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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.
autopilot-300
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.


paul-bright
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...

paul-midtones
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.

connecting-300
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

Comments

rakashun
Jul. 26th, 2012 12:44 pm (UTC)
I'm just starting to tinker with Camera Raw in CS6. Love seeing what you've done. As always, your covers evolve like magic!
jordan_c_price
Jul. 26th, 2012 01:05 pm (UTC)
You'll have to let me know what your favorite features are.

So far I like that I can save various "snapshots" of processes, so I can apply a bunch of changes, take a snapshot, then reset the whole thing and start again. Or if I get to a point where I think I like it and don't want to wreck my progress by taking it too far, I can save a snapshot there.

I also like the clarity and contrast sliders a lot.

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