Shangara goes fishing with:

"I suspect Stephen Marsh may have something to say about this as this very
topic is being discussed on the Photoshop list and he has already written a
very helpful post."

<g>

Yes, I have something to say on this topic - but I will let some links do
most of the talking this time:

http://members.ozemail.com.au/~binaryfx/PSTV_links.html#L

As Shangara notes, Dan Margulis has many pages in his book/s and in other
articles on LAB in Photoshop. If you are not biased and have an open mind
then LAB can do some wonderful things, but it is far from perfect. LAB is a
great retouching space for heavy damage - the AB are often easy and the L is
fairly easy when compared to RGB or CMYK edits which both contain colour and
tone (one can retouch in RGB in colour and luminance blend modes to come
close to LAB). The ACT list of Dan's also has a lot of info there too, from
both pro and con viewpoints.

If you want the really negative stuff on LAB, search the Apple ColorSync
Users archive list for posts on the use of LAB mode - I stopped after
reading 300 straight messages.

Then take what you need from both extreme camps viewpoints.

The major problem for most colour savvy folk with ICC LAB mode in Photoshop
is that there is both loss of unique image levels and quantization in the
move to LAB which may not be acceptable to some folk with 8bpc data (mostly
the move is visually lossless).

One must remember that LAB has a very small _useable_ gamut for print - even
wider gamut print than SWOP type press conditions is small compared to LAB
mode, minor edits in the AB can send colour
ballistic - that is the beauty and curse.

LAB mode is just another tool - with pros and cons which may or may not be a
critical concern to all users.

Back to the original question...there may not be a valid reason to use LAB
for a quick little correction - but if major reworking of an image was being
done, then LAB may just be the answer that is needed (LAB is poor at fine
moves when all you need to do is finesse).


Regards,

Stephen Marsh.

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