Learn Digital Photography Now
Before I leave the topic of graphic file formats, let me just briefly cover what file format you should choose when taking digital photos or when scanning images. Many digital cameras offer the option of choosing either JPEG or TIFF as a file format for the photos you take. Some even offer their own proprietary formats unique to the camera's manufacturer. Avoid using any proprietary format. Not that proprietary formats are bad it's just that the format might not be supported by Album and other software programs. For example, if your camera allows you to choose between JPEG and Camera RAW or CCD RAW, choose JPEG. Album doesn't support the Camera RAW or CCD RAW formats. It may not be completely obvious how to choose the file format for your camera. Some cameras go by settings. A setting of High saves your images as TIFFs, while other settings, such as Medium or Low, save your images as JPEGs. If you're not sure which setting does what, refer to the documentation that came with your...
Photoshop is a lifesaver for digital camera users eager to apply selective focus techniques because digital camera lenses inherently provide much more depth-of-field for a given field of view than a conventional film camera. The depth-of-field bonus of digital cameras comes from the relatively short focal length lenses they use. The maximum telephoto setting of a typical non-SLR digital camera may be 32mm (producing the same field of view as a 150mm lens on a 35mm camera). However, the depth-of-field provided by the digital camera at that setting is much closer to that of a wide-angle lens than to a telephoto lens. As a result, it may be very difficult to use selective focus with a digital camera, unless you're taking a picture very, very close to your subject. Photoshop CS can fix that Photoshop added a new Lens Blur filter which debuted in the first CS version, with lots of amazing options. First, I'll explain how to apply selective focus the old-fashioned way, useful for versions...
Stations just to keep in touch with baby boomers and other people who at one time or another tried to break-dance.) Well, the Fixx had a big hit in the early '80s (around the time I was born) called One Thing Leads to Another, and that's a totally appropriate title for this chapter because one thing (using a digital camera) leads to another (having to deal with things like digital noise, color aliasing, and other nasties that pop up when you've finally kicked the film habit and gone totally digital). Admittedly, some of the problems we bring upon ourselves (like leaving the lens cap on or forgetting to bring our camera to the shoot, where the shoot is. who hired us, or what day it is or we immersed our flash into a tub of Jell-0 . you know the standard stuff). And other things are problems caused by the hardware itself (the slave won't fire when it's submerged in Jell-0 , you got some Camembert on the lens, etc.). Whatever the problem, and regardless of whose fault it is, problems are...
There are some specific focus issues that are unique to digital cameras i Image sensors It is especially important to keep digital cameras steady because the image sensors these cameras use are a third smaller than 35mm film. This means a digital image will be three times larger than a 35mm image. Consequently, any movement will make the digital image three times as blurry. i LCD monitors If you consistently have blurry images, try using the camera's viewfinder, not the LCD monitor, for taking your photos. When you use the LCD monitor, you hold the camera away from your body and, therefore, probably won't hold it as still. Hold your camera with both hands, keep your arms close to your body and stand with your feet firmly planted. Get used to the lag of your camera so you can anticipate it. If your camera has a burst mode or best shot mode, try it. Check your camera documentation to see what features are offered. Digital cameras are great because they give you instant feedback on your...
You can use the software that comes with your digital camera to transfer photographs from it to your computer's hard drive. Or, if you have the hardware, you can remove your camera's memory card, memory stick, or other media from the camera and use a card reader, which is a small device designed to read camera storage media. Transferring via the Mac Finder or Windows Explorer is generally much faster and usually just as reliable as transferring using the camera manufacturer's software. Some projects require images that you can't run out and shoot yourself. Say, for example, that you're preparing a poster or brochure about a ski trip to Japan. In your office or studio. In the United States. In July. Pretty tough to shoot what you need, eh Turn to stock photography. You can purchase or license stock images (photos, illustrations, video, even audio) from a wide variety of sources, including Internet-based services and collections on CD DVD. In fact, you'll see images from PhotoSpin.com...
You can view and try professional images using Adobe Stock Photos. Available through the Favorites pane in Bridge Center, an active Internet connection is all you need to browse through a wide variety of images to include in your Photoshop designs. You can download complimentary (comp) low-resolution versions of these images and place them in a Photoshop document to find the perfect fit for your design. Once you find the right image, you can purchase it in a high-resolution format. There are thousands of images to choose from, and you can look at previous downloads and purchases through your Adobe account.
Photoshop can import pictures directly from most digital cameras. The easiest way to do this is through Bridge once you've opened Bridge, just choose File Get Photos from Camera. In the resulting Photo Downloader dialog box, you can choose your camera and a location for the photos, then click Get Photos. Photoshop copies the photos into a new folder on your hard drive. Mac OS X users can also open photos from iPhoto, a Mac application that doesn't require any additional software to download from all kinds of digital cameras. Figure 2.4 shows a small collection of photos imported directly from an Olympus C-3000 Zoom. It's very easy to build photo libraries with this program, and you can import the pictures you have worked on in Photoshop for an easy slide show.
To get your site ready to post, you can use Photoshop's Web Photo Gallery feature. (If you have GoLive, you might want to use that program or perhaps generate a Web Photo Gallery and customize it in GoLive.) Web Photo Gallery creates the entire Web site from your folder of images and the guidance that you provide for customization of the site. You end up with a home page (named index.htm the page you open in your Web browser) as well as folders named Pages, Thumbnails, and Images. Depending on the layout you select, you might also generate a few additional files. Remember that you must keep all these elements together for the Web site to function properly. As you see in Figure 4-14, you have a rather long list of site layouts from which to choose. (Your list might vary.) Thankfully, the preview below the Cancel button gives you some idea of the layout, so you don't have to generate a full Web Photo Gallery only to change your mind. Web Photo Gallery Figure 4-14 To the right, you see...
You use the Web Photo Gallery command to automatically generate a Web photo gallery from a set of images. A Web photo gallery is a Web site that features a home page with thumbnail images and gallery pages with full-size images. Each page contains links that allow visitors to navigate the site. For example, when a visitor clicks a thumbnail image on the home page, a gallery page with the associated full-size image loads. Web photo gallery home page and loaded gallery page Photo Gallery command. If you are an advanced user who has knowledge of HTML, you
Album allows you to share your photos by posting them online in a Web Photo Gallery. Don't worry, you don't need to know HTML (the code used to publish Web pages). If you can push your mouse button, you can create a Web Photo Gallery. Album gives you different gallery styles and various options to customize your gallery to your liking. Follow these steps to create a Web Photo Gallery in a matter of minutes 1. In the Photo Well, select the photos and video clips you want to include in your Web Photo Gallery. 2. Choose CreationsOWeb Photo Gallery. You also can click the Create button on the Shortcuts bar. Or you can click the Select Command button in the Workspace window and choose Web Photo Gallery from the menu. Photoshop Album opens the Web Photo Gallery dialog box with your items added. You can now select options and specify text to determine the look of your gallery. For detailed instructions on selecting an option or determining the look of your gallery, click the Help button in...
