MODERN PHOTOSHOP COLOR WORKFLOW

The Readers Report In

When buyers of the book register to use the video resources they get automated follow-up e-mails from me every few weeks. Understanding that these are not personal messages, many readers have nevertheless replied to me with comments or questions. If you're wondering how your own views match theirs, or if you haven't got the book and would like to see how typical readers respond, here's what's come in as of 9 June, excepting only technical questions and comments that don't have anything to do with the book itself. —DM

___________________________________________________________________________

From:

Date: April 26, 2013 11:26:04 AM EDT

Subject: RE: Modern Photoshop Color Workflow - Learning is a Process

Dan,

Thanks for your encouragement; I’m excited by your book and learning an awful lot of new techniques. Most importantly, I’m learning Why they work and under what conditions they are applied. That way I can understand and learn so easily and not get my hackles raised by pontifical dogma. Step by step, I’m able to understand your workflow’s benefits and figure out how to best adopt it to mine. I’m impressed by your participation in this group; not many authors do that.

Chapter 3’s most important lesson to me is look at my world with new eyes. I must pay more attention to the colors in my world so that I can better guess what color things should be and get them correct in PS. I never paid much attention to color shades and tones before. It’s going to help, I know, to become a better detective. It will take practice as I have a mild bias to the color blue and a slight color blindness, forcing me to work by known colors and, by the numbers where possible. Does Spyder have a method to color balance one’s eyes? *Grin* Someday I’ll find an economical device that will measure an object’s color and report the RGB values to me. In the meantime, if I can match the colors I see in the real world with what I’m seeing in PS (both with the same biases), I’ll assume I’ve got it correct.

Plan on my asking a lot of questions in the group. I want to learn as much as I can. I’m not afraid of critical thinking and the depths of discussions I’ve encountered in the book so far. As in my recent posts, I’ll always challenge/reject dogma and accept good reasoning.

Cheers,

___________________________________________________________________________

From:

Date: May 8, 2013 2:32:27 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

Thanks for sending me an email! (Although I assume this is done somewhat automatically)

Two weeks ago I recieved your book and started reading. I had already watched the videos at Kelby Training; that is a great help for me in reading and understanding the book. I conclude that things have developed and changed a bit since the Kelby videos were made (which is a good thing in my opinion).

I came across the PPW when I was searching for a systematic workflow to improve my photographs. I recently bought Photoshop CS6 and was overwhelmed with all the possibilities. There is just too much you can do, so I didn’t have a clue where to start and how to obtain good and predictable results. I googled a lot, but didn’t find much about systematic workflows for Photoshop, except for the PPW and the 7 steps of Kelby. I was suprised not to find more workflows, but I’m glad I found PPW!

The MPCW book is supported extensively by the site and that’s a formula that works very well for me. The videos do add something extra to the book. It’s very different seeing someone doing the workflow from reading about it in the book.

Something that I would like to be added to the site is an index on the complete text of the book; the option to search for phrases and words in the text. That makes it possible to 'google’ for words without having to search/read a part of the book itself. (I do not mean to show the actual text, but a page reference to the words one is searching for).

Although I have not finished reading the book, my images have improved a lot. And I know what to do and how to edit my photo’s systematically. Thats makes it a lot more fun for me.

Thanks for writing this book and sharing you knowledge with me and the world!

Kind regards,

___________________________________________________________________________

From:

Date: May 10, 2013 3:23:48 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

First, few (stupid) questions. Dan, forgive me, I am a newbie.

1) In the PPW panel documentation, Three minutes to a picture postcard, you introduce H-K at step 2, while in the book (see e.g. pag. 338, PPW final version) it comes after Contrast and before Color again, what seems reasonable to me. What is the"right" workflow?

2) Again, in the documentation step 5 has three variants, while in the book it seems to me that Variant one (straight multiplication) is almost neglected wrt to multiplication with false profile. Also, the CMYK detour is given now less relevance than H-K, as you write at pag. 443. Can you comment?

I know, trials and errors is the way to go, but I’d like to listen to the voice of the Master.

And now my two (euro) cents of comments on the book.

Bottom line: GREAT BOOK! Thanks Dan for this new interesting work, and thanks again to the staff for the new PPW panel.

- Introduction. Dan is always able to surprise me. I would have expected something like: PPW is the best approach, it scores more than seven points (hehehe) and you also get a leprechaun for free! Instead, Intro presents a quick overview of possible results and comments on them, also some not too good (like postcard 1-3, that reminds me of picture 022 in the Italian video course). Now, before buying a book I usually read the Intro, and this one stimulates my curiosity, so I’d buy it for sure!

- Chapter three. IM(H)O this is not the most difficult step. I admit that at the beginning I had some problems with it, but they were related to my ignorance of color theory. To be more clear: when e.g. the sky is too green, what do I do? Increase blue, decrese green, increase red? Perhaps a video for dummies would be helpful, where such corrections are slowly explained.

- Chapter four. IM(H)O this is more difficult. I mean: which channels do I apply? How much do I "bend" the S curve? When is it better to apply first an S curve and then apply channel? Perhaps a video for dummies would be helpful, where such corrections are slowly explained and Dan thinks loudly.

- The rest is a downhill walk, given the PPW panel.

- I know, I agree that perhaps the best approach is to make several versions and blend them. Indeed, my home is now full of swans!

- Speed. Well, I think you do gain it with experience. On the other hand, I think that Dan is right in pointing out that you CAN do it quickly. Who would buy a book or follow a workflow if you were told from the beginning that it would take more than one hour for a single image?

- I do like the structure of the Chapters, with the two levels of complexity. The videos are are relevant add-on to the book. If you watch them carefully, you can steal Dan’s secrets!

- I like the way in which the book is tailored to the PPW panel. It allows you to gain quick confidence with the workflow andto gain speed.

