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E-raamat: Professional Photoshop: The Classic Guide to Color Correction, Fifth Edition

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  • Formaat: PDF+DRM
  • Ilmumisaeg: 20-Nov-2006
  • Kirjastus: Peachpit Press Publications
  • Keel: eng
  • ISBN-13: 9780321469090
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Professional Photoshop: The Classic Guide to Color Correction, Fifth EditionSuurem pilt
  • Formaat: PDF+DRM
  • Ilmumisaeg: 20-Nov-2006
  • Kirjastus: Peachpit Press Publications
  • Keel: eng
  • ISBN-13: 9780321469090
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The commonsense, by-the-numbers approach of Professional Photoshop has shaped the workflows of a generation of Photoshop experts. This new edition, the first in nearly five years, is completely updated for the age of digital photography. It continues the books tradition of introducing astoundingly effective, previously unknown methods  of image enhancement. The original photographs found in the book come from a variety of professional sources, and all correction exercises are on the included CD. Professional Photoshop has changed radically from edition to edition, and this time is no exceptionwith almost 90 percent new content and completely overhauled coverage of curves, channel blending, and sharpening.Professional Photoshop offers a full explanation of:



How curves bring out detail in the most important areas of the imagen 

A comprehensive strategy for blending channels to create deeper, stronger images

The strengths and weaknesses of CMYK, LAB, and RGB, and when to use each one



The first detailed look at the Shadow/Highlight commandand even more sophis-ticated ways to enhance contrast in the lightest and darkest parts of the imagen Sharpening strategies, in three full chapters, including the innovative hiraloam method (High Radius, Low Amount). Plus, a fiendishly effective method of merging hiraloam and conventional unsharp masking The realitiesand the politicsof preparing files for commercial offset printing and how to deal with colors that are out of the presss gamut What Camera Raw and similar acquisition modules can offer Typical problems of digital captures that were not found in the age of film and how to correct for them

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The commonsense, by-the-numbers approach of Professional Photoshop has shaped the workflows of a generation of Photoshop experts. This new edition, the first in nearly five years, is completely updated for the age of digital photography. It continues the books tradition of introducing astoundingly effective, previously unknown methods  of image enhancement. The original photographs found in the book come from a variety of professional sources, and all correction exercises are on the included CD. Professional Photoshop has changed radically from edition to edition, and this time is no exceptionwith almost 90 percent new content and completely overhauled coverage of curves, channel blending, and sharpening.Professional Photoshop offers a full explanation of:



