-= Post Processing Tutorials List =-

Coloring Black and White Photos with Adobe Photoshop


This tutorial walks you through the colorization of a black and white photo. Learn how to use layers and blending modes in the process.

http://www.rickbakerim​ages.com …ack_and_white_p​hotos.html

Soften Harsh Light/Dark Shadows

1. Copy the background image to another layer (^J) and run a high pass filter
(Filter->Other->High Pass) - set the radius to 10 pixels.

2. Change the blending mode on the high pass layer to Luminosity, and dial down the opacity.

TONING B&W IMAGES
===============
This was written with the consideration that the original image is color. If your image is already b&w jump to step #6

1. Open an color image in PS and go to the Image Menu choose Mode >> Lab.
2. Click (highlight) the lightness channel in the Channels Palette.
3. Under the Image Menu choose Mode >> Grayscale. Yes, discard other channels.
4. Cmd/Ctrl and left mouse click on the Gray Channel in the Channels Palette, which creates a selection of the images highlights.
5. Under the Select Menu, choose Inverse, this then selects the shadows of the image.
6. Under the Image Menu choose Mode >> RGB Color.
7. In the Layers Palette, click the adjustment icon (half black and half white circle) and scroll up to chose Solid Color. Select a color that you want to tone your image with.
8. Under the Layers Palette (just underneath the word 憀ayers?, change your layer mode to Multiply.

Reducing Noise with Photoshop


This article explains how to use Photoshop's built in noise reduction tools as well as a couple third party plugins, Neat Image and Noise Ninja. You'll also learn how to selectively apply noise reduction to areas of an image where you only want to apply the noise filter, instead of the whole image.


http://www.rickbakerim​ages.com …cing_noise_phot​oshop.html

How to Email Photos

You got your new, slick, Canon Camera and you want to share photos with your friends, but you don't know how to email photos? This tutorial will show you how.

http://www.rickbakerim​ages.com …/how_to_email_p​hotos.html

Tutorial - Burn and Dodge with a Layer

Instead of using the burn and dodge tools to do an edit, you can use a separate layer and use the painting tools to either brighten or darken portions of your image... plus it can add some detail and contrast.
Since it's on a layer, it won't hide any detail from below (like when you copy portions of an image to a new layer) and you can play with the layer opacity to tweak the effect.

http://www.photography​-on-the.net/forum/showthre​ad.php?t=101321

Create a layer mask from image detail

Have you ever had a hard time drawing a selection around a complex image?
Did your edits ever look fake where you could see the haloing around your selections?
Check this tutorial out... you can actually use the image's data to create a mask (or selection) to be used for edits. The beauty is your selection is saved as an alpha channel that can be CTRL-clicked at any time to recall the selection. This way you can use it over and over again... and even invert the selection on one ilayer to complement an edit on another layer.

http://www.photography​-on-the.net/forum/showthre​ad.php?t=100077

Here's a new site that has only just started. They have downloadable quicktime movies (28mb size) and pdf files on how to improve colour, contrast, etc etc. They also have podcasts that are very informative.
Highly reccommend this site

www.radiantvista.com

UnSharp Mask Explanation

https://photography-on-the.net/forum/showthre​ad.php?t=123711

Color Management Policies
For users of PSCS versions 8.0 and 9.0, Color Management can be confusing.

In the interests of getting a better understanding of what actually goes on in PS Color Management, we look closely at the "Edit->Color Settings" dialog and ask ourselves the question, "How would I get into a situation where this choice becomes important?", or, in short, "How did I get here?".

Note the three points in the Color Settings Dialog that we have marked as "A", "B", and "C". These three points and the specific configuraion that we have set up as an example, will cover the majority of Color Management situations that can be confusing.

Paragraphs "A", "B", and "C" will describe the circumstances in which the Color Management policies apply.

Please note that this configuration is not a recommendation - it is a reasonable configuration that was put together just for this exercise.


A - Color Management Policies (RGB)
"Working Spaces, RGB" shows your choice of RGB working space.

Any circumstance that raises the issue of how to deal with an image having a different working space (different than sRGB) will bring you to this point.

Examples are:
(1) Opening an image that has an embedded color profile other than sRGB.
(2) Opening an image that has no embedded color profile.

Due to the fact that our chosen policy is to "Preserve Embedded Profiles, case A(1) is resolved by immediately opening the document using its embedded profile.

Due to the fact that the checkbox, "Missing Profiles: |X| Ask When Opening", is checked, case A(2) is resolved by prompting the user to choose beteween 1) open the file without color management, or 2) assign the current RGB working space, or 3) assign an RGB profile from the "pick-list".


B - Color Management Policies (CMYK)

"Working Spaces, CMYK" shows your choice of CMYK working space.

Any circumstance that raises the issue of how to deal with an image having a different working space (different than U.S. Web Coated) will bring you to this point.

Examples are:
(1) Opening an image that has a CMYK embedded color profile other than "U.S. Web Coated".
(2) Opening an image that has no embedded color profile.

