In this lesson, you will learn how to increase contrast and make a toning using various blend modes (Blend Modes) with specific color channels (Color Channels). If you used the Photoshop program earlier, then you are most likely known that overlay modes affect how the layer interacts with the previous layer, so the option of overlay modes and is in the layers panel (Layers).
We will tell you how to apply various overlay modes not for the entire layer, but for separately taken color channels RGB (Red, Green, Blue), which are required by the program to create a full-color image. All this is very easily feasible thanks to the APPLY Image (external channel) command.
Working with color channels is a section not quite for newcomers, so if you hear this term for the first time, I advise you to first read articles about RGB channels. You will be easier to understand what is happening when working with the Outer Channel window (Apply Image).
I will work in Photoshop CS6, but for this lesson will suit any earlier version of the program.
This is a photo that is currently open with me on the computer:
Source photo
Before proceeding to any manipulations, I always make a copy of the layer with the source photo. If you look at my panel of the layers, you will see that the original photo is always on the layer background (background):
Let's quickly create a copy of the layer by using the Ctrl + Alt + J key combination (Win) / Command + Option + J (Mac). This key combination not only creates a copy of the layer, but also opens a dialog box where you can give a new layer name, we will call it "Apply Image" and click OK.
Now we see a new one that we have just created the layer in the layer panel. Always call the layers, since the names given by the default program (Layer1, Layer2 ..) do not carry any information, because of this, confusion often arises.
As I said at the beginning of the lesson, we choose the overlay modes in the panel with layers because we apply them to the whole layer. The Blend Mode feature is located in the upper left corner of the Layers panel (layers). Just for example, I change the layer overlay mode with Normal on Soft Light (soft light):
We see that the upper layer apply image now interacts in a new way with the bottom layer of Background. The Soft Light mode refers to the group of contrasting the overlay modes, as it improves the overall contrast of the image. Also a little increased color saturation.
Photo after changing the imposition mode onSoft.Light.
Now I will return to the original image and turn on the Normal overlay mode again.
If the overlay modes affect the interaction of the layers among themselves, the color channels are carrying, and how to use them? Take a look at the layers panel (Layers) and pay attention to its upper part, you will see that the panel combines three tabs, including Layers and Channels. Select the Channels tab:
We switched to the Channels panel, where the red, green and blue channels are presented separately, which make up our image. The RGB channel, located on top, is not really a channel, it is the end result of mixing red, green and blue channels, i.e. Our photo.
In the panelChannels We can choose individual channels for further work.
Choose a red canal
When the red channel is selected, green and blue color channels are temporarily disconnected, which allows us to see a photo only in the Red Channel. Photoshop displays the color channels in the form of images in gray grades, and each of the channels gives a black and white image of a different look. This is how the red canal looks like. If you compare this black and white version with the original full version of our photo, then notice that areas containing a large amount of red in the original image in the red canal look more brighter, while areas containing less red, on the contrary, more Dark:
Black and white image in red canal
Now let's turn off the red and blue channels by choosing a green channel.
Now the working window displays the green channel in the form of a black and white image. Notice that it looks quite different than red. And again, if you compare a photo in the green canal with the original image, you will see that the sections where the green color prevails is displayed lighter and vice versa, areas where there is no green, darker:
Image in green canal
And finally, let's see how the photo just looks like in the blue canal.
Choose blue channel
We have opened an image in a blue channel, and again we see a black and white picture that differs from the previous two. The larger the source portion contains blue, the lighter of this area will be displayed in the blue channel and vice versa. Do not forget that each color channel is a version of the image in grayscale grades with its brightness values:
Image in blue channel
To go to a full-color image, check the box opposite the RGB at the top of the Channels panel.
Our full color image appeared before us:
APPLY IMAGE command (external channel)
Now that we know where to look for color channels, and how they look in images with gray graduation, let's answer the second part of our question: How to apply channels to overlay modes? As you probably noticed, in the top of the Channels panel there is no function of overlay modes. In fact, we are not at all and you do not need to leave the Channels open panel, so we turn back to the Layers panel:
To apply an overlay mode to a separate color channel, we will use the Apply Image command. You can find it in the top menu bar, image - Apply Image:
After the Apply Image Team dialog box opens, which at first glance may seem a little intricate. However, we will use only two options: Channel and Blending.