How curves bring out detail in the most important areas of the imagen 

A comprehensive strategy for blending channels to create deeper, stronger images

The strengths and weaknesses of CMYK, LAB, and RGB, and when to use each one



The first detailed look at the Shadow/Highlight commandand even more sophis-ticated ways to enhance contrast in the lightest and darkest parts of the imagen Sharpening strategies, in three full chapters, including the innovative hiraloam method (High Radius, Low Amount). Plus, a fiendishly effective method of merging hiraloam and conventional unsharp masking The realitiesand the politicsof preparing files for commercial offset printing and how to deal with colors that are out of the presss gamut What Camera Raw and similar acquisition modules can offer Typical problems of digital captures that were not found in the age of film and how to correct for them
Introduction xiii
Color, Contrast, And Channels
Introduction
3(1)
Pearls Before Swine
4(1)
The Natural Look
5(2)
Sliding Down a Slippery Slope
7(1)
The Weapons in the Arsenal
8(1)
When Do the Eyes Adjust?
9(1)
But Who Is the Reader?
10(3)
The Guide Goes Out the Window
13(1)
Why the Quiz Matters
14(1)
I'm Beginning to See the Light
15(2)
Telling the Channels Apart
17
When Two Are Maxed Out
15(5)
The Importance of the Green Channel
20(1)
Strange Channels, Strange Lighting
20(3)
You Be the Judge
23(2)
The Steeper the Curve, The More the Contrast
Introduction
25(1)
Left, Right, Up, and Down
26(1)
When There's a Choice of Shape
27(1)
A New Angle on Contrast
28(1)
As Long As It Catches Mice
29(2)
Maximizing Detail Is No Accident
31(1)
What's Important and What's Not
32(1)
How to Correct, Sight Unseen
33(3)
Ask a Silly Question, Get a Silly Answer
36(1)
Turning a Blind Eye to the Catchlight
37(1)
Levels and the S Curve
38(1)
High and Low Key Images
39(2)
Avoiding the Master Curve
41(4)
How Far to Go?
45(1)
The CMYK Alternative
46(2)
CMYK Before RGB
48(2)
A Vote for Auto Levels
50(1)
Color by the Numbers
Introduction
51(3)
A Plan for Using This Book and Its CD
54(1)
By the Numbers vs. By the Numbers
55(1)
Setting Up the System
56(1)
The Magic Numbers
57(2)
Looking for the Sure Thing
59(4)
Picking Significant Target Points
63(3)
The Lightest Significant Part
66(2)
A Modest Proposal or Two
68(2)
Of Free Speech and Figures of Speech
70(1)
Betting the Image
71(1)
Avoiding the Impossible: How the Pros Know the Numbers
72(1)
When an Emerald Isle Turns Yellow
73(3)
Otherwise Than by Comparison
76(1)
Color, Contrast, Canyons, and LAB
Introduction
77(2)
The Eyes-Glazed Over Syndrome
79(2)
The Colorspace Confrontation
81(4)
The Relationship of the A and B
85(2)
Controlling the Blunt Instrument
87(2)
Zero Plus Zero Makes Plenty
89(3)
A Jewel of a Shortcut
92(2)
The Selection Without a Selection
94(4)
The Color Recipe Book
98(1)
LAB and the Workflow
99(2)
The Key Is the K
Introduction
101(1)
A Hypothetical Colorspace
102(1)
A Message to the RGB-centric
103(1)
Black as Tangerine
104
Where GCR Is Mandatory
57(48)
CMYKs Fixed and Editable
105(1)
The Need for a Lower Black Limit
106(1)
The Pure Play on Black
107(1)
Evaluating Neutrality
108(6)
When in Doubt, Do Without
114(1)
The Politics of Presswork
114(5)
Of Layouts and Densities
119(1)
Mud and Custom CMYK
120(2)
Fine Lines and Maximum GCR
122(1)
Actions and Consequences
123(2)
It All Fits Together
125(2)
Sharpening with a Stiletto
Introduction
127(1)
Who, What, and When?
128(1)
Where?
129(3)
Why?
132(1)
How?
132(1)
Tip: Blurring the Black
132(2)
USM by the Numbers
134(1)
In Which Haloing Is Taken to the Max
135
Finalizing the Numbers
134(5)
How Much Is Too Much? Readers, Author Duke It Out
139(1)
Shapen, Not Blurred
140(2)
Beware of Presharpening
142(1)
So Much for Newton's Third Law
