Trucos de diseño para diseñar como locos
It’s been a while since i tried to describe one of the most useful color modes for those who must work with pictures, the mode CIELAB.
One of the great advantages of this color mode, and one of the major differences from the other color modes that graphic designers usually use, is that it has an independent channel of light that is not altered or alter the color channels a and b. That is, in CIELAB, the resulting brightness is not the sum of the values of each color channel but one channel per pixel itself, and therefore it is possible to vary the brightness and contrast keeping color unchanged. You can also focus the luminance channel so that the colors do not suffer any damage and generate less noise.
Below is the process used to contrast a photograph of a popular car model. Originally the lighting is too dark, you can hardly distinguish between the car and the background, the absence of contrast is total. With a few simple changes the car will be contrasted regarding the image’s background and lighting will be more attractive.
First of all it is essential to convert the photo, Image/Mode/Lab Color. The big advantage in this step is there are practically no loss of information when entering this mode, as might occur from CMYK to RGB and vice versa.
Then, as already explained in previous publications, doubling the background layer to protect the original information. Once done in the channels window select the luminance channel and pressing cmd+m to enter the edit mode and edit curves until increasing detail.
You can repeat this action several times in succession to repair different parts of the picture. Each time you go to repeat the process you should create a new layer from the above so that after can toggle the display of each of the layers and see if the results are as expected.
In CIELAB, the resulting brightness is not the sum of the values of each color channel
Once finished the edition of the curves is convenient to use a layer mask to make the curve acting in areas where needed. Thus in two or three layers are possible different settings curves, always on the luminance layer, affecting different areas of the image. In the image below you can see how the area has been masked hood and headlights.
Once you are satisfied with the settings of curves is possible to combine this technique with other like increasing the contrast of the environment by means of a duplicate of the image in overlay mode. In this case it may be masking the environment and control the outcome through the layer opacity to achieve adequate contrast.
Here one can see the picture once the adjustment process. In it you can appreciate a greater contrast in both lighting and colors without overdoing the latter considering the original lighting of the scene.