So, that's one way we can add color to an image. As a photographer I might get stuck in my ways. In five to 10 years is that gonna change? Yes, if I embrace change and I embrace the fact that as an artist, I will change. That's part of my style, it's part of who I am. It's just one of those things, it just comes through. I would tend to go with blues on something like this, but somebody else, if they are attached to a certain color they might go towards another color. So, just think about that in using those custom color grades and what color you wanna transition on this image. You never know what you're gonna attract. You might accidentally attract a bear or maybe the local kitten, who knows. It's kinda like putting the food outside. Someone might love it, so you're not quite sure who you're gonna attract. Someone might not like the color pink, and if they see the color pink on a photograph they might immediately walk away. But, along the lines of this when we get into things like color theory, certain colors might make certain people feel a different way. If I have to justify, if I, the artist, have to tell you why I used a color, then I probably didn't use it enough to make you feel what you're feeling. And see if those photos that you have can actually communicate with the viewer. So, if you're in a gallery setting or something like that, and you're showing your work, you got a bunch of people walking in and taking a look at your photos, just be mute. The biggest disconnect that we have after we take a picture is us, the photographer, not allowing our photo to communicate with the viewer. I am using these colors because I want the viewer to feel something when they get done looking at this image. These are things that this image did not come in with these things. You notice that all of things that are happening here are custom creative effects.
To something cream that almost feels like a timeless feel. I will typically do this around 20%, and the reason why, once I get this setup to soft light around 20%, and I've got that cyan color on there, the great thing about a solid color fill is that at anytime if I wanna change that color I just double click that solid color fill and I can change it to blue to get a more eerie, kind of almost about to rain type feel, to something like red like it's a hot summer day in Chicago type feel. Subtle wash of color to this entire image. If we drop this opacity down, now we're adding a very. What if we change it to something like soft light? That's a really good one, too. If we were to click on the solid color grade and use the color cyan, right now it's just a solid wash of color over the entire image, but when we combine that with things like blend modes, change this to color, it's giving us kinda a monochromatic effect. So, a solid color overlay is a great way to add a wash of color to an image, really quickly to get your own custom color grade or custom style effect to the photo. So, let's go and open up a different image for this one. And here I'm gonna start getting into how we can look at gradient maps versus gradients, 'cause the next thing we're gonna do is actually working with gradients.
And we have talked about color grading quite a bit, but some of the color grading that I like to do is going to be with gradient maps and with solid colors. The next thing we're gonna look at is on the lines of color grading.
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