- Here and there are some interesting suggestions, little gems of knowledge, that IMO would deserve more attention, putting them perhaps also in the workflow summary. E.g. at pag. 263, right column, when it is suggested what to do if you want more out of the dark background.

- Finally I like Dan’s approach to this difficult subject and his style in writing: the book is not only a "technical" one, but it has a lot of suspense. Like in Dan Brown’s books, you are "forced" to continue reading, untill you reach the end, you know PPW, but you are a bit sorry that the book is finished.

And now what?

- practice, practice and practice PPWing.

- looking forward the new Italian videos with Alessandro

I responded to these queries on the appliedcolortheory list. —DM

___________________________________________________________________________

From:

Date: May 12, 2013 5:07:14 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

I had been familiar with the PPW from your Lab Color book and from Kelby videos, but the new book and the associated resources have definitely helped me take the next step. I’m currently reading and digesting Chapter 10. Thank you for writing the book and for leading the PPW panel effort (and for distributing it at the right price!)

One question I have is about color evaluation at sunrise and sunset, especially when there is an ocean or a lake involved. There are a variety of warm colors that can be present, and they can create a situation where there is no blue sky and there are no white or gray clouds to use as a reference. Yet it’s still possible that there is a color cast that needs attention. The normal color rules about sky (and other things) seem to be not quite right, though I can imagine, for example, that there might be a yellow cast that should be dealt with. But, how would you tell? Sky, clouds, rocks, sand, and other things will likely be taking on hues that are warmer than normal for the observer who is there. Do you have any guidelines for this class of situation?

The other thing I wonder about is reflective surfaces. For example, consider the SUV in the desert in the "Initial Color Evaluation" video for Ch. 3. When I look at it, I can see the reflection of mountains and sky just below the crease in the side that runs below the door handles. So, right under that crease, I’d expect the color to have a blue (reflected sky) component, changed of course by however the SUV paint differs from neutral. Clearly if the surface were really neutral and mirror-like, we’d worry as much about the color of the reflected scene as about the color of the SUV’s paint. But at what point do we stop worrying about reflections?

Another example: if somebody holds a known white target so that the reflected green/yellow light of the leaves on nearby trees makes the paper in the image negative in the a channel and positive in the b channel, do we try to make the target white, or do we allow the green/yellow to reflect off the white?

In general: how much should I worry about reflections?

Thank you for any advice.

Best,

I posted this message to the colortheory list, and an interesting thread ensued. —DM

___________________________________________________________________________

From:

Date: May 16, 2013 11:16:17 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Dear Dan,

Thanks for your concern. I have been using PS in pre press / web prep and my own photo work since version 3. I started using LAB about ten years ago when I discovered the larger gamut and the fact that I could do a much better job (make that faster a job) of correcting and sharpening. Curves are so much simpler in LAB... I think I first read a reference about LAB in a UK publication. At the time I traveled between Perth AU and the UK often because of ageing parents and had lots of time to read.

For a while it was just a case of experimentation with LAB and liking the results. Then in 2005 I found your book (Canyons) and have used LAB for everything since.

Sometimes it is a bit of a nuisence because I like and could use some of the features of Lightroom but it is a pain to go back and forth between LR and PS so I will stick with bridge and force myself to be very organized for the time being.

So far I have gotten through the first chapter of Modern Photoshop but time constraints have halted further progress. I think I am going to jump to chapter 14 next as I am a DNG photographer and I am very interested to learn your thoughts on the subject.

I think your PPW sharpen 2013 is boadering on the miraculous - see the hibiscus on my blog I’m gobsmacked to say the least.

I might see you in Italy sometime as slowly I am photographing all the gardens of that lovely land, we try to get there every two years or so.

Thank you very much for your books and the fountain of knowledge contained therein.

Kind regards

___________________________________________________________________________

From:

Date: May 20, 2013 10:48:35 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

chapter 3 seems to be a difficult to master but am finally starting to get it. more videos on this would be very helpful.

thanks for the great way to fix up my pictures :-)

___________________________________________________________________________

From:

Date: May 21, 2013 12:02:22 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Love the videos!!! Thank you for making the available to everyone!

I do have an issue that I noticed with the water break re-correction video. While the water,sand,contrast and almost everything looks much better in the new one To my eye the water break looks just awful with the excessive noise in the new re-correction. The water break seems to me is the main object in the photo and the new correction just makes it a pixelated full of color noise mess to my eye. Admittedly I am very sensitive to color noise and pixelation so maybe it’s just me but it sure looks like the main object of the photo has been taken way past the breaking point. To my eye the sun is coming from the left part of the photo so the right side of the break should remain deep in the shadow and it has been lightened up way,way too much in the new correction. Would love to know your response to what I am seeing and having issues with in that video.

That is the one issue I have had a little trouble with using the PPW, creating pixelation and color noise with some images,but I am getting better at controlling it. Thanks.

The water break picture is one of the main examples in the book. That's where one should look to evaluate whether the techniques work. Evaluating color noise in a video is pretty dicey. —DM

___________________________________________________________________________

From:

Date: May 23, 2013 11:31:14 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Hello Dan,

The content of the book, your fountain of knowledge, is flowing over me at such a rate that I’m unsure whether I’m drowning or seeing the light of heaven; the later is hoped for in this case. I have one photo from a resent family trip to Abu Dhabi that has been my practise one, but it is proving difficult. It is image of my wife and son sitting in front of the grand mosque on a very sunny morning. Now, I’m either to pedantic with the first two steps or doing something wrong as the blue sky with white clouds is difficult to correct with the white mosque. Would it be possible for you to show me the masters touch to this image, showing me the path to travel to enlightenment? Providing the sample images is very helpful, but seeing it on your own images would be a gift from the gods!

