Making a panoramic photo in Adobe Photoshop has never been easier. For this example I used four supplied digital asset files from one of my clients, the Madison Mallards baseball team. The images were taken from a high point of view. I’m not sure if a tripod was used, my guess was that these images were hand held. A conservative, but consistent, exposure was used.



Step 1: When shooting your panoramic try to keep the horizon level, a tripod is recommended.

Step 2:  “Lobotomize the camera”. Shoot with your camera on manual mode if possible. Assign the focus, exposure and White Balance so each image is consistent with the next.

Step 3: If shooting RAW, process the files with identical settings.

Step 4: Load the files into photoshop. Menu:file:automate:photomerge...

Step 5: For most images the “Auto” setting works with great success. Select “Blend Images Together” for a seamless composition. If your digital image files have dark corners, select “Vignette Removal”. Photoshop CS4 will automatically lighten those dark corners. If your photo has some lens distortions (barrel, pincushion, fish eye) select the “Geometric Distortion Correction” option. Photoshop will manipulate the images automatically.

Step 6: Click “Ok”.

The time it takes to generate the panoramic image is dependent on the number, size, and content of your host files, the options you select, your computer, etc... Most images are processed within minutes, if not faster.

When completed your panoramic image will be in a blended but rough format. From this point you will want to crop your file to a pleasing rectangle. You may also need to clone a bit in the corners to add image for a complete composition. Lastly, the image is now in a perfect state for any final post processing, color correction, digital manipulation, and artistic flare.

Keywords: Photoshop, CS4, Panoramic, Blending, Automation, Digital, Asset, Image, Alignment, Auto, Color Correction, Madison, Mallards, Color Retouching, Photography, Pano, Creative Software, Corporate Image Library, Digital Sampling, Digital Media Management

After reading my colleague Joy’s blog on creating a photo composition for Social Media, I was inspired to create a few of my own creative twitter backgrounds (or regular computer backgrounds).  I decided to do a slightly different approach from a design standpoint. Instead of creating the specific items of content with color manipulation, color retouching, and photoshop layer assembly, I chose to do the old fashioned route and actually find and photograph all the props for content from my toolboxes and cupboards!

The first step was to find a background. Joys barn boards seem to work quite well, so I had my son go out back and find some old cedar barn boards. We positioned the boards on some saw horses with an old door and used two 300w tungsten lights from the front center to illuminate our “desktop”. Next we scoured my cabinets, cupboards, toolboxes, and bins for items that created themes. I positioned my Canon EOS 5D Mark II approximately 3' directly above our set. With a Canon EF 17-40mm f/4.0 L, I set the focal length to 29mm f/14 ISO 200 for .5 seconds. I chose f/14 to established a gratuitous amount of ‘depth of field’ (keeping all the items sharp center to edge) while minimizing sharpness stealing diffraction and lens vignetting. White balance was set using a QP card 101 v2. I tethered the camera to my laptop using a USB 2.0 cable and the DPP software. The DPP software used in connection with the camera's live view, made setup and positioning of the elements silly easy!

The following is what we came up with.
Installing these twitter digital image media files is easy. (I'm going to copy and paste Joys install directions, LOL) Once you are logged on to Twitter go to Settings, then click the Design tab (the last one). At the bottom you will see Change background image, click this. Click Browse and locate your background. Sometimes it previews for you... sometimes it won't... click save changes and BAM your beautiful new background is now live and glorious!

You may find the images to be a bit big if your monitor is on the small side. (I have provided the largest size anyone should need.) Don't worry, it's an easy fix. Open the file you want to use as background, and resize the pixel dimensions to fit within your monitors parameters (1024, 1600, etc.). Resave the jpeg file, but make sure the file size is under 800k.

Being a remodeler and cabinet maker has provided some interesting and unique components for photographic content. On any given project I might be wearing a plumber or electricians hat. It’s nice to put all that extra “stuff” to use (besides overflowing my cabinets and tool boxes). It's kind of ironic that some of these old world tools and items would be used in such a current and trendy hi tech fashion such as a twitter background or computer background.

