On Aug 5, 2020, at 10:00 PM, Thomas Hurd,MD via groups.io
> wrote in the Red Roses thread:
What I learned this summer!
- Luminosity and contrast rule the image
- The wrong color is can destroy a picture no matter how good the luminosity and contrast.
- Unchecked, my email app downsizes images
- Lens correction in LR, and presumably ACR, alters image dimension
- 8 bit, sRGB jpeg is just fine for almost every image I process.
- Channel blending might be the most important step in contrast, in the right images
- 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)
- 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.
- Overthinking an image correction can be just as bad as overthinking my golf swing.
- 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.
- Looking at 20+ representations of the same image can play tricks on the eyes. And the order you view them means a lot.
- The members of this group are very generous with help and explanation.
- Outside the time spent on the weekly entries, my color correction has become quicker and more efficient.
- Photos from an iPhone are not bad and very amenable to Photoshop color correction.
- 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.
- 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!
- 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.
- 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.
- 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!
- So thanks, Dan, for the great summer school. Now, back to Simultaneous Contrast of Color…
This is an excellent summary that probably speaks for many other people.
I have no significant disagreement with any of it but would like to add to the point about overthinking. In putting the group together I was aware that certain images, Toast to Greece for example, require a certain amount of time to get a decent result. Therefore I also included some that I thought would be instructive, yet not require any complicated procedure. The comments I got offline indicated that many of you realized that these images should be done fairly quickly, although a few reported spending hours on them.
In the six MIT exercises I posted not just my own new version but the ones I had done in 2017 when I was working with a self-imposed limit of three minutes. The new ones were all better IMHO but this was no surprise, because this time I had already seen the previous results (in 2017 I didn’t look at what the MIT retouchers had done until finished with my own version). I would say that the extra time I spent was definitely worth it on Veiled Bride, Cinque Terre, and Red Rose. I’m not sure about Colosseum, it looks like more a question of interpretation than technique. But Monument Valley and Seated in the Grass seem straightforward. I did not overthink them and hope that most of you didn’t either.