In Count Channel, we choose the color canal that we want to use. By default, the RGB channel is displayed in the menu, which you remember is a compound channel (includes red, green and blue). Below in the Blending Graf, we choose the overlay mode itself. If we set the channel on the RGB and select one of the layer overlay modes, we will get the same effect as if you choose the overlay mode in the Layers panel. For example, I will choose the Soft Light mode, and the channel will leave RGB.
They made sure that there is absolutely no difference between the effect that we got using the Apply Image command and the effect that turned out as a result of using the overlay mode in the Layers panel.
But, as you already understood, we can choose not RGB, but one of three color channels, so I will do. I will leave the imposition mode Soft Light (soft light), but change the channel on red (Red).
Now we got a completely different effect. Still we see a high contrast, but what has changed? The skin and hair model have become significantly lighter than before. Also lighter now and its top and yellow, orange and red jacket details. Note that green and blue areas of the jacket have become darker.
Let's see what happens if we change the canal to green (Green):
There was an opposite effect: the parts containing green became significantly lighter, and the area with the dominant red or blue is now darker. A significant change occurred with the skin of the model, which also became darker, due to which many details were drawn, which was not in the Red Channel.
We get the third option of our photo. The blue zones now became lighter, and the red and green areas are darker. These variations of this effect would be impossible without access to individual color channels that the Apply Image command provides us.
Naturally, we can use not only the imposition of Soft Light, but all the other presented in the list. I will leave the blue channel, but I will change the overly imposition mode.
Using the "Mixing Channels" adjustment, you can create high-quality images in gray shades, in sopia shades or images of other shades. You can also make a variety of creative adjustments in the image.
Using the "Mixing Channels" adjustment, you can create high-quality images in gray shades, in sopia shades or images of other shades. You can also make a variety of creative adjustments in the image. To create high-quality images in gray shades, select the percentage for each color channel using the Channel Mixed Adjustment. To convert the color image to the image in the shades of gray or adding a specific tone to it, use the "Black and White" command.
Channel Mixed Adjustment Settings modify the target (output) color channel using a mixture of existing (source) color channels. Color channels are images in shades of gray, representing the tonal values \u200b\u200bof the color component components (in RGB or CMYK mode). "Channel Mixing" allows you to add or deduct the gradation data from the source channel and modify using them the target channel. Colors are not added and will not be deducted from a specific component of the color, as it happens in case of adjustment "Correction color correction".
Preset sets of channel mixer settings can be found in the "Sets" menu on the "Correction" panel. Use the preset settings of the default channel mixer settings to create, save and download custom sets.
Mixing Color Channels
Creating monochrome images from images in RGB and CMYK mode
Monochrome images display color channels as a gray value. Adjust the percentage for each channel to debug a general type of image in gray grades.
To work, we will use an image of an apple.
Step 2.
Let's start with the basics. Can you access the Channels palette through the Window menu? Channels. It is in the Channels palette we will produce most of the work.
Step 3.
In the Channels palette, we see four channels: RGB, Red, Green and Blue and look as well as layers. But although the externally, the channels look as well as the layers, they have completely different functions. You can also notice that the channels reflect the current color mode of the document - in our case, this is the RGB color mode. Also, the Channels palette will vary depending on the color mode of the document. This is because the color mode uses a different color definition method.
Step 4.
I think many of you are familiar with the basic concepts about how colors are mixed, but it is only one of the moments of how channels work. Let's look at the two basic color structures. First, our file is in the RGB color mode, which is the color mode of the monitor of the computer, TV and various portable devices. In the RGB color model, an additive color is used, which combines red, green and blue colors to create a complete and rich color gamut.
