E-books for Professional Photoshop users can be purchased here.
ESSENTIAL COLOR OPTIMIZATION in Photoshop CS3 Contents: Getting the image into pixels, Getting the exposure right, Processing Raw files, The Adobe Camera Raw interface, Using the Adobe Camera Raw converter, Clarity versus new sharpening controls, Processing several raw files at once, Choice of color space, Scanning, Interpolation, Good noise and bad noise, The main color adjustments, The Levels adjustment, Reading histograms, Images and their histograms, The Curves adjustment, RGB Curve shapes and their outcomes, Curves in the individual channels, Working with the Curves dialog CS3, Highlights and shadows in Curves, Knowing what to target in Curves, The Hue Saturation adjustment, The Selective Color Adjustment, The Channel Mixer, The other color adjustments, Making color from scratch, The Info Palette, Channels and anatomy of the image, Alpha channels and Quickmasks, Using adjustment layers, The Photoshop adjustment workflow, Menus, keys and shortcuts, A simple optimization of color, A more controlled optimization, Controlling contrast and saturation separately, Targeting Hue and Saturation, A fast and dirty method for correcting neutrals, Using the Gray Eyedropper, Memory colors, Images with no neutrals, Correcting non-neutrals, High-key images with no deep shadows, Low-key images with no bright highlights, Dealing with severe over-exposure, Dealing with severe under-exposure, Soft Light Blending Mode for contrast, Local color adjustments, Using the Gradient with masks, Gradients combined with other masking, Advanced color correction in Curves, Black & white appearance in RGB, Fine tuning tones with the Black&White command, Minimum Dot for printing
ESSENTIAL COLOR MANAGEMENT Good practices for Photography Contents: How computers define color, 8-bit versus 16-bit, The CIE lab model, The RGB model, The CMYK model, Color fidelity through color management, The color management workflow, Profiling and Calibration of devices, Camera profiles, Scanner profiles, Display profiles, Calibration, Screen calibration with an instrument, Printer profiles, Bespoke print/paper profiles, Profile limitations, Color management terminology, Relevant color settings & working spaces, Why device-independence?, Because the file is the most important part, Assigning a color ‘allowance’, Color numbers and their interpretation, Gray balance and gamut, Generous gamut, The RGB -CYMK conversion bottleneck, Data loss, clipping, WYSIWYG, Setting up the color settings, Using ICC profiles to aid conversions, Profiles and working space, Consider gamut compression, Some of the most common RGB spaces, Assigning vs. converting to a profile, Profile mismatch and CM the policies, Rendering intent,Reasons for keeping the master files in RGB, Typical CM workflow mistakes, CMYK conversion – what does it entail? Not just any CMYK profile, Source and destination, Black generation, Responsible color adjustment, Capture assessment, Proofing, Soft-Proofing, Custom proof setup, RGB to RGB proofing, Hard-proofing, The advantage of RIPs, Using the Gamut Warning, Assess & adjust checklist, Good communication on delivery of files, Aim-prints and contract proofs, ReadMe, All-in-one aimprint & readme, Delivering to picture libraries, The most common reason for rejection, General guidelines for submission of stock, Remote proofing is on the increase, Hard-proof by cross-rendering, Inkjet colors, DPI in relation to PPI and LPI, Printing with inkjets, Metamerism, Various other types of printing, Offset Litho, CTP, Halftone screen, Paper and perception, Printing terminology, Paper qualities, File formats, TIFF, PSD, etc, The main issues for viewing,Some viewing solutions, Taking charge of color,