You can customize an existing Web photo gallery style by editing one or more of its HTML template files. When customizing a style, you need to follow these guidelines so that Photoshop can generate the gallery correctly You can replace a token in a template file with the appropriate text or HTML code, so that an option is set through the template file rather than through the Web Photo Gallery dialog box. For example, a template file may contain a BODY element with the following bgcolor attribute that uses a token as its value You can add HTML code and tokens to the template files. All tokens must be in uppercase characters, and begin and end with the percent ( ) symbol. For information on the tokens that you can use in the template files, see Using tokens in Web photo gallery styles on page 394.
Photoshop can generate a web photo gallery from a set of images. This type of gallery is an interactive interface for viewing images using a web browser. By posting the gallery on a web server, you maintain a centralized storage location for the images on the Internet. E-mail a gallery link to your clients, team members, or consultants, or make the URL available to the general public to suit your project's needs. C Program Fi1es Adobe Photoshop CS Presets Web Photo Gallery These are customizable HTML templates that web designers can alter to adjust the look of the web photo gallery. Let's create a web photo gallery of images from earlier chapters of this book. 2. Using the controls in the File Browser, navigate to the Web Photo Gallery folder under Chapter 9 on the companion CD. 3. The sequential order of the thumbnail images in the File Browser determines the order images will appear in the web photo gallery. Drag the thumbnails to reorder the images if desired. Arrange the before...
1 Locate the folder for the Web photo gallery style that you want to customize. For the location of style folders, see About Web photo gallery styles on page 392. When you have finished, you can create a gallery using the customized style. The customized style appears as an option in the Styles pop-up menu in the Web Photo Gallery dialog box.
Figure 10-43 I captured this youthful fellow with a low-end digital camera equipped with a removable fish-eye lens. How innocent and happy he looks obviously not a computer user. Figure 10-43 I captured this youthful fellow with a low-end digital camera equipped with a removable fish-eye lens. How innocent and happy he looks obviously not a computer user. These steps work well for sharpening other kinds of compressed imagery, including old photographs that you over-compressed without creating backups, and images that you've downloaded from the Internet. If applying the Unsharp Mask filter brings out the goobers, try these steps instead.
Digital cameras are generally more expensive than their analog companions. Remember though that you can get by with a camera resolution as low as a 2.1 megapixels. The convenience offered by a digital camera might just help you make a deadline. The elimination (and cost) of developing and scanning makes these a viable choice for video pros. I encourage you to add a digital still camera to your video production equipment it will come in handy both in the field and back in the office. If you are in the market for very high quality, take a look at cameras that support raw file formats. When digital cameras first launched, manufacturers settled upon JPEG files as a compromise. Storage options were very expensive and JPEGS are very small files. These days though, JPEG is being replaced by raw files. Newer digital cameras (usually pro models) offer newer formats that capture the raw image data. These new formats offer several benefits over shooting JPEG. Most raw files have a depth of 12...
The Web photo gallery styles provided by Photoshop are stored in individual folders in the following location The name of each folder in this location appears as an option in the Styles pop-up menu in the Web Photo Gallery dialog box. Each folder contains the following HTML template files, which Photoshop uses to generate the gallery Each template file contains HTML code and tokens. A token is a text string that is replaced by Photoshop when you set its corresponding option in the Web Photo Gallery dialog box. For example, a template file may contain the following TITLE element that uses a token as its enclosed text When Photoshop generates the gallery using this template file, it replaces the token TITLE with the text that you entered for Site Name in the Web Photo Gallery dialog box.
Here's a real-world scenario Imagine that you're working on a video that needs some stock photos of the healthcare industry. Your clients provided you with a shot list, but they are across town and can't approve things until they come in tomorrow. After searching for the right stock photos, you've narrowed it down to 25 choices, about three per each shot needed. You could (a) sit on your hands, (b) e-mail the client a bunch of attachments that are likely too big and will get stuck in their corporate firewall, or (c) just go ahead with your gut (and then redo things later). Photoshop provides you with a fourth option one of the hugest time-savers of all, the Web Photo Gallery feature. After a couple of clicks, Photoshop can take an entire folder of images, instantly resize them for the Web, author a preview page complete with thumbnails, and set up the whole site while you take a break. Don't worry it's perfectly safe and leaves your original files and layers intact. Just think Step 1....
Creating striking illustrations in Photoshop is easy when you use photography as your starting point. You don't really need any traditional drawing skills, you simply need to understand which tools are right for the task at hand, and how to use them to your advantage. All of the details and divisions of color necessary to create a stunning illustration exist in your photography, you just need to recognize the potential within the image and make use of it.
Watchful Pelican Canon EOS D30 digital camera mounted on a tripod, 300mm f 2.8 IS with 2X tele-extender (960mm effective focal length), ISO 100, Fine image setting, 2160 x 1440 pixels, 1.1MB .jpg file Not long after getting into digital photography and learning how to edit digital photos, most photographers begin wishing that there were a better and faster way to make basic image corrections. No matter how digital photos are created, they almost always are in need of basic image correction just as are most photos that have been taken with a film camera. While Photoshop 7 offers a most powerful assortment of image corrections tools, it takes skill and time (sometimes too much time) to correctly use them. While admitting upfront that no instant perfect image correction software exists a couple of plug-ins can do some pretty amazing corrections on most (but, not all) digital photos. Pictographic International Corporation's iCorrect Professional 3.0 plug-in (www.picto.com) is one very...
As the goal of this technique is to create a photomontage by combining digital photos into a single image, some parts of the images either have to be cut out (using Cut) or hidden from view, by using a mask. While Cut can be used to selectively remove (permanently) parts of an image it is a destructive command that is, it tosses out or destroys the part of the image that is cut so that you cannot get it back later if you want it. For this reason, I suggest that you create a layer mask for each of the images that you bring in as a layer. Layer masks allow you to mask and then later unmask them should you change your mind about what parts of an image are to be visible.
Sunset in Silk Hope Canon EOS D30 digital camera, 28-70mm f 2.8 at 33mm, f 8.0 1 15, ISO 100, Fine image setting, 1440 x 2160 pixel 1.2MB .jpg A picture is worth a thousand words. However, a picture with metadata, security features, a color profile, notes, sound recordings, and other information is worth even more than just a picture Photoshop 7 offers a number of significant features to help you share your digital photos with others whom you choose, in the manner in which you choose, and with valuable information that you want to pass on or keep for yourself. In this technique, we look at how you can view, add, and edit information that can be attached to your digital photos. Plus, we look at how you can share your digital photos in a secure manner by using PDF files. The Digital Still Camera Image File Format Standard, known as EXIF (Exchangeable Image File Format) was created as a standard for sharing information along with digital images. Most new digital cameras write EXIF data...
