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It seemed about time to move the skirt to some waste yarn and see how it's coming along. I have mixed feelings

• The crochet: I think the motifs are cute and hang nicely.
• The colors: While I don't usually buy these colors for myself, I think they are lovely and the colors compliment each other nicely.
• The chevrons: Who doesn't like chevron? It breaks up the horizontal nature of the subtly variegated yarn.

Things I don't like:

• Yarn choice: I feel like the main yarn should be a little drapier. I don't feel there's enough weight to the piece to pull off the effect I'm envisioning


• Skirts: I don't wear skirts. What the hell am I thinking?


• Shape: Would a-line instead of straight have been better?

I'll probably finish the piece, just to see how it comes out, but I'm starting to think there may have been a better project for these yarns.

On the plus side, I should have 300 or more yards of the main yarn leftover when I'm done. What will I do with it? I dunno. I'll have it nonetheless.

I've been spinning bits of the Corriedale, here and there. It's been quite relaxing and mindless.

I'm annoyed, though, with my Woolee Winder. It's great, don't get me wrong, but it really upsets my sense of balance that it doesn't load the yarn evenly. Some of it appears to be that the whorls from Schacht aren't perfectly machined. There's an ever so slight gap, but I'm realizing that it's not enough to account for the severity of the imbalance.

Has anyone else who has a Woolee Winder seen this and if so, is there a way to fix it?

Oh and Thea had her stitches taken out and has been taking full advantage of the ensuing belly rubs.

I just have to share this most excellent gift I received.

My friend, CraftyKags made this gorgeous scrapbook for me.

Not counting the cover, there are 46 (!) pages of pictures of my sweet girls. What an amazing gift. I'm speechless. Even if we dismiss all the gorgeous paper, stickers, grommets, ribbons, high quality printouts and other accouterments, one can't dismiss the time and love that went into this book. It's a really special gift.

And that's not all my Flickr photos have been doing. I got myself a batch of mini calling cards from MOO.

They come packaged in a cute little recyclable plastic box.

And inside are 100 little mini-cards with photos on the front and my contact info on the back.

I plan to use these as business cards. About 2/3rds have some sort of fiber theme to them, while the other 1/3rd have doggies (oh yes, there is overlap). Depending on the situation, I can pick out a card that is just right for the recipient. Since they are about half the size of normal business cards, they are more environmentally friendly and MOO is committed using sustainable and green manufacturing processes. Yay!

Most images can be clicked for a closer view

In our last tutorial, we discussed Curves. Today we'll be talking about Levels. Levels can be used in the exact same way as Curves, though the interface is a little different. The cool thing about Levels is that you can actually see a visual map of your image and the colors displayed within.

As with the last tutorial, all the caveats still apply. Your mileage may vary. I'm no expert, blah blah blah, color correction is subjective, etc.

I've chosen a photo and opened the Levels dialog box by going to the IMAGE menu, to ADJUST and choosing LEVELS. You can also access this option by pressing [CTRL+L] or [CMND+L], depending on your computer platform.

This picture of Thea seems a little dark in the three-quarter tones (those between the middle and shadow tones). Her face, next to the couch, seems a bit muddled and lacking in detail. When I pull up the Levels palette, I see my impression confirmed. Let's take a closer look.

Click image to see the tonal ranges

Here we see a graph of the distribution of pixels. On the left, indicated by a black slider, is the shadow area of the image. This image has a large majority of its pixels between the midtones and shadows. At the far right, the highlight point shows absolutely no pixels. We don't have any pure white in this image.

From the Layers palette, I can move those sliders, under the graph, to adjust the tones in the image. We have two sets of sliders we can move. The top set of sliders consists of three tonal ranges. On the left, shadows, in the middle, midtones, and on the right, highlights.

The bottom set of sliders has just a shadow and highlight slider.

Our car, Stewie, is back home after being in the body shop for over a month. It's good to have him back, and the shop did a really fabulous job, both dealing with the insurance company and repairing the damage.

Thea has been healing up beautifully

When we give her meds, we wrap them in peanut butter. She finds it both delicious and infuriating, with its tenancy to stick to the roof of her mouth. I find this amusing. I might, possibly, maybe, tend to squish the peanut butter up on the roof of her mouth, maybe, just to make it last a little longer. I might also be a horrible horrible person.

Actually, we've taken her off the sedatives, but we do still give her a little peanut butter just because she loves it so.

Both girls got some extra special treats from Leo.

Both approve...heartily.

However, not to be indelicate, but we have been experiencing a steady flow of eye watering, paint peeling, make a grown person cry level of excess "air" from the little one. I really can't express just how bad it's been. I'm declaring an embargo on all future purchases of this treat. While the rawhide/pork combo appealed to the girls more than almost any treat we've gotten, the consequences have been too brutal to re-live.

Your mileage may vary.

Most images can be clicked for a closer view

A little caveat before we begin. I'm not a color correction expert, though I do need to know the basics for the work I do. Most of what I've studied has been for print, not for web, though many of the concepts remain largely the same.

Furthermore, images look really different on a Mac than they do on a PC. Most people are on PCs and I'm on a Mac, so while may think a picture looks good on my screen, you might not.

And that brings me to the last point. A lot of color correction is subjective. There are some things that are fairly universal. For instance, a light color cast to an image is usually apparent to most people. but the perfect amount of contrast and brightness may be different depending on personal preference, age and monitor. Did you know that many people's vision yellows slightly with time? Older monitors will often display color much differently than newer models, as well, so there are a great many factors that can impact how you view an image.

Some basic stuff that makes me sound like I know what I'm talking about

While there are quite a few different color spaces, the two you are most likely to deal with and work in are RGB [red, green, blue] and CMYK [cyan, magenta, yellow, black]. RGB colors are those that display on monitors. It's the means by which light produces color. CMYK space is what your home printer generally uses (though some contain additional colors to produce a wider range of shades). If you are familiar with the old color wheel, containing primary, secondary, and tertiary colors, you understand the basics of how CMYK colors work. While the primaries are a little different (not red yellow and blue, but cyan, magenta and yellow,) the way in which colors combine remains largely the same. Add the right amount of yellow the right amount of cyan and you will get shades of green. RGB works in the opposite manner. In RGB, when you have 100% of each color, you get white. Do the same in CMYK you get black. Most of us find this counter intuitive, but when you are making your edits you should not switch to CMYK and back to RGB. You must learn to modify your colors in RGB if you wish to maintain the detail of your image.

I've made this little graphic to help you understand how the RGB colors relate to the CMY colors (don't worry about black)

There are 6 color swatches below. every other swatch is an RGB shade and the alternate are CMY colors. Colors located across from each other are related. When working in RGB, reducing the amount of the RGB shade will increase the CMY shade. For instance, let's say your image has a red cast to it. In some images, this might be interesting, but if you are photographing a lush summer landscape in the day, the red cast will make your gorgeous greens look muddy. Reducing the amount of red in the image will make those greens pop.

So how do you apply this novel bit of trivia? Well, I'm glad you asked. (You asked, right?) I apply this, most frequently in the CURVES dialog box.