The colors and tones are different and it makes the final composite look fake. Note that if you shoot in RAW, Photoshop does have the Camera RAW plug in which will allow alterations there.You know what can be difficult? When you combine photos in Photoshop, (also known as photo compositing) the different photos often don’t match. However, all the methods work when aiming at a specify tone as well. The primary difference between all these links and your question is that you have a specific target to shoot for whereas many tutorials and books cover general guidelines. (Note I'm not endorsing any of the above links personally, merely providing them for quick access) Rather than recite what has already been written so many times in great detail, I'll simply provide some sources to learn from. Sure equalizing RGB and then bringing them back to 200 may be sufficient, but that's like buying the same size clothes for all three of your children - might work for one, but not fit the others. You need to treat each image individually. There will almost never be one workflow or setting which is going to work for all images. You will need to select these areas using the same technique above and make specific adjustments on a case-by-case basis. There are many pigments which simply cannot be seen by a camera. If you still think it needs overall adjustment, repeat the previous step but select a light non-white area and adjust "whites" instead of neutrals.ĭon't make sharpness adjustments until after color correction. (Note that it if you think "too much yellow," you might want to add cyan and magenta rather than remove yellow.) Choose "Neutrals", (adjust neutrals ONLY-don't mess with anything else at this time) make minor adjustments. While still selected, hide selection marquee so it does not interfere with your perception. I have access to file drawers full of 4x5 transparencies with cards, and about 0% of the time is sampling or setting a magic point on them effective. This is really the only time the Kodak card is useful. The color range set to maximum fuzzyness. Use "select color range" tool to select the grey most neutral (in the painting, not the photo) and closest to around "75% grey value" (dark). Open a working copy with the curve (mentioned above) applied. (if possible, check your manual for both). Set the file type to TIFF or uncompressed (not jpeg). If you cannot work with RAW: take a picture of a photo-neutral white object in the lighting you are working with and then use that photo as the "custom white-point" in your camera. I can do this because the camera setup and lighting is all consistent and the only variable is the painting being photographed. I have a consistent photo setup so every now and again, I manually develop the best basic exposure curve and store it as a preset which I automatically apply to all shots I make in that setup. Polarization removes this but mess with red and yellow saturation. Overexposed areas have no detail to salvage. In most cases it is better to choose an underexposed image because there is still detail to work with. The histogram is especially useful as you can be sure you aren't clipping bright areas (overexposure). The software provides a histogram and full-size preview and allows me to name the files as I take them, and save them to a network or local disk. I have a camera which can be operated from a computer remotely via USB. Here is how I work with paintings for print:Ĭalibrate your monitor and then compare your calibrated monitor to (professional) test proofs so that you can be sure that you are not wasting your time.
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