Re: Faux pyro for Epson 1280

From: nze christian ^lt;[email protected]>
Date: 04/26/04-12:00:07 PM Z
Message-id: <>

Hello Sandy,

There is a lot of benefit to work in 16 bits for all action in Photoshop
this help to avoid comb's histogram as we call it in french. BUt when you
arrive at the desire file you can switch to 8 bits. Why because the
modification made by the coloration will keep the 256 gray levels.

But you could do the same if you don't use indexed colors. when you arrive
at the final image you can switch to 8 bits. But 16 bits help to make
perfect image without loss in gray levels.

At last I don't find any interest in going back in rgb 16 bits after
applying the index color.

I don't have PS CS which look great for working in 16 bits so I have to
duplicate my image , put it 8 bit to do some finer selection. When I work on
my file I only work with curves and levels.

best regards

Nzé Christian

>From: Sandy King <>
>Subject: Re: Faux pyro for Epson 1280
>Date: Mon, 26 Apr 2004 12:20:25 -0400
>Thanks for posting the link to Keith Schreiber's site.
>I have a question and wonder if Kerik or anyone else who makes negatives
>this way might address. Most everyone indicates that there are considerably
>benefits from starting with a 16-bit file and keeping it in 16-bit all the
>way through printing. But Keith's method appears to require conversion of
>the 16-bit file to 8-bit for color indexing. Is there something unique
>about color indexing that reduces or eliminates the disadvantages that
>normally ensue from conversion of files from 16-bit to 8-bit?
>>Since last week's e-mails covering Keith Schreiber's colorization method
>>ink jet negatives I have discovered that Keith has now updated his web
>>with an illustrated explanation of his inkjet negative workflow.
>>Visit Keith's website and get the details.
>>Don Bryant

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Received on Mon Apr 26 13:58:26 2004

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