Professional photoshop 6: the classic guide to color correction
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York [u.a.]
Wiley
2001
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIV, 353 S. Ill., graph. Darst. 1 CD-ROM ; 12 cm |
| ISBN: | 0471403997 |
Internformat
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| 245 | 1 | 0 | |a Professional photoshop 6 |b the classic guide to color correction |c Dan Margulis |
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Datensatz im Suchindex
| _version_ | 1804129129546645504 |
|---|---|
| adam_text | Titel: Professional Photoshop 6
Autor: Margulis, Dan
Jahr: 2001
Contents
Introduction ix
3 Preflight: What Shall
3^ :z We Do with This Image?
-i Z ml . Should we match the original photo or
f_ Z! ~ what a viewer who was in the camera s
! i |-| ~ ~ position would have seen?
Introduction 3 Defining Quality 4 The Goals in
Color Manipulation 5 Should We Match the Art? 5
Matching the Meaning 6 You Be the Judge 9
The CMYK Standard 11 Sorting Out Eight Channels 13
Colors and Their Complements 14 The Power of Curves 15
All the Tools You 11 Ever Need 17
j ¦ [ Color Correction
2 By the Numbers
ZZZZ Highlights, shadows, neutrals,
—; fleshtones: get these numbers right,
j - j and the rest will fall into place.
Introduction 21 A General Approach to Correction 22
The Magic Numbers 23 Looking for the Sure Thing 25
Writing Curves: A First Step 26 A Plan for Using This Book 27
Avoiding the Impossible 29 Give Me Your Tired Images 30
Give Me Your Tired Vehicles 31 The Intent of the Photographer 34
Behold a Paler Horse 36 Betting the Image 37
Of Values and Judgments 40
3 if 33
JM V ywi l
iv Contents
The Steeper the Curve,
The More the Contrast
Give the most important areas of the
image an extra dose of detail by
careful control of curve shape.
Introduction 41 As Long As It Catches Mice 43
High Key and Low Key Images 45 Onto Bigger Game 47
Do We Suppress the Snow? 49
Correcting a Machine Correction 53
Of Contrast and the Paycheck 56
/ F : 1 r : a
few.*vv - i i. i
Sharpening with a Stiletto
; Unsharp masking can bring images
into focus—or destroy them with
halos and graininess. Those who
¦¦•¦¦¦¦•I. aim well can sharpen more.
Introduction 59 How USM Fools the Eye 60
The Four Deadly USM Sins 60 Taking Aim
at the Problems 62 Are These Crops Tight Enough? 63
A Few New Wrinkles 65 By the Numbers 67
The Eyes Have It 68 Glitter and Be Gay 72
Location, Location, Location 72 Beware the Whitening Halo 74
Some Sharply Focused Tips 76
Plate Blending as Poetry
5 In bright objects, contrast depends not
on the dominant inks but on the
weakest—the unwanted color. If you
don t have a good one, make one.
Introduction 79 The Cavalry of Woe 82
Yet I Know How the Heather Looks 84
The Berry s Check Is Plumper 86
The Accent of a Coming Foot 87
In Just the Dress His Century Wore 89
Give the One in Bed Cravat 92 But Graphickerfor Grace 93
Contents v
6
In Color Correction,
The Key Is the K
GCR and other black generation
decisions and their effect on printing,
color correction, and retouching.
Introduction 97 A Hypothetical Colorspace 98
Black as Tangerine 100 GCR: When in Doubt, Do Without 101
When More Black Is Better 103 Allowing Flexibility on Press 105
Repeatability with GCR 105 Muddiness and Custom CMYK 106
The Planned GCR Correction 107 Putting Snap in Neutrals 108
The Prince of Darkness 109 How to Hold Shadow Detail 112
If We Shadows Have Offended 116 Do Your Eyes Glaze Over? 117
Staying Out of Traps With GCR 119
The Real PMS Equivalent 120 It All Fits Together 124
— . C
i . / A -
f2^ .....
