Excellent points--thank you for mentioning. I might have mucked up the
saturation business left to my own devices. Curves and levels adjustment layers
don't touch the color with luminosity blend mode. I don't always do that if th
ecolor efect is modest. I think an old tutorial in "I suck at PS" said do that
for USM as well-- can't say I ever think of that either or seen that mentioned
here.
I trust deconvolution in FM is designed to work with the color data. I think
using the luminosity blend mode with USM avoids halos more but I don't know if
it works as well or not.
Blend malt, hops and now layers more carefully, Mike
If you mess with this stuff with Photoshop layers, it’s helpful to remember
that when you’re adjusting a layer for levels, use the blend mode luminosity.
When you add a layer for saturation, remember to use the saturation blend mode.
If you don’t, you run the risk of getting “hotter” results that you
anticipated, and they are hard to correct.
--Bob Whitmire
Certified Neanderthal
On Apr 22, 2015, at 9:49 PM, Mike Gordon via olympus <
olympus@xxxxxxxxxxxxxxxxx> wrote:
Yes, precisely. Thanks for pointing that out--don't think I have used those in
a long time. Not sure if the "lightness" slider within PS
(Hue/saturation)when selecting one channel does the thing as luminosity
adjustment in one color
in ACR/LR but think now after a quick experiment they are a bit different.
Perhaps it is better to do some of these adjustments in ACR butfor night
images I have recently used DXO and then port a tiff to PS.
I can't htink of a time I've thought to change saturation of one channel in ACR
before, but perhaps I should. The most common selective color channel
adjustment for me the past couple years is
adjusting the blues in scanned Ektar--usually pull down the midtones in curves.
Seems there are a very many ways to accomplish the same task but some easier
and more effective than others. I will use Phillip's rendition as a model and
redo the image this weekend if possible.
--
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