142(3)
Inkjet and Other Printers
145(2)
A Few New Wrinkles
147(1)
Other Sharpening Filters
148(2)
Location, Location, Location
150(3)
Keeping the Color In Black and White
Introduction
153(1)
Where Is the Life That Late I Led?
154(1)
But I'm Always True to You, Darling...
154(2)
...In My Fashion
156(1)
Who's Not with the Program?
157(2)
The Lion and the Fox
159(1)
The Temptation of the L
159(1)
A Prince Must Keep an Open Mind
160(1)
Two Confusing Mode Names
161(1)
For Fortune Is a Woman
162(2)
Niccolo the Magnificent
164(5)
The World's Fastest B/W Conversion
169(1)
Good Laws and Good Arms
170(2)
To Those Who Understand
172(3)
Keeping the Black and White in Color
Introduction
175(1)
The Alternate Ending
176(1)
The Alternate Beginning
176(3)
Harmonious with the Background
179(1)
The Sky's Not the Limit
180(1)
The Second Line of Defense
181(3)
Time for a Quiz
184(3)
A Theme and Variations
187(1)
Of Artifacts and Skies
188(1)
The LAB Denouement
189(2)
The CMYK Coda
191(4)
Inferences, Illusions, and When to Bet the Image
Introduction
195(2)
The Red and the Black
197(2)
The Media Can't Be Trusted
199(1)
The Lesson of the Stain
199(1)
LAB and the Info Palette
200(1)
Guessing the Distribution
200(4)
Counting Up the Points
204(1)
Knowing How the Cards Lie
205(88)
That Old Savoir Faire---and How to Get It
293
A Card Laid Is a Card Played
212(1)
How Many Tricks Can We Count?
213(5)
Cards on the Table
218(2)
Getting Ready for the Next Hand
220(1)
Every File Has Ten Channels
Introduction
221(1)
A Very Small Toolbox
222(2)
Different Colorspace, Different Tools
224(1)
Pigeons Out on a Limb
225(1)
Which Tool to Use?
225(3)
It's All Over Now, Baby Blue
228(1)
Take What You Have Gathered...
229(2)
...From Coincidence
231(3)
Mixed Up Confusion
234(2)
Take Me As I Am
236(1)
When I Awoke, This Bird Had Flown
237(6)
Tangled Up in Blue
243(3)
The Times, They Are a-Changin'
246(1)
Making Things Look Alike
Introduction
247(2)
An Introduction to Calibration
249(1)
Why Should We Care?
250(1)
When Options Are Limited
251(2)
A Vote for the Multidisciplinist
253(1)
The Price of the Perfect World
254(3)
The Black & White of Color
257(1)
The Colors That Are Missing
257(2)
Color, Contrast, and Revolutionism
259(2)
Win Some, Lose Some
261(1)
CRT and LCD Monitors
262(1)
The Red Flag of the Revolution
262(1)
How Far Off Can We Be?
263(1)
In Favor of the Machine
264(1)
If Not Victory, Is Yet Revenge
265(2)
Maxims for Color Revolutionists
267(1)
Look for the Pattern
267(1)
The Superior Measuring Device
268(1)
If Our Substance Be Indeed Divine
269(2)
Managing Color Settings
Introduction
271(1)
How the Phrases Are Defined
272(1)
How the Color Is Defined
273(1)
Assigned, Assumed, and Embedded
274(2)
The RGB Working Space
276(10)
Choosing an RGB Workspace: A Flowchart
286(1)
The CMYK Working Space
287(5)
Gray and Spot Working Spaces
292(1)
Conversion Options: Rendering Intent
293(2)
Color Management Policies
295(2)
The Sahara of the Bozart
297(2)
Politics, Printing, and the Science of the Skosh
Introduction
299(2)
The Origin of Political Parties
301(1)
Politics Abhors a Vacuum
302(1)
The Power of the Media
303(1)
Pollsters, Printing, and Predictability
304(1)
A Party and Its Platform
305(3)
The Opposition Is Heard from
308(2)
Rhetoric and Substance
310(1)
A Skosh of Prevention
311(1)
The Contract and the Proof
312(1)
The Platform Is Developed
313(1)
The Cost of Negative Campaigning
314(1)
Stereotyping Is a Form of Printing
315(2)
Welcome to the Team
317(1)
The Investigation Proceeds
318(1)
The Personal Touch
318(1)
Politicians Sometimes Tell the Truth
319(2)
The Gamma--Dot Gain Alliance
321(1)
Voting for a Change
322(1)
Setting Up in Custom CMYK
323(2)
Making Use of the Settings
325(1)
Merging Custom CMYK and ``Uneditable'' Profiles
