The interesting aspect of this color correction workflow is how delicately nuanced the results can be. Instead of picking the absolutely darkest and lightest areas of a photograph, using the mid-tones to balance the colors to match the 128 mark of the Neutral Gray all of a sudden reveals details of the photograph that would otherwise been lost or muddy-looking. I did push the levels a bit more than I ordinarily would, to emphasize the difference this set of global corrections can do to a picture.

Each of the following 3 examples show 1.) The original; 2.) the RGB corrections; and 3.) the 50% gray corrections.

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