Advanced Photoshop for Color Correction and Calibration
(A Lecture Course):


9:00 - 10:45 Preferences, Calibration, Color Spaces, Device Characterization and Color Management:

General Issues: tips and tricks with the Photoshop 6 Tool, Layers, Channels, Info, Picker, Navigator, History, Actions, Batch Processing and other palettes. Taking advantage of the improved color correction and measurement features in Photoshop 6. (Chapters xxi, 3)

Setting System and Photoshop Preferences: Setting up your system and Photoshop's preferences for the most effective use of Photoshop, understanding and benefitting from the new Photoshop 6 color management features, a standard RGB or Lab workspace and better RGB to CMYK conversions, and standardizing Photoshop preferences and systems within an organization. (Chapters 4, 5)

Color Space Usage and System Calibration: monitor, scanner and output calibration using ICC profiles and all of Photoshop 6's new color model and calibration support; understanding Color Spaces, Device Characterization and Color Management to correctly deal with scanner, monitor and printer calibration for predictable input and output to the web, desktop and high end digital printers as well as CMYK print. (Chapters 13, 14, 15)

11:00 - 12:30 File Formats, Scanning and Overall Color Correction

Overview of use of File formats and Correction Tools: Which file formats to use for what purpose, when and how. Why some color correction tools are more advanced than others, when and why to use each. (Chapters 6, 9)

Evaluating Levels Histograms for Scanning and Color Correction: Scanning to produce a Master Image that can then be resampled to accommodate all the sizes, RGB film and printer output, Video and Web screen use and CMYK print output uses you may have for that image. Simplifying bits, bytes, resolution, dpi, percentage, and all the scanning jargon. Using levels and histograms to evaluate and improve your scans with any scanner. Getting the best results from Photo CD scans. (Chapter 16)

Overall Color Correction: using Levels, Hue/Saturation and Curves for color correction and sharpening of drum, Photo-CD and desktop scans for quality output to desktop and high end digital printers, CMYK separations and film recorders; setting highlights an shadows, correcting neutrals and colors, adding total and selective saturation, improving off colored originals. (Chapters 19, 20, 23, 24)


12:30 - 1:30 Lunch


1:30 - 3:00 Creating a Master Image and Selective Color Enhancement:

Creating the Master Image: The optimal steps and color correction techniques for moving your image from initial scan to a final master image which you can then resample and customize for your different final screen, film and print output situations. Includes discussions about preparing the file to get the best results on Epson, Dye-Sub and Lightjet 5000 digital printers. (Chapter 18)

Selective Color Enhancement: using Layers, Adjustment Layers, Masks and other advanced techniques along with Levels, Hue/Saturation and Curves to change and enhance colors of selected items; using Color Range, Replace Color and Selective Color to match and improve colors. Making final improvements to specific off-color and dark areas using manual and threshold selections, Adjustment layers and Hue/Saturation tricks, dealing with out-of-gamut colors when converting to CMYK, and the details of using the Unsharp Mask filter to sharpen an image. (Chapters 25, 27, 29)

3:15 - 5:00 Advanced Color Retouching and Color Techniques:

Combining Two Scans to Improve Dynamic Range: Using layers and layer masks to seamlessly combine two different scans of the same high-contrast original or two bracketed originals of the same scene (one to get shadow detail and the other to get highlight detail), color correcting this difficult yet exciting type of image with multiple adjustment layers and the new Curves and Color Sampler features, then finally, using several effects layers, each with its own opacity and filter effect, to achieve a dramatic result. (Chapter 32)

Desert Al (Complex Color Correction and Retouching): Doing overall and final color correction and retouching of an image that has serious saturation and color problems in facial shadows, using one good channel and the new Channel Mixer to fix the others, using layer masks and adjustment layers to tweak color between several layers, retouching using blend modes to balance facial colors, sharpening, and final spotting. (Chapter 28)

The McNamaras (Seamless Composites and Color Correction of People): Try the ultimate retouching and color correction challenge as you move six smiling heads from other exposures into this initially imperfect family portrait to end up with everyone smiling. Resizing and rotating the heads with Free Transform, blending them together using layer masks, and using adjustment layers with the new Color Sampler so you can continue to tweak the color of each head and the original group shot until they all match. (Chapter 34)

Working With Larger Images: setting up the Mac or PC, peripherals and Photoshop's preferences to get high performance and accuracy with larger images and complex projects; effective image compression with larger images and embedding water marks for copyright protection.

For the lecture exercises, Barry uses examples (chapter numbers marked above in parens) from the 3rd edition of his full color book, Photoshop 6 Artistry, a Master Class for Photographers, Artists and Production Artists. This book is rated as "The best book for learning Photoshop" and has in depth step-by-step exercises and course images on the book's CD. The material taught in class is also written down in the book!


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Advanced Photoshop for Color Correction and Calibration please e-mail us.