By Dan Margulis
With a mantra like “There are not any undesirable originals, in basic terms undesirable Photoshop operators,” you recognize best-selling writer Dan Margulis is fascinated with exposing humans to the magic of Photoshop. Nowhere is that magic extra obvious than in its LAB colour processing functions, which may make even the sophisticated canyon shades of rock, sand, and grime come to brilliant lifestyles. even if, you can be cautious of taming the advanced beast. Here’s your advisor! In those pages, Dan indicates so that you can derive huge, immense merits from quite a few easy instruments and methods. He additionally demonstrates that you could take those innovations so far as you need, applying the power-user good points he describes in later chapters. beginning with canyons and progressing to faces, you'll discover simply how fast you could start enhancing your pictures by means of following the “recipes” incorporated right here. every one bankruptcy features a sidebar with assessment questions and routines as good as a “Closer Look” part that examines a few of the ideas in the back of the suggestions. A CD contains workout files.
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Additional info for Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace
This PDF is exclusively for your use in accordance with the Safari Terms of Service. No part of it may be reproduced or transmitted in any form by any means without the prior written permission for reprints and excerpts from the publisher. S. copyright laws (see 17 USC107) or that otherwise violates the Safari Terms of Service is strictly prohibited. Chapter 3. Vary the Recipe, Vary the Color Return to Table of Contents Page 13 Vary the Recipe, Vary the Color as early as 1951, by a Kodak scientist, David MacAdam.
6. • For converting between RGB and LAB, I prefer to use the Image: Mode>Convert to Proﬁle (Photoshops 6–CS), Edit: Convert to Profile (CS2) command, with Use Dither unchecked. Although Convert to Proﬁle can also be used to go into CMYK, I use a simple Image: Mode>CMYK instead. The reason for dropping the dither is philosophical; I’m not sure it has any realworld impact. By default, when converting between colorspaces, Photoshop introduces a very ﬁne noise, or randomization, hopefully so ﬁne that nobody can see it, yet sufﬁcient to wipe out any banding or posterization, of which phenomena noise is an enemy.
Let’s consider these three points in turn. • Full range means that the lightest and darkest signiﬁcant points of the image get handled appropriately. Most people call this step setting highlight and shadow. The task is a little more onerous in other colorspaces, where we generally have to be sure that the highlight and shadow are also neutral—in RGB, equal values in all three channels; in CMYK, equal magenta and yellow, a bit more cyan, with black irrelevant. In either one, if we decide that the highlights and shadows should be something other than neutral, we have to scratch our heads to come up with different numbers.