I have recently relocated from Australia to the heart of Europe, Poland, to learn the langue of my wife and the wisdom of your work. Neither have made great steps, but I have a year to do so. I would be immensely pleased if you could provide a personal touch to my learning.Thanks for the email and it is late in the day and the vodka is running low. Thanks for your work

For anyone else thinking of making the same request: I have thousands of images awaiting processing, and I don't need the practice. I also have well over a terabyte of images that photographers have given me for possible use in teaching or writing. That said, I'm willing to work on anything that could be of benefit as a demonstration in classes, books, or whatever. If you've got an image like that, I'd be happy to look at it. The chances of my agreeing to work on it are slim, but not zero. However, I require that if I decide to work on it, you must give me a blanket permission to use it for educational activities. —DM

___________________________________________________________________________

From:

Date: May 31, 2013 2:12:39 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Hi Dan

Thanks for the words of encouragement. Having completed a first reading of the book and having watched the first 10 videos, I can appreciate the need for encouragement.

Fortunately as having read both Lab Colour and Professional Photoshop 5th Edition, I have an inkling on colour correction and have played around with it successfully but never being wholly committed.

This time around I *am* wholly committed and having a few uneducated attempts at the PPW panel, I am extremely excited about learning to master the process as best I can.

Besides the books, the videos and all the added documentation I have kept and filed all the comments and questions since the book was released sent to the Color Theory group, after reading the chapter I read and study those comments and explanations as well.

I was concerned that I was out of my depth but I made contact with James Gray especially as you listed him as a serious amateur photographer, which hopefully describes me as well.

Greetings from [name of country].

After I sent this guy a personal note in reply, he sent me another message, with some happy news. He had reached a crucial point in learning color correction, which is specific knowledge that certain of his previous efforts weren't up to current standards.Coming to this realization is critical and it is not as easy to get there as you might think. Any reasonable technique will improve the original file, from which many draw the conclusion that the technique is the best possible. It's only when we find out the hard way that this is not the case that progress is possible. —DM

From:

Date: June 6, 2013 3:30:26 PM EDT

To: "Dan Margulis"

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Hi Dan

Your latest email caught me by surprise again, pleasantly I may add, as it is not often an author takes an interest on how his book and in your case methods are being received.

I was battling through with various issues and after rereading chapter 3, I concentrated in getting the basics correct. Thanks to James Gray I also readjusted my wb in camera raw.

Then I again remembered your advice on making many variations and blending them. To my delight I solved my immediate issues and started coming to terms with the processes.

A year ago I submitted 25 images and was subsequently on the submitted images awarded my Fellowship of the Photographic Society of [name of country], please note that all 25 images were processed using traditional methods.

I decided what better way to learn than to rework those images using the Modern Color workflow and using that as a learning curve as I would have a direct comparison with work accepted by my peers in PSSA.

The proof is in the comparisons: I discovered a horrible yellow cast in many images, I am getting better colours and depth and when required better detail. I have already created some curves which you would be proud of, more importantly they have succeeded.

Blend sounded like a wine making process, however I am blending with the best of them. Speed is not a requirement of mine but i can push out a new variation in 8-10 minutes, and even though I may try a new one, I can see the advantages of the PPW panel.

I still have much to learn before I will even attempt some of the challenges you outline in later chapters.

Thanks again

___________________________________________________________________________

From:

Date: June 4, 2013 9:48:16 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan

Sorry for the delay in replying. Being a grandfather has its drawbacks.

I am very much in the early learning stage even though I was fairly familiar with a lot of PPW. The details in this book made me realise there was a lot more both to learn and understand. So I went back to the beginning, progressed more slowly, and am on Chapter 5. I read your other books piecemeal, selecting the bits I wanted for particular problems. I am not doing that here, at least not so far. MPPW reads very easily, a great tribute to you and the Beta Readers, and because there is a steady progression from one chapter to the next with clear instructions for dummies like me and explanations that don’t require a degree in particle physics the whole thing is very enjoyable. I am only an aging amateur so there is no pressure to learn fast and get work out but there is a need to keep the mind active. MPPW fits the bill very well. For some there is more to PPW than just making pretty pictures, though that is still the real objective for all of us.

Does it work for me? Yes it does. I am not at the stage I can discriminate between between suitable and unsuitable images for MPPW, I haven’t done enough to draw conclusions. There is an improvement in my post processing which is less haphazard and quicker and that is encouraging. I don’t think there is much chance of getting bored or discouraged. Frustrated may be, but that’s life.

Best Wishes

___________________________________________________________________________

From:

Date: June 5, 2013 12:40:39 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

I am a high end Giclee printer and have, to the best of my ability and equipment, become able to do what I think is remarkable reproduction of 2D artwork. I am finding that even though artist say they want the most exact repros possible, they end up preferring those proofs which have just been "touched" discreetly with PPW. Don’t really know enough to elucidate much more at this point.

Short but sweet, this is an instructive post. The longer one works in the field the more it becomes evident that clients ask for things that they don't actually want. Success in dealing with them depends on recognizing when you should do something that they have told you not to. —DM

___________________________________________________________________________

From:

Date: June 5, 2013 7:58:54 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

I haven’t yet finished reading the book, so its too early for me to comment.

However, I will say that I was very disappointed you are not going to record a complete video course.

Despite realizing the clear advantage of books over video, I strongly prefer video.

I guess I should thank you for forcing me to choose depth over convenience...

Thank for everything,

___________________________________________________________________________

From:

Date: June 6, 2013 10:37:14 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

I sincerely appreciate your staying in touch and my most important comment is that I sincerely appreciate the book and all of the supporting material. In my opinion it is a tremendous contribution to the art of color correction.

I am proceeding slowly and taking this opportunity to review some of the material in the previous two volumes. Those volumes were originally placed in loose leaf binders to allow me to work comfortably at my computer or to transport as little or as much of the material when on the move. I plan to do this with the current volume very soon.

