Winsor Crosby wrote:
> My method is somewhat easier, I think. It has the advantage of not
> having to make selections which is good if the purple fringe is all
> over the place.
I'm fortunate in not having any examples of my own to work on. Or maybe
I'm just blind to it.
> It may not be as clean as yours, but in computer
> sized reductions or prints it seems to disappear.
>
I can't see the CA in CH's sample at those sizes anyway. So all I would
have to do is downsize and the problem is solved. ;-) I really have
no idea about general technique(s). I simply saw a problem presented and
tried the quickest way I could see to fix it. Result looked good to me.
> Make a hue/saturation adjustment layer.
>
> In the hue/saturation tool use the drop down menu to select blue or
> magenta. Click on the color fringe to select its color. Reduce the
> saturation with the slider so it is less intense. Then reduce the
> lightness with the third slider by an equal amount. Keep an eye on
> the sky so you do not over do it. If the fringe has a wide color
> range you might have to do it again on the part that was not changed.
> This fringe had a strong magenta edge as well. Helps to look at it at
> 200 percent while doing it. Easy and quick and will catch a whole
> bunch of bare branches against a bright sky. This gets it for me 90
> percent of the time without ever having to make a selection.
>
I'll keep it in my bag for use when I run into a place to use it.
I'm not so sure about your assertion about never making a selection,
though. You are still using the eyedropper to select a color range to
affect. How is that different than Select=>Color Range, except for less
flexibility is the breadth of the range? The beginning selection of an
area to work on was simply to assure that what I did wouldn't affect
other parts of the image. I would probably do that with your technique,
as well, so I didn't change part of an object far from the sky that
happened to have a color the same as the fringing.
Moose
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