The LAB Frontier

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This course will focus on some of the more advanced techniques of LAB color correction. The course will cover a workflow that begins in RGB and ends in LAB for the purpose of color enhancement.

Introduction (08:28) An introduction and overview of the course
Real, Unprintable, and Imaginary Colors (08:58) What happens when LAB has colors that are outside not just the CMYK, but the RGB gamut.
LAB and the Perfect Sunset (05:33) How imaginary colors give LAB the advantage over working in RGB or CMYK
Retouching Blown-Out Areas (04:36) Retouching blown-out areas using imaginary colors in LAB
Painting in Color (03:01) The LAB advantage of painting in Color mode to repair blownout face areas
Using Blend If (02:17) Isolate blown-out areas for correction by painting
Low-Radius Sharpening (03:00) How conventional (low-radius) sharpening in LAB differs from using the same settings in RGB
Blurring Skies and Blend If (07:26) Sharpening in LAB
Compare LAB to RGB Sharpening (01:39) See the difference between the two methods
Sharpening the AB Channels (02:42) French Impressionism and sharpening the AB channels
When to Avoid Sharpening the AB Channels (01:19) Some situations will call for a different sharpening method
Hiraloam Sharpening (10:24) Hiraloam sharpening in both Luminosity and Color modes in an overall workflow context
Multiply Mode (03:32) The importance of multiply mode to enhance the quartertone
Choosing the Proper Layer Mask (03:15) Choosing the proper layer mask for an LAB multiplication
Another Example (02:12) Here is another example of how to choose the proper layer mask
LAB Is Not Rocket Science (03:13) Noise reduction in LAB isn't rocket science
The M.P.P.S. (01:31) Reduction of color-only moires in LAB
Blending with the AB Channels (04:58) Blending with the AB channels to remove complicated moires
Comparing Methods (04:45) Blending the A or B into the L versus using the A or B as a mask
Overlaying the A and/or B Onto Itself (02:37) These two blends can accomplish a great deal if you understand how to use them
The Man From Mars Method (06:04) The Man from Mars Method in combination with a final Darken/Lighten blend from the A and/or B
The Man from Mars Method for Fleshtones (06:38) The Man from Mars Method for fleshtones, with final AB blend to limit damage
A Comprehensive RGB to LAB Workflow (12:36) A comprehensive RGB to LAB workflow to break colors apart in a heavily-casted maritime scene
RGB Channel Blending (03:18) RGB channel blending as a prelude to the Man from Mars Method
More Practice with the RGB/LAB Workflow (05:57) The RGB/LAB workflow and an outdoor family shot
The Workflow with Wildlife Photography (06:58) RGB/LAB workflow and wildlife photography
Conclusion (03:26) Thanks for following along. Hope you learned a lot.

Course Time: 02 Hours 10 Minutes

J. Boldt

Feb 11 2013

Dan Margulis is epic.
J. Lopez

Jun 11 2012

I don't think I could follow Dan in a live course simply because there IS so much good information in a short span of time. Definitely has changed the way I edit photos the past twos years, and I learn something new each time I watch his tutorials.
P. Bach

Mar 20 2012

An excellent course. And the format was great. I.e. able to pause and take notes and rewind etc. Better than a live lecture. Thanks
M. Fortini

Mar 7 2012

challenging, super interesting, wonderful teacher!!! he takes color correction to the next level

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Your Instructor

Dan Margulis

Author, Prepress Manager & Color Correction Specialist

Dan Margulis is internationally regarded as the leading authority on color correction. He is the author of Professional Photoshop, which, since its first edition in 1994, has become the unofficial...VIEW FULL BIO»

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