Time-consuming steps in digitally processing digital photos. With the Photoshop 7 new Auto Color tool, these steps are reduced to a single-click command. However, you ought to be aware, that even though this tool is an improvement over previous auto functions, the results can be somewhat less effective than you may want. Certain images can also fool the automatic logic and make it misbehave. It is worth knowing how the underlying mechanism works so you can make the necessary corrections manually if need be.
If you edit digital images and you want to share your work on the Internet, then this chapter has three useful techniques that you ought to find to be both valuable and fun. The first technique shows you how you can create a Web photo gallery using the Photoshop 7's Web Photo Gallery feature. The next technique shows you how to create an animation by using digital photos. Such animations can be used on Web pages or for other digital presentations on a computer or shared on a CD-ROM. Finally, the chapter and the book finishes by showing you how to create an image map. If you don't now what an image map is or how it can be used you surely must read this technique. The image map helps you create viewer-friendly navigation between Web pages and it can be used to creatively display your photography.
In this chapter, we look at nine plug-ins that can either make your tasks easier and quicker to do or can do them better than you can do with the features found in Photoshop 7. Several plug-ins covered make it a snap to complete basic image correction. Grain Surgery does an excellent job of removing the dreaded digital noise from images. Convert to B&W Pro makes it easy and fun to make black and white images from color images. You discover how to transform a digital photo into a painterly image by using buZZ.Pro 2.0 and how to use a pen tablet to selectively paint photographic effects on your digital photos. The last technique covers a few special effects plug-ins that can be useful to photographers.
Take some time to test your workflow and your computer system. Take a lot of digital photos. You don't have to worry about film and developing costs so snap away. The more photos you take, the better photographer you'll be (check out Chapter 19 for tips on composition). Even if all you plan to be is the designated family vacation photographer, don't underestimate the significance of your function. Experience and a little knowledge behind the lens will make your photos all that more memorable, and that's a priceless gift. Here are a few other tests you can try
The vast majority of the artwork with which you work (or play) in Photoshop is raster artwork. Raster imagery consists of uniformly sized squares of color (pixels), placed in rows and columns (the raster). Digital photos, scanned images, and just about anything that you put on a layer in Photoshop consists of pixels. While you edit the image, you're changing the color of the individual pixels, sometimes in subtle ways and sometimes in dramatic ways.
Obviously, the main thing to consider when you shoot pictures for a panorama is that you should hold the camera steady at one height. Don't take it away from your eye while you're shooting. If you get interrupted mid-sequence, start again. Better yet, if possible, use a tripod to keep the camera steady. Remember, digital photos don't waste film. Stay away from the focus and zoom buttons. Auto-focus the first picture and let that one dictate the focus for the rest. Practice the panorama shuffle. Start shooting with your body aimed at one end of the scene. Take small steps circling to your right as you shoot your pictures from left to right. Don't use a flash. Particularly, don't use auto-flash, as it will throw varying amounts of light as it sees a need. These make the exposure all but impossible to correct. If your camera allows, turn off auto-exposure and choose a suitable exposure value for the available light you can try a couple of test shots and preview them on your LCD to check...
One of the main features that I love about the File Browser is that it does something wonderful to digital camera images it automatically creates full-color thumbnails of any images you open within it. Tor example, when you open a folder or CD of images, for just a moment you'll see the generic icons (as shown at right), iust as you would if you opened the memory card from your computer. As you can see, when it comes to finding an image, these generic icons are basically worthless.
Photographs that are scanned or brought into Photoshop using a digital camera often take on unwanted color casts. Alternatively, certain lighting effects can cause a color cast commonly yellow or blue, but can be any color to occur right when the picture is taken. Photoshop contains many ways to neutralize those color casts, but the quickest way, if you're not concerned about being too precise, is to use the Auto Color command.
Whether you take a picture with a digital camera or use a scanner to bring a photo (or other artwork) into Photoshop, you are digitizing the image. That is, digit not as in a finger or toe but as in a number. Computers do everything absolutely everything by processing numbers, and the basic language of computers is binary code. Whether it's a photo of a Tahitian sunset, a client's name in a database, or the latest box score on the Internet, your computer works on it in binary code. In a nutshell, binary code uses a series of zeros and ones (that's where the numbers part comes into play) to record information. (In Photoshop, this is a critical concept for color, as you can see in Chapter 6.) Binary code might look like this
The Calibrate tab (Ctrl+Alt+5, +Option+5 on a Mac) wasn't meant for you to apply color correction to your images, but to fine-tune the camera profiles that are built into Camera Raw. When updates to Camera Raw are available (at http adobe.com) for you to load onto your computer, typically those updates include profiles for new models of digital camera. When Adobe adds a new digital camera model to Camera Raw, they program in specific color profiles for that particular model digital camera. The controls in the Calibrate tab (see Figure 9-28) are intended to be used to fine-tune the camera profile in Camera Raw with what your own digital camera is producing. Most photographers wouldn't go through the hassle of calibrating their digital camera to the profiles available in Camera Raw, after all, the profiles provided work very well as they are set up now. Another reason, it's a real hassle to calibrate your digital camera
Solution Use the Fluorescent setting of your digital camera. If working with film, your camera retailer can provide you with color filters recommended for particular kinds of fluorescent lamps. These filters are designed to add only the amounts and types of colors needed. Since it's difficult to correct for fluorescent lights digitally, you'll want to investigate this option if you shoot many pictures under fluorescents and are getting greenish results. You can also shoot in the RAW format if your digital camera has that feature, and correct the color as you convert in Photoshop.
NC Magic Tree Farm Canon EOS D30 digital camera, f 2.8 28-70mm 34mm, ISO 100, Fine image setting, f 16 1 20, 3917 x 1495 pixels, 16.8MB .tif Figure 30.1 shows a digital photo that was created by digitally stitching together five photos that were taken with a digital camera on a tripod. Each photo was overlapped about one-third and then combined into a single image by using Enroute PowerStitch software, which is no longer available. You can achieve the same digital stitching effect by using the Photomerge feature in Adobe Photoshop Elements. Shot in the early afternoon, the bright blue color of the sky dominates the image. Our objective for this image is not insignificant to turn the image into an after-dusk image with a rich orange sunset color and a magical tree just to add a bit intrigue.
Decorative Gourds Canon D30 digital camera, 28-70mm f 2.8, ISO 100, RAW file setting, 2160 x 1440 pixels, converted to a 1.0MB .jpg When I mention color management to photographers that use Photoshop, they usually have one of two different reactions. One is What the heck is color management The other Oh no what a nightmare The fact is color management is truly not a piece of the proverbial piece of cake for sure. It is a complete and usually complex workflow that begins with the creation of a digital photo from a scanner or digital camera, then your PC display, and to any output device you use, such as your own photo-quality printer, a high-end printer at a service bureau, or a film recorder. As the goal of this book is to provide you with 50 practical techniques for digital photos, complete coverage of how to set up color management is out of the scope of this book. However, without covering some of the basics of color management, you won't have the high level of success that I want...
