I think you're making this harder than it needs to be. If all you're concerned about is using black plate editing to get better shadow detail/contrast and you're not trying to preserve that black plat

Blaine writes: My guess is that you are processing using the default "as shot" settings in ACR. It is quite possible that Adobe's assumptions about the camera settings have changed in ACR v2. It looks

If you're only concerned with sharpening techniques you can apply these CMYK techniques and still maintain the full color gamut of your original RGB. (1.) First, duplicate the RGB document.(2) convert

The new version of Photoshop (CS, 8) has this functionality in the "Color Replacement Tool" cleverly hidden under the Healing Brush/Patch Tool! regards, Lee Varis varis@... http://www.varis.com

Mac users can benefit from Default Folder a very cool third part product: http://www.stclairsoft.com/DefaultFolderX/index.html Windoz people can try FileBox eXtender : http://www.hyperionics.com/index

Photoshop has a sort of limited HSB support using the HSB/HSL Plug-in. This is an Adobe plug-in that is on your install disk but is not part of the default install. Look on you install disk:Goodies: O

David wrote: Richard writes: and Here, here...As I said earlier: A good exposure will be different for each subject - determining what that good exposure is requires a bit more than an automatic place

This has to do with minimizing noise in digital camera captures. Most camera manufacturers set the parameters for their raw file conversions to optimize for the best trade off between signal to noise

You know, if I ever thought I would use this printer again I would do just that. I could build a profile for their press (or proof press?) and get a reasonable soft proof on my screen so I could previ

Andrew, before you respond to these posts please read them entirely... What I said was: Profiles are not going to help this printer. They don't have a properly calibrated and profiled monitor so there

I'm just getting so fatigued by all of this... First, just to set the record straight, I'm in favor of using profiles to tag RGB or CMYK. But what everyone rails on and on about has nothing to do with

OK... I got it! All of this undocumented, invisible/visible stuff just seems so confusing. It seems much more straightforward to simply spec total ink, GCR, dot gain and black %... its just that when

I think I understand this BUT... why should the paper white point be different if you print to the same kind of paper (coated)? Shouldn't they display consistently if both have paper white turned off?

Hi all, Anyone know the relative percentages of the number of print jobs going to web presses vs the number of jobs that are sheetfed? Also... I'm trying to come to grips with the differences I'm seei

Buy a Canon... or, if you must have a Nikon body, get a Fuji S2. regards, Lee Varis varis@... http://www.varis.com 888-964-0024

I've posted my 1st attempt at a "solution" here: http://www.varis.com/ColorTheory/Hazy.html The basic strategy is to use a fairly wide radius USM in a darken layer over the original. I've used 3 diffe

Re: profiles, to Tag or not to Tag... I think we've gotten past the Photoshop 5 period where it was easy to embed the wrong profile in an RGB or CMYK file and this caused huge problems for service bur

If you download the file (take a screenshot) and open it into Photoshop those "squares" read identical if you set up your eyedropper to 5x5 to average out noise - there is no brightness or color diffe

Hi All, This link was posted to the ProDig list a while back: http://www.adm.duke.edu/alumni/purves/figure2.html I thought it might be particularly interesting for this list. It demonstrates quite eff

This is a topic of interest for me so, I'll jump in here. I'm sure Dan will have more to say on this... Proponents of wide gamut work spaces are mostly concerned with preserving the full color gamut o