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Photo Retouching "Improving" photos, post-production, correction, etc.

Master Retoucher

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  #51  
Old 07-29-2007, 02:54 PM
Benny Profane's Avatar
Benny Profane Benny Profane is offline
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Re: Master Retoucher

If a house is/isn't working in RGB yet, it probably has a direct correlation to their ability, and fear of, color management. Everyone will eventually, but old habits die hard.

Avoid curves in RGB. I use a stack of other functions, but curves are just too wacky.

I've been reading this recently: "Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace" and I'm intrigued, and would like to explore this technique more, but it's hard when all the corrections I do for 50 hours a week is in other spaces.
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  #52  
Old 07-29-2007, 05:21 PM
pixelzombie pixelzombie is offline
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Re: Master Retoucher

why do you consider curves too wacky?
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  #53  
Old 07-29-2007, 05:58 PM
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Benny Profane Benny Profane is offline
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Re: Master Retoucher

Did you ever try to put a reluctant cat into a bag of some sort for a trip to the vet? That's what I equate working in curves in RGB, as opposed to a friendly dog who just jumps into the back seat for his trip (CMYK).
I feel like I have no control, no fine tuning ability. Just jumps all over the place.
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  #54  
Old 07-29-2007, 06:01 PM
pixelzombie pixelzombie is offline
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Re: Master Retoucher

that's a shame, i luv the fact that can control contrast and color casts from 1 dialog box.....curves are definitely 1 function that every retoucher should know...
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  #55  
Old 07-30-2007, 07:23 AM
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Graphics23 Graphics23 is offline
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Re: Master Retoucher

Quote:
Originally Posted by Benny Profane View Post
I've been reading this recently: "Photoshop LAB Color: The Canyon Conundrum and Other Adventures in the Most Powerful Colorspace" and I'm intrigued, and would like to explore this technique more, but it's hard when all the corrections I do for 50 hours a week is in other spaces.
Quote:
Originally Posted by Benny Profane View Post
Did you ever try to put a reluctant cat into a bag of some sort for a trip to the vet? That's what I equate working in curves in RGB, as opposed to a friendly dog who just jumps into the back seat for his trip (CMYK).
I feel like I have no control, no fine tuning ability. Just jumps all over the place.
RGB, CMYK, LAB. They all have strengths and weaknesses. Having command of all three color modes means one has many more opportunities for image manipulation. See this tutorial for more ideas.

I think of CMYK as a tack hammer. It allows for finer control. This is because each channel has less to do, since their responsibilities are split over four channels rather than three. But it means if you need bigger moves you have to use greater effort.

RGB is the carpenter's hammer. It's a good general purpose tool. Besides allowing for smaller file sizes, some Photoshop features only work in RGB and some editing moves yield better results in RGB, most notably channel blending.

LAB is the sledge hammer. If you find RGB curves hard to control, you ain't seen nothin' yet! LAB curves are capable of asking for colors which are completely outside of the visible spectrum, never mind out of gamut for printing or display on screen.

But the point is, knowing how to utilize the strengths and avoid the weaknesses of all ten channels makes for a more capable and versatile retoucher.

Regards,

Michael
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  #56  
Old 07-31-2007, 08:44 PM
dvaught dvaught is offline
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Re: Master Retoucher

Personally, I prefer to work in CMYK because that is how most of my shops images will end up printing. It does me no good to see a color on screen that looks good but is not reproducable in print. Working in RGB is fine, but you have no control over the conversion to CMYK when it goes to print. For instance, how do you achieve a black only shadow working in RGB. During conversion to a 4c profile it breaks it up among all channels. Get that file on press and your image looks to cool you might push magenta or pull cyan, but then your shadow goes pink. CMYK gives you more fine tuning adjustability over color for images going to press. I am open to changing and will likely begin doing most retouching and major color moves in RGB, then convert to CMYK for fine tune color correction. Just my .02
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  #57  
Old 07-31-2007, 11:47 PM
musicman_bmh musicman_bmh is offline
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Re: Master Retoucher

strange question for the pros...do you find that most photographers are giving you quality images to work with, or do you find that they are seriously lacking many of the qualities that make good photos, causing you to have to "make" them look good. I only ask because i am more of a photographer than a retoucher, and I am concerned that alot of well known photographers have amazing portfolios only because they have great retouching. People like Annie L, or Jill Greenburg, where would they be with out their retouching team?
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  #58  
Old 08-01-2007, 12:17 AM
pixelzombie pixelzombie is offline
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Re: Master Retoucher

it depends on how much the agencies want to pay, i've seen some very crappy images supplied(from applebees) to the shop i used to work for while other agencies might have a bigger project and can afford better photography...speaking of Annie L, i used to scan her transparencies(they were dupes) that she shot for conde nast and the lighting and exposure were always top notch...
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  #59  
Old 08-01-2007, 10:50 AM
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Benny Profane Benny Profane is offline
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Re: Master Retoucher

heh.

This has been knocked around before here in another thread. I forget where. I remember Chris Tarantino starting a argument about how retouchers get no credit at all for what sometime is a LOT of major work on images.

I think that digital has recreated some new boundaries in thinking by creatives and salespeople that didn't exist before. What I mean is, with film, it was pretty much what you see is what you get, to a certain extent. But with digital shooting and post production ("don't worry. we'll fix it in post"), some think anything is possible. Or, they can ask for pretty much anything, with either a plaintive plea or a stern threat, because a lot of times a good retoucher can do it at a reasonable cost. I've been working on some fine China the past week that was shot digitally by a hack. Just awful pictures, that I'm guessing cost some decent money, since it's a good company with a nice budget. And yet, after hours of work, the salesperson can stand there with the product and show you some detail on the actual product in a light booth this photographer had no ability to extract, and basically demand that I put it on paper. At his point, I shrug, walk over to the computer, and tell myself "X dolars an hour, X dollars an hour"....

Oh, and I think of photogs like Annie as more like film directors than your everyday photographer. She can afford (or Conde Nast can) a staff of people to do the dirty work, including retouchers, and she is free to create her vision. It works out well. Didya see her Queen portraits recently? Or the Sopranos portraits in Vanity Fair? Nice stuff.
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  #60  
Old 08-01-2007, 11:03 AM
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Greg Curran Greg Curran is offline
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Re: Master Retoucher

2 years of creating clipping paths and watcing the older retouchers. Then I created projects for myself to learn different aspects of Photoshop. You have to do the work to get good.
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