Keywords: Photoshop, Photography, Twitter, Background, Color, Photo Composition, Prepress

Recently I was asking myself, “What is Matt Anderson’s style?“ The recipe for each of our photographic styles is, I believe, quite complicated and unique. A lot has to do with our personality, interests, environment, skills, fear and fascination. (Can you get out of bed at the crack of “way too early” for that golden sunrise? Do have anthropophobia, but wish to be a street or portrait shooter.)  Today's digital photography also requires savvy technical skills with complicated digital cameras and limitless post processing (developing) in the digital darkroom. Cyberphobia (fear of computers or working on a computer) is not an option. I looked up the definition of style: a manner of doing something, a distinctive appearance, elegance and sophistication, design or make in a particular form, rodlike objects - huh ? ... the list goes on and on. Some say any attempt trying to forcibly design a style is doomed. You can’t always control your light, subject, FOV, emotion, or audience. Creating a definitive style can be the culmination of trial and error. Evolution of your experience and processes. I think, in some ways, a photographer can create a visual style with post processing. Much can be done to an image after the shutter has been released. I won’t get into the debate of photographic purist vs photoshop artistry. What I will show you is the possibilities of using Photoshop as a tool for artistic vision.

For the purposes of this blog, I selected a few of my own personal images to illustrate the technical parity and creation of styles. Some of the photographic styles are well known masters others are artists who(m) are rising stars. I have illustrated before & after examples, explaining the post processing technique involved to achieve the look and feel. Side Note: Given the webs lossy nature of color and detail, I have processed the files by erroring on the dramatic side. The animated gif format doesn't do you any favors ;~}


For my first example I chose Vincent Versace. I had just finished his book “Welcome to Oz” a cinematic approach to digital photography. This example illustrates how you can control the direction of the viewers eye with the isolation of detail, DOF, and selective lighting. I had a few semesters of theater lighting at the University of Wisconsin-Madison. This experience proved to be quite helpful in understanding Vincent’s direction. The end result is done with multiple layers in Photoshop. Curves, dodging and burning, layer blending, and selective gaussian blurring with layer masks creates this intimate and mysterious feel. This is one my favorite photos.

For this example I tapped into my complete awe of  Ansel Adam’s “Moonrise over Hernandez, NM” ... My all time favorite landscape photo. Like many landscape photographers, much of our shooting is timed with the lunar cycles. Figuring out where and when the moon will be rising and setting on the horizon. This past winter it happen to workout out that I would be ice fishing deep in the Mississippi backwaters near Onalaska, Wisconsin. At then end of our cold day on the ice, we were treated to this amazing view of the moon rising over river bluffs, shining delicately on the ice shanties. This caused a ethereal glow to the frozen ice. I prefer the color version, but to keep in theme and tribute to Ansel’s masterpiece, I converted the photo to Black & White with Nik’s silver efex pro. The conversion was effortless using the auto functionality.

This example demonstrates the famous “Orton” effect, created and named after Michael Orton. There has been much written about this type of effect. You will also find many digital variations on how to create this look. For this particular example I chose a lone birch tree in the Winters snow. The photo was taken in Northern Wisconsin near Crandon, Walsh lake. The delicate texture of the birch provided excellent subject matter. Here is a simple way to create this look. Duplicate your image layer, apply a gaussian blur 5-30 pixels, set the layer opacity to 10-20%, and switch the mode to darken. This is only one variation of the limitless possibilities. The original effect was done with two films, exposure compensation, and focus-detail variations.

The unmistakeable Jill Greenberg look. For this example I chose the quite popular and equally controversial style Jill Greenberg created for her upset children series. I first want to admit that this is my own ten minute rendition of this intricate and detailed style. By no means is this perfect, just a quick illustration. My starting point was a backlit harsh lighting photo of my daughter from 2006. I had just explained to her the deep sorrow I had felt that day. It had been a year since a close friend and relative had died from brain cancer at the age of 35. The amount of processing that goes into this type of effect is staggering. In many of Greenberg’s photos you see a simple single colored background with a vignette of light coming from the center. To create this effect outside a controlled lit studio I created a similar look using the gradient tool. I masked off the hair with my air brush in quick mask. A second layer was added to add fly-away hairs for a natural look. The overall photo was adjusted with curves for saturation (S-curves in the individual RGB channels) and a global S-Curve for contrast. An additional layer was added above, filled with 50% grey, set to soft light. With a soft brush  I added black for rosy cheeks, and white for smooth catchlights. Done correctly this creates a soft high-pass look without the use of shooting with a ring light. Additional dodging and burning was done on the eyes, lashes, and facial features.

