Damien Symonds

Unfortunately it's more than two decades since I used CorelDraw. So all I can do is tell you how it works in InDesign, and hope it translates ok. In InDesign we set up our document in the CMYK profile that the print shop advises for the job (make sure they DO advise one, don't just guess). It's vitally important that the document is CMYK, not RGB, so that blacks are accurate. We do our design - text and linework and graphs and whatever else - in that CMYK document. For photos, we edit them in Photoshop and leave them in RGB mode, but we soft-proof them as you mentioned above, and make any adjustments that are necessary. We DON'T convert them to CMYK. We place the RGB photos into the CMYK document. Then, as you said, the PDF conversion makes the photos CMYK during the output process. This is one of the reasons we do it as described above. If your final PDF output is an RGB e-book, the photos stay exactly as they are, and the other items get converted to RGB. This means that no matter what you're outputting, none of the elements of your design get converted more than once. Multiple colour mode conversions are very dangerous. There is no "round trip" in colour conversion. If a photo is in RGB, then gets converted to CMYK then back to RGB again, the values don't end up back where they were. They'll be different. This must be avoided. Gosh I hope this makes sense.

Hi @Seamus, what software do you use?

@MLev?

"Somewhere in between" is exactly what we aim for, yes.

Yes, I know. A foolish purchase, now you're stuck with it.

Yes, you've done absolutely everything you can do, short of a completely new computer.

Fair enough. Ok, go with what you've got, I guess.

So, you think the screen is still a little warmer than the prints?

I have installed 2004 on four machines, no problems so far.

Yay! Please consider The Bridge Class. It's a very cheap way to fill in any gaps in your knowledge.

Great! So have you ordered one?

How did it go, @awillow.cm?

But first, I urge you to read this thread. It's so important.

Hi @awillow.cm, I wouldn't worry about it for now. The whole "Get photos from device" thing is stupid anyway. For now, just copy and paste the files from your card to your hard drive in the usual way, then browse that folder in Bridge to make sure it can see them.

I fear you've made her face too small, but you're right, it's more plausible than the other one.

PLEASE learn to use layers properly, I beg you.

Just hope they don't notice.

Oh gee. I don't know how to fix this, sorry.

Ah, ok, that explains why the forearm is so weirdly thin. You'll need to try to enlarge that (with Liquify, I guess.) Can you send me the layered file? https://spaces.hightail.com/uplink/BellePhotography

And how about the arm photo?

Thanks. And may I see the photo from which the other head came?

The reason I noticed it at first was that because she's got no neck. May I see the original photo?

Hi @ShannyP20, sorry about the delay, I was just getting some lunch. It must be the little girl in white?

It's not perfect, but pretty good I think.

Ok, give this a go: First, add a Channel Mixer layer, go to the Blue channel, and set it to 0, +91, 0, 0. Then add a Levels layer, and clip it to the Channel Mixer layer. Enter these values: Red 49/1.00/255 Green 64/1.00/255 Blue 56/1.00/255 At this point the whole photo will be an odd colour. So return to the Channel Mixer layer and invert its mask to hide it. Then carefully paint it on to the glare area.