I am going to show you a couple of processes for adjusting the color on this photograph, and the first one we are going to take a look at is really kind of on a scale of one to ten if I had to rank the effectiveness of this particular tool, it would rank at about a six. I am going to show it to you first, there are more effective, more precise ways to adjust color. On portraits you really want it to be as good as it can be. So the first one we are going to look at is the color balance control and what you see here is the RGB values on the right, and the CMYK values on the left. And then of course you have the shadows, the mid-tones and the highlights down here on the bottom, which obviously means that you can make adjustments to the highlights, make adjustments to the mid-tones and in the shadows, the darker areas of the image. I pretty much would start with the mid-tones and go up from there and if you are taking a look at the color wheel on the red portions of the color spectrum, if you add red, you reduce cyan. The converse is also true, if you add cyan you reduce red, and so on and so on to green and magenta, blue and yellow and so on, take this back to zero. Alright so let us take a look at what we are going to do with this. Now generally you start with the mid-tones, you can adjust the highlights and we probably will do that, but let us look at the mid-tones and make the adjustment. The first obvious adjustment that this image needs is corrections in the blue spectrum, so we are going to adjust away from blue and by default add yellow, and actually that does not look terribly bad, I mean on balance that is not a bad choice. And add a little bit of red, and again as we have repeated ad nauseum in this tutorial, you want to do everything to taste. If that looks good to you, then it looks good. Personally I would reduce the blue and add the yellow, you get a result of more green and so you want to compensate for you green just a bit. Go back and before and after and before and after, does look better definitely, not bad at all. Now I am just going to demonstrate this to you, this adjustment is about the best that the color balance control is going to be able to render, we'll may be increase the saturation on this a bit to bring out the brilliance in the photograph, but from the standpoint of a color tonal adjustment, that is about the best it is going to look. We can do things to the highlights, and actually in this color in this particular photograph, you want a little bit of blue to remain. First of all her blue eyes I would like to keep, but you know, in the shadows here kind of want to keep the blues, it keeps her from being in the flat washed-out tone in her face, you want a little bit of variance, a little bit of contrast, there a little bit of blue right here, the shadow on her hair, and you know that is to add to the attractiveness of the picture. You do not want to get rid of the blue totally, but by way of demonstration, let us take a look at what happens when you do that. You click on highlights, which obviously is going to render her face, because it is the brighter area of the photograph, and the effect, hope you can see this, you might want to try these as we go along in your own computer with Photoshop, and you can see what I am looking at, and again it is a matter of taste, but let's just leave that and call it quits. That is the color balance control and let us look at the saturation here. And you know when you make these corrections make them at zero saturation, or rather the neutral level of saturation, and then increase the saturation, just to bring out the brilliance. And that is about the best, right there is not as good as it could be but it is not bad. I will show you a better way to do this in just about a minute. Now bring that way up, it is a little over-saturated but looking at it, it has got a little bit of red in her cheeks, and let us just take some of that red out, you know there is only so much you can do with the color balance control, it is not my favorite one. In fact, we are just in the wrong tonal range, it should be highlights that we are dealing, so let us take some of the red out, It looks better than it did, no doubt about it. Does it looks as good as it could? No. Let us look now at really the best way to make the color corrections on this photograph, we are going to look at the curves dialog box, and you are going to impress your friends and neighbors with this folks, so stay tuned.
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