See two methods of correcting and equalising skin tones.
First with a Style Brush and secondly with the Skin Tone Tab of the Color Editor.
Learn how to:
✓ Apply skin tone adjustments to Layers
✓ Make skin tones more uniform
Length: 7:33 minutes
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In this quick edit of a street photograph, learn how to use a number of adjustments.
Learn how to:
✓ Automatically correct perspective
✓ Adjust shadows and exposure
✓ Automatically set Levels
✓ Target specific colors
✓ Use Style Brushes
✓ Heal out distractions
Length: 05:54 minutes
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The use of color in an image can completely change the look and feel of a shot, and achieving a harmonious color grade can be what makes your image stand out from the rest. Our guest blogger, Mareike Keicher, is a commercial and editorial retoucher, and in this piece she shares some of her best tips for creating color harmonies and her favorite tricks for beautiful color grading.
NOTE: This article uses images from an older version of Capture One Pro. To learn more about our latest version, click here.
Color is critical to my work as a creative. It has a unique ability to depict emotion and mood in an image, and my use of color is a key factor in landing potential clients for commercial and editorial retouching projects.
That’s why Capture One Pro’s photo editing software plays a huge role in my work – it delivers everything you need to create beautiful color harmonies for any image. It also helps me work more efficiently – the ability to synchronize edits and compare different color schemes using variants improves workflow and consistency throughout projects.
Here’s a look at my editorial process when working with color grading in Capture One Pro.
Color grading will largely depend on the genre, style and intended use of the images – usually set by the photographer or the client. In this blog post, I use color grading which aligns with a more commercial or lookbook approach.
There’s all kinds of variables that can make the color grading process difficult. For example, in still life photography, I can’t adjust make-up tones or clothing in a way that I find pleasing to the eye because the products need absolute color accuracy for sales purposes. These factors (genre, style, usage, color accuracy) shape what we are able to do as retouchers. It also helps us immensely when photographers shoot with color grading in mind.
There is no general approach to color grading and you can often create and choose from several color schemes if the photographer or client does not have a particular one in mind. A lot of different color schemes can work with a particular image when it is applied correctly and the tones are balanced.
The concept of color harmony is in general more an objective principle than a subjective attitude. There are color themes developed from systematic color relationships as a base for composition.
Color Scheme Designer is a useful tool for choosing colors – it contains a color wheel based on the foundation of Goethe’s color theories. It depicts the different color hues and how they relate to each other, which can aid in defining specific color palettes for grading. It’s not about copy & pasting the hex color codes, you can do it by eye.
In order to find a fitting color scheme for our purpose, we must first analyze our image or images and make a decision about the primary color. This is done by factoring in the following:
Analyzing these elements helps us define our subordinate, accompanying colors for grading. For beauty images, the main color could be a make-up tone for example, combined with muted/desaturated skin.
When you tone an image, the weight, saturation and relative size of colors should be similar to a harmonized palette. Here are some general rules to balancing the weight of the colors:
Concept of weight: Use the proportions of the color scheme in the right way. Separate the image into elements (you decide how many) and distribute the hues. Don’t forget to balance their proportions with saturation and luminosity.
The position of the elements change the relative weight.
The usage of color contrasts can add value to an image but also change its weight. We usually distinguish between: contrast of hue, light-dark contrast, cold-warm contrast, simultaneous contrast, contrast of saturation and contrast of extension. Make sure to use one contrast as a main and the others with restraint, if at all.
You can use the “Annotations” tool to create markups for your ideas. If applied in the wrong proportions, an image can look odd even if the hues of a certain color scheme are used.
Besides the Color Editor and the extensive range of Capture One Styles with preset adjustments for grading, Capture One Pro has powerful color editing tools that allow you to create the precise color grading you want and capture every nuance:
Color Editor > Skin Tone > Uniformity. Using the skin tone adjustments in separate layers to even out different variables for hue and saturation can be very powerful. Not only on skin (like the name suggests) but also on clothing or the background. If you choose this dialog on a separate layer and adjust another hue, you can get rid of unwanted hues (e.g. 5 shades of green) to obtain better color harmony.