Sally Mann. Well known for her large black and white photographs of young people, and later in her career landscapes. Many of them having a dark greenish and high contrast edge. To recreate the effect I chose Nik’s silver efex pro. Is was almost effortless. Under two minutes and a few clicks of the mouse and I had a Sally Mann preset created. Vignetting on the edges with a bit of a burned style, green tinting in the mid and three-quarter tones, deep and dark shadows, high structure (contrast and sharpness) throughout. The same look can be achieved by duplicating your layer, set to multiply, adjust the opacity, and apply a layer adjustment photo filter for the greenish hue.


This next example illustrates a one-two punch effect. Step 1, increasing the saturation and hue separation of an image. Step 2, controlling the luminosity of the scene after the shutter has been released. In step 1, I called upon the ingenious Photoshop findings of Tony Kuyper, a photographer known for his colorful imagery of the Southwest. He has an excellent tutorial on “saturation masks”. There are many ways to skin the chroma cat. I suggest you check out his method. It involves using color space changes using legacy filters. You can also emulate the effect using the new vibrancy adjustment in photoshop, or switching to Lab and applying endpoint shifts with either levels or curves to the a/b channels for increased contrast, thus increasing chroma and hue. In Step 2, I applied Chip Springer’s “Paint with Light” action. It creates a duplicate layer that lets you adjust tonal values in the photo via brush or dodging/burning. The effect is nice to visually control where you want light emphasize and where you don’t. Chip’s light control action is handy for many types of imagery including landscape, portrait, and still life.

This photo illustrates, what I think, is an off shoot of the Orton effect. Dave Jaseck has an action called “Midnight Gold”. In a nutshell, the action quickly creates and blends variations of the background layer using multiple blend techniques (multiply, screen, softlight) with gaussian blurring and toning. The look is unmistakable and quite artistic in appearance.


Marc Adamus glow. Marc is a photographer from the Northwest who has a knack for getting imagery with extraordinary light. (This extraordinary light is the result of extreme perseverance) Some of his work has an almost painting nature to it. He has described this processing as his own variation to the Orton effect. To create this look here are the steps. Duplicate your layer. Apply a gaussian blur 20-40 pixels. Increase the contrast of this duplicated layer. Set the layer opacity to 5-15%. Mask off portions you don’t want affected. Additionally, selective dodging and burning to artistically render the scene to your interpretation. Finally, a slight vignette on the edges for framing.



One of the most popular post processing effects to fly across the internet has stemmed from the work of Andrzej Dragan. He is a well educated Polish photographer as well as music composer. His photography is quite unmistakable. He is known to portray his subjects in a dark and almost sinister or eccentric manner. His post processing techniques require a masters skills to properly emulate. I chose to use his image of “Jacek Leluk 2004” as stimulus for this particular entry. A while back I shot some promo kits for a few bands. I had a photo in mind that would be suitable content (I  hoped) for this entry. An individual with a bit of a peculiar look seemed perfect. Let me first say, to echo the artistic style of Andrzej is no easy task. Quite impossible really. His style is not just post processing, it’s preparation, theme, composition, lighting, etc... It’s like trying to make an award winning dish with a frozen dinner. If you don’t have the right ingredients and skill, it ain’t gonna happen. Processing this photo required masking two portraits of our bass player model. The background image was dodged/burned, high passed, curves, converted to B/W, high passed, and high passed again to my own tastes. The main portrait image had similar processing done. Additionally, I converted the image to Lab, used the L channel as a luminosity layer in RGB and applied a contrast curve. I used the “paint with light” with the dodge and burn tools to work on facial features. I used a gradient map on the chroma details to apply a washed out color look, and additionally added  the photo filter effect for the warmer amber toning. Most of the work on this style required painstaking hand brushing via the Wacom tablet with a soft touch. I have purposely over done the effect to illustrate the style. It’s easier to process that way, then go back and adjust the opacity for a controlled effect. For fun I applied some effects with the liquify filter to mirror some of Andrzej’s bizarre subject matter. In a perfect world I would have shot a subject in a studio with controlled unidirectional lighting that isolated selected features.

I have attempted to illustrate to you a few of the popular styles that I see on the internet. These unique “visions” are an approximation into the talented peoples styles that I find intriguing and at times intoxicating. I think it is important for all artists to find their own unique artistic and imaginative style. I believe our personal style is an evolving culmination of experiences and pursuits. Experimentation and taking risks is crucial. I hope these examples, processed in appreciation to the creative vision, offers some insight into your own personal direction. Inventive and expressive efforts advancing the Fine Arts. These artisans, and many others, have helped develop my elements of style and vision.