The Batch command lets you play an action on a folder of files and subfolders. If you have a digital camera or a scanner with a document feeder, you can also import and process multiple images with a single action. Your scanner or digital camera may need an acquire plug-in module that supports actions. (If the third-party plug-in wasn't written to import multiple documents at a time, it may not work during batch-processing or if used as part of an action. Contact the plug-in's manufacturer for further information.)
Selecting the right film can be as important as choosing an appropriate lens. Some films are known for their bright, vibrant colors. Others are considered more accurate or capable of better reproducing flesh tones. Some films are sharper or have finer grain. Others are more sensitive to light and make it possible to shoot pictures in near darkness, or when very short shutter speeds are needed to freeze action. Your digital camera, too, probably provides the equivalent of film choice in the ISO (sensitivity) options, or various sharpness and color saturation settings. Photoshop can help when you choose the wrong film, or don't set your digital camera's controls exactly right. Your image editor will let you boost colors or tone them down, disguise noisy grain or emphasize it, and compensate for images exposed under less than ideal lighting.
This chapter offers four ways of adjusting color in terms photographers will understand immediately. If you've ever slipped a CC 10 Cyan filter into a filter pack, or stocked your camera bag with an 85B or 80A conversion filter, you'll appreciate the advice here. However, even if your color correction experience extends no further than using the white-balance control on your digital camera, this chapter has everything you need to correct your colors in Photoshop.
Before you can really reap the benefits Album has to offer, you need to import and organize your files. These chapters show you how to import your files from a variety of sources, such as your digital camera and your Photo CDs. The info in this part also shows you how to create and use tags, captions, and notes for optimum identification and organization. Finally, I show you how to work with different versions of your photos and how to create new and backup copies of catalogs the database backbone of your collection of files.
These three chapters are chock-full o' tips. If you find that people are nodding off when you show them your vacation slideshow, maybe a few tips in composing better images will help remedy the situation. And, if you're looking to add to your repertoire of digital camera goodies, take a gander at Chapter 20. Here you'll find a brief description of some practical and fun camera accessories. Finally, if you encounter the occasional snafu, look at Chapter 21. You may find that the cure to your problem lies in these few pages.
Okay, raw format may not be ideal for every photographic situation. I shot thousands of images in JPEG format before the raw format made it into advanced compact digital SLR cameras. Many of those photos are permanent staples in my portfolio. And yes, I admit it I still shoot JPEGs sometimes. I carry around a compact digital camera that produces great 7 megapixel images (Figure 2-3, for example). My compact camera is convenient for snapshots or interesting subjects I come across while driving around town and it serves as a backup while I'm shooting nature photos. But for those images (as for all my more serious shooting), I use my digital SLR in raw format, of course Though I have a nice collection of images from earlier digital cameras (and I still carry a compact around in my pocket), I often run into the limitations of shooting in JPEG or TIFF format these, for instance Limited white-balance adjustment When I'm out in the field shooting (with my digital camera, always ), I'll often...
The Lens tab (press Ctrl+Alt+3 or +Option+3 on a Mac) gives the photographer the power to correct imperfections that can occur due to lens shortcomings. (Ack, wait Don't go throwing away your digital camera or the lenses you bought for your digital SLR The fact of the matter is that almost all lenses display chromatic aberrations or vignetting from time to time.) As a rule, lens shortcomings appear when you adjust your zoom to either the extreme wide-angle or telephoto settings or when the lens aperture is either wide open or closed down. Today's compact and prosumer model digital cameras come equipped with lenses of excellent quality, and they only keep getting better.
If you're already well versed in transferring images to your computer, feel free to skip to the next section. (I won't even be offended. Honest.) If you're still wrestling with transferring images from your camera to your computer, you can use any of several methods, but these two are the most common i Connecting your digital camera directly to your computer. When you first get your digital camera home from the camera store, you have to unpack all those manuals, CDs, and cables that come in the box. The CDs include a software utility used to transfer images to your computer one of the cables is for plugging your digital camera into your computer so you can transfer the images. (Refer to your camera's owner's manual to figure out which connection on the camera to plug the cable into. The other end of the cable connects to your computer's FireWire or USB port.) Using a card reader to download images to your computer also offers added security. With a direct connection, there's often the...
The final part of this book, The Part of Tens, was both the easiest and most difficult section to prepare. It was easy because, well, the chapters are short. It was incredibly tough because it's so hard to narrow any Photoshop-related list to just ten items. Photoshop is such a beautifully complex and deep program that I had a very hard time (as you'll read) restricting myself to just ten favorite tips and tricks, just ten bits of hardware and software to make your work in Photoshop easier, and just ten reasons to own a digital camera. But I did it (more or less beware of hidden tips and tricks)
Maybe the clock on your digital camera wasn't operating properly and didn't embed any dates and times on your photos. How do find those files that don't have a date or time they were created or imported You can direct Album to round up those stray files by choosing FindOItems with Unknown Date or Time. Album then displays all the files without dates or times in the Photo Well. After you've rounded them up, you can easily change the date of the images by choosing EditOAdjust Date and Time. For more details on date and time changes, see Chapter 5.
Q. If the picture I need to repair doesn't have enough background to copy, or doesn't have a good ba
Remember that Photoshop allows you to have more than one file open at a time. You can borrow from another picture and copy the selection onto a new layer of the picture that needs fixing. Shrink it or enlarge it so that the texture is in scale with the rest of the scene, and then copy and paste it as much as needed. If you have a digital camera, shoot lots of backgrounds and keep them in a special folder on your computer. Then when you have a problem photo, you have ready-made scenery to drop the subject into.
For Photoshop's purposes, the darker pixels in the alpha channel or layer mask are treated as though they reside in the foreground of your photo, while the lighter pixels are treated as if they are in the background. I'll provide an example that should make this clearer. Figure 2.49 is a digital camera photo which, like most digital camera photos, has a plethora of depth-of-field. Everything in the foreground and background is as sharp as the subject herself.
DESIGNTIP Using a scanner and a digital camera If you have a scanner, you can import print images, such as those taken from photographs, magazines, or line drawings, into Photoshop. Remember that images taken from magazines are owned by others, and that you need permission to distribute them. There are many types of scanners, including flatbed or single-sheet feed. See your instructor to learn how to use the scanner in your facility. You can also use a digital camera to create your own images. A digital camera captures images as digital files and stores them on some form of electronic medium, such as a floppy disk or SmartMedia card. After you upload the images from your camera to your computer, you can work with images in Photoshop. You can open a scanned or uploaded image (which usually has a .JPG extension or another graphics file format) by clicking File on the menu bar, then by clicking Open. All Formats is the default file type, so you should be able to see all available image...
