Bruce Fraser
Self-confessed "color geek" Bruce Fraser wrote, taught, and consulted on publishing, imaging, and color issues for more than two decades. A Contributing Editor for www.creativepro.com, Bruce published hundreds of articles on color management and color image reproduction. He was the co-author of the award-winning "Real World Photoshop" series, as well as "Real World Color Management," all from Peachpit Press. He was also a founder and principal of Pixel Genius, LLC (www.pixelgenius.com), an industry think-tank and developer of the PhotoKit
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I'm often asked, "what's the easiest way to color-correct images?" My answer is always the same: Fix the neutrals and the rest will follow.
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If you liked whiling away the study hours during your college years thinking about whether or not the chair that supported you might really exist,
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As tempting as a no-nonsense dismissal of rendering intents might seem -- "My intent is simply to get some good-looking output!" -- choosing the ri
The steps below summarize the two-pass sharpening technique described in "Out of Gamut: A Two-Pass Approach to Sharpening in Photoshop."
STEP 1: Sharpen to Correct the Image
CREATE EDGE MASK
- Duplicate your image, using Image>Duplicate... and leaving the original image open
- Convert the duplicate to grayscale (duplicating one of the color channels using the Channels palette often works well)
- Isolate the edges using Filters>Stylize>Find Edges
In my last column, which delved into a couple of useful sharpening techniques, I promised additional techniques this time around, and I'll make good on that promise. But first we should turn to one of the important questions about sharpening: When in the image-editing process should you sharpen?
The Traditional View
It's a sad but undeniable fact of life: Whether you scan, shoot, or capture, the process of digitizing images introduces softness, and to get great-looking results, you'll need to sharpen the great majority of digital images. This column is usually about color management, but for every screed that's been written on tone and color correction or color management, there's precious little about sharpening. This time around, I'll outline some of my favorite sharpening techniques for Photoshop 5, 5.5, and 6.
Almost everyone who has a scanner does some high-bit editing whether they know it or not. Just about every scanner being made today captures at least 10 bits per channel, and when you use the scanner's software to make edits, it's operating on that high-bit data. It's important to make your big tone and color moves on the high-bit data, because if you don't, you're wasting the extra bit depth you paid for with the scanner, and you're more likely to encounter posterization or color banding. Why?
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By now, it's pretty clear that Adobe Photoshop 6.0 is an impressive upgrade, with Adobe's revived attention to color management ranking at the top
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I've spent the past few columns making the case that when it comes to Photoshop, there's no perfect RGB working color space that works equally well
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Color spaces can be quite different, as regular readers of this column will attest.
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