The LAB Frontier, with Dan Margulis

This course will focus on some of the more advanced techniques of LAB color correction.

This course will focus on some of the more advanced techniques of LAB color correction. The course will cover a workflow that begins in RGB and ends in LAB for the purpose of color enhancement.

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Course Lessons:

Lesson 1: Introduction (Duration 08:28)

An introduction and overview of the course

Lesson 2: Real, Unprintable, and Imaginary Colors (Duration 08:58)

What happens when LAB has colors that are outside not just the CMYK, but the RGB gamut.

Lesson 3: LAB and the Perfect Sunset (Duration 05:33)

How imaginary colors give LAB the advantage over working in RGB or CMYK

Lesson 4: Retouching Blown-Out Areas (Duration 04:36)

Retouching blown-out areas using imaginary colors in LAB

Lesson 5: Painting in Color (Duration 03:01)

The LAB advantage of painting in Color mode to repair blownout face areas

Lesson 6: Using Blend If (Duration 02:17)

Isolate blown-out areas for correction by painting

Lesson 7: Low-Radius Sharpening (Duration 03:00)

How conventional (low-radius) sharpening in LAB differs from using the same settings in RGB

Lesson 8: Blurring Skies and Blend If (Duration 07:26)

Sharpening in LAB

Lesson 9: Compare LAB to RGB Sharpening (Duration 01:39)

See the difference between the two methods

Lesson 10: Sharpening the AB Channels (Duration 02:42)

French Impressionism and sharpening the AB channels

Lesson 11: When to Avoid Sharpening the AB Channels (Duration 01:19)

Some situations will call for a different sharpening method

Lesson 12: Hiraloam Sharpening (Duration 10:24)

Hiraloam sharpening in both Luminosity and Color modes in an overall workflow context

Lesson 13: Multiply Mode (Duration 03:32)

The importance of multiply mode to enhance the quartertone

Lesson 14: Choosing the Proper Layer Mask (Duration 03:15)

Choosing the proper layer mask for an LAB multiplication

Lesson 15: Another Example (Duration 02:12)

Here is another example of how to choose the proper layer mask

Lesson 16: LAB Is Not Rocket Science (Duration 03:13)

Noise reduction in LAB isn't rocket science

Lesson 17: The M.P.P.S. (Duration 01:31)

Reduction of color-only moires in LAB

Lesson 18: Blending with the AB Channels (Duration 04:58)

Blending with the AB channels to remove complicated moires

Lesson 19: Comparing Methods (Duration 04:45)

Blending the A or B into the L versus using the A or B as a mask

Lesson 20: Overlaying the A and/or B Onto Itself (Duration 02:37)

These two blends can accomplish a great deal if you understand how to use them

Lesson 21: The Man From Mars Method (Duration 06:04)

The Man from Mars Method in combination with a final Darken/Lighten blend from the A and/or B

Lesson 22: The Man from Mars Method for Fleshtones (Duration 06:38)

The Man from Mars Method for fleshtones, with final AB blend to limit damage

Lesson 23: A Comprehensive RGB to LAB Workflow (Duration 12:36)

A comprehensive RGB to LAB workflow to break colors apart in a heavily-casted maritime scene

Lesson 24: RGB Channel Blending (Duration 03:18)

RGB channel blending as a prelude to the Man from Mars Method

Lesson 25: More Practice with the RGB/LAB Workflow (Duration 05:57)

The RGB/LAB workflow and an outdoor family shot

Lesson 26: The Workflow with Wildlife Photography (Duration 06:58)

RGB/LAB workflow and wildlife photography

Lesson 27: Conclusion (Duration 03:26)

Thanks for following along. Hope you learned a lot.

Meet Your Instructor: Dan Margulis

Dan Margulis is internationally regarded as the leading authority on color correction. He is the author of Professional Photoshop, which, since its first edition in 1994, has become the unofficial…


  1. I don't think I could follow Dan in a live course simply because there IS so much good information in a short span of time. Definitely has changed the way I edit photos the past twos years, and I learn something new each time I watch his tutorials.

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