converting color modes
Ron
photo to greyscale and then converted back to RGB to recolor it from
scratch..are these the correct steps??
When I want back to RGB mode it still looked greyscale..but anyway, I
went to use Tone curve to add some colors in RGB mode in tone curve
dialogue box..and Gads it looked awful.... did I do something
incorrectly in my coverting photo from RGB to Greyscale and back to
RGB to recolor it from scratch...??? what is correct process IF above
is incorrect?? Thanks for any help from those who have recolored flesh
tones etc. it photos....Ron
Ron
>
> In article <392C82...@flash.net>, ro...@flash.net says...
> > I was trying to recolor a photo..so I converted the RGB mode
> > photo to greyscale and then converted back to RGB to recolor it from
> > scratch..are these the correct steps
> >
>
> Rather than convert to greyscale - desaturate the image. See if that does
> what you want.
>
> Barb
Barb...THANKS so much....That was actually what I was wondering
to...would not desaturate accomplish same thing. Barb, then what is
purpose of converting to greyscale other then having a greyscale image
as your final goal?..Ron
Barb McMillen
Michael Cervantes
color, then you are changing brightness and contrast as well. Use mode Lab
where color is separate from Luminosity.
Now. There is not a method to color a grayscale image mixing channels as
when converted to grayscale. When you convert to grayscale color information
is gone. No way to recover it.
--
Michael Cervantes
C-Tech Volunteer
------------------------------
Schobie
Ron wrote ...
>Hello, I was trying to recolor a photo..so I converted the RGB mode
>photo to greyscale and then converted back to RGB to recolor it from
If you are making global (whole picture) Hue adjustments (i.e.. color
correction), Michael Cervantes suggestion of using Lab mode is the way to
go (simple, yet powerful). Barb McMillen's suggestion of desaturating is an
important tool, although I'd use the saturation slider on the HSL filter
(hotkey <ctrl>+<shft>+<U>) for more control. Many pics are under or over
saturated for the intended display device (monitor/projector vs. printed
paper)
=====
IF you want to make localized Hue adjustments/changes, I would suggest
trying the more complicated technique of underpainting. Underpainting
simulates Lab's separation of the Tonal information (texture defined by
luminosity) from the Hue (shading defined by color) information by splitting
the information into separate layers with a 'Lightness' merge mode.
I start by creating an object layer copy of the original (hotkey
<ctrl>+<shft>+<A> [Select all], <ctrl>+<up-arrow> [Create object copy]) and
an additional duplicate (hotkey <ctrl>+<D>). You should now have 2 objects
AND the original background.
NOTE: I always work with copy objects as I make mistakes and it gives me an
original to compare to.
I then select the top most (or the over layer)object, rename it to "Tone"
(for identification only) and change its merge mode to "Lightness". I then
select the bottom object (or the under layer, NOT the background!) and
rename it to "Hue". The "Hue" layer's merge mode stays 'Normal'.
Now you are ready to 'play'!
The game's rules:
1) All tonal/texture changes (sharpness, smoothing,
brightness/contrast/intensity, etc...) MUST be done with the "Tone" layer
selected.
2) All hue/shading (brushing/shifting colors, etc...) changes MUST be done
with the "Hue" layer selected. You are 'painting' colors on the 'under'
layer... thus the name 'underpainting'.
Tips:
1) Import a picture (hotkey <ctrl>+<I> [Paste object from file]) to serve as
a palette that has the colors you desire if the current picture lacks them,
unless you have the artistic ability to create the colors (harder to do than
first imagined). You can then use the eyedropper tool (hotkey <E>) to select
the colors as needed
2) I 'blow' the colors on the "Hue" layer with a very mild "Airbrush" (like
amount = 1, transparency =80-95%, soft edge = 75-100%) to get better
control. A small "Art Brush" (like 2 pixel size, 50% softedge, amount = 1,
transparency =75-95%) can be used to color small details. Note that light
colors need a heavier application, which I control via the transparency for
more control. Also, the detail "Art Brush" size is for a face with a 500
pixel head height.
3) Texture detail (eyelashes, edges, etc..) can be added to the "Tone" layer
via "Art Brush", "Brightness", and "Clone" tools.
4) Use masks to prevent color bleeding outside of where you want it. For a
face, I'd mask the eyes, lips/teeth, hair, jewelry, etc...
5) Use different shades of color for the Highlights, midtones, shadows.
Conclusion:
I finish by selecting both the "Hue" and "Tone" layers, duplicating them
(hotkey <ctrl><D>) and then combining them (Hotkey <ctrl><alt><down-arrow>
to
get a single layer 'finished' object for export/printing/etc...