A color scheme is a collection of colors that create color harmony when applied in the correct proportions. It guides the viewer to the focal point of attention in the image and prevents them from getting lost or fatigued.
Whilst there are 6 different variations found on Color Scheme Designer, there are also additional combinations such as tetradic, square or achromatic color schemes.
Here, I’ll focus on four of my favorite color schemes, which can be used together in a series of images to create tension as well as consistency.
It’s quite common to mix color schemes within a set of images. However, it’s important to match the concept and the story/mood. There should be a common thread to unify the overall look.
Here you can see an overview of the example set. All six looks need a common thread and each image should be harmonized on its own.
The brief requests a mix of colored and achromatic looks.
Some colors from the example set chosen with Adobe Kuler.
Accented analogous color scheme contains most of the colors of the set and can therefore be used for this set.
Accented analogous color scheme contains most of the colors of the set and can therefore be used for this set.
Having a closer look at the color schemes, you can see that we can use an accented analogous color scheme if we shift the blue of the blazer to a greenish tone. Of course, not every image contains all of the colors, so in this case we’ll also choose a complementary/monochromatic color scheme derived from the previous color scheme.
In order to achieve a commercial, clean look and include some achromatic images, I picked a neutral background color. The colors of the skin tone should be healthy-looking and consistent within the set. One important tip that is often ignored or undervalued is that the other colors then need to be muted or neutralized. In this case it’s mainly the blue tones, deep purple and (greenish) yellow.
Color scheme proportions: 40% – 20% – 20% – 20%
The accented analogic color scheme is a combination of the analogous and complementary color schemes which are described further down this blog post.
Using the new Basic Color Editor, I adjusted the blue, green and yellow tones because they are the more ‘unfavorable’ tones in this instance. I then moved onto some smaller and more precise corrections, as you can see below.
As you can see, the majority of my adjustments so far are achieved by using the Advanced Color Editor. By saturating the magenta tones, I was able to put more focus on the skirt. I also adjusted the blue to a greener tone. Next, I neutralized the light purple to grey followed by desaturating unwanted yellow tones. To finish off, I darkened the orange tones of the skirt for some balance before using the Skin Tone adjustments to even out color shifts in the skin.
Final Result after some minor corrections in Photoshop.
Color scheme proportions: 70% – 30%
Complementary colors are when two kinds of colored light yield white when mixed with each other. If we isolate one hue from the prismatic spectrum, for example green, and collect the remaining colors – red, orange, yellow, blue, violet – with a lens, the mixed color obtained will be red, i.e. the complementary color of green we isolated. The color scheme was built from this physical principle.
The complementary color scheme involves the use of opposite colors on the color wheel. It’s quite popular because it’s naturally pleasing to the eye, but be careful not to use both colors equally. One of these colors should be more dominant.
For a more efficient workflow, I can synchronize the accented analogous color scheme from before and adjust the green tones. It’s often useful to start with the most complex color scheme first.
Final Result after some minor corrections in Photoshop.
Color scheme proportions: 100%
This color scheme involves only one hue and is based on varying luminosity and saturation values of a certain hue. It’s best for single subjects. In warm-neutral compositions, warm colors and neutral ones are mixed.
After synchronizing and erasing unnecessary changes, I slightly adjusted the red hues and the saturation of the oranges. I always prefer to have some small variations in color even in monochromatic images, so it doesn’t turn out flat and fake (especially with skin tone variations). I also brightened the model in image 1784 (right image) on a separate layer using the new luminosity masking feature (I ignored the background highlights to achieve equal brightness in all the images).
Final Result after some minor corrections in Photoshop.
In achromatic compositions, images are composed with black, gray and white tones or contain colors with very low saturation values. This color scheme can be applied in the Black & White or Split Tones Tab. It’s also possible to use black and white Styles in Capture One.
