I kept wondering why the video world did not make use of YUV, which is kind of similar to Lab. It was not a great workflow, but it served its purpose. I even used Photoshop Smart Objects to perform lossless conversions. I had known a few tricks with Lab color space, mostly sharpening in the lightness channel, but through this book I got to know this space and its capabilities pretty well. Then Dan Margulis’ book “ Photoshop LAB Color” book came out (now in 2nd edition), and that elevated my understanding to new levels. I toyed with it briefly, mostly doing contrast adjustments. YUV was interesting, because luminance and chroma channels were separated. Then, as I begun to learn more about film and video, I discovered color spaces: various flavors of RGB, such as Rec601 and Rec709, but above all, YUV and by extension chroma subsampling. That was the first time I heard about color models, working with channels, as well as various issues that arose from incorrect conversions between various CMYK and RGB profiles.įor some time that was it. Then I took a desktop publishing course, read a few books, and learnt about CMYK and prepress.

And it was cool, levels – or actually auto-levels – was all the buzz, as well as Hue and Saturation.

I used shareware Paint Shop Pro back in those days, which at some point was acquired by Corel. First was of course playing in RGB with scanned pictures. I learnt image color correction in several stages.

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