… What's bad is that the person who's going to spend $100 or $1,000 on a bottle of wine isn't a hyper-rational geek in search of the optimum solution (hint: we bought the cheap stuff but it was still 5x the cost of of the wine in a store). Imagine our geeky surprise when they brought out a Microsoft tablet instead of a wine list. One day Seth Godin, a marketing genius from New You City told that ”Four of us visited a fancy restaurant on Saturday. This is also the very reason for many photographer struggling with color correction, and to try often to infuse a creative aura to a process that should be mostly objective and that has its own ethic rules. Some others will need more time, smaller steps, but my experience says that there’s risks they will learn even more. Some of us, with a scientific background will be facilitated, and watching a curve will not need an explanation when reading input and output. Adding, or removing, yellow (I want this yellow-er here) is something we can easily understand, even if we fail to define saturation. Truth is, even if we dislike this approach, it is knowledge we can reach, easily. This is not true in prepress, for example. Everyone can approach color correction, and the most challenging post-production nightmares, because these don’t require visual perception experience, nor they request a deep understanding in the digital processes (well, not always). We can have a common language, a philological system, a scientific approach (if we want to). First, we can talk about an education in digital color, that is more of a discipline, more democratic. But leveraging math allows us to use some impressive features. Immage from “A class-book of color : including color definitions, color scaling, and the harmony of colors”, 1895Īt first it may seems that other applications and softwares that only use aesthetics may be more usable and faster. This lonesome trip, is why Photoshop is a great and poor software, at the same time. From here on we will find countless references, parallels. Multiply and difference are both blend modes. This is fertile ground for the first math operator we will learn about, Apply Image will be perceived as sum, coincidentally the first operator we learn as children.Īpply Image allows us to add an element where we want, when there was empty space, or another element. There is a great deal of amount of very useful and very out of fashion tools in Photoshop, that just aren’t for novices, nor to be found in tutorials. From an educational point of view that tool often goes with a great will to improve own skills, and to try doing things differently. But sooner or later we will face that point, and we’ll be forced to make a decision. Even blend modes could be just used by comparing aesthetics, and experience, leveraging our visual system (darker, brighter). While we are uneducated and until a certain point we could have used numbers only as vague reference, a part of a clunky user interface, and curves as a visual cue. While in the process of learning Photoshop it is crystal clear that there are many elements that is impossible to divide from math. But it is also true that in many fields this is hidden to the final user, while in Photoshop we continuously measure numbers, use curves, do calculations (sometimes literally). Sure, our migrations from an analogue system to a digital one forced us to redefine how we measure quantities, and identify qualities. If I asked you why Photoshop has such deep foundations in numbers, what would you answer? Probably the usual, bits, ones and zeros.
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