Photoshop经典指南：色彩校正艺术

5星 · 超过95%的资源需积分: 11 129 浏览量更新于2024-07-22 2 收藏 25.61MB PDF 举报

"Professional Photoshop The Classic Guide To Color Correction 5e" 这本书是丹·马古利斯（Dan Margulis）的《专业Photoshop》系列的第五版，也是最后一版，始于1994年。该书的核心内容是如何通过手动调整使照片看起来比任何自动方法都要好得多，这一传统一直延续至今。书中不仅教授基础技巧，还不断更新以适应技术发展，因此作者对读者发出了与时俱进的警告。《专业Photoshop 第五版：经典色彩校正指南》专注于色彩校正，是Photoshop用户提升图像处理技能的重要参考资料。丹·马古利斯是Photoshop领域的权威专家，他的著作深入浅出，旨在帮助读者掌握高级的色彩理论和实践技术。本书涵盖了以下关键知识点： 1. **色彩理论**：理解色彩如何相互作用以及如何在Photoshop中应用色彩原理，包括色彩模型（如RGB、CMYK）、色彩空间选择（如sRGB、Adobe RGB、ProPhoto RGB）以及色彩管理的重要性。 2. **色彩校正技术**：介绍了一系列高级的色彩调整工具和方法，如曲线、色阶、色彩平衡、色彩查找等，并解释了如何根据不同的图像需求灵活运用。 3. **工作流程**：讲解了高效的工作流程，包括图像导入、预设管理、图层组织、非破坏性编辑，以及如何在不同的项目之间保持一致性。 4. **图像修复与修饰**：探讨了如何使用修复画笔工具、斑点修复画笔工具、克隆图章工具等进行图像瑕疵修复，以及如何利用遮罩和蒙版进行精细的图像编辑。 5. **创意色彩应用**：展示了如何通过色彩调整来创造独特的视觉效果，例如复古风格、电影色调或者艺术化的图像处理。 6. **打印与输出**：讨论了色彩管理在打印过程中的角色，包括校准显示器、打印机设置、纸张选择以及如何获得准确的打印色彩。 7. **案例研究**：书中包含大量实例，让读者能够跟随步骤学习，了解如何将理论知识应用于实际操作中，解决各种色彩校正问题。 8. **最新技术更新**：作为第五版，本书包含了自前一版以来Photoshop的新功能和技术变化，确保读者能够掌握最新的色彩校正工具和技巧。 9. **错误报告**：作者鼓励读者发现并报告错误，以保持书籍内容的准确性，体现了作者对读者反馈的重视。 10. **版权与许可**：书中使用的图片来自第三方版权所有者，已获得许可或特别授权，用于教育目的，强调了尊重知识产权的重要性。《专业Photoshop 第五版：经典色彩校正指南》是一本全面且深入的教程，适合摄影师、设计师以及所有希望提升Photoshop色彩校正技能的读者。通过本书，读者可以学习到如何通过手动调整达到专业级别的图像色彩效果，超越自动化工具的限制，提升作品的艺术价值。

How LAB defines neutrality—a zero is a gray—is the key to its color-enhancement

potential.

5. Sharpen the L, Blur the AB

Separate channels for color and contrast give LAB a decisive advantage in blurring.

Often it’s the best sharpening space as well.

6. Entering the Forest: Myths and Dangers

Understanding LAB requires discarding bogus preconceptions—and being aware of real

risks.

7. Summing Up: LAB and the Workflow

How LAB fits into the workflow depends on both your expertise and how much time you

have per image.

8. The Imaginary Color, the Impossible Retouch

What happens when LAB calls for a color that not only is out of gamut, but couldn’t

possibly exist?

9. The LAB Advantage in Selections and Masking

With the A and B channels, we can create masks that seem to come out of thin air—or

selections of thin air.

10. The Product Is Red but the Client Wants Green

The most convincing way to make radical color changes—or to match a PMS

specification.

11. The Best Retouching Space

In complicated collaging, moiré elimination, adding color to selected areas, restoring

older images, and painting, LAB has big advantages.

12. Command, Click, Control

Advanced LAB curves can drive objects away from one another without your ever

selecting them. It only requires a click of the mouse.