For this weeks example I chose a shiny cookware set. The original file was a 4 x 5 transparency film that was oil mounted and drum scanned into the Adobe98 color-space. Two hours later, after cloning out all the wonderful dirt spots from the oh so nasty dust and scratch laden drum, I applied a basic levels and curve move to color correct the file into a good starting base. My client wanted the cutting board removed and the cookware set repositioned. Easy enough, except the cutting board was reflected in two of the three pans!
 


I started out by creating a fresh slate of the background with nothing on it. I masked off each of the individual items. One by one I positioned the items in the appropriate spot. Additionally I had to add a drop shadow to realistically anchor the product to the background. The cutting board was masked out and any remaining reflections on the pans were removed as well. Finally, for a realistic effect, I duplicated the reflected products, and pasted the reflections inside the pans reflecting side walls. This was accomplished by masking off the side of the pan and transforming the reflected  product for a realistic angle. The final step required me to neutralize the file and adjust the color with curves for a bit higher contrast and a slightly bluer cast. The file was converted using the “convert to profile” command in photoshop into the GRACoL color space. This color space represents a CMYK total ink density near 320, and is suitable for coated sheet-fed press printing at line screens of 150, 175, and 200 lpi.

Some of the color retouching work that comes across my plate is high end furniture. (Baker, Pennsylvania House, Canac, Durham, Thomasville, Broyhill, La-Z-Boy, Flexsteel, are all clients I have done extensive color correction and retouching for) If you have ever worked furniture you will know it’s tricky and tedious. Wood tones are tough to photograph and a considerable amount of prepress color correction is necessary for good quality separations on press (GRACoL, Swop 3, Swop 5, etc.). Every piece typically needs its own mask and the furniture group requires multiple asset versioning because of the countless possibilities of wood and finish types. I’ve quickly assembled an animated gif file showcasing some color manipulation for a typical furniture sell sheet. This particular scene is a file I worked many moons ago for Pennsylvania House. The scene required color and texture changes. Additionally, the customer required prop alterations and a window added.


The wood furniture was masked with a path via the pen tool. The plant was masked off using the green alpha channel with some dodging and burning. The rug textile was edited with vanishing point. Also, the window was added with vanishing point with additional cloning. The bed spread and pillow cases had shaping and bending via liquify. The shadow on the bench was created using an air brush with a fade. The final file on this particular shot was printed at approx. 9" x 12" at 300 dpi, 175 line screen, GCR 320 on a coated sheet fed stock.

Keywords: Color Retouching, Color Management, Catalog Production, Color Manipulation, Photo Composition, Premedia Services, Prepress Production

A while back I created a rather long and advanced movie tutorial. It shows you how to blend bracketed RAW files for maximum DR and minimal shadow noise via smart objects (for maximum edit-ability). I tried to slow down enough so you can keep up on the processes, I apologize if I sped along too fast. Also included in this tutorial are some quick techniques for final post processing. You will see a bit of dodging and burning, macro sharpening, and highlight recovery.

For this example I shot a water fall scene with my D3. My lens of choice was a Zeiss ZF 35mm f/2 at f/16, ISO 200, with multiple shutter speeds. After watching this tutorial you will have learned how to take multiple bracketed shots and blend them into a single file. This file will have exceptionally low noise and a wider range of pleasing tones. Now on to the movie ...

For this next example I have chosen a mobile cell phone illustration I created last summer. Creating this new phone required the use of 20+ alpha channels, nearly 30 paths for masking (for each file), and a few bottles of Norton Mendoza 2004 Malbec Reserve. The creation process required nearly 10 iterations due to client and internal alterations. With so many changes, it was smart to build this "frankenstein" with smart objects. Recognizing the keyboard, dials, logos, and screen would require many rounds of "tweaks", I built each of those portions using Photoshop's smart objects. The final composite was a culmination of a base file template and the smart objects carefully masked. Any revisions during the "courting" process of color correction and retouch only required me to double click on the smart object (which opens the SO as a new temp file) needing the revision, create a new layer (for edit-ability, creative directors flip flop a lot), adjust the color, content, or component, and re-save the smart object.  Photoshop smartly updates the placed (and embedded) smart object within our master file. Below you will see I have created an animated gif file showcasing some of the many alterations that occurred with this model. The actual file was a few hundred megabytes and much much larger when completed.



