By Dan Margulis
With a mantra like “There are not any undesirable originals, in simple terms undesirable Photoshop operators,” you recognize best-selling writer Dan Margulis is excited about 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 delicate canyon shades of rock, sand, and grime come to bright existence. despite the fact that, you can be cautious of taming the advanced beast. Here’s your consultant! In those pages, Dan indicates so that you can derive huge, immense merits from quite a few easy instruments and strategies. He additionally demonstrates that you could take those strategies so far as you would like, making use of the power-user beneficial properties he describes in later chapters. beginning with canyons and progressing to faces, you will discover simply how fast you could start enhancing your pictures by way of following the “recipes” incorporated the following. each one bankruptcy features a sidebar with evaluation questions and routines as good as a “Closer Look” part that examines the various ideas at the back of the ideas. 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
Where colored areas break away from the gray background in the actual files, it’s an attempt to compensate for something out of gamut. And, the lighter (greater) the L value, the more out-of-gamut colors there will be. 7A. 7B, the blue and purple patches join the fun. 7C, almost nothing works. The yellow patch is the only one of the eight colored areas that hasn’t been significantly darkened. So, where the image is light, and the LAB file calls for it to be colorful as well, it’s apt to get darker when it enters either CMYK or RGB.
Photoshop LAB Color: The Canyon Conundrum Copyright ©2006 Dan Margulis aware that most real reds, other than human faces, need a higher value in the A than in the B. 6, to show how Photoshop is adjusting the luminosity of out-of-gamut colors in a desperate effort to match the unmatchable. If these grayscale images had been generated di- Photoshop LAB Color: The Canyon Conundrum Copyright ©2006 Dan Margulis LAB by the Numbers brilliant thing available to us. Add color, and it’s no longer as bright.
The simple straight-line curve in these two 37 38 Chapter 2 The Bottom Line The LAB way of defining color by two opponent-color channels is not exactly intuitive, but it makes eminent sense once you get used to it. Positive values represent warm colors: magenta in the A, yellow in the B. Negative numbers are cool colors: green in the A, blue in the B. And values of zero are neutral. The L channel can best be understood as a black and white rendition of the document, although somewhat lighter. Its numbering system is the reverse of grayscale: 0 for darkness, 100 for lightness.