13. The Universal Interchange Standard

How LAB is (and how it should be) used to facilitate colorspace transfers and to match

PMS colors.

14. Once for Color, Once for Contrast

Some LAB techniques can translate into RGB—provided you separate color and contrast

in your mind.

15. Blending with the A and B

Smashing channels that contain no detail into the L, which does, seems crazy—but it’s

extraordinarily effective at creating transitions.

16. A Face Is Like a Canyon

Introducing a powerful RGB-LAB hybrid, a recipe that dramatically improves the

appearance and believability of almost all portraits.

Introduction

“Here is a meta thought,” wrote one of the beta readers—the volunteers who read this book on your

behalf before it was published. “People who are reading your books for the first time may take a

while to understand what you are about. I have to explain all the time that you are not offering recipes

the way other Photoshop authors do, but rather teaching people how to think about color correction. In

the process, you consider case studies and offer techniques. But the successful reader will come away

with much more than just a catalog of techniques. I’d like to see a statement like this near the

beginning of the book.”

Now that we’ve made him happy, let’s talk about you. You may be a professional retoucher. You

may be a professional photographer. You may be a professional something else, who has to create

good digital images as part of your job. Or you may be ignoring the daunting first word of the title,

because you aren’t a professional at all, but you wish to create work that looks professional.

In late 2005, Microsoft, which ought to know, stated flatly: “Digital cameras are the fastest-

growing consumer device category in history.” A marketing research firm estimated that in that year,

in North America alone, 26 million digicams would be sold.

Some of these 26 million digicam owners are potential readers of this book. Far more are not,

which has far-reaching consequences for digicam marketing that we will be discussing throughout,

particularly in the second half.

No matter which category of reader you fall into, you have purchased this book because you want

to make your images look better, just as I do with my own. Crude ways of doing this are known:

Adobe Photoshop’s Image: Adjustments>Auto Contrast usually works, but we would never use it,

because we want something better than it can deliver. And, even though applying it would apparently

improve the image, most of the time it would hamper a later correction—we’d be better off starting

from scratch than picking up from where it left off.

Similarly, the automated adjustments that digicams use—which we are often unaware of—are

successful at making most images look better out of the box. Sometimes they are to our benefit; at

others we have to take steps to reverse them.

This book is the fifth and final edition of a series that began in 1994. It teaches how to make

pictures look very much better than any automated method can, and always has. But it can’t stop there,

and never has, hence the reader’s warning.

Many are not satisfied with merely making obvious improvements. They would like to know that

their images don’t look pitiful in comparison to what I, or someone with similar skills, might produce.

Unfortunately, that target is moving. Every year, better techniques are uncovered, and we gain a

deeper understanding of what we are trying to accomplish in the first place.

The technical challenges change, too. The files that professionals face today, for example, almost

always arrive in RGB. They can be of any level of quality and, in many cases, are shot by amateurs.

In 1994, they arrived in CMYK, usually had been professionally shot, and often had been improved

during the process of drum scanning, which was standard practice at the time.

What we do today in Photoshop derives directly from what painters have been doing for nearly a

millennium. They have been learning more about their art throughout that time. We have more tools

than they ever dreamed of. Anyone who supposes that we will ever run out of new ways to make

pictures look better is only fooling himself.

In sum, I write the way I do because I think you should aspire to be able to handle imaging

problems that don’t exist today, and to be better at color correction in the future than I currently am.

The Changes in This Edition

It is therefore the tradition of this series that each new title is drastically expanded and rewritten.

The second (1998) edition was around 80 percent new; the third (2000) and fourth (2002) were each

more than half new. This one takes the prize: it’s around 90 percent new content compared to

Professional Photoshop Fourth Edition.

The page size has been enlarged to permit larger comparison images. The text is half again as long

as in the previous edition. While many chapters correspond, and even open with the same jokes,

almost all the interior content has changed.

The most potent weapons in the color-correction war are curves, channel blending, and sharpening.