Due to the fact that our chosen policy is to "Convert to Working CMYK Working Profile, case B(1) is resolved by immediately opening the document using the CMYK Working Profile (U.S. Web Coated).

Due to the fact that the checkbox, "Missing Profiles: |X| Ask When Opening", is checked, case B(2) is resolved by prompting the user to choose beteween 1) open the file without color management, or 2) assign the current RGB working space, or 3) assign a profile from the "pick-list".

Note that all three options are confined to RGB profiles. So, this is not the place to try to assign a CMYK profile. That should normally be done after working with an image in RGB and then doing the conversion with "Edit->Convert to Profile".

[You may have noticed that the circumstances for getting to either point A or B are very similar.]


C - The checkbox, "Missing Profiles |X| Ask When Opening"

In "A" and "B" above we have already made it quite clear that when the "Missing Profiles" checkbox is checked, it allows the user to correct for the missing profile by assigning an RGB profile, only.

Upon examining the list of profiles in the "pick-list", you will find all the expected RGB profiles, including Epson devices that operate in RGB.

Unfortunately, if the file being opened does not have an embedded profile, there is no way at this point to "assign" or "convert to" a CMYK profile. If that situation arises, it is best to open the image with an assigned RGB profile, do your editing and then convert to CMYK, as was indicated in paragraph "B" above.

Any corrections or suggestion for this tutorial are welcome!

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Proofing and Printing Under Color Management -

This tutorial is written for the beginner who has never prepared an image for print using the Color Management System and the Proofing capabilities of PhotoshopCS2.

The tutorial is available in either HTML form or as a downloadable PDF file, as follows:
http://www.zaffora.com …gUnderColorMana​gement.htm
http://www.zaffora.com …gUnderColorMana​gement.pdf

The latest revision to this tutorial was uploaded about 1900Z on 8 Jan 2006

Please let me know about any corrections needed!
Thank you,

A Quick Tour of RAW Processing

I have written an introductory level tutorial for new users of Adobe Camera RAW v3.3.

This tutorial takes you through two images - one severely underexposed and one severely overexposed with a view towards understanding the differences between soft clipping and hard clipping and how it all relates to the recovery of shadow detail and highlight detail. A must for the person just getting into RAW processing.

Edit:
Quick Tour of RAW Processing (extensively revised as of 2000Z 21 Jan 2006, now with illustrations) -

in the downloadable PDF version form, only:
http://www.zaffora.com …ckTourOfRAWProc​essing.pdf

I would appreciate hearing about any corrections needed.

Working With Underexposed Images

Working With Under Exposed Images.
( by Ermin Monzon)

Program Used Adobe Photoshop 7

Correct exposure can sometimes be tricky, and from time to time we can run into less than ideal situations. Whether it’s poor lighting conditions, weather or incorrect exposure. Whatever the case may be, because of today’s technology we can work with our digital images thanks to programs like Photoshop and the like.

Here’s a quick and easy method on how to work with underexposed images, using Photoshop 7, for those people who are unfamiliar with levels and curves.


Step 1


Open your underexposed image.

Byte size: ZERO | Content warning: NOT AN IMAGE

Byte size: ZERO | Content warning: NOT AN IMAGE

Byte size: ZERO | Content warning: NOT AN IMAGE

Byte size: ZERO | Content warning: NOT AN IMAGE

Tutorial - How to do a Full Detail (100%) Crop in PSCS

The first picture below was re-sized from a 2592 x 1944 pixel original TIF to a new size of 400 x 300 pixels (downsampled by a factor 6.5) for posting of the full image on this forum as a JPG with Quality setting of 5. I changed the image to 8 bits per channel and used Image->Image Size and enabled resampling to down-size it to 400 x 300 pixels.


The second picture below is a Full Detail (100%) Crop from the same 2592 x 1944 original TIF. The crop was made of the clock face while displaying the picture at any magnification desired (It does not matter what magnification is in use as you do the crop). Do a simple crop with none of the options set - just drag the crop marquee to capture the area desired and execute the crop. It is important that no resampling be in effect during the crop.

Be sure that when you do the crop (if in Photoshop) that the width, height and resolution fields are all blank - otherwise it might re-sample the image.

I then converted the cropped image to 8 bits per channel and saved it as a JPG using a Quality setting of 5. At this point the 100% crop can be posted, and in this example it is 284 x 244 pixels.

The important aspect of this procedure that makes this a Full Detail (100%) crop is that the clock face is 284 x 244 pixels - the same size as in the original image. That's what makes it a 100% crop.

On all screens the Full Detail crop will display pixel for pixel, and the detail that you can see in that image is 6.5 times the detail that can be seen in the full image that was downsampled 2592/400 = 6.5, as posted here.

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HOSTED PHOTO
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If you are having a hard time trying to understand the methods for the 100% crop in the above post I have an example using screen shots here for CS2.

https://photography-on-the.net …hread.php?t=152​215&page=2