Incubation XV

Variations_Saturation_425

Any image can support an unimaginable number of color variations. So how do you find them? Systematically make many variations. Will it take a great deal of time? It will take a little time but not a lot (maybe five or ten minutes) – and it will take less time and you’ll more thoroughly explore the possibilities if you do this systematically. You’ll find this exploration will be time very well spent. Illuminating more possibilities than you imagined will help you find more creative and personally fulfilling solutions for your images. You’ll deepen your understanding of and personal relationship with color thus your images and by extension yourself. Those who view your works will feel the difference. I can tell you from many years of personal experience that it has made all the difference in the world to me. It will do the same for you.

Before you begin …

Start With Your Strongest Image(s)

When you’re processing a number of related images it’s likely that you’ll find the solutions you choose for the strongest image in the set will apply to the others, with minor modifications. It’s rare to have images in a series with widely divergent color palettes.

Plan To Make Many Copies

Don’t try and remember all of these possibilities; there will be too many to remember.

Instead make copies that you can make side-by-side comparisons with. (In Lightroom make virtual copies. Alternately, in Photoshop duplicate files.) It will help if you organize these copies into Collections in Lightroom or organize them (possibly with folders) in Bridge/Photoshop.

Find The Big Picture, Sweat The Details Later

Ditch your perfectionist tendencies – for now. Worry more about the moves you’re making in color that the tools you’re using to make them with. Don’t get lost in the details, instead focus on the big picture. Avoid getting distracted by one exciting possibility.  Instead of rushing to finished results and committing to the most obvious solution too quickly, spend a few minutes exploring more possibilities hoping to find better solutions. More often than not, you will.

So what’s the best way to do this?

Proceed In This Order – Saturation, Luminosity, Hue

With only three elements of color, you wouldn’t think there could be so many possibilities, but the very things that generate them also make finding them manageable. You’ll quickly find the major moves that can be made if you make changes in these three elements in this order – saturation, luminosity, and hue.

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When To Sharpen

The vast majority of photographic images benefit from sharpening.

Before you decide how and when to sharpen images, you need to decide why you’re sharpening them.

The goal of sharpening is to enhance detail rendition without producing distracting visual artifacts.

You’ll find many conflicting philosophies and their accompanying strategies for sharpening images. The seemingly conflicting advice can be hard to reconcile.

Should you sharpen once or multiple times? Should you sharpen differently for different subjects? Should you sharpen differently for different sizes? Should you sharpen differently for different presentation material or supplies? Should you view your files at 100% or 50% screen magnification?

Capture source, output device, substrate or presentation device, presentation size, subject, and artistic intention all play a role in sharpening. The characteristics and solutions for many of these factors can be objectively defined for everyone; at least one of these factors, perhaps the most important, your artistic vision, can only be decided individually.

So, if sharpening is a complex subject, how do you simplify your sharpening workflow to one that’s practical without compromising quality?

Bruce Fraser and Jeff Schewe offer the best advice in their definitive volume on sharpening, Real World Image Sharpening, which I highly recommend you read. Instead of sharpening your images for you, they teach you how to sharpen.

Their philosophy of sharpening is the soundest in the industry, which is why it has been adopted by so many in the industry. They recommend that images be sharpened in a progression of three stages; once for capture sharpening, a second time for creative sharpening, and a third and final time for output sharpening. The objectives and methods of each of these stages vary considerably. When mastered, the whole process can be streamlined to achieve sophisticated results with a minimum investment of time.

Here's a quick synopsis ...

Read more on Creative Image Sharpening here.

Learn more in my Digital Printing and Digital Photography Workshops.


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color
lightondark

darkonlight

 There are at many ways to convert an image from color to black and white. Here's a roundup and evaluation of the top seven plus a set of considerations to help you choose the best one for your needs.

1          Desaturate

Desaturate or use the Saturation slider to make all the channels the same without control over the mix. Desaturaton is useful for near neutral images, otherwise it produces compressed tonal structure.

2          Convert Mode To Grayscale

Grayscale conversions eliminate all channels but one. The default mix is 59% Green, 29% Red, 11% Blue. This can be customized by targeting a single channel before conversion, to get 100% of any channel in any color space, including Lab. Quick and direct, this method eliminates future flexibility; its limited use is to create Grayscale images for reproduction but it's not the best way to make a conversion from color to black and white.

3          Channel Mixer

The Channel Mixer set to Monochrome allows you to customize the mix of channels and can be used as an adjustment layer, which allows you to change the mix at any time in the future.


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Seth Resnick shares his favorite quotes.

This one's my favorite from his selection.

"When two dogs fight for a bone , a third dog runs away with it." - My Father 

Which one is your favorite?

Read all of his selected quotes here.

Find out more about Seth Resnick here.

Learn more in Seth's D-65 Lightroom Workflow workshops.

Join Seth and I on a Digital Photo Destination here.


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Capture Sharpening

June 28, 2011 | 2 Comments |

Optimal image sharpening is best done in three stages— capture (do it during RAW conversion), creative (do it in Photoshop) and output (automate it).

Capture sharpening benefits all images. It compensates for inherent deficiencies in optical and capture systems. All lenses and sensors have specific characteristics and deficiencies. They don't all have the same characteristics or deficiencies.

To speed your workflow, default settings for a best starting point for capture sharpening can be determined for all images created with the same lens/chip combination and saved for subsequent use. To optimally sharpen an image, you'll need to modify these settings to factor in additional considerations—variances in noise (ISO, exposure duration, temperature), noise-reduction settings and the frequencies of detail (low/smooth to high/fine texture) in an image.


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Color management is rocket science. But you don’t have to be a rocket scientist to drive the rocket. Instead, be an astronaut. With a few simple steps you can achieve consistent, high quality color with your images every time.
These are the six simple steps to good color management.

1 - Make Profiled Conversions
Assign an ICC profile to all image files either during Raw conversion or scanning. Use appropriate profiles to make conversions into other color spaces with derivative files only. Minimize the number of conversions made.

2 - Calibrate Your Monitor Using Hardware
Once a month, use a colorimeter to build an ICC profile for your monitor. Minimize the influence of other light sources during characterization. Use the colorimeter’s software to help you set monitor brightness between 90 and 100 and choose White Point D65 and Gamma 2.2. Check the results with know target images afterwards.

3 - Set Good Photoshop Color Settings
In Photoshop’s Color Settings (in the Edit Menu) Set Color Management Policies to Preserve Embedded Profiles and Ask When Opening / Pasting. And, choose a wide gamut device neutral editing space. Start with North American Prepress Defaults and then change RGB to ProPhoto RGB.

4 - Softproof
Simulate the appearance of a print before printing. Go to View : Proof Setup : Custom and choose the profile you intend to print with. Check Simulate Paper Color and choose a rendering intent of either Perceptual or Relative Colorimetric. Make output specific adjustments before printing. Use these adjust- ments only when printing these media.

5 - Navigate Your Printer Driver Correctly
Use Photoshop / Lightroom or your printer driver to manage color – not both. In general, favor using Photoshop/Lightroom as this is the most versatile allowing you to use custom output profiles.

6 - Control Your Environment
Edit and evaluate your images in neutral surround- ings. Minimize the effect of extraneous light sources, such as glare on monitors or backlighting. Evaluate proofs and prints in appropriate lighting.

There’s much more that can be said about each of these topics - but, not much more to do. Take these steps and you’ll be well on your way to achieving consistent, high quality results with your images.

Read more with my color management ebooks.

View more in my color management DVD.

Learn more in my digital photography and digital printing workshops.


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