These are covered comprehensively in the first 10 chapters in a way that I hope will be accessible to

most readers. The second half of the book is much harder. Chapters 11–14 have to do with color

settings, resolution, and calibration issues, and the war between photographers and printers. Chapter

16 is about Camera Raw, and Chapters 15 and 17–20 cover advanced topics, mostly sharpening. The

beta readers say they are both hard and the most rewarding chapters in the book.

The curves section has been overhauled, but the basic techniques haven’t changed. The channel

blending and sharpening sections are rebuilt from the ground up and feature many previously

unpublished strategies.

Channel blending as an adjunct to curves is a concept originated in this series, as indeed LAB

color correction itself is. Time has shown that both concepts are more powerful than I originally

thought. I now feel that channel blending is right up there with curves in terms of overall importance.

I’m not the only one who thinks that. By far the most common request for this edition was increased

coverage of channel moves. In fact, many suggested that it be a book entirely about channel blending.

These changes happened because of extensive online commentary about the series. I run the large

Applied Color Theory discussion group, details of which are in the Notes & Credits section. There I

asked for and got a lot of opinions about what to do with this edition. Furthermore, the unexpectedly

great commercial success of my book Photoshop LAB Color (2006) indicated some errors in the way

I had been approaching things.

The second most common request was for more than the single chapter I had previously devoted to

unsharp masking. This was convenient, because a significant, closely related command,

Shadow/Highlight, was introduced in Photoshop CS in 2003 and so was not covered last time. Four

chapters now examine the sharpening issue closely.

The third request, a plaintive call for help, was to discuss why commercial printing is such a

minefield for photographers and others whose background is RGB only. This implies not just

summarizing the sad realities of printing, such as its inherent variability, and not just providing

strategies to avoid losing color during the conversion to CMYK, but also engaging in some frank

commentary on the politics of the situation.

Fourth, we needed a discussion of how to handle files that are in a raw format, a problem that

didn’t exist at the time of the last edition. This involved probably the most work of the entire book,

because I needed to carefully examine many different varieties of raw images from many different

models of cameras, and to compare methods of correcting them both with and without the use of

Camera Raw or some other module.

Fifth, there was a request for more explanation of my own thought process in choosing certain

techniques for specific images. I’ve tried to do that, and also have added a series of quizzes to try to

keep you honest as you plow through the text.

In addition to these reader requests, it must be acknowledged that camera technology has changed

so much in the last five years that most of the images discussed in the last edition are less instructive

today. That was still the age of film in the professional world; now we are almost entirely digital.

The two classes of images are similar, but certain problems are now far more common than they used

to be. Plus, any file produced by scanning film has had some human correction. Files from digital

cameras haven’t.

A bit over a dozen of the film-based images in the last edition were so useful that I couldn’t bear to

part with them. The others have been replaced with ones that are more typical of modern practice.

And here is where having such a devoted readership is helpful. I already had a truckload of useful

images from photographers who had volunteered to help with Photoshop LAB Color, but I was

greedy for more.

I said as much on my list, and asked those interested in participating to make themselves known,

and to describe what equipment they were using and what sort of image they specialized in. The

response was very great. I asked several people, most of them strangers to me, to send me libraries of

uncorrected images that they would be willing to let me examine and use—and, especially to place on

the attached CD, so that you could follow along with the exercises. That’s another big change—every

image for which a correction is illustrated (with one ancient exception) is now available to you.

You and I owe thanks to Darren Bernaerdt, Stuart Block, David Cardinal, Ric Cohn, David Moore,

Kim Müller, John Ruttenberg, Gerry Shamray, Marty Stock, and David Xenakis, who each submitted

DVDs of material, and to several other photographers who offered individual images. The library of

images from which I chose the ones for this book occupies nearly 100 gigabytes.

Above all, we must recognize the contribution of the Knoxville News Sentinel, which offered me

use of an archive of thousands of files that its imaging director, Clarence Maslowski, had chosen as

being especially problematic. No photographer is exempt from having to work with images that are

less than optimal for one reason or another. But a newspaper on deadline shoots under every known

disastrous condition—and often has to use the results in print, no matter how bad the exposure. I

could easily have written an entire second book using nothing but other pictures from this archive.