You may have thought when you first bought your camera that the software that came bundled with the camera was all you needed. Now you may see that the features of those programs are limited and really intended to just facilitate the importing of images onto your computer. i Import After you take photos, you can move (or import) them into Album. It only takes a few minutes, and your camera and memory card are ready for the next outing or event. In addition to a digital camera or card reader, you can import images directly from your scanner, hard drive, or CDs. After they're imported, your images are stored in what Album calls a catalog. If you're short on hard drive space, you can even store your images offline, while retaining a proxy (low-resolution copy) in your catalog. You also can import video and audio clips. For the two readers who don't already have a digital camera Not too long ago if you had a digital camera, you were considered to be on the technological cutting edge. Now...
Black-and-white photography, like blues music, seems to enjoy a resurgence every five or ten years. In truth, neither black-and-white imagery nor blues ever goes anywhere It's only widespread public perception of them that changes. Monochrome photos are a great creative outlet, letting you strip down your pictures to the basics without the intrusiveness and bias of color. Photoshop is a great tool for working with black-and-white images, both those that were originally conceived and created in monochrome as well as those that were derived from color images. Indeed, Photoshop offers some powerful tools for transforming a full-color image into black and white, mimicking specialized films and filters in flexible ways. In most cases, these procedures offer much more flexibility than you'd get shooting in black-and-white mode with your digital camera, too.
You don't need a grease pencil to mark up your digital images. If your photograph was taken with a digital camera or already has been scanned, you can use Photoshop's layers and annotation features to mark up your image. Press N to select the Annotation tool in the Toolbar, click in an area you'd like to comment about, and type your comments. You can collapse a comment down to a sticky-note icon when you don't need to view it. Choose different color notes for the various meddlers working with the photo. Should your instructions be really complicated, Photoshop includes an audio annotation feature. If you need to draw directly on the image, say, to mark cropping, create a new empty layer and draw on that. Make the layer invisible when you no longer need to view the instructions on the comment layer. Figure 4.7 shows a typical marked up digital image.
More recently, I wanted to give my mom a photo of her three grandkids to use as the desktop background on her computer. The problem was that my two kids live with me in Maine, my nephew lives with my sister in Maryland, and we didn't have any recent photos of the kids together. The solution I took a photo of my daughters with a digital camera, then scanned a picture of my nephew and used Photoshop to add him to the photo of my daughters.
When you import photos and clips into Album, they are, by default, organized in the Photo Well, the main display area for your files, by the date and time of the photo. The date and time could be when the photo was taken by your digital camera or when the image was scanned. You also can arrange your photos by folder location, import batch, color similarity, media type, or tags.
When you first open Photoshop, you'll see its toolbox on the left side of the screen, the Tool Options bar just under the menus at the top of the screen, several sets of floating palettes on the right, and a Welcome box in the middle with links to some introductory Help topics. (You'll also see your desktop, or whatever else is open at the time, if you use a Mac.) You won't see a work area because Photoshop, unlike many other programs, doesn't automatically create a new document for you. This actually makes sense because most of your work in Photoshop will be done on pictures that you have brought in from some other source. Maybe you'll be using images from your digital camera or scanner. Possibly you'll work on files you've downloaded from the Internet or on photos from a CD-ROM. In
Two other buttons appear in this dialog box, and in the other adjustment dialog boxes as well. These are the Load and Save buttons. They can save you a lot of time and effort if you have a whole series of pictures that need the same kind of corrections. Perhaps you used your digital camera to shoot several outdoor pictures with the same lousy light conditions. Maybe your scanner tends to make everything a little more yellow than you want. After you determine the settings that correct one
Digital cameras usually create Jpeg files. The digital imaging community often dismisses Jpeg images as poor quality. But digital cameras are capable of producing excellent quality Jpeg images. If your digital camera only creates Jpeg files, you still can create good images. The main disadvantage of Jpeg images is their availability only in 8 bits per channel and consequent susceptibility to posterization or other forms of degradation when edited. Jpeg files are fine for minor image edits and excellent for E-mail and posting on the Web.
Igital photography costs a lot of money for one that wants to get serious V with the craft. There's always the latest digital camera to buy, the next lens in your collection, memory cards, gadgets, and other gizmos. Ah, but there's more to contend with that will draw resources from your wallet
Here's whar I told my Editor about what would be different about my digital photography book. (2) I would skip the 'Here's What j Digital Camera Is section and (he 'Here's Whit h Printer to Buy'' sett ton, because they were in all those other hooks that I bought Instead, I'd start the book at the moment the phoio comes into Photoshop from the camera. (3) fi would work the way digital photographers teally work in the order (hey work starting with sorting and categoni-ing photos From the shoot. dealing with common digital photography problems, color correcting the photos, selecting and masking parts of the photo, retouching omul areas. adding photographic special effects, sharpening their photos, and then showing the fmal work to the client fot approval. I to'd him about the File Browser and how there's so much to U, it's just about J separate program unto itself, yet nobody's realty coveting the things photographers are trllirtg me they need ro know like automatically renaming their...
The pixel dimensions, in turn, correspond to the image's file size. The larger the pixel dimensions, the more data (and therefore the larger the file size). Every image has a set number of pixels. How does it get these pixels in the first place You establish the number by the capture setting on your digital camera or the resolution setting on your scanner (see the sections Working with Camera Resolution and Working with scanner resolution later in this chapter). The file sizes of raster images can be very large, in comparison to slim and petite file sizes of vector images. You may have discovered this fact on your own while working with your digital camera or scanner. It seems that in no time flat, that CompactFlash card, memory stick, or hard drive space is eaten up. Another disadvantage of raster images is that because they contain a fixed number of pixels, when they're enlarged the quality can go downhill fast.
Because these images were created with a digital camera that exports EXIF data, the information displayed includes the creation date, exposure settings, and resolution. To view only the EXIF data, select EXIF from the pop-up menu at the far left, below the information pane.
Using this technique involves cropping. Cropping even small areas of an image means you're throwing away a lot of pixels. If the photo you want to crop was shot with a 5-megapixel compact digital camera, you may wind up with an image that doesn't have enough resolution for large prints. You can try interpolating the image (using the ImageOImage Size command), but interpolation will get you only so far. For this technique, make sure (if possible) that you start out with images shot at the highest resolution your digital camera will offer. Many digital cameras have a macro mode that gets you within an inch of your subject (or closer), filling the frame with an extreme close-up like the photo in Figure 13-13.
