Creating Looks - The Art and Technique of Digital Color Correction - page 451

Sliga adds a third secondary to qualify the lamp and the spill on the
wall using luminance. Then he softens the qualification, picking up some
of the highlights on the woman's skin. With that done, he pushes a good
deal of warmth into the highlights, making her face quite warm.
I ask about the change to the woman's face. “You're not worrying about
what happens to her face, just the lamp, right?” “Right,” he says, explaining,
“I'm trying to find something symbolizing a little bit of warmth coming out
of that lamp.” To fix the face, he creates a soft vignette and positions it over
the lamp, eliminating the corrections on the woman's skin ( Figure 10.94 ) .
“So we came from here to there,” he concludes as he checks back and forth
between the starting source image and where he ended up ( Figure 10.93 ) .
Fig. 10.93 Third second-
ary correction, bringing
warmth to the lamp.
Fig. 10.94 Data from the third secondary.