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EXCERPT page containing first few paragraphs. 2021-09-19 22:59:57

Photoshop Channels palette

Color to Monochrome: Color Spaces and Color Channels

Always use 16-bit images regardless of color space. This is critical to avoiding posterization with more aggressive post-processing techniques.

The workflow idea here is to view the channels of the image in several different color spaces (and Lab mode as well), choosing the channel that best reflects your intended renditions, then convert that channel to monochrome.

A single color channel can be extracted as monochrome, and it is possible to mix two or more channels together (advanced technique).

For RGB images, this means the Red or Green or Blue channel, or in Lab mode, the luminance (L) or magenta/green (a) or blue/yellow (b) channels.

The most important thing to understand is that each color space differs from the others in its relative mapping of the color channels to each other. The red channel in the sRGB color space differs from the red channel of AdobeRGB differs from the red channel of ProPhotoRGB. Ditto for the green and blue channels, etc.

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  • Eases into photographic challenges with an introductory section.
  • Covers aspects of digital sensor technology that relate to getting the best image quality.
  • Technique section discusses every aspect of making a sharp image handheld or on a tripod.
  • Depth of field and how to bypass depth of field limitations via focus stacking.
  • Optical aberrations: what they are, what they look like, and what to do about them.
  • MTF, field curvature, focus shift: insight into the limitations of lab tests and why imaging performance is far more complex than it appears.
  • Optical aberrations: what they are, what they look like, and what to do about them.
  • How to test a lens for a “bad sample”.

Intrigued? See Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges, or (one topic of many) field curvature.

Photoshop Channels palette

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