Also, there is another color model - CMYK, which is intended for printing printing. In each of these two color models there is a set of color information - this information is reflected in the channels. Let's consider it more. To begin with, you need to open the image, and also open the Channels palette. If the image you open is in the RGB color mode, then in the Channels palette you will see four different channels. In fact, in this color mode, there are three channels: red, green and blue, and the fourth channel is a channel that is created by the program automatically and the color information is not boring. Each of the three channels displays three different color streams, which make up the image you open.
Step 5.
By default, in Photoshop in the Channels palette, all channels are presented in gray. Let's see how it can be changed. Change the color of the channel will be a red channel (Red).
Step 6.
In the RGB channel, any white pixel will be in the maximum brightness. At the moment, the red canal will radiate the maximum amount of red light. Conversely, where black shades are present, the pixel will not emit light for this color. So, like an apple is red, pixels that make up this part of the image is actually lighter. And on the contrary: if we convert the image of the apple in the color mode CMYK, then we will see something perfect other. Now we have five channels: blue, purple, yellow, black, and also a channel that automatically combines all four channels.
In this case, the channels work otherwise, as we work in a color space designed to imitate paint on paper. Thus, you will see that where a white pixel is a paper area on which nothing will be printed. Well, and where the pixel is black, it will be an area where the paper will cover this color as saturated as possible.
As an example, let's look at the purple canal. In order to set the red color, you can combine purple color with yellow. Thus, if we printed an image of an apple, a lot of purple ink would be used. This is reflected in the purple channel.
Please note that deep red areas are rich in a black tint, while some areas that contain a small amount of red shade, much more white (reflection in the upper part of the apple). It turns out that the channels are just a way of separation into parts of different information about color in the document, which makes it possible to configure and adjust the color.
Personally, I prefer to work with shades of gray in the canals. But if it is very difficult for you, in Photoshop there is another way to do it easier: Enter the EDIT menu? Preferences? Interface. In the dialog box that opens, select the box on Show Channels in color. After that, by opening the channels with the palette, you will see that the channel icons turned into the appropriate colors: the red channel icon became red, blue channel - blue, etc.
In the color mode CMYK Purple channel will look like this:
I have shut down the function to show the channels in color.
Step 7.
Color models RGB M CMYK are the most common color models. In addition to them, there are several other color models.
This color model differs significantly from RGB and CMYK color models. This color model is not intended for mixing color, ink or light. In fact, it is designed to emulate human perception of color. In the color Lab model there are three main channels. First, it is a Lightness channel that controls the relative brightness and the blastiness of a particular pixel. Two other channels (so-called a and b) contain current information about color. This color model is used mainly for post-processing photos and can be useful for establishing the right color.
Images in multichannel mode contain 256 gray levels for each of the channels and can be useful with specialized printing. When converting images to multichannel mode, the following information may be useful. The layers are not supported here, and therefore their reduction is performed. Color channels of the original image become channels of mix colors. When converting the CMYK image to multichannel mode, blue, purple, yellow and black canals of mix colors are created. Removing the channel from the RGB, CMYK or LAB image automatically converts this image into multichannel mode by means of layers.
This color mode gives 8-bit images containing no more than 256 colors. When converting to indexed colors Photoshop builds a table of image colors (CLUT), in which the colors used in the image are stored and indexed. If the color of the original image is missing in this table, the program selects the nearest of the existing colors or performs dystering to simulate the missing color. This color mode allows you to reduce the size of the image file, while saves the image quality that is so necessary for multimedia presentations, web pages.
In this mode, various shades of gray are used. Each pixel of the image in grayscale grades contains the brightness value in the range from 0 (black) to 255 (white). This color mode can be useful if you are going to print not in color, or it can be useful when separating objects from the background.
This color mode is the main of all existing color modes and fully consists of black or white pixels. It even does not even have shades of gray. This color mode uses only black and white channels and is not suitable for extracting objects from the background.
This is a completely different approach to working with color and this color mode is used mainly to add interesting color shades to black and white photos (for example, the sepia effect). Since this color mode has only one gray shada channel, it is also not suitable for separating objects from the background.
