The LAB Frontier
This course will focus on some of the more advanced techniques of LAB color correction. The course will cover a workflow that begins in RGB and ends in LAB for the purpose of color enhancement.
Release Date: 2008-01-08
Lessons
Introduction
<p>An introduction and overview of the course</p>
Duration: 8 mins 28 seconds
Real, Unprintable, and Imaginary Colors
<p>What happens when LAB has colors that are outside not just the CMYK, but the RGB gamut.</p>
Duration: 8 mins 58 seconds
LAB and the Perfect Sunset
<p>How imaginary colors give LAB the advantage over working in RGB or CMYK</p>
Duration: 5 mins 33 seconds
Retouching Blown-Out Areas
<p>Retouching blown-out areas using imaginary colors in LAB</p>
Duration: 4 mins 36 seconds
Painting in Color
<p>The LAB advantage of painting in Color mode to repair blownout face areas</p>
Duration: 3 mins 1 seconds
Using Blend If
<p>Isolate blown-out areas for correction by painting</p>
Duration: 2 mins 17 seconds
Low-Radius Sharpening
<p>How conventional (low-radius) sharpening in LAB differs from using the same settings in RGB</p>
Duration: 3 mins 2 seconds
Blurring Skies and Blend If
<p>Sharpening in LAB</p>
Duration: 7 mins 26 seconds
Compare LAB to RGB Sharpening
<p>See the difference between the two methods</p>
Duration: 1 mins 39 seconds
Sharpening the AB Channels
<p>French Impressionism and sharpening the AB channels</p>
Duration: 2 mins 42 seconds
When to Avoid Sharpening the AB Channels
<p>Some situations will call for a different sharpening method</p>
Duration: 1 mins 19 seconds
Hiraloam Sharpening
<p>Hiraloam sharpening in both Luminosity and Color modes in an overall workflow context</p>
Duration: 10 mins 24 seconds
Multiply Mode
<p>The importance of multiply mode to enhance the quartertone</p>
Duration: 3 mins 32 seconds
Choosing the Proper Layer Mask
<p>Choosing the proper layer mask for an LAB multiplication</p>
Duration: 3 mins 15 seconds
Another Example
<p>Here is another example of how to choose the proper layer mask</p>
Duration: 2 mins 12 seconds
LAB Is Not Rocket Science
<p>Noise reduction in LAB isn't rocket science</p>
Duration: 3 mins 13 seconds
The M.P.P.S.
<p>Reduction of color-only moires in LAB</p>
Duration: 1 mins 31 seconds
Blending with the AB Channels
<p>Blending with the AB channels to remove complicated moires</p>
Duration: 4 mins 58 seconds
Comparing Methods
<p>Blending the A or B into the L versus using the A or B as a mask</p>
Duration: 4 mins 45 seconds
Overlaying the A and/or B Onto Itself
<p>These two blends can accomplish a great deal if you understand how to use them</p>
Duration: 2 mins 37 seconds
The Man From Mars Method
<p>The Man from Mars Method in combination with a final Darken/Lighten blend from the A and/or B</p>
Duration: 6 mins 4 seconds
The Man from Mars Method for Fleshtones
<p>The Man from Mars Method for fleshtones, with final AB blend to limit damage</p>
Duration: 6 mins 38 seconds
A Comprehensive RGB to LAB Workflow
<p>A comprehensive RGB to LAB workflow to break colors apart in a heavily-casted maritime scene</p>
Duration: 12 mins 36 seconds
RGB Channel Blending
<p>RGB channel blending as a prelude to the Man from Mars Method</p>
Duration: 3 mins 18 seconds
More Practice with the RGB/LAB Workflow
<p>The RGB/LAB workflow and an outdoor family shot</p>
Duration: 5 mins 57 seconds
The Workflow with Wildlife Photography
<p>RGB/LAB workflow and wildlife photography</p>
Duration: 6 mins 58 seconds
Conclusion
<p>Thanks for following along. Hope you learned a lot.</p>
Duration: 3 mins 26 seconds