Of all the advantages that shooting raw offers compared to JPEG, the biggest is control. When shooting photos for my fine-art portfolio or for portraits, I want complete control over the tonal adjustments to my images. Even though the latest digital cameras are pretty handy at processing images, almost all need post-processing help in Photoshop. Shooting in raw format lets me judge and adjust color and exposure for each individual photo if I choose. I don't have to trust blindly that my digital camera automatically produces images that match my taste I have the data I need to make them look right. i Full use of all the information captured Shooting in raw format gives the photographer all the data the digital camera's image sensor captures, thus providing the photographer with more data to work with to make adjustments, edits, and sizing later in Photoshop. You're not limited to the reduced data in a compressed 8-bit JPEG file (as detailed in the next section). Some digital SLRs...
Figure 2.21 represents a combination of best possible worst possible scenario. On the plus side, I managed front row seats next to the dugout on the first-base side for this professional baseball game, and I was armed with an awesome 14-megapixel pro-level digital camera. Unfortunately, when the action started, I had a 28mm non-zoom lens mounted on the camera. So, I ended up with a big picture view that took in most of the infield and rendered the players a lot smaller than I would have liked.
Noise shows up in conventional photographs as grain, although that kind of graininess comes from the silver halide clumps in the photosensitive media when the photo is taken and processed. Noise can be added to a film image or print as it is scanned and converted to digital form, because electronic noise is an inherent part of the digital process. Any time an electronic signal is converted from analog form to digital, or is amplified, some random information gets mixed in with the actual picture data in the form of noise. Noise is often removed by the electronic gadget, such as a digital camera, that produces it. The process involves comparing the image data with a blank image exposed under the same conditions. Certain kinds of fuzziness that appear in the blank version and the image can be assumed to be noise and safely removed. Photoshop has its own noise reduction function, which can be summoned using the Filters Noise Reduce Noise command. The dialog box shown in Figure 4.10 pops...
Efore you start a massive makeover of your images in Album, you might consider first taking inventory of your work area to see if it's conducive to image editing. I mean, you (or a delegate) spent a considerable amount of time setting up your computer, digital camera, and scanner to perform their assigned tasks, right Similarly, consider setting up your workspace as an extension of your imaging equipment.
One of my all-time favorite special effects plug-in is the Xaos Tools (www.xaostools.com) Terrazzo 2.0. Designed to act like a digital kaleidoscope, it can also be used to merely mirror an image or part of an image. The image of a mountain range in Sedona, Arizona, taken with a Nikon 950 digital camera, and shown in Figure 41.2, was transformed into the photo shown in Figure 41.3 with Terrazzo 2.0.
L Mount your digital camera to a sturdy tripod. I always recommend shooting as many of your photos on a tripod as humanly possible. A tripod helps you achieve the sharpest possible photos, especially when you're shooting in low-light conditions and your shutter speed is less than X25 of a second. Look through your viewfinder or LCD and pan the scene from left to right (or top to bottom) to make sure your camera is level. If you see that your panning is a little off, adjust your tripod head to level your camera as best as you can. l Meter the main part of the scene. I recommend using manual shutter-speed, aperture, and white-balance settings. Look at your LCD or view-finder to see how your digital camera is metering the scene. Switch to manual mode, and then set your shutter speed and aperture to match your digital camera's first meter reading of the scene. The idea is to ensure that the exposure is the same for every photo sequence you shoot. Additionally, set your white balance...
If you've been using a digital camera for a while now and take photos frequently, you've probably noticed how quickly images pile up on your hard drive. Every time you download photos from a memory card to your hard drive, you can be adding hundreds of digital images to an already-crowded storage space. And they sit there . . . and pile up . . .
From time to time you'll need to convert a color picture to black-and-white, whether the original was taken on film or in pixels. Some digital cameras have a black-and-white option, perhaps augmented by a sepia option, too. You'd think they'd do a good job of creating a B W picture because, technically, a digital camera's sensor is totally blind to color. The sensors themselves are strictly black-and-white components. They become color sensitive because of the color filters that are placed over each photosite on the sensor. If there were some way to remove those color filters, then a digital camera could, theoretically produce a great-looking black-and-white image. Indeed, some vendors, such as Kodak, actually sold black-and-white-only digital cameras during the previous millennium. Because every pixel in the sensor could be used without interpolation (as is required for color digital pictures with cameras other than the Foveon-using Sigma and Polaroid cameras), a black-and-white...
Figure 6.1. Our eyes don't perceive the full spectrum of color, but capture hues through three diffe
Color films use a minimum of three different layers of photosensitive emulsion, each sensitive to red, green, and blue light. Digital cameras have three sets of color sensors, and scanners use three light sources, three arrays of sensors, or filters to capture red, green, and blue information. Finally, when digital information is seen on computer monitors, the same three colors (in the form of LCD pixels or CRT phosphors) complete the circle by displaying the color information for our eyes to view again. Digital cameras work something like color film, responding to red, green, and blue light. However, except for some alternative technologies, such as the Foveon sensor currently used only in the Sigma SD9 and SD10 digital SLR cameras, and the seldom seen Polaroid X530 point-and-shoot model, camera sensors do not have separate red green blue layers. Instead, each pixel in a digital camera image is sensitive to only one color, and interpolation is used to calculate the correct color for...
Another logical candidate for tool presets is the Crop tool. As I explain in Chapter 4, a photo from a high-end digital camera has an aspect ratio (relationship between width and height of the image) of 2 3, and common print and frame aspect ratios include 4 5 (for 8 x 10 prints), 5 7, and 13 19 (for large prints). (Some lower-cost cameras shoot in different aspect ratios.) You'll often find a need to crop an image to a specific size to meet your printing requirements. And, don't forget resolution printing in the correct size at the wrong resolution is simply a waste of paper and ink Set up a number of Crop tool presets for your typical print sizes and relax, knowing that you'll always be cropping correctly.
Most users will be using digital cameras for capturing their images, resulting in a large number of original files. Save all your original files. (Users working with film can organize with physical storage files. Refer to the web site for my comments on film). Now you can look through thumbnails of your images in Bridge. This is especially useful for images shot as RAW files with your digital camera since RAW files are usually not visible in a typical folder tool. The thumbnails can be resized by dragging the thumbnail slider at the bottom of the thumbnail window in Bridge, allowing for easy previewing of the images.
The advantage photographers have is that they've seen all these techniques before, and have probably used them. The ability to reproduce every one of these effects within Photoshop is a powerful additional tool. In truth, Figure 1.2 never saw a piece of film. It was taken with a digital camera using the normal (nontelephoto non-wide-angle) zoom setting, cropped tightly in Photoshop to simulate a telephoto picture, and then a sun was added and flag colors were manipulated to create the image you see here. Don't panic if your photographic interests don't run to camera techniques or darkroom magic. Even if your photography skills emphasize other worthy areas of expertise, such as composition or the mechanics of camera operation, you'll still find Photoshop a comfortable fit with what you already know, and a great tool for applying what you plan to learn in the future. From its earliest beginnings, Photoshop was modeled on photographic concepts. Many features incorporated into the latest...
