In the name of fair and unbiased coverage, Figures 4-17 and 4-18 show the channels from the image after it was converted to other color modes. In Figure 4-17, I converted the image to the CMYK mode and examined its channels. Here, the predominant colors are cyan (sky and water) and yellow (in the swimsuit and raft). Because this color mode relies on pigments rather than light, as explained in the "CMYK" section earlier in this chapter, dark areas in the channels represent high color intensity. For that reason, the sky in the cyan channel is dark, whereas it's light in the blue channel back in Figure 4-16.
Figure 4-17: The contents of the cyan, magenta, yellow, and black channels from the image shown in Color Plate 4-2.
Notice how similar the cyan channel in Figure 4-17 is to its red counterpart in Figure 4-16. Same with the magenta and green channels, and the yellow and blue channels. The CMY channels have more contrast than their RGB pals, but the basic brightness distribution is the same. Here's another graphic demonstration of color theory. In a perfect world, the CMY channels would be identical to the RGB channels — one color model would simply be the other turned on its head. But because this is not a perfect world (you might have noticed that as you've traveled life's bitter highway), Photoshop has to boost the contrast of the CMY channels and throw in black to punch up those shadows.
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