Thank you again for your communication. Perhaps at some later date I will be able to provide more meaningful comments.

___________________________________________________________________________

From:

Date: June 12, 2013 9:27:58 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

Hi, Dan. Yes, I’m doing just as you recommend in your book and getting spectacular results. I love this workflow!

Regards,

___________________________________________________________________________

From:

Date: June 17, 2013 4:09:24 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

The book is a hard read, but worth it. I have got to chapter nine only. The videos are a big help.

I keep all of my pictures in jpg format, because most of the friends are not Photoshop users. It would be helpful if your drop up panel had a button to flatten image, convert from LAB to RGB.

I am enjoying your book and videos. I am putting your actions into practice. It is a new concept to over color and then back off.

___________________________________________________________________________

From:

Date: June 18, 2013 5:28:52 AM EDT

Subject: Videos and progress

Hi Dan

I realise the email is a canned request, but at the same time asking for comments means somebody is sifting through the replies and either forwarding or discussing the more sensible replies.

I do not know how and where this reply will be classified, however I have had the urge to share my thoughts and feelings with someone, so here goes.

As previously stated it was a lot of information all at once reading the book and getting excited enough to start trying steps out, sometimes too early, never the less with exciting results. I fit the category of serious amateur photographer, my wife would add quite a few more adjectives to that description! With the result I have thousands of images, many which have been processed using more traditional methods, so the thing was where to start. In order to achieve my Fellowship of the Photographic Society of South Africa, I had to submit a panel of 25 images showing a style and competent photography. To explain it I quote the explanation of the award from the PSSA: "The Fellowship (FPSSA) is awarded for excellence and distinguished ability. The fellowship recognizes a high standard of achievement in the art and science of photography and is awarded for excellent photographic ability." This is where I need to start was my decision so I started reworking my panel of 25 images, from the original raw files. Here follows some points on the book and videos from my point of view.

1. As a reasonable photographer I wish I had read chapter 14 on working from Raw file first off and looked at the video before starting on the rest of the process. I was guilty of doing far too much in ACR, now all I may do is correct a cast.

2. I have had to up my game on PS techniques and at any one time you will find Photoshop LAB color, Professional Photoshop 5th edition, Adobe Photoshop CS3 (Kelby) as well as Modern Photoshop Color workflow on my desk. Understanding and using layer masks has been a massive step forward for me.

3. I have reread chapters 3 and 4 perhaps 3-4 times and each time gain and understand more. Three is definitely the more difficult chapter.

4. The importance of correcting the initial colour issues cannot be emphasized enough, at first I tended to overdo the colours but have learnt that the desert will not have rain forest greens and not all skies are tropical deep blues.

5. As many of my images have been taken in relatively good lighting conditions and attention has been given to camera stability and use of many photographic techniques, I have found the PPW workflow has suited most of my images.

6. Of the 25 images from my panel I would rate 24 reworked images as better than the original, mainly due to the removal of unseen cast (mainly yellow), improved detail, improved sharpness and better and realistic colours.

7. The single image which as yet I have not improved upon is a sunset, with my recently gained knowledge on working with Raw files I am hopeful I will solve and improve on this image.

8. I still have issues with sharpening and am reading the documentation to learn how to control and influence the sharpening issues, however I feel the 2013 Sharpening is a big improvement on the method I have been using. My main problem is a dark halo formed especially against blue skies. In the one image where it was extremely apparent I have managed to reduce it but as yet not yet eliminate it.

9. I have expanded my images that I am reworking and have had tremendous success in correcting and making images that were not postcard images into very satisfactory images. For me predominately a nature photographer I have even produced some images with people in where the skin colour looks very good and overall more than acceptable images. One particular landscape, which has been published, yet I have never achieved the result with the image that I initially saw, has finally reached postcard standard thanks to MPCW.

10. As my work is projected at club, national and international level I have had to incorporate a few steps to the workflow to get the image from a print ready to projection ready format. This entails adding a bit more saturation, looking at the whites, neutrals and blacks in selective colour, resizing for projection and some added sharpening.

11. With experimentation I have started to see where some of the other steps in the PPW panel can be used to my advantage, finding more detail in black areas as well as highlight areas. I really like the effect of H-K on elephants and feel the use of this makes the elephants appear much more realistic, one can almost feel the leathery texture of their skin. Not surprising as elephants are rather grey in colour!

12. Fortunately I am retired and have been able to spend time reading, rereading, looking at videos, thinking and then applying the techniques and reapplying them until I achieve a satisfactory result. Speed is not my object but to do a version takes me less than 10 minutes which is then more often than not better than the traditional method. These past 30 days have turned out to be such an exciting learning curve and I am determined to improve on my mastery of the techniques. As the South African golfer Gary Player once said in answer to a remark that he was a lucky golfer, " The more I practice the luckier I get!".

In answer to the questions asked in the email. Am I able to classify which images will gain from the workflow and which not? Most of my images will benefit from going through the workflow process, the most important thing is I am learning to identify colour issues which is a major plus and improving overall quality and depth.

On the question of subject matter to supplement the video material? Personally I could suggest all of my personal weak points but at this stage I feel the answers are in the book and videos already and I just have to master them. Realising that sharpness is not really part of the panel, my one request would be a practical demonstration on eliminating or minimizing halos. Having said this, I have only read the chapter and looked at the video once, more than likely it will come together as I redo these things a couple of times.

Generally I must compliment you on an excellent book and the incredible backup support offered. As a member of the Color Theory list I have gained a lot from following the posts etc on the list, especially those on aspects from the book. Even the recent challenge was followed with interest and learning from the methods used by the different participants. As you will see we have already enhanced the word colour by spelling it correctly, so I trust I am well on the way to mastering the Modern Photoshop Color Workflow!