COMMAND-CLICKING CHANNELS:
That's actually, all I wanted to tell you about the channels in this part of the lesson. By the way, if you need to create a selection from the channel, make Ctrl + Click on the miniature of the channel, the allocation of which you need to get. Allocation will be based on black, white and gray pixels of this channel. Well, about other ways to work with channels, read in the second part of this lesson.
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Translated from www.myinkblog.com, the translation author is specified at the beginning of the lesson.
I recently read the translation of one article on the channels in Photoshop on the "famous" site. The article focused on the fact that Photoshop does not distinguish between colors, and all images sees in black and white graduation. Shows photoshop color images because we "expect" to see them with color, and the damp itself adds some kind of tsiferki, thanks to which the magic occurs. What the logic of such reflections is not clear. Whether the old versions of photoshop showed channels like black and white prints, or something else. Not surprising and questions in the comments in the style, "Wow, so coming out of black and white photos can be made color?"
If it happens, then the photoshop does not see anything at all. Photoshop is just a program written by a person in programming language. Photoshop does not see neither gray nor white nor red neither green. Photoshop focuses in the graph, as neo in the matrix. He sees pixels in the form of springs of zero and units, and solutions takes on the basis of digital parameters. Photoshop is busy no more than changing digital values, the values \u200b\u200bare converted into colors that the human eye recognizes. Other animal eyes are arranged differently, and they apparently need some other photoshop, but until it has grown.
It is not clear where, finally, our domestic available and understandable articles about Photoshop, color, printing, where our Dane Margulix. All ruins translates western designers and graphics teachers. It seems that we have a long time there is a design and good designers, and the only well-known writer on Runet is so far Artemia Lebedev, and then, writes about something. In this article I will try to reveal the question of the channels, along the course of the case, walking on the basis of the occurrence of light and color. We will pass all the logic of the appearance of colors on the screen from the beginning and to the end and I assure you, at the end you will understand the essence of the channels in Photoshop no worse than Dena Margulis. I will start with the basics and tell you how color arises at all. What is the difference between light and color. It is very important for the correct understanding of the channels. Moreover, I will try to highlight not only RGB channels, but also channels in CMYK in Lab.
Color Space Photoshop and Channels
Let's immediately agree: the channels and the color space are not the same. If we are talking about channels, we are talking about channels. And not about RGB channels or CMYK channels. What is the color space in Photoshop? The color space is the essence, the formula for which photoshop collects an image. Channels directly depend on what color space is Photoshop. If the RGB color space is 3 channels RGB if CMYK color space, then these are other channels, CMYK color space channels. But there are many color spaces, and each canals have their own! It turns out the topic of the bottomless? Margulis only on the space Laved bukvari one by one, and we just have an article. Everything is not so scary. Understanding how the channels of one color space are arranged, the rest are easily understood. Therefore, we start with the channels in RGB, but for a start, charge the theory.
Color space in Photoshop switches to Image\u003e Mode.. If you go to this menu, you will see a series of color spaces in which Photoshop can work. it Bitmap, GrayScale, Duotone, Indexed Color, RGB, CMYK, Lab and Multichannel. Accordingly, in each of these modes some of their own channels arranged in their own way. Channels for any image can be viewed on the channel panel. Windows\u003e Channel. Opening this panel, you will see the channels themselves, and their end result. In a number of color spaces you will find only one channel. In others, such as CMYK four channels. If you do not work filters, you are not copied by the selection area, some colors do not turn on, the graphics from one window are not imported to another - urgently check the color mode. Most likely, the image does not have a typical color mode, like CMYK or Indexed Color.
I will say even more. If you opened a black white image, it is very possible that its color mode GRAYSCALE, if a GIF was opened, saved from the Internet, its color mode Indexed Color, as the GIF format is saved only in this mode. If you have a big TIFF file on your hands, check the mode, most likely it is CMYK, as TIFF-s is usually saved to print in an offset, and the color mode of printing in the offseet CMYK. And only one color mode is always in winning. All filters work in it, colors are displayed, the graphics are copied. This color mode is truly a king of modes, as Photoshop itself is sharpened to work with him. And the name of this mode is RGB. And most images, photos and other graphics with which you will work, will have exactly this color mode. And that's why.
