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Color and tone in composites

A lot of times when I see ebook covers that don't work for me, my issue is that the models don't look like they go together. Their lighting is coming from different sources, some are direct while others are diffuse, and usually the warm/cool temperature of the lighting is different as well. Stick two differently-lit guys on a cover and it looks bad.

Even though I'm doing single-model covers for Turbulence, I still want all the covers to look like they belong together when you line them all up, so I want to give the impression that my lighting is all the same. Even though it really, really, really isn't.

Initially I was working in an OnOne plugin called Perfect Photo Suite to tone my pictures. But then I upgraded my Photoshop and my OnOne no longer works without me opening up an older version of Photoshop, so I decided to just bite the bullet and do some initial toning of my photo in Camera Raw (which is a function of Adobe Bridge). I had awesome results! I'm going to start opening all my stock in Raw to get it closer to my final result before I even bring it into Photoshop.
Here's an existing cover I'm trying to match. Some of the things I'm considering are the overall temperature of the light, the intensity of the shadows, the overall saturation of the color and the level of contrast, which is fairly high, but without blown out highlights.

Here's the stock photo as shot. The highlights are really pale, the quality of the light is very cool, and it's natural light. All the other shots I've used so far were studio shots...but I really loved the expression on his face. There's a scene in the next story where Paul is in DC out on the street listening to his voicemail and I thought this really captured it...but that scene takes place at night, and this is really bright! However, I forge ahead...

I was able to get the shot this far in Camera Raw. It might not seem like a big deal to have it be "just a little darker" but I've actually tweaked the temperature of the lighting to make his skin more peachy and I've enhanced a lot of detail to the midtones that were starting to look blown out in the original.

And here it is composited with my street scene, my typography and my ghost orbs. I used a few additional photo filters both to darken him further and to give the illusion that it's night and he's actually being lit by that streetlamp. (I tried about fifty gradiated filters on a few different blend modes...it took a while. I really wanted to sell that it was night time.) When I use toning filters like that, I usually mask them away here and there. I find it makes the image less flat. Here, I tapped the filtering off Paul's chin and knuckles. I think it looks more dimensional that way, to have color casts emerging and receding rather than just being applied to the whole image.

Now I just need to finish writing the last chapter!

Additional links:
There's a great course on Camera Raw on Lynda.com. Some chapters are free. I'll confess I didn't watch the whole 6 hour course, but probably 90 minutes, enough to feel confident about getting in there and making some adjustments.

And you can find the Turbulence series free at JCPbooks.com


Jul. 26th, 2012 10:34 am (UTC)
I love Photoshop CS5. You did a great job. The first time I ever took pictures with my Nikon D90 in raw, I could not believe the difference in control I had in the raw interface.
Jul. 26th, 2012 11:11 am (UTC)
Oh, I'm really glad you mentioned that. Two more things that brings up:

1. I've never shot in raw, that would be great to experiment with. (I'm not a particularly adept photographer but that doesn't mean I wouldn't enjoy tinkering with it. I always mean to.)

2. The stock art was a jpg, and you can also modify a jpg in Camera Raw. I'm sure there's not nearly as much pixel info there, but it still did awesome things for my tone.

This is CS6, I'm not sure how different Raw is from CS5. I think there might have been some upgrades. Photoshop sure got an overhaul this time around.
Jul. 26th, 2012 08:28 pm (UTC)
I went from PhotoShop 7.0 to CS5 about a year ago, so I'm still trying to learn. A lot of cameras will take both a JPG and a Raw pic, which is what I prefer. You can sort through the JPGs easier and then only play with certain raw pics.

I have used raw for JPGs too. I'm also a fan of the color filters when you use masking. The thing I like the most about Photoshop is there is always something new to learn. :)
Jul. 26th, 2012 08:56 pm (UTC)
WHOOOA! That must have seemed like an entirely different program!

I actually had a beef with CS5 which was they took away the lighting effects filter. But now it's back in CS6 and I find I don't even really like it now. Weird.

Do you use smart objects? I find them so incredibly powerful.
Jul. 26th, 2012 09:18 pm (UTC)
I love smart objects. I used to have to save different versions of the files just in case I had to make a change later or extra copies of the layers. I think they might be my favorite new tool. The upgrades on the healing tools would be a close second. I hate the Quick Selection tool. My verison of CS5 has the lightening effects? Maybe it is different in CS6. I have only used lightening effects in dramatic portraits, but it is limited.

I bought a Text Effects DVD tutorial recently with my NAPP membership and I've been playing with that today. I need to try to spruce up my boring author website, but I can't seem to decide what to do. lol.
Jul. 27th, 2012 07:11 am (UTC)
My verison of CS5 has the lightening effects? Maybe it is different in CS6.
It turns out I was running in 64-bit mode and that filter is only available in 32-bit mode in CS5. But 32-bit CS5 ran a little logy, and it was too much trouble to exit and restart in 32 just to run one filter, so I learned to do without. Now it seems to be tied to the 3D engine somehow so it runs super slow, and like you said, not even all that useful in the long run. If I had better control over it and could make it subtle, to darken the edges, then maybe.

I've noticed NAPP is adding more nice, short members-only tutorials to the site on a regular basis and Pete Collins does a video weekly roundup letting us know what they'll be. I've never met another NAPP member so pardon me if I now geek out on you every time we talk :D

Edited at 2012-07-27 11:11 am (UTC)
Jul. 27th, 2012 07:13 am (UTC)
...but now that I think about it, if you could use the Lighting Effects filter and use a grayscale image of a person as a displacement map or texture map (or whatever they call it) you should be able to force pictures of models from different shots to look like they were under the same dramatic lighting. If you really knew what you were doing, which I don't.
Jul. 27th, 2012 09:54 am (UTC)
Now I really want to see the lightening effects in CS6. I only use the CS5 64-bit mode, so it is still a mystery. My laptop is also 64-bit. Maybe that is the difference? You're the first NAPP person that I have meet too. We can geek out together. :)

The way I use lightening effects is with a gradient mask. I duplicate the image, apply the lightening effect, and then use a mask with a gradient. This allows me more control over the light, because the lightening effects is usually too strong and fake looking.

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