the Maybe I'm wrong, but my tests *seem* to suggest it's the contrast in the black curve that brings black from say 70 from 90 (or even 50-70) that makes the image take on this solid black

Dan Margulis <76270.1033@...> writes: Try a two-year college that offers a degree in printing (I know of four in Wisconsin, including one that specializes in flexo). These are likely to be

Thank you - I have been struggling with this myself. Please consider including this info in Chapter 2 of your next edition of Professional Photoshop - I think it would be valuable. Maris Lidaka Sr

Bruce Fellman writes, that the mix only extends towards people of the Caucasian persuasion. How do you handle the skin tones of non-whites? Is there a ballpark formula that offers target ranges for

Dear Friends: I want to start with a personal aside -- in terms of the photography in the Yale Alumni Magazine where I'm managing editor, buying Dan's book and learning to apply his principles to our

higher black made with It would probably be image specific, with larger or more dense areas of shadow appearing darker with the higher black sep. If the shadow regions were quite small or had less

color if your help generations world, in I have a question about "kinds" of black. (assuming all the following would be light GCR)... Does a shadow made with higher black ink, (73c 63m 63y 91k)

Posts that are not related to color aren't welcome in this group. I would like to make a brief exception here in view of the circumstances, asking that there be no replies so that we can get back to

necessary to For anyone interested - I put together a quick example page. http://members.ozemail.com.au/~samarsh/ucr_variants.html This shows the specific separation controls for the Scitex

Ruud writes, axis in Lab).>> It's clear that there is a lot of misunderstanding of this important topic on the list so let me try to clarify what the terms mean and why they are ambiguous. In RGB,

APR - Now that I know what an 'old tin type' photo looks like, I know why the noise etc found it's way into the K plate. This image is RGB greyscale. Any move to CMYK will put some of the detail

on 10/10/01 6:42 AM, effzee@... at effzee@... wrote: to luminosity. It¹s a superb product and produces results that surpass any manual USM tricks one produces in Photoshop

I was wondering if anyone here has used and has an opinion on Nik Sharpener Pro. We've been using it a while now because we we're getting huge variations from user to user in sharpening and some

http://home.netcom.com/~amerphoto/TinType/ http://home.netcom.com/~amerphoto/TinType/tintype.html The third photo I deleted the CMYK Black channel. Tintype-3.JPG samarsh@... wrote:

APR, this is where most 'breakthroughs' are made. <g> Can you explain? Film or print? Colour or g/scale? An old tin type photo means nothing to me. Have you tried an adjustment layer set to

Re. Scanning Class: Try posting your questions and queries on ScanHi-End@... Although the discussions can get equipment-specific, I have found answers to most of my film scanning

RE: APR wrote: ========================== One item that I did not see covered in the thread is the impact of halftone screening on smooth tones. You may want to investigate round dot (round

Thanks everyone for the "Smooth SKin" techniques, I'm now an expert!

Why is this? I'm just expermenting. I take an old Tin Type photo. I then adjusted in Lab for contrast. I then change to CMYK and I deleted the Black channel (since I see a lot of scratches and spots

Martin replies: comes to the Scanview flatbeds photographic off! magnified, so your focused and I don't think that things have changed, even on the top of the line model purchased less than six