Regards,

___________________________________________________________________________

From:

Date: June 21, 2013 4:48:36 AM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

Thank you so much, I of course have watched all the videos, and your techniques have really been extremely helpful across the board :)

I.e. up to this moment I could not really notice any kind of distinct difference between different types of photos in regards to the Modern Color Workflow.

I have tried the guidelines from the videos (using PPW Panel 3.0 here) on portraits, landscapes, architecture... - every time enhancement results were immediately obvious.

Of course, in many cases manual intervention was required (like opacity adjustments, layer masks with "Apply Image", etc), but that’s normal procedure, isn’t it? ;)

All in all, 'Before’ and 'After’ comparison is, so to say, night and day.

So thanks again, and keep up the great work!

Will be looking forward to new videos eventually - not saying there’s too few of them now, but the more the better, you know...=D

Regards,

___________________________________________________________________________

From:

Date: June 24, 2013 1:43:24 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

Dan (and beta readers)

Very often I will develop different versions concurrently. One benefit is, as you suggest, it keeps me from dwelling endlessly on a single outcome. I also like to be able to make an immediate comparison of (usually) 2 ideas. Until reading chapter 2, I never really thought of blending the results afterwards.

Thank you for bringing this idea to our attention. I feel particularly priviledged to be part of this learning experience.

Regards,

___________________________________________________________________________

From:

Date: June 25, 2013 7:49:18 AM EDT

Subject: AW: Modern Photoshop Color Workflow - Request for comments

Dear Dan

Thank you for your E-mail. With regard to comments to your book: I am a slow reader (just completed chapter 5) and, therefore, not yet prepared to make valuable comments. At first glance the concepts presented in "Modern Photoshop Color Workflow" appear to be extensions of workflows elaborated in your previous books (advanced in Photoshop Lab color and Photoshop Professional). However, from your videos (all excellent) it seems that you brought up many new bright ideas. Thus, I enjoy reading your new book, playing around with your pictures and I am positive that quite a few of your ideas will be incorporated into my Photoshop workflow.

Best regards

P.S.: As always I admire your dedication to culture and your sense of humor.

___________________________________________________________________________

From:

Date: June 28, 2013 10:48:06 AM PDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

Modern Color...(Dan?)

Bought the book and still going through it...a lot to absorb....thank you...

I am a stock photographer and looking for a workflow that would speed things up like everyone else. I was mixing/masking 3 layers +1, N, -1 then tried hdr before finding your picture postcard approach years ago....

So far your PPW_Tools_3_EN actions are the easiest approach to what I need. I am still doing the hdr and masking images then compare them to your PPW single image and sometimes photomatix comes in first and PPW second and vise versa.....but each method still has it’s place in my workflow... I am sure it’s because I don’t really take the time to fully understand your method...but give me time....

Most of my shooting lately is at dusk/sunset and my backlog of images limits my reading...

Ciao,

___________________________________________________________________________

From:

Date: July 1, 2013 7:50:50 AM PDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

I am very happy with it.

I was already using PPW previously but by reading your new book and watching the movie i improved my skills.

As soon as I will have some time I will send you a more detailed feedback.

Meanwhile I have two points/issues:

- i have difficulties in correcting the colors in first step when a neutral color is missing

- 3 minutes is totally am over selling. Maybe I have not a state of the art Mac Pro but the time needed is much more.

Quality anyway i am reaching is much better then before.

You can check my last update on....

___________________________________________________________________________

From:

Date: July 5, 2013 2:01:18 PM PDT

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

Dear Dan,

I am proud to report that I almost made it through the entire book, and it was a great journey filled with learning and pleasure.

Fortunately, I just got a new job which unfortunately doesn’t allow me to indulge in the PPW awesomeness.

Indeed, the idea of creating rapid multiple versions is a big mental challenge for me. I will take your advice.

I think that without this email, I wouldn’t have given it a try, and after all, I do trust your opinion. so thanks for this extra push!

Regards,

___________________________________________________________________________

From:

Date: July 8, 2013 12:30:13 PM PDT

To: "Dan Margulis"

Subject: Re: Videos and progress

Hi Dan

I have had the most rewarding and satisfying week of the last 8 weeks, since I actually opened the book and started on an unbelievable journey!

Things I thought I would never manage to accomplish I have actually done them! This past week I have summarised the chapters in the order of my choice which now relates to my new workflow.

As I went through chapter by chapter interspersed with the videos, repeating and then trying the techniques out on images of mainly mine but some from friends, each day has had it’s own achievements and highlights.

I do not profess to have mastered all the techniques but feel I have the grounding to get there in the end, however I know where to remind myself about them in both my notes , the book and the videos. I actually did do each of the processes in the book.

Has it been enjoyable? Without doubt - Yes! Has it been easy? No, I feel I have not had to work so hard since my post school studies and that was some 40 plus years ago.

I know one photographic friend who has bought the book and has to start on his journey, hopefully I will be able to give encouragement and support, and hopefully make his journey a bit easier than mine.

There are a few other people interested in the process, so who knows, perhaps I am starting something in my area.

Every image will be an adventure and I know now I am capable of producing Picture Perfect Postcard Images.

I will be learning more and more as I gain experience and attempt to get to grips with the more complicated processes, the information is there it is really now up to me to hone my ability to make the correct choices at the right times.

Thanks again for the book it has been and will continue to be one of my best photographic experiences I have had for sometime.

Regards

___________________________________________________________________________

From:

Date: July 18, 2013 9:10:36 AM HST

Subject: Re: Modern Photoshop Color Workflow - Suggestion from Beta Readers

Hi Dan

As reported with an interim email last week I feel I made a giant step forward by deciding to reread, summarize and get to grips with steps that until then had not been fully understood.

I did this by starting with chapter 14 as that is where all my images start from. I then went to chapter 3 and stuck to the workflow order. It was a stroke of genius as I really managed to come to grips with the process and discovered steps that perhaps for convenience sake I had managed to previously ignore. I even managed to do some processes at times I had serious doubts of ever being able to master them. Besides my own images I have applied many of the PPW panel steps to many other images and remain absolutely amazed at the almost instantaneous improvement.

