tions of RGB and CMYK in Photoshop's Color. Settings dialog Photoshop calls it “Lab color,” but the name LAB pictures in PDF files, the native format of. Margulis maroc-evasion.info - Free ebook download as PDF File .pdf) or read book online for free. Un mejor desarrollo del resultado fotografico. Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace. Home · Photoshop Size Report. DOWNLOAD PDF .
|Language:||English, Spanish, Portuguese|
|Genre:||Health & Fitness|
|Distribution:||Free* [*Registration needed]|
The tenth-anniversary edition of Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace is now. Photoshop LAB Color: The Canyon Conundrum and Other Adventures . Below, a representation of the RGB colorspace inside the Lab color-. retouches and color corrects either The LAB color gamut is far wider than any- thing we are accustomed to. As a result . Photoshop's extensive defocusing.
Making colours pop without introducing artefacts that may be apparent using other methods. So called Picture Postcard workflow. Useful for accentuating very subtle changes. Potential to repair and replace a damage channel often blue in an RGB file and reduce noise in the process. Making gross changes to colour e. Red car to green blue or any other shade. Usually accomplished with little in the way of masking with just the use of Blend IF 5.
Finding a starting point mask that may be better than RGB or CMY Generally I would forget about it most of the time for 8 bit images as the risk of introducing nasties is increased you losing around 30 levels from the you have available. Working in original 16 bit data the losses are likely to be any real concern.
I am sure there are exceptions in both cases Quick example where it may be more useful than other modes. Client gives you a T shirt to shoot or T shirt image. Bad news he only has a green one available but has a range of colours he needs to show in an ad. The yellowness of the canyon walls should be played up. I asserted that a certain way of doing things them out in a way that relates to how humans is better than the customary alternative, and see them.
Yet, if I The version of LAB used in Photoshop was had stopped to prove that straight L A B born in , child of a standards-setting correction indeed yields better results than group called the International Commission RGB in canyon images, there would have on Lighting and known by its French ini- been an eight-page detour. I will say things that might be scientists feel that we should use a more labeled matters of opinion without stopping precise name for our version.
They call it to prove they are so. I try to give simple stands for luminosity or lightness; the A and explanations of each command being used. The second parts play by no such rules, and often dive right into techniques familiar only to a sophisticated audience.
LAB is always an intermediate step. Files must be converted into it before the fun begins and out of it afterward.
Our current LAB is one of the most prominent, an academic construct Figure 1. Pretty much everybody has to use pure red. Anybody needing being called upon to use both. Before RIPs for printing devices also claim to be accepting your money, the dealer will insist able to handle LAB, but gambling that they that you look at a swatch book to make sure actually do is a sport for the dedicated player you get the red you expect.
In the gradient at the bottom of the grid, note that the LAB default has darkness at the left in agreement with the Photoshop RGB default , but this book uses lightness at the left, which is the default for CMYK and grayscale images. To reverse the orientation, click inside the gradient bar below the grid. Also, the default uses gridlines at 25 percent increments, whereas the book uses 10 percent intervals. To toggle between the settings, Option— or Alt—click inside the grid.
A circle appears on the curve, indicating the value of the point underneath the cursor. If you move the cursor around the interest object with the mouse button still depressed, the circle will move with it.
The tonal range of the canyon walls falls between the two diagonal lines. We will start with, shockingly enough, a canyon. You can fol- low along with the image on the enclosed CD, or you may use one of your own, provided that you think you understand why canyons make such great LAB the manufacturer and the paint supplier fodder. They specify LAB values, plus a well on certain classes of image, it does tolerance for how far off the paint can be.
Much of this book is aimed In the event of a dispute, they whip out a at showing how to distinguish such images. If you do choose to use your own image, If the manufacturer Figure 1. Note how the L curve has been made steep in the area indicated in Figure 1. The A and B channels have also been steepened, by rotating midpoint.
The canyon walls here are slightly off-gray. Not nearly enough, however, considering that the most famous national park in the world bears the name of that particular color, for this is a picture of the Grand Canyon of the Yellowstone. The following recipe for bring- ing out the colors that are hidden in such images will be refined considerably in coming chapters.
But to get started on mak ing something more convincingly yel- low, like Figure 1. Second, Lab rather than RGB.
If you Call up the Curves dialog with Image: think that the Figure 1. And third, nobody should Photoshop default treatment of lightness-to- have applied unsharp masking yet. Although Figure 1. Move the cursor back into the serious work.
Option—click Mac; Alt—click picture over part of the canyon, and click and PC inside the box, and the grid changes to hold. While the mouse button is depressed, a 10 percent increments. Still the interface, we proceed to the recipe.