Monitors and RGB.
RGB. (Red - Red, Green. - green, Blue - Blue) is the most common color model because the basis of any modern screen glowing devices contains the color model RGB. Yes, Photoshop can imitate any color spaces from CMYK to Lab, but ultimately what we see on the screen in any case is converted to RGB. We work in Photoshop, on the agenda printed Tiff Fail, CMYK color space, in the Chanel channel panel four channels with paint. But the display of the workspace monitor translates them into RGB. Why?
So the monitors are arranged, almost all the glowing on-screen devices are arranged. And then you will understand why. Ultimately, everything rests in the ability of the monitor in principle to reproduce some colors. In his hardware capabilities, in the quality of its matrix and the coverage of the color scheme. Whatever color space we have chosen to work in Photoshop, the monitor shows it using RGB. Shows the colors of the monitor as it can, so well and bright, as much as the matrix is \u200b\u200bhigh quality in it. So we all rest in our hardware on the table ultimately. You can work with excellent color profiles, in flexible color spaces with a wide color coverage, but everything is simple if the monitor is bad.
Light and color
Inverting the statements of Locke, there is light, and there is a color. And the light has a color. This topic is not the subject of our article, but it is necessary for the correct understanding of the channels in Photoshop. And especially RGB and CMYK channels. What is light? The light is part of the electromagnetic radiation. This is a phenomenon of nature, which stands in one row with other electromagnetic radiation like infrared rays, X-ray, microwaves and ultraviolet. All (electromagnetic radiation) are measured in nanometers (nm). The light is measured in 400-700 nm, and I think you have already guessed why. Why in a radius from 400 to 700. What kind of different? Exactly. And the difference is determined by its color.
The light rays of different colors are measured by a different number of nanometers, where purple pulls 400 nm, green by 550 nm, and red on 700 nm. When refracted in a prism, the light is folded into the color components: red, orange, green, blue, blue and purple. This knows every schoolboy from the lessons of physics. And on the basis of all the above, you can make simple conclusions that will help us to comprehend RGB channels:
- white "Light" is a set of all colors of the spectrum
- black "Light" is the lack of light at all.
- the gradual addition of all colors of the spectrum to each other "brightens" light until it becomes white
- the gradual removal of the spectrum parts "dims" light until it remains at all.
Surface color
The color of the surface works differently, but tied in the world. We see the color of items, because the items reflect the light falling on them. Different surfaces have different ability to reflect. If a certain surface does not reflect the light at all, and absorbs all the rays of the spectrum, then we see the black color. And what else can you see if the subject does not reflect the light? If the surface reflects all the rays of the spectrum, we see white color. For example, paper reflects all the rays of the spectrum and we see it as white. White moon, because reflects the light of the sun, and not because the pure Samsung LED TV itself is lit.
Further more. If, for example, a certain surface absorbs all rays of the spectrum other than blue, then this surface looks blue, as it reflects only the blue part of the spectrum. If the subject reflects only one part of the spectrum, for example, red, then we see it red. If he reflects the devils that, and absorbs the devils that, then we see the devils that. For example, the surface can reflect, a little yellow, a little blue, a little green, and absorb everything else. From this Sumbura and consist of all the others, "not clean" colors. They are formed by mixing the reflected spectrum rays. Perhaps this theory of color and light is enough. Let us turn to the channels themselves in Photoshop.
Channels in photoshop for RGB
From pure theory, go to the canals in Photoshop. When creating monitors, smart people did not invent a bike. The monitor radiates light. The developers took advantage of the fact that we were offered the mother nature, and created RGB. How is it arranged? It consists of 3 channels: red (Red), green (green) and blue (Blue). When overlaying on each other, 3 source colors create composite colors: purple, blue and yellow. Together, it turns out the usual rainbow or spectrum.
