Photographic Color Grading: What Actually Works
Applying a consistent tonal and color treatment across a set of images so they read as one body of work.
Imogen Clarke
The key figures
- Consistency mechanism
- presets or profiles applied as a base
- Base correction
- applied before any stylistic treatment
- Calibration
- a calibrated display is a prerequisite
- Skin tones
- the most sensitive area to a strong treatment
- Output dependence
- a treatment that works on screen may not in print
Why this is worth getting right
A brand's photography is recognized by its treatment as much as its subject matter, and consistency requires a defined approach rather than per-image taste.
Do this, not that
Do
- Correct each image to a neutral base before applying a look
- Define the treatment once and apply it as a starting point
- Grade on a calibrated display
- Check skin tones under any strong treatment
- Test the treatment in every output medium it will be used in
Don’t
- Grading each image to taste with no defined approach
- Strong treatments applied before basic correction
- Looks that break skin tones
- Grading on an uncalibrated screen
When to bring in help
Our advice Bring in help when a library looks inconsistent, when a brand photographic treatment must be defined, or when imagery must match across photographers.
Where this comes from
- Adobe Help Center — Color grading tools
- Capture One — Styles and consistency
- International Color Consortium — Color management
The figures and practices above come from the sources listed.
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Where to go next
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