I have done multiple versions of images where I have not been entirely pleased with my initial version, and yes, merged them to in the end come through with a version better than any of the parents. Overall I am extremely pleased with my progress which can be ascribed not only to the book but the supporting videos. I did have the advantage of an understanding of Lab although very rudimentary.

Currently I am not at home and I am looking forward to returning home to carry on and do many more images. I did recently judge a Digital Photographic Salon and viewed a Photographic clubs internal judging process. Throughout I found myself analysing and deciding which steps were required by different images in both of theses events (I viewed close on 1800 images in these two events). As stated before I feel currently that I need to do as many images as possible so that I start to feel totally at home with the panel and the different steps, practice makes perfect!

I have joined Daniele's beta program, however due to me not being at my regular computer have missed out on the first image, hopefully I shall be able to make up for lost time in the next two weeks.

Thank you once again for the brilliant book and panel.

___________________________________________________________________________

From:

Date: July 25, 2013 4:38:18 PM EDT

Subject: Re: Modern Photoshop Color Workflow

Dear Dan

Nothing can give me more pleasure than recommending your book to the reading and learning public. Over the years I have followed you, albeit silently, through the fascinating discussions of your Color Theory group and by reading and re-reading your books and articles. More than just tools and techniques, I have been inspired by your never-failing interest and your generous gift of your time.

You are as much responsible for any success I may have, as I might be.

Regards,

___________________________________________________________________________

From:

Date: August 2, 2013 8:38:24 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for Amazon Reviews

Hi Dan,

I am on my second pass through your book, this time more slowly with a highlighter.

It is truly a magnificent book. Packed with great information and enjoyable to read. I often find myself laughing out loud.

You have obviously made many improvements to the PPW workflow since I began using it several years ago based on your video series at Kelby Training. The new PPWs I have run on old files that used the original PPW are greatly improved. I’d say about 70% of those files are significantly better, 10% are better, 10% are as good, and 10% are not as good. The later percentage probably because I just nailed the first try and screwed up somewhere on the new try.

The book provides answers to many of the questions I’ve had over the years and explains many of PPW operations I did not fully understand or appreciate. Thank you very much for this wonderful work. And, of course, the PPW.

I have literally hundreds of comments on the book, the actions, the panel, and the workflow. So many, in fact, that I have no idea where to begin.

So, for now, I will make just one comment...

I like very much the idea of your PPW Panel. It has many potential benefits over the Actions, not the least of which is that it doesn’t fill up the history buffer on every step.

Unfortunately, I am not able to use the Panel.

The reason is that the Panel occasionally flattens the file. In my opinion, and in my workflow, that is a huge no-no. Flattening a file is in all cases and unconditionally a terrible idea. And it is never necessary.

One reason, perhaps the main reason, that flattening is taboo, is that I hate keeping secondary copies of any file. It is virtually impossible with any naming or directory structure to keep multiple files associated for use at a later time. To avoid this I always keep everything related to one image in one file, using separate layers in that file.

For example, it is quite common to have to do touch-up work on an image. In some cases the touch up can be extensive and time consuming, such as cloning out a unfortunately-placed telephone wire crossing the landscape at Arches National Park. It is necessary that this touch up work be done before entering into the PPW for several reasons but mainly because at some time in the future I may want to take a second crack at the PPW. This requires keeping the touch-up work separate from the PPW work. I never want to flatten the touch-up layer into the Background because I may later decide my touch-up work could be improved but I don’t need to start from scratch. I never want the PPW layer(s) flattened into the touch-up layer because then I cannot redo the PPW without also redoing all the touch-up work. And I do NOT, under any circumstances, want to save the touch-up layer as a separate file. For several reasons that is a horrible and unnecessary solution. A separate touch-up layer is the right solution.

Unfortunately, the PPW panel sometimes flattens the file and destroys my touch-up layer, which I cannot tolerate.

The Actions you provide would also flatten the file. But I can, and have, modified your Actions to avoid that.

In fact, I have modified your new Actions in many ways to better fit my workflow. They now form the new guts of the old Actions I originally created on my own from scratch by watching (many times) your Kelby video series. The stuff I surround your base Actions with, in my opinion, significantly enhances and speeds up the workflow.

My strategy is that before each PPW step I create a new named layer that is a composite of all layers beneath with no blending mode and 100% opacity. Essentially a flat version of the file but without ever flattening the file and added as the top layer. All the operations of the next PPW step are accumulated into this later. When I’m done I end up with a stack of named layers, one for each PPW major step. This all goes very quickly as my actions automate all the housekeeping and mechanical steps.

This structure is useful because, for example, I sometimes discover in a later step (e.g., Color Boost or Sharpening) that an earlier step (usually the Bigger Hammer) created an unacceptable halo that was not visible until a later step made it more pronounced. With my layer structure I can quickly dump all the work after the offending layer and not have to restart over at the beginning.

My actions also automate some steps that your Actions and Panel do not. For example, I find that I have three or four layer-blending (for contrast) steps that I use frequently (G replacing both R and B, R replacing B, and B blending into R by some selectable percentage and, perhaps, in an alternate blending Mode), all with curves applied to the G and R channels. So I have three actions. These Actions automate all the steps including creating the composite layer, naming it, performing the Apply Image to the channels, and bringing up the curves-adjustment tools on the G and R channels. Automating the mechanics in this way saves a surprising amount of time compared with the best I can do with your Panel or the Actions you provided.

