C. David Tobie: SAD (Seasonal Affective Disorder) and its effects on Photo and Video Editors
Oct 2014 23

Recent studies have found a new type of light sensor in the eye, in addition to the rods and cones we are familiar with for color, and black and white vision. This type of sensor has nothing to do with vision, but may have a big impact on photographers and videographers, as it relates to a condition commonly seen in those who edit images for a living. This article will describe that condition: Seasonal Affective Disorder (SAD), its symptoms and its triggers, as well as offering suggestions to avoid SAD when doing photo and video editing work under controlled light conditions. Lets take a look at how SAD works.

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Hunter McRae: Before and After: How to Take Beautiful Images in Minimal Light
Oct 2014 15

You risk taking a blurry image if you don’t use the right gear and the most appropriate camera settings when working in low light situations. The goal is always capturing the highest quality, sharpest image possible. Fortunately, the combination of sophisticated post processing and modern equipment has opened doors not available to previous generations of photographers.
If you start by setting your camera to capture images in RAW format, you will have greater leverage to manipulate and brighten while post processing.

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Seán Duggan: Choosing a Color Working Space, Part II
Oct 2014 08

As described in the previous article in this series, digital images are essentially paint-by-numbers kits, with the color and brightness of each pixel expressed by a set of numbers for the RGB values. To attach meaning to the numbers we use profiles and color spaces. In terms of choosing a device-independent color space to use for editing your images, either those you process through Lightroom or Adobe Camera Raw, or as an overall working space in Photoshop, there are three likely choices to consider: sRGB, Adobe RGB, or ProPhoto RGB. In this article we’ll take a look at the pros and cons of each and provide some recommendations for you to consider.

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Seán Duggan: Choosing a Color Working Space, Part I
Oct 2014 02

Both Photoshop, Adobe Camera RAW, and Lightroom let you specify a color working space for your images. In an earlier article, I explained how to interpret the missing or mismatched profile messages that you sometimes see when opening a file in Photoshop. In part 1 of this article, we’ll take a look at just what a color working space is, and offer some clarification on key working space concepts and practices.

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Screen to Print Match
Sep 2014 25

Watch our webinar on Screen to Match. We’ll discuss creative color control from capture, to display calibration, to basic editing for print, accurate screen preview (soft proofing), and print management. The discussion will also include using ICC profiles and custom paper types to expand your range and creativity.

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