This chapter provides a gentle introduction to the color theories that photographers work with everyday, and which become even more useful when you begin working with Photoshop. You'll learn more about the most frequently used color models and the differences between the way color is viewed in the real world, captured by a film or digital camera, displayed on your monitor, and output by your printer. I'll spare you the hypertechnical details of working with color curves. If you need to fine-tune color that precisely, you need a prepress guide like Dan Margulis' Professional Photoshop.
L Images themselves have no resolution. Whether in your camera, on your hard drive, or open in Photoshop, your images consist only of tiny colored squares called pixels. The image looks and acts the same within Photoshop, regardless of resolution. An image 3000 x 2000 pixels at 300 ppi is handled in Photoshop exactly as an image 3000 x 2000 pixels at 72 ppi. l Resolution is an instruction to a printing device. The resolution value that you assign to an image in your digital camera or in Photoshop's Image Size dialog box is recorded with the image strictly as an instruction to the output device.
L If you took the photo with a digital camera, you need to reshoot the photo, if possible, using a higher resolution. Of course, if the photo is of the Eiffel Tower and you're sitting in your office (which isn't in Paris), that option isn't very feasible. But if the photo is a portrait of a family member, and he or she is willing to give you another shot, then go for it. If necessary, check your camera's documentation to see how to increase the resolution of the camera. Possible cure If there is no date embedded in the image, Album places a icon on the thumbnail. If the clock on your camera or operating system is malfunctioning, the question mark may indicate an incorrect date and time stamp. Or you may have no date or time at all.
I have a great shooting arrangement with Bambi, one of my favorite models. I show up every Saturday morning at 7 30 a.m. at the park with my digital camera, tripod, and backpack, and hike over to the part of the lake where she has breakfast. On cue, she then hides behind some trees and I take photos of her. Strictly professional
WARNING Resampling an image to much larger pixel dimensions does not increase the quality of the image. The extra pixels are merely resampled and interpolated from the existing pixels. If you really want a much larger, higher-quality image, you must start with an image of higher resolution. If you are using a digital camera, for example, you must use a camera with more megapixels. When you start with more pixels in an image (by using a 5-megapixel camera, for example), you can make larger prints of a high quality. Less-expensive digital cameras (2 megapixels, for example) cannot produce high-quality prints of the same size because less information is captured from the real world.
There's so much power in Photoshop CS that if you're a photographer and don't use all the tools it has to offer, you're putting a crimp in your creativity, and seriously restricting your flexibility. For the devoted photographer, both amateur and professional, not using Photoshop is like limiting yourself to a single lens or zoom setting, using only one film, or using a digital camera exclusively in fully automatic mode. (And if you'd like to break out of that mold, you might want to check out my books Mastering Digital SLR Photography and Mastering Digital Photography, both from Course Technology.)
Each new version of Photoshop has improved on the last, offering new capabilities. Some have been rather earth-shattering in their scope, such as Photoshop's move from floating selections to full-fledged layers in Photoshop 3.0. Others have had chiefly ergonomic or convenience benefits, such as the Palette Well introduced with Photoshop 7. Users screamed for a few features for a decade or more before they became a reality, such as the ability to bend text along a path, introduced in Photoshop CS. Other features were relegated to junior programs, such as the sophisticated red-eye correction tool found in Photoshop Elements, but which didn't make an appearance in Photoshop until CS2. The improvements in Photoshop have been gradual and, over time, fairly impressive, as the program grows to meet the needs of our new digital age. For example, the ability to edit digital camera RAW files is now an integral part of Photoshop CS, which is important at a time when so many photographers are...
Use the infrared.pcx photo (or another color photo of your choosing) from the website. Photoshop needs to see the various colors in the image, just as an infrared film or digital camera recording with an infrared filter attached does, so you must start with a color picture. Just follow these steps.
The chief disadvantage is that such panoramas don't use all the available film area, and that's probably one of the reasons why the APS system failed (cheap digital cameras being another reason). You get a wide-angle shot by enlarging only a center strip of the film. Your 4 x 10-inch panorama picture is actually just an 8 x 10 with two inches trimmed from the top and bottom. That's cheaper and faster than snipping an 8 x 10-inch print yourself, but you're not getting the sharpest possible picture. At the bottom of Figure 5.19 you can see how such a panorama might be derived from a full-frame photograph. A third way to create panoramas is with one of the newer digital cameras with this feature. When you switch to panorama mode, the digital camera shows a ghost image of the edge of your last picture in the LCD panel on the This documentiscreated withtrialversionof CHM2PDF Pilot2.16.100.rrent image so that the two overlap. You can repeat this step as many times as you want to create...
In practice, most displays show far fewer colors than the total of which they are theoretically capable. Actually, the number of different colors a display can show at one time is limited to the number of individual pixels. At 1024 x 768 resolution, there are only 786,432 different pixels. Even if each one were a different color, you'd view, at most, only around three-quarters of a million colors at once. The reason your digital camera, scanner, display, and Photoshop itself need to be 24-bit compatible is so the right 786,432 pixels (or whichever number is actually required) can be selected from the available colors that can be reproduced by a particular color model's gamut. In practice, both scanners and digital cameras capture more than 24 bits worth of color, to allow for the inevitable information lost in translating a full-spectrum image to digital form. To understand why, you need to understand a concept called bit depth.
Because digital photography doesn't have a per-shot cost (as does shooting film), there is certainly a tendency to shoot more. And more. And more. Experimental shots, this-might-be-interesting shots, special effects shots, and (at least in my case) the same shot over and over and over again. They build up on your hard drive. (Who would have thought, even a few years ago, that a hard drive with a capacity of over 100 gigabytes could ever be filled up Now, I'm not the youngest bull in the herd, but I remember backing up my hard drive to 3.5-inch floppy disks and not that many of them either ) It's pretty easy to stay organized after you choose a system. The hard part is actually deleting those digital photos that you really don't need to keep you know, out-of-focus, shot at a bad angle, Aunt Betsy's eyes were closed and mouth was open, the 400th shot of the dogs sleeping all curled up, the 401st shot of the dogs sleeping all curled up, and the like. It takes discipline (Or an optical...
How often do you need to color-correct your video Chances are, every edit session. The same issues that plague video also affect still photography (especially digital photography). The bad news is that you won't find a waveform monitor inside Photoshop. The good news is that all of your knowledge about fixing video signals will translate to Photoshop (with a little practice). If you think you're SOL because you don't have much experience onlin-ing an edit, don't worry, you'll be up to speed quickly.
If you're new to digital photography and image editing, your camera is probably set to capture Jpeg files. If setting your camera to capture RAW files sounds like a new and complex idea, don't worry about doing that now. But once you're more comfortable working with your camera, you should try to set it to capture RAW files. Processing RAW files in Photoshop is covered in the Processing RAW Images section. If you continue to work with film (I shot most of the chapter images in this book on film), you'll need to scan your images into the computer to perform some basic processing steps on them. These steps are covered in the document Working with Film found on the website.