Three RGB channels act on each other as well as the rays of the spectrum act on each other. When you put on top of each other, white is achieved. In the absence of all channels, it turns out black, which is logical. Either light or darkness. In the absence of one of the channels, one of the composite colors (purple, blue or yellow) is obtained. Each RGB channel has a value scales from 0 to 255, where 0 is the absence of light, and 255 is the maximum possible light. In our case, this is not white light, but the light of one of the channels, blue, green or red. When crossing all three channels, taking into account that each channel may have color gradation, from black, to the maximum light, the entire multi-million dollar palette in RGB is obtained.
I thought for a long time, as if lucky to portray the imposition of color channels to each other, but so to take into account the gradation of each channel to black, that is, to the absence of light. After some unsuccessful experiments, I portrayed them in the form of a flower. And although this flower does not demonstrate all possible shades of RGB colors, it shows well as RGB mixes the channels.
RGB channels as an option mask in Photoshop
So, what do we know about the channels? Already quite a lot. We know that in the color space RGB three canals, blue, red and green. We know that when applied to each other, composite colors are formed and that each channel has a lightness and darkness parameter from 0 to 255. It's time to consider how the image is generated in RGB.
I open photoshop, choose a beautiful photo and turn on the channels. If you do not know where they, open Windows\u003e Channels.. I will also use the panel Info. and Color. They can also be found in the menu Windows. When you turn on the channel panel, you will probably see the following picture: one color image, and 3 separate channels with black and white masks, which denote the degree of illumination of each particular portion of the photo by a specific channel. If the section is black in the image, then this channel is completely absorbed by the surface, if light, completely reflected, if gray is partially absorbed and partially reflected.
Perhaps you will also see another picture, color channels instead of black and white. This does not mean anything, and does not indicate that Photoshop sees everything with color, black and white, or brown-raspberry. Photoshop is just a program, he sees nothing. It sees the values \u200b\u200bof the channels for each pixel, and makes up the image. Accordingly, than coloring the photo, the more weighs, since there is a lot of information on the color of each pixel, and than it is homogeneous, the more one-color pixel, the one has weighs smaller. Because information on the pixel is repeated. Black and white photos weigh significantly less than color, and a white sheet, against the photo of the same size, nothing weighs anything.
Colored your channels in photoshop or black and white depends solely on the version of photoshop and installed settings. If you see black and white channels, go to Edit\u003e Preferens\u003e Interface And check the tick Show Chanels. in Color. Difference it does not change any. With color channels, the black area on a specific channel is the zero value of the color intensity, and the most bright (for example, the red, on the red channel) is the maximum value of 255 channel intensity. That's all. And also in the black and white version. Black - 0 value, white - 255.
In this sense, every channel is a kind of mask, where the black area closes the image, white shows, and gray seminders.
Consider the work of the channels with a black and white image in RGB.. For our experiments, we will need palettes COLOR, CHANNELS, INFO and Color Picker.. Open Color Picker.and select Clean Gray. It is impossible not to notice that in the gray crazy color the values \u200b\u200bof the channels are equal to each other. Naturally, if R0 G0 B0 creates a black color (cm, the lack of reflection of light from the surface), and the R255 G255 B255 creates a white color (cm, the connection of the entire spectrum, school prism), it is logical that with a gradual increase in the values \u200b\u200bof each channel with Equal value we obtain clean gray without a share of the shade.
We will conduct a small experiment. I opened a photo and using Image\u003e Ajustiments\u003e Desaturate Translated it into black and white.
Now I chose the tool Color Sampler. From the Tools toolbar and made 4 color plants in different places of photography. To display the digital values \u200b\u200bof the channels, I will open the INFO panel. We see that in all 4 cases the values \u200b\u200bof the channels are equal to each other. Complete the task.
I will come again in the color correction menu and using a squeak filter Image\u003e Adjustiments\u003e Photo Filter In the filter panel, I will choose a clean blue color R0 G0 B255 and slightly select a photo.
