... working with Photoshop
DT&G Most beginner to intermediates are a little shy of the channel mixer and calculations in Photoshop. Is there an easy way to make it over that hurtle?
Katrin: Being scared of something is a good sign - it means you're seeing something for the first time or are learning something new.
The Channel Mixer is one
of my very favorite features in the Photoshop Image Adjustment layers
arsenal. Sometimes I use to color correct very difficult images but mostly I
use it to create wonderful black and white images from color.
How did we get back to color? You must have a hidden agenda here!! (grin)
DT&G Ahhhh, no, Katrin, I just remember your chapter 8 very well and your wonderful description of the Channel Mixer for converting color images to grayscale!
Oh, that's right!
To use the Channel Mixer in the most straight forward manner open a color image that has a dramatic sky or landscape in it.
Layer > Image Adjustments Channel Mixer and as soon as the Channel Mixer dialogue comes up click on monochrome in the lower left hand corner. Now you can move the RGB sliders to the left and right to blend the individual channels into one grayscale (or black and white) image. The differences in interpretation can be rather amazing.
Right, but then readers will ask:
"How will I know it's going to turn out okay once printed"
Is there a way to "proof" or predict the outcome of halftones before actually putting ink on paper?
Of course -- they can rely on the Soft Proofing capabilities in Photoshop since version 6.
By either creating my own or requesting printer profiles I can see a simulation of what an image will look like printed. Of course I've had my number of disappointments when the vibrancy of the monitor didn't translate to the paper - but I've also learned to keep my expectations within reason.
And so, with that thought in mind -- what's the most important lesson for 'beginners' to learn so they can achieve the output predicted by Photoshop once it prints to the typical inkjet printer?
For most users I suggest that they buy the ink and papers from the
manufacturer of their printer. I understand that the HP or Epson inks and
papers may be a bit more expensive versus a generic or refill. The
manufacturers have put a lot of work into making sure their printers, ink, and
media work well together.
I've even used the manufacturers canned profiles and you know they worked pretty well.
Katrin, I'd like to dig deeper into retouching, but I see we're just about out of time. Let's close with one last thought...
You probably get a "most frequent" question from your readers and training classes --- What's that question, and your solution?
The question I get the most is,
"How can I make a living doing what I love - be it retouching, restoration, or creative work?"
And my answer is the one I used on myself to get where I am today -
"You have to do what you love. Follow your passion and everything else will work itself out."
Katrin, it's been wonderful! Thank you so much for joining us today. You can bet our readers have enjoyed it as much as I have -- and you can bet we'll all be looking for the new "Photoshop Restoration & Retouching" to hit the shelves!
Thanks Fred! It's been fun -- we should do this again soon!
I look forward to your newsletters every month and appreciate your time very much.
Folks, we didn't get into retouching and restoration today, however, we couldn't have given you as much of an eye-full as you'll get when you visit Katrin's web site.
I want to particularly direct you to her two gallerys where readers of the book have sent in make-over projects they produced while using her book. Some of the images there will simply blow you away.
- See: http://www.digitalretouch.org/portrait_gallery.html
- and: http://www.digitalretouch.org/portrait_gallery2.html
Also visit Katrin's artwork and teaching schedule at http://www.photoshopdiva.com/
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