325(2)
Clues That Dot Gain May Increase
327(1)
Realpolitik and the Skosh
328(1)
Resolution for the Multimegapixel Era
Introduction
329(2)
The Many Types of PPI
331(2)
Where Did the Pixels Come From?
333(1)
Coping with Poor Resolution
333(3)
More Information Means Less Variation
336(2)
The Law of Averages
338(1)
How Much Is Too Much?
338(2)
Double the Bits, Double the File Size
340(1)
What the Tests Have Shown
341(1)
Shifting In and Out of 16-Bit
341(4)
Final Food for Thought
345(2)
The Art of the False Profile
Introduction
347(1)
A Word Means What I Want It To
348(2)
The Meaning of the Numbers
350(1)
An Invitation to Play Croquet
351(2)
Blurring and Gamma
353(1)
Blending With a Layer Mask
354(1)
I'll Be Judge, I'll Be Jury
355(4)
Curioser and Curioser
359(3)
Return of the Red Queen
362(1)
Through the Looking Glass
363(3)
The Final False Profile
366(2)
The Golden Key
368(5)
What Comes Around, Goes Around
Introduction
373(1)
The More Things Change
374(1)
Warnings and Exclusions
375(1)
When There's a Choice
376(1)
The Multi-Channel Approach
377(2)
Back to the Future
379(3)
The Mind of the Machine
382(1)
The Duckling Becomes a Swan
383(3)
The Monster from the Deep
386(3)
Reds, Saturated and Otherwise
389(1)
Merging with a Layer Mask
390(2)
Summing Up: The KISS Approach
392(3)
Blurs, Masks, and Safety in Sharpening
Introduction
395(2)
Limiting the Damage
397(2)
Waterfalls and Sharpening Highlights
399(1)
What's Not to Like?
400(2)
Still Waters Run Deep
402(1)
Sharpening, Shadows, and Workflow
403(4)
High Risk, High Reward
407(3)
The Search for the Layer Mask
410(5)
Betting on the Sure Thing
415
Sharpening, Past and Future
390(29)
Overlays, Hiraloam, and Shadow/Highlight
Introduction
419(2)
The Most Serene Command
421(2)
The Overall S/H Look
423(1)
The Meaning of the S/H Defaults
423(1)
A Blur and a Blend
424
A Smarter Sharpen Filter?
423(5)
Half Shadow, Half Highlight
428(1)
S/H and Colorspaces
429(1)
The Channel with the Difference
430(2)
USM, Pseudo-USM, and Shape
432(5)
All in the Family
437(1)
Balancing Blur and Blend
438(3)
Don't Try Too Hard
441(1)
An Embarrassment of Riches
442(1)
Color, Contrast, and Safety in Masking
Introduction
443(1)
Finding the Excuse to Use the Mask
444(2)
Red Sky in the Morning
446(1)
The Scanner Operator Takes the Helm
447(1)
Choosing the Right Channel
448(1)
How Green Is My Valley
449(3)
The Double Whammy
452(1)
Multiplication and Masking
453(6)
The Tale of the Towel
459(3)
There Are No Bad Originals
462(2)
It's a Matter of Routine
464(1)
Sinking the Reflection
464(1)
Highlights and Shadows Sail Again
465(3)
Changing Product Color with LAB
468(4)
A Swift and Swelling Ship
472(1)
There Are No Bad Originals
Introduction
473(2)
The Two-Edged Sword
475(2)
On Opening a File for the First Time
477(1)
The Final Curves: The Strategies for Approaching an Image
478(2)
Looking for Friend and Foe
480(3)
Finding the Color Variation
483(1)
The Final False Separation
484(2)
Changes Since Last Time
486(1)
Back to Square One
487(2)
A Toast to Professional Color
489(2)
A Buccaneer's Farewell
491(2)
Notes & Credits 493(12)
Index 505
Dan Margulis was one of the first three individualsand the only writerto be named as a member of the Photoshop Hall of Fame. In announcing his election, the National Association of Photoshop Professionals said, Dans ability to reduce complicated concepts to words that users can understand and his insistence on dealing with real-world relevance have made him todays most influential voice in color reproduction. Dans 2006 best-seller, Photoshop LAB Color, revolutionized workflows. Channels expert David Biedny called Photoshop LAB Color probably the most important Photoshop book ever written.
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