As you can see the shade of the photo has changed, although it is still perceived as a PB. Let's look at our color samples in the Info panel. The values \u200b\u200bof the Red and Green Channel remained unchanged. And the value of the blue channel exceeded the values \u200b\u200bof red and green. Due to this, the black and white photo received its bluish shade, because the intensity of the blue channel exceeds the two remaining. I achieved pure results due to the fact that the color correction applied a clean blue color R0 G0 B255 with zero values \u200b\u200bof red and green channels. If I used the not completely clean shade, for example, R10 G15 B250, then my values \u200b\u200bwould not be even. In this case, the filter would have affected red with green channels, but the photo still received its blue tint, since the meaning of the blue channel in the stock would exceed the rest.
Channels in photoshop and sepia
How is the effect of sepia? The photo is still black and white. Just she has a yellowish tint. How does RGB creates a yellow color? It is known as, when applying red on green. That is R255 G255 B0
Open the black and white photo apply the effect Image\u003e Adjustiments\u003e Photo FilterBut this time we will apply a clean yellow color R255 G255 B0. It is not difficult to guess what we get on the info panel.
The values \u200b\u200bof the red and green channel rose evenly, and the value of the blue channel remained unchanged. Due to this, the photograph received a yellowish tint. Now that you understand the nature of the RGB channels, consider the color image.
Channels in photoshop and color image
With a black and white image, everything is simple. On each site of the image, all channels are equal to each other. Values \u200b\u200bare certainly different due to the degree of light and darkness, but all three channels are always synchronous to each other. With color images, everything else. Each color image pixel contains different information on all three channels. Due to this, it is colored. Due to this, the color image weighs more black and white. Consider our photo.
The conditions are the same. Already color photography, the former 4 color samples. 1) in heaven, 2) on the clouds, 3) on the dark part of the clouds and 4) on the tree. Let's see what happens on the sky. On the sky plot 0 in red 56 in green and 134 in blue channels. There is no red channel and we do not see it. 134 blue give pure dark blue color. A 56 green canal add brightness towards the blue. How do you remember R0 G255 B255 give bright blue color. As a result, we get a blue sky, where the blue channel creates a dark blue tone, and the green brightens towards the blue.
On the second value, a bright part of the cloud. On the Info Panel 240 for red, 243 for green and 247 for blue. The first thing is striking - values \u200b\u200bare extremely equal. So color will get close to grayscale. In our case, the values \u200b\u200bare not only equal, but also high. From 240 to 247. Virtually maximum 255, which indicates that the color will be almost white. And so it is. Clouds extremely white. Now we will analyze the shade. Values \u200b\u200bare almost equal, but not completely. Blue channel 247 above red, 7 points. Green canal is also higher at 3 points. How do you remember 255 green and 255 blue give blue. So the color will have a slightly bluish shade. And so it is.
In the third site, I highlighted the shaded part of the cloud. First, we see that the meanings are also high. 166 on red, 182 on green, 208 on blue. The meanings suggest that this color is also fairly light. But not so much bright as in the second sample. Light gray, and higher values \u200b\u200bof the blue and green channel give a light gray explicit blue shade.
On the tree section 3 for red, 23 for green, 16 for blue channels. Values \u200b\u200btend to zero, which indicates that the color is practically black. And so eat, the tree is really dark. As usual, the red canal is minimal, green and blue channels won in the whole photo. Except, of course, herbs, but about it later. On this section, the green canal is significantly higher than blue, and, accordingly, the tree gets dark greenish tone.
And a few more examples. I made two more last marks on the bright and dark pieces of grass. In this case, the blue channel loses. Its value is low. Red and green won. How to remember the red and green canal give clean yellow. In our case, the Red Channel is not enough to kill the green channel on yellow, so the color goes toward the yellow-green marsh. But the green channel is not on the full maximum of opportunities, if his meaning was played red, the grass would have a reddish shade, but the green canal is stronger, and the grass is greenish. A small tone adds a blue channel, the truth is practically imperceptible.
In our last battle, the green canal is a clear winner. Its value is 137, half of the power, so the color is not bright and quite dark. The red canal tries to lead the shade toward the orange, but unsuccessfully. The blue channel is practically disabled.
