Tag Archives: redscale

Abused and Ignored

Abused and Ignored

Brian Auer | 03/08/2008 | Venice Beach, CA | 75mm * f/2.5 * 1/8000s * ISO200
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I found this beautiful lady in Venice Beach. She didn’t say much, but I think she was into me. Don’t let her distant stare fool you, she had quite the personality. Underneath of her “I’m sexy and I know it” facade, she’s screaming for attention. Because she is, after all… abused and ignored.

Abused and Ignored Post-Processing

  1. Unprocessed RAW
    There you have it, straight out of the camera.
  2. Processed RAW
    Minimal processing for white balance and exposure (using the “Auto” setting in ACR).
  3. Color Curves
    I used the technique from my “Redscale Process” described some weeks ago. After adjusting the curves, the blend mode was set to “color”.
  4. Color Fill
    Again, from the mentioned Photoshop technique. Opacity set to 20% and blend mode to “color”.
  5. Luminosity Curves
    Added some contrast to make it a little more punchy. Blend mode was set to “luminosity” to preserve previous color adjustments.

Now if I could figure out how to create the same effect in ACR I’d be pretty clever.

Photoshop Techniques: Cross Process and Redscale

I gotta hand it to the film guys, they sure know how to have a good time. I’m fascinated by the many methods and techniques they can use to produce some very interesting images, all of which are only possible with film. As digital photographers, we can only try to mimic what they can do in hopes that our work will turn out half as interesting. Here are a couple of my favorite film photography techniques that can be (sort of) reproduced with Photoshop.

Base ImageGreen ProcessedRed Processed

Cross processing is a film photography technique whereby the film is deliberately processed in a solution intended for a different type of film. The effect is usually heavy color shifts, increased contrast, over-saturation, and a funky greenish-yellow tint.

Base ImageGreen ProcessedRed Processed

Redscale is another film photography technique whereby the film is loaded into the camera facing the wrong direction. This causes the red layer of the film to be exposed first, thus absorbing more light than it would normally. Blue now becomes the last layer to absorb light, so it’s nearly non-existent. These images have a very distinct red color shift, but can range from yellow to maroon.

Here are some of my previous cross-processed photos.

PED XING Piña Refresco Benched Smoker The Dog in the Bike Reading Material

Keep in mind that these techniques are highly subjective, so many cross processed and redscale images will have similar traits while being drastically different. I’ve put together a couple of Photoshop actions that will help start the process for these techniques. These have been added to the previous actions for LAB Sharpening and LAB Saturation.

DOWNLOAD THE PHOTOSHOP ACTIONS

These actions will lay down three layers to get you in the right direction, but think of them as more of a starting point than an ending point. Dig into it and start tweaking the layers until you find something that works for that image. Since the layers are non-destructive adjustment layers, you can edit one at a time, little by little, until you get the photo where you want it.

CROSS PROCESSING TECHNIQUE

Cross Processing Steps

This is a fairly simple process, it just takes a lot of time if you don’t use the Photoshop Action provided. I picked this up at PhotoshopSupport.com, made a few tweaks, and wrapped it up in a Photoshop Action.

1. PROCESS THE COLOR CURVES

Cross Process Color Curves

A curves adjustment layer (Layer >> New Adjustment Layer >> Curves…) is typically used on the composite channel to boost contrast. We’ll be ignoring the composite channel and working on each of the color channels. As you get into the setup dialog box for the curves, be sure to set the blend mode to “Color” and leave it at 100% opacity for now. So here are what my curves look like in the red, green, and blue channels. This isn’t an exact science, so don’t worry if it’s not perfect — you’ll want to tweak on things differently for each image anyways.

2. ADD THE COLOR CAST

Cross Process Color Fill

Here, we’re just adding a fill layer at a low opacity (Layer >> New Fill Layer >> Solid Color…). Again, in the setup dialog box for the fill layer, be sure to set the blend mode to “Color” and bring the opacity down to about 10 or 15%. Start off using the color “#E1FF00″ and work from there — it’s kind of a lime green/yellow. This will give us that green tint.

3. BOOST THE CONTRAST

Cross Process Contrast

At this point, the image is probably looking pretty close, but a little dull and flat. We’ll use another curves adjustment layer to boost the contrast. Be sure to set the blend mode to “Luminosity” and leave it at 100% — this will ensure that we keep our colors and our brightness separate. Throw in a nice “S” curve and adjust to your liking. Don’t be afraid to blow out some highlights, since that’s fairly common in cross processed photos.

4. (OPTIONAL) SATURATION BOOST

This isn’t usually necessary, but if you want to give the color a little more punch, run my LAB Saturation action (included in the download set) and adjust the parameters until you’re happy with it.

REDSCALE TECHNIQUE

Redscale Steps

I based this one off of the cross processing technique by altering the colors and curves. It may not be the best way to accomplish this, but it works fairly well and it gives you great control over your colors.

1. PROCESS THE COLOR CURVES

Redscale Color Curves

Again, we’ll be ignoring the composite channel and working on each of the color channels. As you get into the setup dialog box for the curves, be sure to set the blend mode to “Color” and leave it at 100% opacity for now. So here are what my curves look like in the red, green, and blue channels. The main thing you need to know here is that the blue channel will give you the most control over the final color of the image. Drag the point in the middle of the curve up and to the left, and you’ll get more of a magenta tone. Drag the point down and to the right, and you’ll get more of an orange or yellow tone. These are all feasible outcomes of redscale film photography.

2. ADD THE COLOR CAST

Redscale Color Fill

Here, we’re just adding a fill layer at a low opacity (Layer >> New Fill Layer >> Solid Color…). Again, in the setup dialog box for the fill layer, be sure to set the blend mode to “Color” and bring the opacity down to about 15 or 25%. Start off using the color “#CC4400″ and work from there — it’s kind of a brick red/orange. Most of the red will come from the previous layer, but this will add some. Here, you can also adjust how yellow or magenta the layer is along with the opacity.

3. BOOST THE CONTRAST

Redscale Contrast

Redscales are typically less contrasty than cross processed photos, but this step will give you control over that and let you play around a little. We’ll use another curves adjustment layer to boost the contrast, just like we did with cross processing — but this one I’ve set the shadows to be less dark. Be sure to set the blend mode to “Luminosity” and leave it at 100% — this will ensure that we keep our colors and our brightness separate. After you’re done with this, you can continue to boost the saturation, sharpen the photo, etc.

So there are two techniques to mess around with. Use them sparingly, otherwise it’ll start to lose it’s magic with your onlookers. I’ve found that street scenes tend to work well with these techniques, but you’d actually be surprised at how many different images could benefit from a little artistic flare such as this.

If you use one of these techniques on some photos in the near future, leave a link in the comments below — I’d like to check them out!