W
RGB Is CMY
Once you realize that the two are
basically the same, you re in a position
to exploit their differences.
Introduction 125 The Ink Police Overture 126
Enter the Dot Gain Curve 128 A Simple Prologue 130
Exit the Subtlety 131 Curtain Up on Contrast 132
Exeunt the Flat Channels 133 Arranging the Lighting 135
A Cyan Encore 137 Epilogue: RGB Output? 140
HSB Is LAB
These two separate color from contrast. J - *
That philosophy can be the start (and ^ ^
— heart) of effective corrections—of
certain kinds of pictures.
Introduction 141 Dicky-bird, Why Do You Sit? 142
Avoiding Overly Bright Colors 143 Saturation and Apparent
Distance 144 Riding the L Channel 146 Both the Simple and
Quadratical 148 There Is Beauty in Extreme Old Age 151
Experimenting with the A and B 151 I ve Got a Little List 154 *
Yet B Is Worthy I Dare Say 155 The Best Channels to Blur 157
t Declaration of Independence 158 From Here and There 161 r
i x. , i
5 v. 4/ ¦
vi Contents
AIL Colorspaces Are One
Each colorspace has its own strength,
and each can handle easy corrections.
As the assignments get tougher, the
smart operator switches often.
Introduction 165 Better Use Your Sense 167
Take What You Have Gathered 168 ...From Coincidence 170
The Times Are a-Changin ... 171 Tangled Up in Blue 173
Every Grain of Sand 175 Knockin on Heavens Door 178
Mixed-Up Confusion 181 The Pigeons Will Run to Her 182
The Line It Is Drawn 183 Which One to Use? 184
Better Grab It Fast 185 It s All Over Now 186
The End of the Beginning 188
Making Things Look Alike
The key to calibration today rests on a
shockingly simple concept: that the
best way to tell whether things look
alike is to look at them.
Introduction 189 Dandruff, Cancer, and Halitosis 190
The Essence of Spirituality 192
The Flawed Traditional Method 193 The Flawed Alternative 194
The Flawed Conventional Wisdom 196 The Dustbin of History 197
The Best of Both Worlds 201 Of Scientists and Artists 203
All Greek to Them 204 Look for the Pattern 205
A System That Works 207 The Superior Measuring Device 208
Managing Separation
And Color Settings
With its color interface overhauled,
Photoshop 6 offers all the tools for
i ; I : ; i i 1 ; ; good separations—and a challenge.
Introduction 211 Decisions and Damage Control 212
A Question of Aesthetics 213 The LIAM and the PCCM 214
A General Law, Sad but True 217 Matching a
Photoshop 5 Workjhw 218 Photoshop 6 s New Settings Box 219
Agreeing on a Vocabulary 220 PGR: Out of One, Many 221
(M) k: Back to Basics 226 A More Adult Way to Play Tag 228
billing In the Blanks 232 An Overrated Topic 232
Contents vii
The Great Dot Gain Gamble
If you re surprised by overly muddy
results in print, you probably haven t
compensated properly for one of the
most difficult concepts in all graphics.
Introduction 235 The Few Things We Know 236
How Predictable Is It? 237 Dot Integrity and
Color Integrity 239 Pick a Number, Any Number 240
The Setting s Effects 241 The Parrot Uncertainty Principle 242
Taking Your Best Guess 244 Of Liquids and Papers 245
Of Numbers and Blunders 245 Of Ghoulies and Ghosties 246
And Four-Channeled Beasties 247 The Key to Calibration 250
An Act of Imagination 250
Friend and Foe
In Black and White
To get color images into B/W, look to
the individual channels. Rely on your
friends, be ruthless to your enemies.
Introduction 251 The Fatal Flatness in B/W 253
Foreseeing What Gets Lost 254 Putting a Hand on the Scale 255
B/WandDuotones 255 Who s Not With the Program 257
The Lion and the Fox 258 To Those Who Understand 260
Resolving the Resolution Issue
The abbreviation dpi is used for too
many things. This chapter sorts it all
out and suggests better terminology. !