And so it consists of every section of color using RGB channels. Channel essence - light intensity mask for each image site. In the sky, the red canal is black, then the color consists of green and blue channels. In the field of grass there is no blue channel. The green looks brighter, it means the grass will be predominantly green. I hope you caught the idea.
Reading Channels on Mask
That's what I want to achieve from you. I want you to understand that the image of the channel, the essence - a mask, where dark places mean the absence of channel action, and light - the effect of the channel tone. Take for example our image. Photos color can be understood without seeing colors. It can be read based on the masks of the channels. Now we will learn to do this to deciphering color mixing logic in RGB.
On the photo sky, wood, and field. Let's see what the channels show. On the red canal sky completely black. It means the effect of red on this site is missing. Blue and green channels remain. On the blue channel, the color of the sky, obviously lighter, which means the effect of the blue channel here is higher. But the green canal makes his contribution. How to remember blue and green channels give blue. We get a light blue sky, darker to the upper right corner, since the action of green is noticeably weakened.
Consider the field. The blue canal in this area is almost black. The brightest area of \u200b\u200bthe red canal with which only green comes with. And then the field of yellow color. Graduations on the green meaning are led by the color to the side of orange and dark red.
Take a look at the tree. On all masks, his color is almost the same. So the tree is quite colorful, close to gray. But still on the Red Channel, the tree is significantly lighter, and on blue, darker. This suggests that the shade of the tree is red. In our case, the red is so strong that he reduced gray to brown.
RGB and SCREEN Mode
We can imitate RGB mixing channels yourself. So I created most of the illustrations for this article. Draw the ellipses on different layers, fasten them with clean colors. Pure blue R0 G0 B255, clean green R0 G255 B0 and pure red R255 G0 B0. In Windows\u003e Layers panel, change the layers of overlay modes on Screen. SCREEN Output Mode Cuts Dark Pixels, giving the advantage to light pixels. But besides this, he mixes various pixel tones as well as mixed up their color model RGB.
I tried to write most compressed, but the article turned out to be too voluminous. But now you fully understand how the RGB channels are arranged in the photoshop program, and not only in Photoshop. They are arranged everywhere, equally, believe me. I will develop the topic of channels in your following articles on this topic. In the following parts, I will describe the channels in CMYK and Lab, as well as proceed to their practical use in color correction and printing.
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Next to the layer panel is another - panel Channels. . Its purpose in graphically display color information. Each channel is a separate component of the image.
So, what, in fact, the meaning of this panel?
First, the color channels contain information separated by color. For example, in mode RGB. The image is divided into 3 channels: red , green. , blue , and for CMYK. - These are 4 channels: cyan. , magenta. , yellow , black. . Thus, it is possible to highlight the fact that the Photoshop program does not distinguishes the color itself, but finds it by filtration, through the overlay channels to each other.
Secondly, Alpha Channels also exist. Like color channels, they support 256, 65536, 4 294 967 296 shades of gray. But unlike color channels, do not contain information and are opacity levels, masks. They can be used and as highlighting the area with subsequent saving (information about alpha channels is entered into the program, so the memory is consumed, as a result of which the size of the source file increases).
Consider in more detail the use of channels in the Photoshop program on the following example. 
We go to the Channels panel - Window-Channels. . We see the panel on the similarity Layers. , Only the roles of the layers are channels depending on the selection of the display mode. We will use mode RGB..
Here you can see 3 separate channels and 1 shared:
RGB is a combined channel consisting of:
Red - Red, Green. - green, Blue - Blue color.
If we make the selection of the machine and save it, then we will have 4 channels: alpha channel. As you already remember, it is a simple selection. 
Now let's see how the channels look for individual colors and find out how you can use them. So, red, green and blue channels in the order of reduction are shown just below. 
You can see that white color in the channel is correlated with red when viewed in RGB mode. Those. If you take a tool Eyedropper Tool. color from the hood of the machine, then go to the panel Window-Color We will see that the red color has a value of 255. Since we do not have red, but a pink color, the values \u200b\u200bof green and blue in the panel Color Change. 
It remains to consider the Right Panel menu Channels. the points.