The luminosity values can be influenced in the final black and white image by adjusting the colors in the Color Editor.
I usually turn off the automatic sharpening in Capture One Pro. Even though the tool is highly advanced, it can cause more work for me in Photoshop, for example with peach fuzz. Photoshop’s tools tend to have issues with repairing more contrasted textures. Therefore, my final step in Capture One Pro is to add partial sharpening on a separate layer in model images (if necessary). This allows a non-destructive workflow since applied sharpening in the RAW conversion can’t be changed, applied sharpening to a PSD/TIF file at the end can be altered easily.
In the masking mode, it’s very handy to have an overview of all the sharpened areas in all images. The white balance in this series was set correctly and consistent and therefore no adjustments were necessary. The only adjustments necessary were some changes to brightness and exposure. To finish the process, I added some (individual) contrast using curves in Capture One Pro.
With different collections of preset adjustments, applying Capture One Styles to your images can help speed up your workflow and let you try different looks. Always check and compare or use the pre-created Styles to push your creativity and help you find the right color schemes.
Of course, this is not a typical set for a highly creative color grading where mid tones, highlights and shadows are used for supporting color schemes (split toning). Therefore, you can use the Color Balance Tool in combination with luminosity masking. Adjustments in color temperature is an alternative option that allows you to work in a more creative way with color. An ordinary set would be an editorial photographed on a countryside or a colorful or playful interior scene.
If you want to learn more about color harmonies and how to use them to their full potential, I recommend analyzing editorials in magazines and studying historical painters. Goethe, Itten and Kandinsky’s color theories also give further insights into color harmony.
For the technical side of things, check out Capture One’s free webinars and tutorials.
If you don’t already have Capture One, you can download a 30 day trial and try it out.
While their styles and subjects may be different, fashion and travel photographer Brian Siambi and fashion and beauty photographer Zoë Noble have one thing in common: their beautiful skin tones. We spoke to them about how lighting and the right photo editing software make their subjects shine and make editing skin tones easier than ever.
Brian Siambi: All my shoots involve natural light. I just love how natural light falls on dark skin and the different moods it gives at different times of the day. For example, if I want a dramatic mood I’ll shoot at midday, which allows me to create amazing shine and shadows when editing. If I want soft light, I’ll wait until clouds are overcast.
Zoë Noble: I use both studio and natural lighting. I love the simplicity and rawness of natural light and how it can really disarm your subject. With no big lights or waiting around for the perfect lighting set up, your subject can really relax and connect. On the other hand, I love the endless possibilities for creating a story with light and color that you get with studio lighting.
Should I use hard light or soft light? Should I add gels for some color? Maybe add a flag to create some dynamic shadows? You have so many tools at your disposal and I love that.
Generally, the concept of the shoot will dictate the lighting so it’s great for me to understand how to use both natural and studio light and choose the one that best fits the story or subject.
BS: For me, color grading starts when I plan the shoot and my vision for the final image. I switched to Capture One because I felt I wasn’t quite getting the correct tones for darker skin in Lightroom that I needed to take my work to the next level.
For skin tones, I mostly use the Color Balance tool and Color Editor tools. I separate a specific color I want to edit. For dark skin, I mostly play with brown, reds and oranges and combine them with the Temperature tool to balance the blue and orange in order to get the correct toning for dark skin.
ZN: A very important part of my color grading is to ensure I have a great base to start with. I’ll always use the Skin Tone tool to unify colors and correct any discoloration on the skin. When I take my beauty photos into Photoshop for more intensive retouching, I can work on further correcting colors, using Curves adjustments or using a blank layer set to Color.
I take a “less is more approach” to color grading, so I’ll use adjustments like Curves and the Color Balance tool to add a wash of color. I often like complementary colors so if I cool down the shadows I will then warm up the highlights.
I generally like cooler images, but I will always match the color grading to the concept of the shoot. If I shot in bright sunlight, my color grading will complement this, so I’ll add warmer tones. This way my color grading feels cohesive with what’s already happening in the photo.
