Damien Symonds

Exactly as per the graph in the link I gave you. 8x12 at most (print). Or 16x24 on canvas.

@Glynda horsfall?

How did you go?

Good. This is my raindrop fix. Whether it's better that your Levels one remains to be seen, but I'm sure it will be easier. First, add a dodge and burn layer. Don't do anything on it at the moment. Then add a Channel Mixer layer. Enter these values: Red 0, 0, +111, -17 Green 0, 0, +115, -17 Blue 0, 0, +100, 0 Mask that on to the shirt very carefully. Overall it will change the tones of the shirt slightly, but nothing to worry about. Then return to the D&B layer, and paint very low opacity white to dodge any spots that are still troublesome after the Channel Mixer adjustment.

Fortunately the rain fix and the moire fix (if necessary) are independent of each other, so there's no particular order that you rigidly must do them in. Once you've fixed the colour space problem, we'll begin by discussing the rain fix; then we can talk about moire if it arises.

The pattern on this shirt is going to be trouble. Not because of the rain, but because of moire. Have you noticed any? How many photos do you have of this young man in this shirt?

The colour doesn't matter a bit, but the focus matters a LOT. They'll need to be razor sharp. And they'll need NO cropping whatsoever. She's right. At what resolution? The resolution is important. No, that's complete nonsense.

https://www.damiensymonds.net/2014/03/how-aggressively-can-i-crop.html

Oh gee Jen, you have a much more serious problem than some raindrops. Please follow this ALL the way to the end: https://www.damiensymonds.net/art_tscs000.html

Heck, don't worry about beer. Just hurry up with a few more posts so you can join the Skin Class.

Great!

So I think this method will work. Using it, I ended up with these white slider values for the first one: R 235 G 200 B 155 And for the second one, these white slider values: R 215 G 185 B 140 In both cases, the masking should be mainly ok with a 100% brush, but then a little bit of 10% work will be necessary to blend it nicely.

Great! Then that's all you can do. Explain to him that jpeg compression works very efficiently on photos that have areas of broad flat colour; so the sky (and to some degree the water) in this photo are the reason that the file isn't larger. Assure him that the quality is exquisite, and that he can safely print it as large as a house if he desires.

Flatten it and save it as a jpeg, do you mean?

Great

Was it this one? https://www.damiensymonds.net/workspace-video

That's great. So, while at work in good light, follow the troubleshooting part of my calibration instructions to correct the problem. And of course take steps to fix your lighting at home.

How about your light? Could it be the problem?

Do you mind showing me a screenshot (or several) to display the problem?

I was sure I'd written about this in the old AD, but I can't find it. It's High Pass Filter. These are the steps: Duplicate the Background layer Ctrl I to invert the colour of the layer. This will make everything look like a negative. Convert the layer to a Smart Object Change its blend mode to Soft Light Run Filter>Other>High Pass

Move the mask from the filter to the actual layer, I assume? Just drag it up.

Well duh. It's working absolutely fine, but you can't see it! It's completely obscured by your "Layer 1". Turn off "Layer 1" and you'll see what I mean.

No. Anything "auto" is dangerous, and must not be done. The reason you're switching to Bridge is to make the quality of your images better, not worse. If your photos need leveling, it's usually the very first step of your Photoshop editing, immediately after raw processing. Information about it here. If the situation is more complex, and actual distortion is needed, it's still usually the very first step. Information here. A very comprehensive discussion of these complex edits here. Please ask as many questions as you need to about this issue, because it's not easy to wrap your head around. As I said, the purpose of switching to Bridge is to make your photos better, not worse. I won't entertain this question. Stop doing that awful shit to your photos. Cropping never happens, EVER, during the editing workflow. Only during the output workflow. You will learn about it in the Sharpening Class. Very important info here and here. Once you take the Levels Class, you'll know how to naturally and seamlessly incorporate vignettes into your actual editing process, so that you won't need post-crop vignetting. Any form of automatic vignetting is unnatural and very last decade. Again, you'll learn this in the Sharpening Class. But the short answer is Image Processor. Also, this is very important.

What things?