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

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

Retouching blown-out areas using imaginary colors in LAB

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

Isolate blown-out areas for correction by painting

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

Sharpening in LAB

See the difference between the two methods

French Impressionism and sharpening the AB channels

Some situations will call for a different sharpening method

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

The importance of multiply mode to enhance the quartertone

Choosing the proper layer mask for an LAB multiplication

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

Noise reduction in LAB isn't rocket science

Reduction of color-only moires in LAB

Blending with the AB channels to remove complicated moires

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

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

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

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

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

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

The RGB/LAB workflow and an outdoor family shot

RGB/LAB workflow and wildlife photography

Thanks for following along. Hope you learned a lot.