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Brightness/contrast adjustments are the easiest to understand, but they’re also the most destructive with regard to image quality. Why? Because increasing the contrast pushes dark and light pixels off the scale, so that shadow areas of your image become blocked in and highlight areas bleach out.

You need to use the Brightness/Contrast dialog with care, then. If you display Photoshop’s Histogram palette while you work, you’ll see what we mean. The image we’re starting with is rather light and lacking in contrast, so our first attempt at repair is simply to reduce the Brightness value. This looks OK superficially, but the histogram shows the highlights are no longer a true white, and a lot of shadow detail has been ‘clipped’. Increasing the contrast strengthens the colours (remember the link between contrast and saturation), but yet more shadow and highlight detail has been lost.

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Like many digital camera images, the shot we’re starting with looks a bit flat, even though the histogram shows a full range of tones. Our fi rst attempt at adjustment uses an ‘S-shaped’ curve which darkens the shadows slightly and lightens the highlights but, because the curve is steeper in the centre section, it adds contrast to the midtones. Our final example is more extreme. It exaggerates the contrast in a specifi c tonal range – the red brickwork.

The way to do this is to open the Curves dialog, then drag the mouse pointer (it changes to an eyedropper) over a critical area of the image. The tones at that point are displayed on the curve as you drag. This is the point on the curve where the curve gradient needs to be made much steeper. Note how increasing contrast also increases saturation. The two are inextricably linked, and if you sort out your image’s contrast properly, you’ll often fi nd out you don’t need to increase its saturation.

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By default, the Levels dialog displays the combined RGB values of the pixels in the image, but you can open the menu at the top to view and edit the red, green and blue colour channels independently. This explains the difference between applying Auto Contrast and Auto Levels. Auto Contrast maximises the tonal range without altering the ratios of the three colour channels. Auto Levels optimises the channels individually, which can correct colour casts, or introduce colour casts where you didn’t have any!

Our original shot has a strong yellow cast because we used a coloured graduated fi lter over the sky. Simply applying Auto Levels restores a much more natural colour balance. In the fi nal version, though, we’ve gone further by moving the red channel’s midtone slider to the left to make the colours redder, then gone back to editing all three RGB channels and moved the midtone slider to the right to darken the image.

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It’s not possible to compensate for every single light source, and sometimes the colour of the light doesn’t fall neatly on the warm-cool colour temperature scale. White balance adjustments work by shifting the whole spectrum of the light source up or down the scale. They rely on the light having a full spectrum of colours, but simply shifted one way or the other.

Some light sources don’t have a full spectrum of colours. The prime example is orange streetlamps. They look orange because that’s all there is – no blue, no green. It’s impossible to correct orange streetlighting to produce a full range of colours.

Fluorescent lighting is the other oddity because it contains excess green. Digital cameras deal with this with one or more dedicated ‘fluorescent’ settings. These increase the levels of magenta (green’s complementary colour) to restore a naturallooking colour balance.

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Night poses special problems for colour photography. It’s not the level of illumination that’s the problem, but the colour of the lighting. If you shoot in a busy city centre, you may have a mixture of tungsten lights, fluorescent lamps, yellow/orange streetlamps and even multicoloured neon. How are you supposed to reconcile all these with a single white balance setting? Our advice would be not to try. This is one situation where your camera’s auto white balance should just be left to get on with it. Only if the colours look completely wrong should you worry about taking over manually.