Last May, I participated in FESPA Digital in Munich (D). FESPA is a global federation of 37 national associations for the screen printing, digital printing and textile printing community. The leading exhibitions and conferences in the field are organized by FESPA and the profits are re-invested.

I was uncertain whether this post should have the title I gave it or “Till Gray Do Us Part”. I’ve chosen the standard formula to echo the Italian version: “Questi, che mai da me non fia diviso”. That is Dante’s Inferno, of course. But, really, I am going to discuss an aspect of Lab which is very well known but, I suspect, sometimes ill-understood. Moreover, I’ve drawn the conclusion that gray couldn’t really part anything, because it only represents equilibrium instead – but before you call 911 I suggest you to read on.

(This article was originally released on marcoolivotto.com on March 9, 2014.)

A few months ago, a new and exciting Photoshop book appeared on the scene. It was written by Russell Brown — yet not that Russell Brown of Adobe fame. Our own man is an Australian photographer whom I (virtually) met while working on the beta-reading of the latest Dan Margulis’ book — Modern Photoshop Color Workflow. Shortly after such task was finished, I and Alessandro Bernardi got an e-mail from Russell and we were asked to become the beta-readers for his own book — which he was just starting to write. We were very glad to help out and therefore had the privilege to be among the first to read and discuss the contents of Paths to Artistic Imaging in Photoshop.