With skin tone there is usually a bit of latitude for an acceptable range. Are you still happy with the skin color? If so, don't make more work for yourself than necessary. Mask it and adjust around it.
Your original Highlite and Shadow numbers "might" be a little on the extreme side. What do you get when you rebalance to about 35 shadows and 240 highlights. Your adjusted highlite blues is blown out at 255 so I'm sure you are seeing too much blue in the teeth. So make sure you only mask the skin and not the eyes and teeth when you make your adjustments.
Sharpening in LAB is a good way to go..not the only way..but a good one. No loss in quality so you don't have to blend LAB back into RGB.
Iíve adjusted the highlight and shadow and the skin still looks great so Iíll leave it there.
I canít wait for my book to come if there are tips like that in it.
Iíll stay with this method as I think itís the easiest.
There are a couple of people in this thread who do not agree about LAB being Lossless. And from what I have read I think they may be right. That is why I mentioned it.
Iíve just become a senior member. People will think I know what Iím talking about now.
Thanks again Duv.
I've never,ever, seen any loss in converting back and forth from LAB to RGB or CMYK. But here's a method that accomplishes the same thing and is quicker:
Sharpen your RGB image with Unsharp Mask. (For that matter it's the same for LAB or CMYK)
Go Edit > Fade Unsharp Mask
Change mode from Normal to Luminosity.
ps: congrats on becoming a senior..must make me a gereatric.
Conversion to CMYK is a good thing if you are going to press.
I do a lot of four color process printing (books, brochures, caltalog sheets etc.). You need talk with printer and determine what their preferred color space is. Obtain their icc profile, if you can, and add it to your Color Settings working space.
In the printing process, there are many colors that just don't print as you see on the computer screen. They are considered "out of gammut" for the process colors CMYK to reproduce. Converting your finished piece to CMYK (using their icc profile as the CMYK color space) will assure better results.
I always save my work in Photoshop in RGB photoshop and the last steps in preparing a graphic for magazine quality print is to save a version as a CMYK TIFF (in the appropriate icc profile) and then tweaking any final curves adjustments for contrast.
BTW... In PS, under the View Menu, you can view "Gamut Warning". This will show you (in your selected mask color) the areas of the project that will color shift when printed in CMYK. You have some control over these areas by adjusting hue and saturation before converting to CMYK TIFF. If you do a lot of prepress work, this view is also good in the color picker because it limits the color palette to colors that will print correctly in CMYK.
If you need to add text or customer logos that require PMS colors (which usually get converted to CMYK when sent to RIP, you should have a Panton "Spot to Process" color swatch book which will show you the way those Pantones are going to print in CMYK. (No problem if the customer is going to pay for additional spot colors for their logo colors, but most don't want to add the expense of additional colors and press runs).
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