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The results of pushing the midtones of the value curve higherĬare should be taken when fiddling with these curves to not blow things out or destroy detail, of course. Because there is only a single point in the curve right now, this means that all values will be pulled higher. In this case, values around 128 were re-mapped to now be closer to 192.īecause the curve is set Smooth, there will be a gradual transition for all the tones surrounding my point to be pulled in the same direction (this makes for a smoother fall-off as opposed to an abrupt change at one value). What this curve does is takes the values around the midtones, and pushes their values to be much lighter than they were. I can do this by clicking on the curve near the midtones, and dragging the curve higher in the Y direction: So to show an example of how this curve will affect your image, suppose I wanted to remap all the values in the image that were in the midtones, and to make them all lighter. The best way to visualize it is to remember that the bottom range from black to white represents the current value of the pixels, and the left range is the value to be mapped to. What we can do right now is to adjust the values of each pixel in the image using this curve. Notice a spike in the high values on the right, and a small gap at the brightest values. In the main area of the dialog I am presented with a linear curve, behind which I will see a histogram of the value data for the entire image (showing the amount of each value across my image). I could also use the drop down for “Channel” to change to red, green or blue curves if I wanted to. We can see that I start off with the curve for the Value of the pixels.
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Opening up my Curves dialog shows me the following: I’ll be using this wonderful image by Eric from Flickr. So let’s leave your pixel alone for the time being, and actually have a look at the Curves dialog. If we were to change the values of each channel, but kept ratio the same between Red, Green, and Blue, then we would keep the same color and just lighten or darken the pixel by some amount. The RGB components that mix into your final blue pixel.Īs you can see, there is more blue than anything else (it is a blue-ish pixel after all), followed by green, then a dash of red. So now let’s see what goes into making up your pixel: If all three channels have the same value, then you will get a shade of gray (128,128,128 would be a middle gray color for instance). If all three channels have a value of 0 - then the resulting color will be pure black. If all three channels have a value of 255 - then the resulting color will be pure white. In GIMP (currently at 8-bit), that means that each RGB color can have a value from 0 - 255, and combining these three colors with varying levels in each channel will result in all the colors you can see in your image. Remember, each pixel is represented by a combination of 3 colors: Red, Green, and Blue. So let’s investigate what goes into making your pixel. Your Pixels and You ¶įirst there’s something you need to consider if you haven’t before, and that’s what goes into representing a colored pixel on your screen.Īaand there’s your pixel. Even though GIMP is used to demonstrate these ideas, the principles are generic to just about any RGB curve adjustments. Instead, we are going to take a look at the use of the Curves tool in GIMP. Volumes have been written on color and I am in no ways even remotely qualified to speak on it. We associate colors with certain moods, places, feelings, and memories (consciously or not).
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From the warm glow of a sunny summer afternoon to a cool refreshing early evening in fall. Color has this amazing ability to evoke emotional responses from us.