In this series of tutorials, we'll learn various ways to fix tone and color problems in our images with Photoshop! Some of the essential topics we'll be covering include how to correct overall brightness and contrast problems with Photoshop's Levels and Curves commands (as well as the aptly-named Brightness/Contrast command), how to gain more control and flexibility with adjustment layers, and how to target specific problem areas in a photo with layer masks!

We'll learn the importance of knowing how to read and work with histograms, and how Photoshop's Red, Green and Blue color channels work to reproduce the millions of possible colors in our images! We'll be learning how to adjust colors with Color Balance, Hue/Saturation and Vibrance, how to warm up or cool down an image with a Photo Filter adjustment, how to do much (and possibly all) of this work in Camera Raw without even touching Photoshop, and so much more!

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In this first tutorial, we'll start things off with a look at three of Photoshop's simplest, most popular and widely-used commands for correcting tonal problems and color casts in an image - Auto Tone, Auto Contrast and Auto Color. Now, before we begin, it's important to note here that as with many things in life, what's 'popular' isn't necessarily what's best, and the Auto Tone, Auto Contrast and Auto Color commands are no exceptions. What makes them so popular is that they're just so darn quick and easy to use. In fact, you don't need to know anything about how these commands work to get decent results when it comes to improving overall contrast or removing an unwanted color cast.

Yet while speed and ease of use are what make them so popular, the downsides with these commands are that they offer only the most basic of image corrections and they're completely automatic, with no options or controls for fine-tuning or improving on the results. If we try them and like how our image looks afterwards, great! If not, then we need to turn to something better, like the Levels or Curves commands (which I'll be covering in detail in other tutorials).

Photoshop's three Auto commands are best suited for those less-important images you don't want to spend a lot of time retouching; the ones where 'good enough' is, well, good enough. Let's see how they work, and how to easily compare the results that each of the three commands gives us.

Here's a photo I snapped one weekend at a roadside market. This image suffers from a couple of obvious problems; it's low-contrast, and it has a greenish color cast:

The original photo.

Here's what the same image will look like when we're done using nothing more than Photoshop's Auto image adjustments:

How Auto Contrast, Auto Tone And Auto Color Work

Even though I mentioned earlier that we don't really need to know how the Auto commands work in order to use them, a little knowledge of what's going on behind the scenes can help us understand why one of the three commands gave us better results than the others. Or why, say, Auto Tone worked better with this image yet Auto Color worked best with a different image. And to understand how the Auto commands work, we need to know a little something about Photoshop's color channels. I'll keep things short and simple here, but if you want to learn more about color channels, be sure to check out our full RGB And Color Channels In Photoshop tutorial.

Here's the short version. Much like a painter mixes colors to create all the other colors we see in the final masterpiece, Photoshop mixes colors to produce all the other colors we see in our images. In fact, it may sound hard to believe, but of all the the millions of colors we see, not just in our photos but in the world around us, every single one of them is made from just three primary colors - red, green, and blue.

These are the primary colors of light, and every other color is made from some combination of these three primary colors. White is made from mixing red, green and blue equally at their full intensities. Black is the complete absence of all three primary colors, and every other color and shade in between is made from some combination of red, green and blue. Yellow, for example, is made by mixing red and green. Mix red and blue and you'll get magenta, while green and blue together will give you cyan. Throw in all the possible shades of red, green and blue and you end up with millions, and even billions, of colors!

Photoshop mixes the three primary colors using color channels. There's one channel for red, another for green, and a third for blue. We can find these color channels in the Channels panel which, by default, is nested in beside the Layers panel. Click on its tab at the top of the panel group to open it:

Opening the Channels panel by clicking its tab.

Here, we see the Red, Green and Blue channels, along with that looks like a fourth channel - RGB - at the top. Don't let the RGB channel confuse you, though. It's not really a channel at all. RGB stands for 'Red, Green and Blue' and it's simply the combination, or composite, of the Red, Green and Blue channels working together to give us our full color image:

If you look at the preview thumbnails for the Red, Green and Blue channels, you'll notice something that may come as a bit of a surprise; these color channels are not actually in color at all! Instead, each one is a grayscale image. In fact, if we look closer at them, we can see that each channel's grayscale image is different from the others. To preview what each channel looks like in your document, simply click on each one. For example, I'll click on my Red channel to select it:

Selecting the Red channel.

With the Red channel selected, the full color version of my image in the document is temporarily replaced with the Red channel's grayscale version of the image. What does a grayscale image possibly have to do with the color red? Well, Photoshop uses the brightness values in the grayscale image to determine how much red to mix into each area. The brighter the area, the more red is added to the full color version, while darker areas have less red mixed in. Areas of pure white in the grayscale image have red added at its full intensity, while areas of black have no red at all:

Previewing the Red channel. Brighter areas have more red added than darker areas.

To see what the Green channel looks like, I'll click on it in the Channels panel to select it:

This temporarily turns off the Red and Blue channels, showing me only the Green channel in the document. Here, we see another graysca

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