Re: Red Rose: results

Thomas Hurd,MD

My entry is 1213.

I was a bit lost in the wilderness as to the color of this flower as well as the contrast when I started. 

I spent some time paging through Dan’s books to get an idea of how to regain the contrast for the petals. I finally decided on blending the green channel into the L channel at about 50%. This gave me plenty of contrast!

I tried a couple of corrections from the flat jpg, but then went to the DNG. What bothered me about the image was the blown out highlights, as I saw it. Also, it seemed that was from too harsh of a flash, as determined by the white petal highlights and the high contrast shadow. Therefore, I changed the color balance to flash (5500 K) and decreased the exposure two stops.

I was determined to get rid of the white on the rose, and I still managed to get a luminosity range in the flower, but I can see that compared to everyone else, I might have tried to put back those 2 stops of exposure. I guess, Dan, that I fell into the "obliterate it" group. 

It is a great learning experience for me, to explore the different ways to get the color and texture. But as Dan noted with other people’s comments, it was a struggle. I suppose my lack of experience has much to with that. As Dan also said, those with experience (and expertise) could knock out a competitive version in a few minutes. I also spent time going down some dead end pathways.

Once I saw what the par version looked like, I was able to reproduce something close to it’s color in about 10 minutes, without the angst of public presentation. As Dan mentioned in his introduction to this final opponent, if you aren’t having success with reds, look to change your workflow. What made this more challenging to me was not knowing the color, and thinking the original was off, as I said above. The first entry, Carnival, was challenging, but there was a specific, if unattainable, color to reference. 

I have been taking another look at my corrected photos, especially those hanging on the walls around the house, and there are a few I am going to redo! (My wife’s face is equal parts a and b. Plenty of red to work with) That said, my rose printed out nicely on Legacy Platine. I hope to print a better result tomorrow.

Robert, thanks for sharing your technique. I wound up blending two intermediate images, and also used a false profile multiplication technique.

Paco, I enjoyed the texture you accomplished in the interior central petals. Very lifelike. I had a problem as well with blue/purple tint near the end of my process. I wound up using a color fill layer with B=88 and painted over the bluish ares to get a positive b value in LAB.

I would echo Robert’s compliments to the group and especially Dan.

To close, I wanted to share a few things:

What I learned this summer!

  1. Luminosity and contrast rule the image
  2. The wrong color is can destroy a picture no matter how good the luminosity and contrast.
  3. Unchecked, my email app downsizes images
  4. Lens correction in LR, and presumably ACR, alters image dimension 
  5. 8 bit, sRGB jpeg is just fine for almost every image I process.
  6. Channel blending might be the most important step in contrast, in the right images
  7. I can eliminate a moire pattern, but maybe shouldn’t always do so completely. But there are more ways to recover luminosity contrast. (See #6)
  8. Decreasing the saturation is a very important step in the PPW workflow. It was very hard to believe how desaturated I could make an image and then recover and enhance every bit of it. I have become a believer.
  9. Overthinking an image correction can be just as bad as overthinking my golf swing.
  10. Images like our bookend offerings are very challenging, when there are one or two dominant primary colors. Having other colors in the image can cover up my mistakes.
  11. Looking at 20+ representations of the same image can play tricks on the eyes. And the order you view them means a lot.
  12. The members of this group are very generous with help and explanation.
  13. Outside the time spent on the weekly entries, my color correction has become quicker and more efficient.
  14. Photos from an iPhone are not bad and very amenable to Photoshop color correction.
  15. Don’t send an image out of Photoshop by text message before converting it to sRGB. The phone screens do not like the LAB conversion.
  16. I’ve re-read about 25-30% of Dan’s books since Professional Photoshop 4th edition. There are chapters from every book that help my understanding. I can also say that when I re-read MPCW pp.222-225 Under the Tuscan Sun and could understand it!
  17. In the very next section of that book, A Sad Tale of Skintone, Dan recommended not to get discouraged if you overestimate your work before you compare it to other. I’m following that advice, too. I critically injured a lot of images this summer, but I also took away a lot that improved me.
  18. Knowing how to manipulate a technique is not good enough. The final result is what counts. I actually already knew that, but it is a lesson I relearn many times over, in almost every field I venture into.
  19. I can’t thank Dan enough for these 11 weeks of instruction. There is so much content in his critiques of every entry, that I’m sure I will be referring to this material for a long time forward. I’m amazed every week how much there is to each image. This is a fantastic opportunity to systematically investigate a great range of approaches to correction. Most every week I spent a great many hours learning about the techniques I needed to apply. Sometimes, of course, those learning hours were spent after I saw the rest of the entries!
  20. So thanks, Dan, for the great summer school. Now, back to Simultaneous Contrast of Color…

Tom Hurd

On Aug 5, 2020, at 1:49 PM, Paco <paco@...> wrote:

[Edited Message Follows]

Hi to all! Mine is 1218. The Ferrari red one!

I wanted to make it as R as I could and as "soft" looking as possible. This softness came with the price of not being as detailed as the PAR version. I blended mine to the par at 53% and the result has better detail than in my original.

From the start, the bluish highlights bothered me so I "fixed" them by making them more tonally like the rest of the rose and that is what I found the hardest to accomplish.

All the best!


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