogeneous means uniformity, which means no/little difference, i.e. reduce variation/contrast. So if that is what you want you can approach it in different ways.

However for this particular image I feel you are overthinking it. It is a very simple look. Degrade it and then you will know what was done on it. Here is how it looks after quick degrading:

https://snag.gy/4eS3Jx.jpg

Here is a file with the curves:

https://goo.gl/uY9LvJ

Having that, you can invert the effect of the curves using your image and fine tune further.

Mar 23 17 04:28 am Link

Photographer

Bertrand Noel

Posts: 4

Paris, Île-de-France, France

a k mac, Anchev,

Thank you for your time.

It seems easier to separate colors and luminosity.

Thanks for the file Anchev, it's finally very simple and corresponds to what I already do on some of my images. I probably overestimated the colorimetric retouching on this image.
The rendering is very beautiful (perhaps also because the composition and the image in general are very good in my opinion) and I had the feeling that this was a more complex adjustment.

I forgot to quote the name of the photographer, Clara Giaminardi : http://www.claragiaminardi.com/editoria … RLAND-SS17

Mar 23 17 08:27 am Link

Retoucher

SW Retouch

Posts: 18

Anchev, would you mind telling me what a degrade is?  Are you trying to neutralise the image e.g. correct the white/grey/black point & reduce contrast to find out the starting point?  I dowloaded your curves but when I tried to match them using the white/grey/black eyedropper from a Curves layer and it did not match- it kept the image still quite yellow whereas your image is quite blue in the walls.  So I am presuming you did this visually? I'd like to learn this technique. Thanks!



anchev wrote:
Well, that comes down to the same 1-3 which I mentioned. Homogeneous means uniformity, which means no/little difference, i.e. reduce variation/contrast. So if that is what you want you can approach it in different ways.

However for this particular image I feel you are overthinking it. It is a very simple look. Degrade it and then you will know what was done on it. Here is how it looks after quick degrading:

https://snag.gy/4eS3Jx.jpg

Here is a file with the curves:

https://goo.gl/uY9LvJ

Having that, you can invert the effect of the curves using your image and fine tune further.

May 03 17 03:46 am Link

Retoucher

anchev

Posts: 939

Sofia, Sofija grad, Bulgaria

SW Retouch wrote:
Are you trying to neutralise the image e.g. correct the white/grey/black point & reduce contrast to find out the starting point?

Yes.

I dowloaded your curves but when I tried to match them using the white/grey/black eyedropper from a Curves layer and it did not match- it kept the image still quite yellow whereas your image is quite blue in the walls.

The curves preset I shared is for this specific image and only for it. So if you are trying with a different image or if you have changed color space expect different results. Also note there are 2 layers in different modes.

So I am presuming you did this visually?

I don't remember (it's an old thread) but I don't use eyedropper tools in general. Usually to find a curve that neutralizes a particular tone you can create a color sample over it, set it to display LAB values and fine tune your RGB curves until the a/b values for the sample become 0. To preserve luminosity set the layer mode to Color first.

May 03 17 04:08 am Link

Retoucher

SW Retouch

Posts: 18

Hi Anchev,

Thanks so much for your reply. I learnt a lot.  I tried it again using your LAB method and I definitely got closer to your colours & getting a more neutral image (I guess it depends where you put the colour sampler as well).  This is an interesting method to try and find out what is going on in an image you want to match to which is a difficult skill sometimes. Yes I made sure I had the same Blend modes and I was using the same image.

I'll try this again on some other images & see if it helps me match them.

Thank you for your time Anchev!

May 04 17 08:08 am Link

Photographer

Nikolay L retoucher

Posts: 62

Petrozavodsk, Karelia, Russia

May 08 17 10:58 am Link