Emember the days (just a few years ago ) when digital photography consisted of having fun shooting photos, transferring them to your computer, and enhancing them using Photoshop The choices were simple shoot in JPEG or TIFF format. JPEG format is pretty good, but TIFF was supposed to be better (even though the resulting image files were huge). Before long, we figured out that JPEG quality was pretty close to TIFF quality for the most part, shooting images in TIFF really didn't offer much advantage. Discerning digital photographers have always wanted a file format that works like a digital equivalent of a traditional negative giving the photographer total control over processing the image data captured by a digital camera. (Sure, you could skip the tweaking and leave it all up to the camera's internal processing software but why settle for blah results ) In the past few years, new digital camera models have delivered just that the raw image format. The software that gives you control...
Moving from the darkroom to digital has saved thousands of dollars in film and processing costs (not to mention a reduction in environmental degradation) but has added a new set of challenges to the art and business of photography. Perhaps foremost among the problems presented by digital photography is noise. Those pesky red, green, and blue (or light and dark) specks in an image can ruin a digital photo. Noise is generally most prominent in shadow areas and against dark colors in your images. If your camera lets you select an ISO setting, you can help minimize digital noise in your photos by using a low ISO. Sometimes you do need to shoot the equivalent of faster film, such as at sporting events. However, when you have a choice, use a low ISO to minimize noise. And using a tripod can help, too
There is resurgent interest in black and white photography, with many good reasons for the renewed interest. You'll increasingly find more of it in art galleries and museums that display photographic works of art. Fantastic new ink sets for inkjet printers are becoming available that produce excellent prints. Traditional photographers are learning digital photography, which allows far more control over their images than they ever had in the darkroom. Those shooting with digital cameras are looking to do new things with their color images. If you enjoy black and white photography, you'll enjoy this chapter.
Digital cameras cut out the middle step by creating color images directly. Where scanners use a linear array that grabs an image one line at a time, digital cameras use a two-dimensional array that grabs a complete bitmap in one instant. Today, digital cameras with 3.3 to 6 megapixels (or more) of resolution can capture images that are virtually indistinguishable from those grabbed on film when reproduced or enlarged to 8 x 10 inches or less. You'll find more information about color scanners in my book Mastering Digital Scanning with Slides, Film, and Transparencies (ISBN 1-59200-141-6) and lots more nuts-and-bolts on digital cameras in Mastering Digital Photography (ISBN 1-59200-114-9). If you want to learn how digital cameras capture color, check out Mastering Digital Photography or Mastering Digital SLR Photography. All three books are available from Course Technology, and you can find more information about them at my website, www.dbusch.com.
If Bridge and Photoshop irritate you when they periodically check for the latest updates, chances are you have not clicked on the Preferences button in the Adobe Updater dialog box when it has finished checking. To do so, choose Help Updates in either application and then, after the Adobe Updater has finished checking for new updates, click the Preferences button. Doing so opens the Adobe Updater Preferences dialog box (Figure 5-2). In the dialog box, you specify how you want to check for and where to download any available updates for Photoshop, Bridge, Help Center, and Stock Photos.
I still often use the colors of other images to help me adjust my work. You can go to the website for any stock agency and search for images that are similar to your image. Adobe Stock Photos is built right into Adobe Bridge and Adobe Bridge makes it easy to copy accurate comps into Photoshop for comparison. Remember, good color is not necessarily accurate color good color serves your design goals. But be careful, modern photographic design includes some fairly unusual color casts usually, stock images either have accurate color or very unusual colors.
You may need to go the other direction when using stock images. Because paths are vector-based, they take up much less room in file size. These savings make it much more likely to find clipping paths with stock photos collections on CD-ROM. You can B-a+click ( 0+click) on the path's icon, and then switch over to the Channels palette. Click on the Save Selection as Channel icon, and you are set.
A number of Web sites that don't specialize in fonts also offer them. Stock photo sites, clip art sites, and even general graphics-related sites often have free fonts available. Collections of commercial fonts can be purchased from a wide variety of sources, including my two favorite font sources
In the back of this book, you'll find a CD-ROM. It contains Photoshop plug-ins and several high-resolution pieces of stock photography in full, natural color. I've included many of the pivotal images from this book so that you can follow along with my examples as you see fit.
Trying to adjust your camera to get the desired depth-of-field to focus attention on a specific part of an image requires considerable skill, the right lens, the right film or ISO speed, the right amount of light plus, a bit of luck, too. Andromeda Software, Inc. (www.andromeda.com) offers VariFocus a plug-in that allows you to digitally focus defocus features in your image with incredible control.
After you identify your camera to Album by setting your camera and card reader preferences, you can bypass the Get Photos from Camera or Card Reader dialog box when you execute the Get Photos command (unless you click the Restore Default settings button). Your photos are imported directly into the Photo Well. Here's how to set the preferences for your camera or card reader 3. Choose the name of your camera from the Camera pop-up menu. Establish the defaults for your camera and card reader in the Preferences dialog box. Establish the defaults for your camera and card reader in the Preferences dialog box.
Although some people may disagree, my recommendation is to capture your digital images in TIFF format, if your camera allows it. TIFF images do not utilize the lossy compression scheme that the JPEG file format does and therefore produce a higher-quality image. The file size is much larger and will therefore fill up your camera's memory card faster. It takes a little longer to record the image to your camera after you capture it, so your camera may be hung up for as little as a second or two to as long as 30 seconds. If your cameras can only capture images in JPEG format, then select the highest-quality JPEG setting possible (such as High, Fine, or Large). The result will be the lowest amount of compression and therefore a higher-quality image.
Transfer the RAW images from your camera to your computer's hard drive. Photoshop's Camera RAW plug-in lets you manipulate many of the settings you can control within your camera. I'm using the Nikon D70 as an example here. Your camera probably has similar RAW file settings that can be worked with. Here are some of the most common attributes you can change. This is an overview only. Check your Photoshop Help files for more detailed information on using these controls. I'll also be providing you with information on color correction, exposure compensation, saturation, and other parameters in later chapters of this book. I'll address these topics with respect to Photoshop CS, but the same concepts apply to the manipulations you can make within the Camera RAW plug-in. Color Space. It's possible your digital camera lets you choose from among several different color space profiles, such as Adobe RGB or sRGB. The RAW file will be saved by the camera using the camera's native color space. You...
L Camera or card reader The default settings for cameras and card readers will be fine for most users. But you also can adjust them to fit your particular camera or card reader. Choose the name of your camera, or the drive letter that indicates your camera, from the Camera pop-up menu. You also can choose to delete the photos from your camera after you've imported them.
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Champion Flash Photography
Here Is How You Can Use Flash Wisely! A Hands-on Guide On Flash Photography For Camera Friendly People!. Learn Flash Photography Essentials By Following Simple Tips.