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The third part of the popular and comprehensive series Photoshop CS6 One-on-One follows industry pro Deke McClelland as he plunges into the inner workings of Adobe Photoshop. He shows how to adjust your color, interface, and performance settings to get the best out of your images and the most out of Photoshop, and explores the power of Smart Objects, Shadows/Highlights, and Curves for making subtle, nondestructive adjustments. The course dives into Camera Raw to experiment with the editing toolset there, and returns to Photoshop to discuss toning, blur, and blend modes. Deke also teaches tried-and-true methods for sharpening details and reducing noise, as well as creating quick and accurate selections with Quick Mask, Color Range, and Refine Edge commands.
Back in Chapter 20 of the Intermediate course, I showed you how to mix a full-color photo to make a black-and-white one, which Photoshop calls grayscale, but here's the problem. If you submit a grayscale image to a commercial print house, that photo will print to a single ink, black. Why is that a problem? A single ink offers at most a hundred levels of luminance and even that is wildly optimistic. But here is the thing; none of those hundred levels is truly black. I mean think about it.
Have you ever seen an ink that was so dark that it sucked all the light from a room and rendered a page completely black? At best, black ink by itself is darkish gray. So how do you make those great super intense black-and-white photographs that you see in high-end glossy magazines with the fashion ads and the fifth color fragrance rubs? You use all the inks available to you, and this is very important, you always print to white paper. That way black is supersaturated with a ton of ink and white is the brightest paper on earth with no ink whatsoever.
Two inks that print in concert to make a black-and- white photo are called Duotones, three inks are called a Tritone, four inks are called a Quadtone, but in the end they are all ways of super saturating a monochrome image with color, as we'll explore in this chapter.
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