Once I have completed all the PPW steps I have a stack of layers. The Background (original), the Touch-up layer, and half to a dozen PPW layers in a group. At this point it is easy to compare the PPW to the touched-up original and to adjust overall opacity if needed. Once satisfied that the PPW steps are what I want I have an Action that combines all the PPW layers into a single PPW layer (to reduce file size). I end with a file of three layers. At a later time I can reopen this file, tweak the PPW opacity, or rerun a new PPW from scratch creating a fourth layer on top. This new layer I can compare to the original file and to the first PPW attempt simply by changing visibility. I can also blend the old and new PPW attempts together using all the power of the layer blending options.

I have not found any way to use your PPW Panel in this workflow. And, unlike the Actions, I cannot modify the Panel to fit this workflow.

The Panel could certainly be modified to be compatible with this methodology and, I hope, someday you will consider it.

Thanks again for the great work.

I will be sending additional comments in the future. But most of my spare time is spent using PPW, not commenting on it.

Regards,

___________________________________________________________________________

From:

Date: August 13, 2013 11:57:58 AM EDT

Subject: Re: Welcome from Dan Margulis

Hi Dan,

I’m sure you’ve already heard this a few hundred times before, but the

entire setup you’ve created around the PPW workflow is excellent. Thanks

for making the sample files, videos and PPW panel available to support the

book and the process. At first, I was watching the videos as I read and

practiced each chapter. But before I got halfway through the book, I

couldn’t stop and just had a marathon viewing of the rest of the videos.

They both support the chapters and whet the appetite. They do a great job

of illustrating what’s going on and especially show how the thought process

per step/per image can really be done quickly.

I’m looking forward to finishing the book and really stepping up how

efficient and successful I am with improving the images I work with.

___________________________________________________________________________

From:

Date: August 15, 2013 6:32:18 PM EDT

Subject: Re: Modern Photoshop Color Workflow Private Resources Access

Hello,

Thank you very much.

I am one of those who watched Dan’s presentations (more than once) on Kelby Training some time ago; and who is very glad now for his new book!

My best to you,

___________________________________________________________________________

From:

Date: September 13, 2013 2:12:58 PM EDT

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dan:

Honestly, this was one of the most useful books I’ve ever purchased. I’m a creative director for [deleted] with a huge photo library; while some of our images are pretty good, most fall into the mediocre and below category. With this workflow, I’m so excited to be able to literally transform our library into beautiful, vibrant images for use in our printed and online materials. In fact, just practicing these techniques has become a bit addictive to me; it’s highly satisfying to go from "meh" to "wow" in under three minutes. I can look back on images that I’d worked with just one short month ago, and I want to go back and fix them all!

The improvement has been remarkable, and the savings palpable: we do a magazine bi-annually, and this time around I'm personally color-correcting all the images we normally have our printer do. Their image retoucher is great, but so is saving thousands of dollars that we can spend on better photography, illustration — or, better yet, more training like that contained in your immensely helpful book.

The videos are a *huge* asset to the reader, as most of the techniques really do benefit from demonstration. I’ve watched a few several times over, just to get a better understanding of the principles and techniques in the book; not surprising, considering that I’m a visual person, and the workflow is almost entirely that.

Overall, I’m thrilled with both the book and videos. If I had to ask for more, it would be perhaps a couple more video demonstrations of the curving and blending for contrast. This is the area that I find myself falling down the most in. But again, the workflow is so fast, doing a second version is generally the most effective option. That said, I know there’s places where I could improve detail, and often I just am not sure of the best way to go about it.

As far as the types of images that benefit most, I’d say they *all* benefit — some are just quicker fixes than others. We have a lot of landscapes, and these are certainly the quickest to work with, and generally see the biggest benefit. Right now I’m working with a lot of poor-quality snapshot portraits, and I gotta say, these have been tough. In some cases, there’s just not enough pixels to fix. As you said, you can get away with a lot in a sky, but nearly nothing in a face. Guess I’ll just have to read that chapter more closely.

Thanks for the invaluable training, and thanks also for taking an interest in your reader’s suggestions.

Sincerely,

___________________________________________________________________________

From:

Date: October 29, 2013 5:57:38 PM CDT

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Dear Dan:

Learning is indeed a process and I’m enjoying it. Frustrated at times, but making progress thanks to the videos and the well written book. I always thought there was a problem with the printer, but have learned and realized that it wasn’t. As an example, ink-jet printed skies would be more purple than on the monitor. Don’t believe what you see on the monitor. I’m learning to trust the numbers and the pictures are looking better and getting better. The most difficult part is learning to use curves - how and where within the curves to make the adjustments. I’ve never understood or worked with channels before and that too is a learning process. As an accountant by profession, I relate to the numbers and the detail. Photography is my passion and being able to develop (process in Photoshop) my pictures with good color, clarity, detail and with my vision is of utmost importance to me. The reading of the book is slow but intentionally slow as I’m trying to absorb all the concepts. The videos are extremely valuable. I watch them repeatedly and each time I pick-up more and understand the concept better. What can I say about the Panel and actions.....they are awesome!!!! My progress is faster because of them. I’m still trying to determine which pictures warrant the Big Hammer, the H-K treatment or false profile/multiply approach. I experiment with them on various pictures and am confident as my skill level increases with experience, I’ll know which picture warrants what treatment. The bottom line is that the Modern Photoshop Color Workflow is worth every minute I’m spending with it and the results speak for themselves. My color savvy critical eye is developing together with my skill set. Just as I see the world differently since immersing into photography, I see and evaluate colors around me everyday. Thanks for sharing your wealth of knowledge with us neophytes.

I first learned of you and your concepts and approach on Kelby Training. I was enamored by your work and approach, and again watched the videos repeatedly. I purchased all of your books, but it was all over my head and experience level. But your new book, “ Modern Photoshop Color Workflow” is very instructional, informative and neophyte user friendly. As noted earlier, with it, the Panel, actions and extra materials, I’m now making great progress and loving it. I realize I have a long ways to go, but I’m so into it that there is no turning back. I’m going for it!!!