You can see quite a lot of masking, color correction, retouch, air brushing, and illustration was involved. Now imagine doing the same process across seven or eight files ! Here you can see many of the other views.



Color manipulation, color retouching, content management and structure, and consistent corporate branding become quite a challenge. The revision process combined with a well thought out workflow, involving smart objects, layer re-versioning, and consistent masking makes much easier work in Photoshop. The same processes with smart objects can be implemented in many aspects of digital assets. Business cards, fine art illustration, HDR blending of RAW files for extended dynamic range and noise minimization, commercial ads, the list goes on and on.

I used a smart object for the logo, another for the photo text, and a third smart object for the placed photo. You can update any of the componets by double clicking, or replace with another file completely by going to Phoshop's menu and selecting Layer/Smart Objects/Replace Contents, grab a new photo or logo and your finished. There are many uses for smart objects. I have only scratched the surface on the many possiblities. Try experimenting with them. You will be amazed with the versatility smart object functionality offers.

RAW presets are helpful little buddies ...

Update: I have added Lightroom presets (.lrtemplate) and ACR presets (.xmp) for the Nikon D700 and D3X. The downloads are at the bottom of this blog entry.

Update: I have added Lightroom presets for Canon 5D, 5DMKII, XSi, Nikon D3, D300

Dry version for the more technical: (scroll past this paragraph if your sleepy or hungover)
If you have ever worked with lots of RAW files under tight deadlines you know how important it is to have a streamlined workflow. Repetitious tasks must be identified and engineered into quick and fast solutions. If not, your going to be up for a laborious all-nighter, and that cuts into late night fun time. Whatever your late night fun time may be ... Recently with the release of Photoshop CS4 (also an earlier beta DNG version) Adobe has finally created a bit of parity between manufacturers in-camera photo settings and ACR's Camera Calibration-Profiles Tab. What does this mean for you? Less grief and head scratching, and more time at the beach. Rewind back to CS3 and before. Unless you did some complicated ACR camera calibrations with Macbeth target measurement and validations, your camera JPEG files never matched your RAW files when imported into ACR for processing. Also, you might have struggled to properly color correct files because of gamut shifts in certain color hues. (Saturated reds and greens) Now Adobe has kindly done their homework and provided us consumers with pre-canned discrete camera profiles.

Short and sweet version:
I have created some camera preset profiles for, at this point and time, three current and popular camera models. The Canon 5D Mark II, Nikon D3, and the Nikon D300. You will find the downloads for each of these below.

Install:
Download and decompress the .zip file. You will see the current presets Adobe is offering per each camera model. These presets have naming parity with the in-camera picture styles. Loading these files is easy. There are a few ways to load these into Photoshop CS4. The easiest is to go to the Camera Calibration tab in ACR and click on the little triangular arrow, select load. Navigate to the decompressed .zip file and select load. Now you should see the loaded presets in the ACR Settings tab (which is right next to the Camera Calibration tab. You can also load these presets into the latest version of Lightroom. My file cataloger of choice.)

Side Note!
These presets incorporate Adobes default ACR settings, except when choosing a camera calibration other than "Adobe Standard". And one other thing ... I have changed two other parameters. Under the sharpness tab you will see that the default radius of 1 had been changed to .5, I have also disabled any "Color Noise Reduction". I personally do not want ACR smearing any chroma details. Unless I have completely underexposed the shot or the ISO is just nasty high, I prefer to keep every bit of color nuance as possible. As my ole man use to say "Do what you want, you will anyway", lol.


Finally, here are some slightly posterized animated .gif examples visually displaying the differences for your viewing pleasure.

Closing:
I hope you find these presets helpful. Anyone can make these, the hard part is finding the time. If your like me, usually your in a hurry and process files from the seat of your pants. I try to slow myself down and hone my workflows for better asset management and processing. You will also find these presets handy for importing a large volume of files into Lightroom. Having the ability to quickly apply a preset on import to many files for fast previewing and cataloging is invaluable. Be the ball Danny ...