Introduction 265 Out of Spots, Dots 267
The Blind Man s Eyeglasses 269 Dots Spots: a Glossary 269
Comes the Quintillion 272 Quality Not Quantity 275
And the Band Played On 276 Spots, Dots, Tonality:
DPI vs. SPI vs. VOT 278 The Resolution That Isn t There 278
Resampling and the Rogue Pixel 280
HUions and Millions of Pixels 283 Some Final Resolutions 284
n
Is -
¦ WW!
, ^
-»
* ..»•
: r .l-*
viii Contents
Math, Moire, and the Artist:
A New Angle on Descreening
Prescreened originals need not be a
problem if you keep two words in mind
during the entire process.
Introduction 285 The Thirty Degree Solution 286
Embedding a Screen 288 Thirty Degrees Again 289
Those Dots: Rules and Exceptions 291
The Good Old Days 294 A Pattern of Deception 295
The Unimportance of Yellow 297 Resolution, and
Other Resolutions 298 A Self-Eulfdling Prophecy 302
Every File Has Ten Channels
Introducing a powerful new technique:
think of each color image as if it had to
be converted into B/W. And look for an
opportunity for a luminosity blend.
Introduction 303 The Grayscale Gambit 306
Gaining a Tempo 308 The Flatness Counter-Gambit 310
Checkmating the Defect 311 Controlling the Open Diagonal 315
The CMYK Endgame 316
Compression Artifacts: Beware the Blue Blend 318
Every Square on the Board 320
There Are No Bad Originals
We close with images that need a
variety of techniques, and a two-page
checklist of what to think about when
confronted with a tough opponent.
Introduction 321 For Better or for Worse 322
Too Soon Old, Too Late Smart 323 The Dangerous Phrase 328
The Importance of Planning 329 Pushing the
Background Away 332 A Pair of Luminosity Blends 333
Where to Commit the Crime 334
The Final Curves: the Strategics for Approaching an Image 336
Getting the Fizz Back 338 A Toast to Professional Color 340
Notes Credits 343
Index 347
A Note on the Type 354
|
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| indexdate | 2024-07-09T19:00:14Z |
| institution | BVB |
| isbn | 0471403997 |
| language | English |
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| spelling | Margulis, Dan Verfasser aut Professional photoshop 6 the classic guide to color correction Dan Margulis New York [u.a.] Wiley 2001 XIV, 353 S. Ill., graph. Darst. 1 CD-ROM ; 12 cm txt rdacontent n rdamedia nc rdacarrier Adobe Photoshop Adobe Photoshop (Computer file) Photoshop (Logiciel) Infographie couleur Color computer graphics HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009765025&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Margulis, Dan Professional photoshop 6 the classic guide to color correction Adobe Photoshop Adobe Photoshop (Computer file) Photoshop (Logiciel) Infographie couleur Color computer graphics |
| title | Professional photoshop 6 the classic guide to color correction |
| title_auth | Professional photoshop 6 the classic guide to color correction |
| title_exact_search | Professional photoshop 6 the classic guide to color correction |
| title_full | Professional photoshop 6 the classic guide to color correction Dan Margulis |
| title_fullStr | Professional photoshop 6 the classic guide to color correction Dan Margulis |
| title_full_unstemmed | Professional photoshop 6 the classic guide to color correction Dan Margulis |
| title_short | Professional photoshop 6 |
| title_sort | professional photoshop 6 the classic guide to color correction |
| title_sub | the classic guide to color correction |
| topic | Adobe Photoshop Adobe Photoshop (Computer file) Photoshop (Logiciel) Infographie couleur Color computer graphics |
| topic_facet | Adobe Photoshop Adobe Photoshop (Computer file) Photoshop (Logiciel) Infographie couleur Color computer graphics |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=009765025&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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