Greg: Is the following correct -- you used two methods for color changing the Hawaii photo 1)for shadows, find the lowest input and make the output of all colors equal to it. That is why you made 7 the output for the shadows 2)for highlights, find the lowest color input and change the output of this color only to the input number that represents the midpoint of all the color input?s. That was why you made 254 the output for red. Also, sometimes when i changed the output on the curves, the output on the hueclock did not change. Then i had to increase the output on the curves even more?
I am saving the corrections of each stage of the color change process, rgb, lab, cmyk on a separate layer. What is the K channel? How is it accessed?
Finally, what did you mean, on the 4th page of the pdf "rotate the a channel around your contrast pin until the reds are very overdone." I did put two pins on the curve, and I didn't see a bent arrow to allow me to rotate the "a" channel in lab. Also, what did you mean when you wrote: "Now using the arrow keys you move the linked contrast points up or down until the a channel value in your hue clock is back to the original value shown. For my correction it was 0,0?" What was the purpose of this maneuver to bring the hue clock back to the original value?
Open week of the class starts Sunday!
For the shadows ye they are all equal and neutral at 7.
For the highlights the lowest channel is raised to 254. The 246 is fine but the other two channels are above it so no need to reduce them down to 246.
Regarding layers I work on the layer at this stage, and when I am done; I flatten the image to apply the changes. I rarely keep layers during the workflow unless I have a very specific reason...
Regarding the pin rotation: this will be much better explained in the class. If you get the two points selected as shown in the print screen when you place you mouse over the edge of the curves frame you should see a bent double arrow replace your cursor. Left click on the frame edge and hold. then slowly move the mouse in a direction the curve should rotate around an axis that is the mid-point between your selected points. Once the rotation is complete the points are still linked. They can be moved vertically by using the arrow keys. again this is one that a video will speak a 1000 words. The 0,0 notation is the two color channels in LAB. I took a shortcut...I am sorry for your confusion. Returning the hue clock I set as an anchor to the starting values ensures that any color shift I added to the image by moving the points is removed and the image is returned to the color neutral version I started with. Some of these are totally new ideas since they cannot be done in Photoshop alone.
The net effect of this move is to separate the hues of a given color in lab by moving the two selected points further apart. This increases saturation and color contrast since we are in LAB and we are separated from tonality.
I hope this helps but please keep asking questions. This is great stuff...
Greg
For the highlights the lowest channel is raised to 254. The 246 is fine but the other two channels are above it so no need to reduce them down to 246.
Regarding layers I work on the layer at this stage, and when I am done; I flatten the image to apply the changes. I rarely keep layers during the workflow unless I have a very specific reason...
Regarding the pin rotation: this will be much better explained in the class. If you get the two points selected as shown in the print screen when you place you mouse over the edge of the curves frame you should see a bent double arrow replace your cursor. Left click on the frame edge and hold. then slowly move the mouse in a direction the curve should rotate around an axis that is the mid-point between your selected points. Once the rotation is complete the points are still linked. They can be moved vertically by using the arrow keys. again this is one that a video will speak a 1000 words. The 0,0 notation is the two color channels in LAB. I took a shortcut...I am sorry for your confusion. Returning the hue clock I set as an anchor to the starting values ensures that any color shift I added to the image by moving the points is removed and the image is returned to the color neutral version I started with. Some of these are totally new ideas since they cannot be done in Photoshop alone.
The net effect of this move is to separate the hues of a given color in lab by moving the two selected points further apart. This increases saturation and color contrast since we are in LAB and we are separated from tonality.
I hope this helps but please keep asking questions. This is great stuff...
Greg
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