Terry’s Photoshop Show #5 – More Non-Destructive Editing Methods
In this week’s show, we are going to discuss many more techniques for non-destructive editing, with a quick review of using layers and masks, but then diving into using the Image duplicate techniques, more mode-combining tricks, painting into layers with the brush, layer blending tricks and an awesome sharpening approach – all without ever damaging […]
Terry’s Photoshop Show #4 – Photoshop LAB Channel Tricks & A/B Channel Masks
In this week’s show, we are delving further into a very powerful tool in Photoshop’s arsenal – the L*A*B color space and how to use the channels, masks and the Applied Color tool with it. Much thanks to color master Dan Margulis for alerting the world to the techniques possible using this mode. Recommended reading: […]
Terry’s Photoshop Show #3 – Photoshop LAB Channel Tricks – Color Contrast vs Luminosity Contrast
In this week’s show, we are delving into a very powerful tool in Photoshop’s arsenal – the L*A*B color space and how to use the Curves adjustment layers with it. Much thanks to color master Dan Margulis for alerting the world to the techniques possible using this mode. Recommended reading: http://www.amazon.com/Photoshop-LAB-Color-Adventures-Colorspace/dp/0321356780 This is the third […]
Terry’s Photoshop Show #2 – Non-Destructive Editing, Selections and Masks
Photoshop – Making and Using Masks – part II This week, first we’ll cover some basics of non-destructive editing, and then we will focus on doing some masks (ways of removing parts of an image), and if I find some images I can use with a curly haired person in them, I’m showing a trick […]
Terry’s Color-to-B&W Converter Photoshop Action “Pick Six”
This was inspired by a friend’s need to convert several color photographs to black and white for printing in their non-profit organization’s plain-paper newsletter, and also by the excellent book Mastering Black and White Digital Photography by Michael Freeman. (ISBN 1-57990-707-5). Below I’ve included the download link for the fr’ee “Color-To-B&W Pick Six” action that converts a color image to black and white using several Photoshop techniques. It is quite useful for quickly applying the six basic methods for creating a Black and White image for use in printing applications.
Using (and obtaining) a Saturation Mask in Photoshop for Exposure Repair and Color Enhancement
This is a video taken directly from an excellent PDF found at http://www.thelightsrightstudio.com/tutorials-pdf.htm where a couple of techniques using a saturation mask are discussed: pulling back saturation in an image where only one channel was over-exposed (thus clipped or “blown out”) and a second technique to add saturation through the saturation mask to an image already possessing strongly saturated regions that would be over-done if the hue-saturation adjustment layer were applied overall. This technique obtains its saturation mask from an HSB channel using a filter found on the first of the “Extras” disks that comes with the Adobe CS installation disks (and a similarly working plugin can be found online as well, that works on flattened duplicates only).
The Color Rhyme
With Lewis Carroll being in my mind, as well as Dr. Seuss, several years ago in 2003, I wrote my little “Color Rhyme” below hoping to assist my students. I hope you enjoy it, and feel free to share it! (This is the latest version.) The Color Rhyme (Starring Cyan, Magenta, Yellow, Red, Green and Blue!) By Terry Leigh Britton
Fundamentals of Light, and the Photoshop L*a*b Color Space
Way back in 2005, rutt posted the best summation of how colors work as light I’ve ever seen, at DigitalGrin.com. Rather than force you over there to read that post, I am replicating it right here, as it required a few edits for clarity. “In order to understand the relationship of LAB, RGB, and CMYK, we have to understand that the colors are actually defined in terms of one another.
- Red is a primary in light.
- Cyan is the pigment opponent of red. It is defined as the pigment that reflects green and blue perfectly but no red at all. So in light, cyan is composed of equal parts green and blue, but no red.
- Green is a primary in light.
- Magenta is the pigment opponent of green. It is defined as the pigment that reflects red and blue equally, but no green at all. So in light, magenta is composed of equal parts red and blue, but no green at all.
- Blue is a primary in light.
- Yellow is the pigment opponent of blue. It is defined as the pigment that reflects red and green equally, but no blue at all. So in light, yellow is composed of equal parts red and green, but no blue at all.
Some Color Theory and Photoshop LAB mode – Warm-up for Full Article
This is an open-letter to a co-worker that I thought might make a nice warm-up to the full-blown Color Science and Photoshop LAB Mode article that is upcoming. Enjoy and watch for the article! (Join the newsletter to be notified when I release those big things – this Color Theory one as well as an Actions tutorial video series and a full-on L*a*b series of videos are forthcoming!) ———————————————————————————->>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Dear Libby, The other day I mentioned colors used in the L*a*b color mode and which were opposites. Naturally, being an ART student, you countered me (a former graphic arts college professor, yet!) in my definition of what opposite colors were. Well, you were right… historically speaking at least. I didn’t have time to go into it then, recognizing it as a near universal problem when addressing color science to those trained in the traditional ways that Art schools portray the issue. Check this article at Wikipedia to understand what I’m referring to!
Sneak Peek – L*A*B Color Mode Image Improvement Techniques
I’m busy working on a series of articles and videos I’ll release here soon on using the LAB mode for improving images (or L*A*B mode as some prefer to write it, myself included!) A friend, Fred Vaughan, has agreed to allow me to use his beautiful photographs taken in Colorado and elsewhere in the western U.S. as my subjects. Below is a sample done using just some fairly simple curves – all work being performed in the L*A*B color space! By increasing color contrast (not merely by increasing saturation), we can bring out the natural coloration that the light presented to our eyes, and restore that which is lost by the static interpretation of the camera lens. Before (Click image for full-screen versions – you can load both into separate tabs to A/B compare them): And after having the curves shown beneath the image applied (Click image for full-screen version): Note how the vibrancy of the full daylight is restored from the above version where the camera had “flattened out” the color’s dynamic range. Watch this space for some nice full tutorials soon! But in the meantime, please try some L*A*B mode moves on your own!