___________________________________________________________________________

From:

Date: November 12, 2013 10:01:18 AM EST

Subject: Re: Welcome from Dan Margulis

Hello Dan,

I’m enjoying the book and still very much amazed at the energy that you have put into it. So far I’m undecided regarding its usefulness, I’m still referring to your previous books and comparing them with this latest one. I guess that I’m put off by the three minutes workflow.

I use Lightroom 90 percent and Photoshop ten percent on a daily basis and I haven’t yet seen anything in Modern Photoshop Color Workflow that will make any of my photos into better images, but I’ll keep looking.

___________________________________________________________________________

From:

Date: December 13, 2013 2:35:45 PM HST

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Dan,

I am preparing to use your PPW methodology on my photos of Delphi (a walking tour from entrance to stadium at top and back again).

I have been very busy, due to time of year = haven’t gotten to do a whole lot of photo work.

But, in preparation for such an auspicious event, I just finished reading your book “Makeready”, which I did not even know existed until several months ago while perusing Amazon.com.

I loved the book and am savoring it at this very moment.

I also have been re-watching (fourth time?) your incredibly informative and useful videos on Kelby Training.

Just finishing up the first LAB video series.

Also, pulled out my copy of your LAB book for more review.

I know that one must actually do the procedures in order to learn them.

I am not frustrated and will not be turning away any time soon, barring some unforeseen catastrophic event.

In the meantime, please bear with me as I take care of business that simply MUST be taken care of in meantime (BUMMER!).

Love your work and am VERY excited about and looking forward to getting back on Photoshop soon.

As an aside, I am curious, as I imagine others are as well, what the difference is between the Man from Mars method, and your new Modified (?) MMM?

I know that I should just look at the steps in the Actions (assuming their existence), but in meantime, just thought I would toss that one at you.

What I am really asking is WHY? you felt it necessary to augment or modify the method.

I never found the use of the pivot point (which I was astounded to see in an earlier incarnation in “Makeready”) to be overly problematic, which is why I am wondering.

I have really enjoyed using your “no brainer curves” and Man from Mars over the years.

Very powerful and effective stuff.

My weakness is in locating and getting rid of slight color casts, especially those found in shadows or in differing hues in different locations.

In this regard, every time I see an American flag, since watching your LAB training videos, I cannot help but see that there is more than one color problem taking place on most of them.

I am afraid you just may have made me (more?) nuts!

But, thanks are truly in order.

Hope this finds all well with you and yours.

And thanks for taking an interest in this lowly student, and all of the numerous others you have assisted throughout the years.

w/ warmest regards

___________________________________________________________________________

From:

Date: December 27, 2013 6:32:23 PM EST

Subject: Re: Modern Photoshop Color Workflow - Learning is a Process

Dear Dan,

Thanks so much for your two emails about the video portal to the Modern Photoshop Color Workflow - truly, the most amazing and essential work of its kind. I am moving through the book slowly (despite your appetite for brevity), not out of discouragement, but because I want to know it all.

I am a thoroughly addicted, six-year, rabid-amateur, dslr photographer. For most of these six years I have been aware of you and your work - (and through you to your very talented friends associated with Roberto Bigano.) My first extended exposure was from a brief membership with Kelby Training.

As an amateur of no particular note, except in my own mind, no one has reason to read my opinions and observations. Nevertheless, you and your body of work - and most particularly your latest achievement - are the most important post-processing source/influence available. Anyone who passes through digital photography and who is interested/fascinated by post-processing ought to be exposed to Modern Photoshop ColorWorkflow.

I am extensively self-taught in much of digital photography from many, many books, articles and video vaults of tutorials. This includes several photographers whom I admire immensely. I am most grateful for their contributions on my behalf. Still, your work is essential. (I have found the work of only one other source that I would consider to be nearly as essential and that is the luminosity selection/masking contributions of Tony Kuyper and Sean Bagshaw.)

I very much like the style and form of the book, too, e.g., its inclusion of beta readers.

Finally, I admit to having printed all of the PDFs associated with the PPW workflow and philosophy. I refer to them often in my still clumsy and laborious understanding and application of your wonderment. I will loose that dependence, of course. (I haven’t finished the book yet.)

My very, very best always,

___________________________________________________________________________

From:

Date: January 21, 2014 4:52:41 PM EST

Subject: Re: Modern Photoshop Color Workflow - Request for comments

Dear Dan,

Very good to hear from you, always.

I’ve been sick for two weeks - first time in many years. So, I haven’t done as much as usual, including reading and going to the website. I’m very much looking forward to seeing any new videos though. (Please wash your hands after opening this email.)

All images, so far, have been subject to the PPW, including those with good color separation and dynamic range (which, of course, most of my shots have.) This includes face dominated shots - the most challenging for me. I may make serious masking, mode and opacity changes on some, but they benefit none the less. And it slows the process somewhat, which is still worth it to me.

I hope you are well.

My very best,

___________________________________________________________________________

From:

Date: January 22, 2014 8:16:23 PM EST

Subject: RE: Modern Photoshop Color Workflow - Learning is a Process/

Dan,

Thank you for the encouragement. I have not yet received my book. I hope I get it soon and I hope my students get their books soon as well. I am still teaching topics such as: viewing environment, measuring color, and profiles but we will need to progress the class beyond these topics soon. I am excited about getting into your book and the resources. I have used a few of your previous books as texts before and I am looking forward to this text as well.

I am late ordering the book because our bookstore was unable to order it from the publisher or distributor. Our bookstore did not tell me your book was only available to purchase online until the week before the semester began or I would have ordered it earlier. As soon as the book arrives, we will jump right in and the class will be a great success.

Again, thank you for checking up on me,

___________________________________________________________________________

___________________________________________________________________________

___________________________________________________________________________

___________________________________________________________________________

___________________________________________________________________________

___________________________________________________________________________