Underpainting should (IMVHO) be reserved for times when complicated
localized color correction/replacement is needed, or you wish to make
shading modifications/changes (i.e.. a pink Iguana with purple racing
stripes... ;^)
The above may be more info than you need... but is a very powerful tool for
the
digital manipulator/artist.
Happy Photo-painting...
Rob
Ron
>
> Ron you are using the wrong mode to change colors. In RGB when you adjust
> color, then you are changing brightness and contrast as well. Use mode Lab
> where color is separate from Luminosity.
>
Michael...what is Luminosity...I thought it is same as
"brightness"...Am I wrong??
> Now. There is not a method to color a grayscale image mixing channels as
> when converted to grayscale. When you convert to grayscale color information
> is gone. No way to recover it.
Thanks again Michael I had misunderstood conversion process in article I
read.
Michael, If I convert RGB to LAB can LAB be printed out effectively on
HP injet? (for some reason I thought inkjects were only effective for
printing in RGB colors...so I had assumed that there was no use in
converting a RGB image to other color modes in PP9 as they would
not print out well in injet printers...I thought all the other
color modes in pp9(except RGB) were only to be used if a person were
sending it out to commercial printing shop. ..........Can you help me
with correct understanding of all above because if I am wrong then I
best get correct understanding now....Thank you Michael...with
respect...Ron Del Pino
Ron
appreciate your taking the time to explain every detail...that method of
underpainting sounds absolutely great...your just the first one to
explain it with enough detail to help me learn it effectively...again
thanks for your effort ...will be big break through for me
...especially, with Michael C.s and Barb's help...you all are making my
day special....Thanks!!!...Ron
Michael Cervantes
may fix some areas but may ruin another. Lab mode and Tone Curve let you
perform with more control over specific areas without using any mask. Visit
http://www.designer.com and read article "The Magic of Lab Color Space."
Michael Cervantes
Cricket
If you convert to LAB mode to do your manipulations, you just convert back
to RGB when you're done.
Cricket
"Ron" <ro...@flash.net> wrote in message news:392CDA...@flash.net...
>
> Michael, If I convert RGB to LAB can LAB be printed out effectively on
> HP injet? (for some reason I thought inkjects were only effective for
> printing in RGB colors...so I had assumed that there was no use in
> converting a RGB image to other color modes in PP9 as they would
> not print out well in injet printers...I thought all the other
> color modes in pp9(except RGB) were only to be used if a person were
> sending it out to commercial printing shop. ..........Can you help me
> with correct understanding of all above because if I am wrong then I
> best get correct understanding now....Thank you Michael...with
> respect...Ron Del Pino
> >
> > ------------------------------
Schobie
>Gee Schobie, I am printing out everthing you typed ...I really
>appreciate your taking the time to explain every detail...that method of
>underpainting sounds absolutely great...
Glad to be of help. Underpainting is a lot of fun, in that some really
impressive and flexible results can be done with little effort after some
experience.
>your just the first one to
>explain it with enough detail to help me learn it effectively...again
>thanks for your effort ...will be big break through for me
>...especially, with Michael C.s and Barb's help...you all are making my
>day special....Thanks!!!...Ron
Photo-paint is like that. It can do sooo many things, that I stumble over
new stuff in other posts all the time. Many of the contributors have their
own area of experience, and have been a great aid to me. I tried to keep the
explanation simple (2 object layers), so you could make quick use of it.
There are 'additional' things such as using the "Tone Curve" (hotkey
<ctrl>+<T>) to shift individual color channels (while the "Hue" layer is
selected) to color match an object to the rest of the picture. This
additional complication gives you four channels to 'play' with: A tone
channel (Tone object), and seperate Red, Green, and Blue channels (via the
Hue object).
I also use an additional Overlay (Tone layer with lightness merge mode)
object layer on top as a smoothing layer (give it a Gaussian Blur, say
0.4-1.4 pixel radius) and use the eraser tool (hotkey <ctrl>+<X>, 50-85%
transparent, 50-100% softedge) to erase areas of the blurred object layer
where I want the sharpness and detail (eyes, nostrils, lips, teeth, jewelry,
hair, edges, etc...) of the lower layer to show through.
So I 'play' with 5 channels (in three object layers) in the above scenario,
and gain control over smoothing, sharpness, and color. Sounds more
complicated that it really is. But then there's...
selective Dodge/Burn/Blend/Undither/Sharpen/Saturate/Desaturate via tools...
and...;^)
Happy Photo-painting...
Rob