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Realworld Photoshop CS: Chapter 14
Monday February 16, 2004
by Bruce Fraser

Imaging Revue presents a sneak peak at this unreleased book with Chapter 14 in it's entirety. Enjoy "Building a Digital Workflow: Making Quick Work of Raw Images."

Digital Workflow for RAW Processing: Part II - Camera RAW
Monday February 9, 2004
by Jeff Schewe

The second in a five part series, Jeff demonstrates improved navigation through Camera Raw.

Digital Workflow for RAW Processing: Part I - File Browser
Friday January 30, 2004
by Jeff Schewe

The first in a five part series, Jeff Schewe demonstrates time saving techniques without compromising quality.

Proper Lighting Conditions


Thursday December 18, 2003
by GTI Graphic Technology, inc.

A lot of discussion on proper lighting and environmental conditions in the digital darkroom have been discussed. Here is a PDF from GTI, the makers of excellent light boxes. It does provide some information from the ISO 3664:2000 standard.

Weekly Chatter:Need for Correct Exposure in RAW
Wednesday November 26, 2003
by weekly chatter

Each and every week, Imaging Revue offers non-members a tantalizing taste of the information available within our forums. Make sure to check out the entire list!

...see more articles(many more!)

forums

Color Management/WorkFlow > Hardware and Software > Profilemaker Pro 4.1.5 Printer Profile Settings

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AuthorSubject: Profilemaker Pro 4.1.5 Printer Profile Settings   [Go to Bottom of Page]
John Hollenberg
Posted on Fri Jul 18, 2003 11:46 PM

I read with interest about the issue of using "Preserve Gray Axis" or
"Paper Gray Axis" in building profilemaker pro profiles in this thread:

http://www.imagingrevue.com/forums/?thread=116&hl;=preserve%20gray%20paper

I have a couple of other questions regarding building printer profiles for
an Epson 2200:

1) Would there ever be a reason NOT to check "Correct for Optical Brightener"?

2) Do you recommend using "Paper Gray Plus" rather than "Paper Gray" for printer
profiles with ultrachrome ink?

I have noticed that Epson 2200 prints often have a slight red/magenta tinge
when viewed under fluorescent lights. Thought that fluorescent lights usually
had more green in them. Is this due to fluorescence of the ultrachrome pigments,
or is there another reason?

Thanks.

--John


... this thread contains expert advice from Andrew Rodney.




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Photoshop World Conference and Expo
    3/1/04 at 12:00 AM to 3/3/04
Digital Printing for the Fine Art Photographer
    3/5/04 at 9:00 AM to 3/7/04
DIGITAL WORKFLOW, NOT WORKslow (A D-65 Seminar led by IR expert Seth Resnick)
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