BS: I use Capture One for most of my editing process. Once I’ve shortlisted the images I want to work with, I start with correcting the exposure, color temperature, high dynamic range and clarity. Then I move to the Color Editor where I separate the colours and get the rich dark skin that I want.
The Skin Tone tool is great because I sample the skin of the subject then I play with the HSL. Then I will play with contrast to just get the punch of the whole image.
I have customized my Capture One workspace by organizing the tools I use into different tabs and I get to edit images in different stages – this feature is FREAKIN AWESOME. I have also created my own custom Styles for dark skin tones which has made my work easier. I can set the tone with a Style and develop the image further from there.
ZN: It will always depend on the type of shoot I’m working on. If it’s a client shoot and I will be doing more intensive skin or hair retouching later in Photoshop, I will ensure my files have good dynamic range and are relatively “clean.” I will color correct the files using the White Balance and the Skin Tone Tool, correct exposure and lift my shadows to add more detail into those darker areas. I’ll also ensure no highlights are blown out.
Then I can do my intensive retouching in Photoshop and add contrast and color grading at the end, so if a client would like changes, these can be easily made.
If I’m working on my own images I usually “bake in” things like color grading or contrast into the RAW file. I try to do as much as I can in Capture One to save time. So I’ll use tools like the Color Balance tool for color grading as this is really quick and simple to use.
BS: I have a few. The Color Editor and Color Balance tools – they make it so much easier to split color and edit my images separately and get the exact grade I want. The Luma Range tool gives an extra punch to my images, especially with dark skin and bright surroundings.
I also love the High Dynamic Range tool to give my images a finer look.
ZN: I LOVE the Skin Tone Tool because it saves me so much time on color correcting and is super easy to use! I also love the Color Balance Tool because it’s very intuitive and you can quickly add a color grade to your images or create multiple “looks” to offer options to your clients.
ZN: After I’ve made my adjustments in Capture One, I will use the “Edit with” option and create a 16-bit PSD file using the Adobe RGB color profile and then open in Photoshop to make more intensive changes like hair/skin retouching or compositing.
After I’ve finished my editing in Photoshop, I’ll save the file and then go back into Capture One to add grain as my final editing step. This way I have full control over the final look and I can change the grain size easily, rather than baking it in with Photoshop.
I then use Capture One’s Export Recipes to export my photos in various formats for web and print. I’ll also export a high-res version directly to my Dropbox folder, so I have another back-up copy of all my final photos.
BS: You will find your way, so take your time.
ZN: Try and stand out from the crowd and be unique. There are so many photographers out there and lots of them are producing similar work. Clients want to see something new, so try and find out what makes you YOU. What are you passionate about? What do you have to say as a photographer that is different from anyone else? Clients want to work with people who have their own unique vision. This takes time and is not an overnight thing so shoot, shoot and shoot until you discover what makes you special and where you truly shine!
BS: That success doesn’t come overnight and that I should trust my process and I’ll get there. Also, that gear is a tool and that it does not define how good a photographer you are. I used to be obsessed and envious of other people who had better gear than me at the time and now I know better!
ZN: That’s it’s OK to break the “rules” of photography. Because I didn’t assist anyone, I taught myself through books and online tutorials and sometimes you’d hear lots of rules like “never use wide angle lenses for portraits because of distortion,” “Never shoot outside at midday because of hard shadows,” or “shooting macro must be done at a high aperture.”
But as soon as I let go of these and started experimenting and following my gut, I realized that some of the most interesting photos can come from breaking those rules. Shooting at midday is completely possible if you understand how to work with the light or how to position your subject. Hard shadows can be really cool for the right concept! Some of my favorite beauty shots are macro photos which utilize a really wide aperture. When you think of beauty photography, you think of using a beauty dish, and this is the modifier I used a lot at the beginning.
Now I shoot with all types of modifiers, even the sun! Anything is possible!
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