ACR-Photoshop/Bridge Presets (.xmp)
Download the Canon 5DMarkII Presets
Download the Nikon D3 Presets
Download the Nikon D300 Presets
New Download the Nikon D700 Presets
New Download the Nikon D3X Presets

Lightroom Presets (.lrtemplate)
Download the Lightroom Presets (5D,5DMKII,XSi,D300,D3)
New Download the Nikon D700 Lightroom Presets
New Download the Nikon D3X Lightroom Presets

Reference Tags: Color, Retouching, Sharpening, Premedia, Color Manipulation, Prepress, Photography, Asset Management Software, Catalog Production Services, RAW File Workflows, Digital Image, DAM, RAW, Preset, Presets, ACR, Photoshop, CS, Nikon, Canon

I'd like to share with you a, IMHO, really cool CS4 action for creating a sharpening contact sheet. Have you ever eaten up lots of time, money, and consumables trying to get sharpening right for print or even web output? I have created an action that will make a file containing a grid with various amounts of sharpening. I'd created this on a Mac, as far as I know it will work on a PC as well. This isn't intended to be the end all be all for sharpening, but a quick way to narrow down what kind of sharpening is needed for your output media.

First, start off with a file that is scaled to 100% @ 300 dpi output size. Crop a section of this to a dimension of 2" x 2" @ 300 dpi. You can set the marquee selection tool for this. The file will be 600 pixels x 600 pixels (very important). Next run the action.

What does the action do ?
It creates a USM grid varying amount and radius.
The file will be 8" x 8" @300 dpi. ( a nice size that will fit on a LET page ;~} )
As you go down the radius increases
As you go right the amount increases

Original, 50 .5, 100 .5, 200 .5
Original, 50 1. 100 1, 200 1
Original, 50 1.5, 100 1.5, 200 1.5
Original, 50 2. 100 2, 200 2


Download the Sharpening Sheet Creator Action for Photoshop (Zip) 

Reference Tags: Color, Retouching, Sharpening, Premedia, Color Manipulation, Prepress, Photography

Cover Girl Retouch

Here is my debut blog entry numero uno. I decided to post a shot of a beautiful woman I photographed a while back. (Thanks Cindy!) If I recall correctly the lighting was setup as follows. 60" umbrella high camera right and left, large gold reflector on a table near her waist for lower fill. A kicker hair light above with a grid. Nikon D200 f/10 105mm Micro, speedotron blackline lights sync'd at 1/200 second. I have posted an animated gif file that is limited in color depth (256), but handy for showing the various layers in action.



Original Layer: You can see some bad default settings on the RAW file. WB, exposure, detail, etc.

Figure 1: The following were done in CS4's ACR 5.3 RAW editor. I have adjusted WB, exposure, sharpening, selective clarity (pos & neg via the adjustment brush). Also in the tone curve tab I have made a curve that adds pleasing contrast.

Figure 2: Now in CS4 I created a new layer and did the following.
Dodged the background to white. Using curves I added additional contrast making an S-curve. Used the healing brush to minimize moles, creases, and wrinkles. Air brushed on darken mode the unwanted highlights. Cloned in some additional eye lashes. Using the color saturation adjustment I selected her teeth and dsat -10% and brightened 10%.

Final: I created an additional layer for these final tweaks. Manipulation via the liquify tool to shape and sculpt. Cloning for additional fill of weak spots in the hair areas. Masked off the necklace and diamond to brighten and color correct in curves. Made selections in her eyes to darken the centers, brighten the color of the iris, and control the light reflection spill-overs. Burned in additional weight in the eye lashes, eye brows, and cheek areas. Applied a curve that opened up the shadow area's via the history brush. (Using curves open the models skin in the mid-tones and shadows, set this as your history state to brush from, go back in the history palette prior to the move, and with 1% flow, begin brushing in the effect.) Using the air brush on 70% fade, I created a starburst catchlight for the diamond. I know much of this retouch on the final is "over the top", almost cartoonish. My intent is to show you a little bit of what is possible with various tools and adjustments.

Notes: First and foremost proper lighting and camera technique is a must for decent results of any subject. Secondly good masking (or hand technique with a digital brush) is crucial for top results. Third, your monitor must be calibrated accurately for professional results. Premedia color correction, color manipulation, and color retouching take time and lots of practice. Like many things in life, the more you do it the better you get. Finally have fun and experiment.

I hope you have enjoyed my first blog entry. Stay tuned for more...

Reference Tags: Color, Retouching, Color Management, Color Manipulation, Prepress, Photography