Barry Haynes Photography


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Advanced Photoshop CS3-CS4 Color Correction,
Printing and Calilbration Techniques
(A Lecture Course):

Barry Haynes Photography

Photoshop Fundamentals: 9:00 - 10:15

Navigating in Photoshop - How to organize your screen and working environment to access and use Photoshop's features most effectively. Using ArtistKeys to set up your Actions Palette and Function Keys. Setting up and using BarrysPhotoBrushes and the ArtistryToolPresets. (Chapters 2, 3)

General Issues - tips and tricks with the Photoshop Tool, Layers, Channels, Info, Picker, Navigator, History, Actions, Batch Processing and other palettes. Taking advantage of the improved color correction and measurement features in Photoshop CS3 and 4. (Chapters 4, 5, 7-8, 10)

The Tool Palette - The many, and sometimes hidden, features of the Tool palette. For those who do a lot of painting and retouching, this is a must. (Chapter 4)

Selections, Masks and Channels - An overview discussion of the differences between and uses of selections, masks and channels to help you feel comfortable with these concepts. (Chapters 6, 7)

Break: 10:15 - 10:30

Color Correction and Calibration: 10:30 - 12:00

Color Spaces, Preferences and Calibration - monitor and output calibration using ICC profiles and Photoshop color model and calibration support; understanding Color Spaces, Device Characterization and Color Management to correctly deal with scanner, monitor and printer calibration for predictable input and output to the web, desktop and high end digital printers as well as CMYK print. (Chapters 13, 14, 15, 16)

Overall Color Correction - The first things done to a normal image after it is scanned: using Levels for Overall Color Correction to set highlights and shadows, overall brightness and contrast, and to correct for color casts; using Hue/Saturation to saturate overall and adjust specific colors; and using Curves to learn the art of tweaking certain color and brightness ranges. When Overall Color Correction is done, fine tune the your image by removing spots and scratches, and by dodging or burning dark and light image areas-things you could do in a normal darkroom, but digitally it's a lot easier, and you have greater control. (Chapters 18, 20-21)

Changing Colors and Fine Tuning - Using Color Range and Replace Color to easily isolate all the yellow flowers and change their colors. Using Selective Color to fine tune those colors after RGB to CMYK conversion. (Chapter 23)

Correcting Problem Images - Overall color correction using Levels, Curves and Hue/Saturation on a problem image with unbalanced colors that also doesn't have a good highlight or shadow position. Final adjustments of particular off-color and dark areas using Selections, dealing with out-of-gamut colors and using Unsharp Mask to sharpen. (Chapter 12, 22)

Color Matching Images - How to make sure the colors, tones and moods match when you have more than one photograph of the same object(s) on a several page spread, and how to quickly make a series of studio photos match even if they start out as different colors. (Chapter 24)

Lunch: 12:00 - 1:15

Layers for Masking and Compositing: 1:15 - 2:45

Introduction to Layers - An overview of the functionality, features and usage of Layers in both 8 and 16 bit images.

Hard and Soft Edge Masks - Automatically creating a knock-out using Levels or Threshold on a channel copy, editing a mask, combining images with hard and soft edge masks and the Gradient tool. Creating an adjustment layer correction while viewing a problem area, inverting the adjustment layer mask then airbrushing the right amount of correction into each of the problem areas. (Chapter 22)

Compositing Bracketed Photos- Using Layers to combine two bracketed photos of the same scene--one for maximum shadow detail and the other for maximum highlight detail--color correcting this difficult yet exciting image and using several layers of the final image, along with different opacities and calculation effects on each, to achieve a dramatic result. (Chapter 27)

Break: 2:45 - 3:00

Calibration of Monitors and Epson Printers - How to use Photoshop Curve and Hue Saturation canned profile tweaks, Monaco EZ Color, Color Vision Optical and other tools, techniques, products and services to get the best calibrated results from your Monitors and Epson printers. Barry uses the Epson 7600, 2200, 1280 and 2000P and has experience with a variety of calibration products and approaches. (Chapter 16)

If you have any questions or comments about
Advanced Photoshop CS3 Techniques please e-mail us.