Google this or my other titles, or search the photography discussion boards, and you’ll get more

information than can conveniently be read. Most like what I say, a few don’t, but there’s unanimity on

the basics.

Everybody agrees that these writings form the assumed foundation for today’s professional

practice. Further, that I make a highly technical subject sound irritatingly easy by the cheap trick of

using simple English to describe it, rather than the polysyllabic gobbledygook that others seem to feel

makes lame ideas sound more impressive. However, I am not noted for hand-holding.

To assist in making the text less opaque, I again solicited help from the list. As with both the last

edition and Photoshop LAB Color, a very dedicated group of beta readers scrutinized and criticized

the manuscript. We had ten people this time, some of whom had beta-read one or more of the other

titles. I selected this group from more than 30 volunteers, trying to make it represent your interests as

much as possible. Here’s how it broke out—notice how many of these people fall into more than one

category.

Three current or former professional photographers, and three serious amateurs. Two people who

work for service providers that accept jobs from the public, one of which outputs in RGB and the

other CMYK. Five people who have been professional retouchers, four who say they currently work

four hours or more a day in Photoshop, three who say they have to be at least as skilled in another

application as they are in Photoshop, and three who identify themselves as being beginning or

intermediate Photoshoppers. Three have taught Photoshop professionally; three have taught other

subjects professionally, and five are or have been professional writers or editors. Three have taken

courses with me and seven have not. I have socialized with three people; have never met three others

but feel that I know them well through correspondence; and have only a vague acquaintance with four.

Four have a background in the hard sciences and five in fine art. Three almost always have to

produce CMYK files, two almost always RGB, and five could be asked for either one. Six hail from

the United States, two from Canada, and one each from Brazil and New Zealand. One person is color-

blind.

This group’s members proved as aggressive as they are diverse. They generally saw things the

same way. On the first draft, they were most impressed by Chapters 7, 8, 15, 16, 18, and 19. They

were extremely unimpressed by certain other parts, which, upon rereading, didn’t impress me very

much, either. Those parts didn’t make it into the final book, needless to say.

The amount of effort these people went through was no joke—I got seriously marked-up versions

of every chapter from each one of them. You will be getting to meet most of them, because when

they’ve said something provocative that offers a different perspective from mine, I quote them by

name, although the three whose words appear in this introduction will remain anonymous.

For the record, we should all thank Les De Moss, Fred Drury, André Dumas, Bruce Fellman,

George Harding, André Borges Lopes, Clarence Maslowski, Clyde McConnell, John Ruttenberg, and

Nick Tressider. They, along with my wife, Cathy Panagoulias, who saw the chapters before the

editing team did, and Elissa Rabellino, who picked up the ball on Peachpit’s behalf after the team had

torn the drafts to shreds, have made the book much easier to read, and prevented many errors. Most

authors would say at this point that any remaining flaws are theirs alone. I, in accord with the

longstanding tradition of the prepress industry in which I grew up, state that any surviving errors in

this text are the fault of the photographer.

On Mutual Expectations

Many poor ways of handling images are publicly advocated, often passionately. This is not

because anybody deliberately wishes to peddle inferior methodology. Quite the contrary: the people

who advance these methods have convinced themselves that they work, which is understandable. If

some sequence of commands produces an obviously better image, it’s easy to conclude that it was the

right thing to do, and to recommend it to others.

Deciding that a picture has been made better is easy. The hard part is to imagine how much better it

might be. In this respect, I have an enormous advantage, thanks to the contributions of another group.

I teach master classes in color correction, including some that are for experts only, by invitation

剩余580页未读，继续阅读

silentgreen

粉丝: 36
资源: 53

Photoshop经典指南：色彩校正艺术

The Nature of Code

Professional Photoshop Fifth Edition The Classic Guide To Color Correction.7z

color correction matrix for digital still and video imaging

Color Correction Look Book

Dominant color extraction based color correction for multi-view images

color-correction-using-verilog.zip_color_color-correction

Fast Mobile Post Processing Color Correction v1.3.rar

A color correction algorithm for noisy multi-view images

gamma.rar_HSI enhancement_color correction_contrast enhancement_

New color correction method for multi-view video using disparity vector information

最新资源