One check box, Neutralize, and three sliders give you some controls over the results.
#DANIEL WEBBER STEPHEN GOULD FULL#
The Fade slider it’s reduction of the effect is slightly different than applying the full effect to a layer and then reducing its Opacity, but the former cannot be localized so I prefer the latter. The Color Intensity slider in addition to saturation it also control how much variety in hue is generated – higher settings produces more of both. The Luminance slider be careful of the image’s dynamic range when using it. The Neutralize check box try it, you might like it – a lot. You have limited controls over the results. Not available as either a non-destructive adjustment layer or a Smart Filter, Match Color must be applied permanently to a layer, so consider applying it to a duplicate or composite merged layer. Match Color only works in RGB color mode. Once saved, you can load these statistics in the future to any image, as long as it is in RGB. To do this a minimum of two files must be open at one time, a source and a target. Match Color samples the colors from one image and applies the resulting statistics to another image all three elements of color Hue, Saturation, and Luminosity are taken into account in both the source and the target images. With practice you can develop an intuitive feel for the direction color relationships will move in and start to think predictively when using Match Color, but the final effect it generates is usually so complex you have to see it to believe it. Learning how and when to use it is deliciously challenging. The tool’s interface is simple and easy to use. The math is complicated, very complicated. When you first view the results, you’ll do a double or triple take. You’ll feel like a kid when you use Match Color. What if you took colors from a candy store and applied them to the sky? What if you took colors from a sunset and applied them to a landscape? What if … I know, I sound like a kid. This is where it really gets interesting. Using this feature on images that don’t contain strong color casts often produces pleasing results too. If the effect is too strong you could use the Fade slider, but I recommend you apply the effect to a duplicate layer and use the Opacity slider of the layer or if you want to reduce the effect selectively, use a layer mask. Here, you don’t even need a source image. It does an amazing job at revealing the complex color relationships below the color cast. One of the primary reasons it was developed and most common uses for it is to remove the strong color cast in underwater images. Match Color does an exceptional job of removing strong color casts.
You can create statistics from and apply the effect to either an entire image or only a portion of an image using selections. And, in terms of easy of use, using it beats placing sample points and moving sliders to make the targets match.
When a precise color match is critical, for instance when matching the same products in two images, Match Color is hard to beat. There are three primary reasons to consider using Match Color: one, to match two colors exactly two, to remove strong color casts and three, to creatively apply the color in one image to another. Little explored and capable of opening up whole new frontiers in color adjustment, Photoshop’s Match Color is a tool every user should be aware of – even if it’s only to know what’s possible.
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