Writing a book initially seems like a secluded undertaking, but the very task of researching and seeking expert insights into any topic changes the process from solitary to collaborative. Over the years, 1 have learned from countless Photoshop experts, engineers, artists, students, and especially my readers, whose questions and comments always challenge me to be clearer and remain relevant. Thank you to Ken Allen, Mark Beckelman, Carrie Beene, Russell Brown, Shan Canfield, Jane Conner-ziser, Douglas Dubler, Sean Duggan, Bruce Fraser, Greg Gorman, Mark Hamburg, Gregory Heisler, Art Johnson, Scott Kelby, Julieanne Kost, Schecter Lee, Dan Margulis, Andrew Matusik, Pedro Meyer, Bert Monroy, Myke Ninness, Marc Pawliger, Phil Pool, Andrew Rodney, Jeff Schewe, Eddie Tapp, Chris Tarantino, Leigh-Anne Tompkins, Lee Varis, John Warner, Lloyd Weller, Ben Willmore, and Lorie Zirbes for putting up with last-minute emails, phone calls, and questions from me.
Creating a book is an undertaking where more work is done behind the curtain than in front. My backbone in this project remains Beth Millett, who took two years to convince me to write the first edition, and now I can't believe that she let me convince her to fill her little free time with this update. Beth, I wouldn't and couldn't have done it without you.
Thank you to the numerous contributors who make this third edition so valuable. Readers, photo enthusiasts, and imaging professionals from all around the world are featured in these pages and listed in the "Contributors" appendix. You were all wonderful to work with, generous with your images and techniques, and understanding of my production deadlines. Merci, vielen dank, gracias, and thank you! In addition, Jupiterlmages allowed me to feature and post images from their collections—most of which are in Chapter 9, "Portrait Retouching." Anyone who knows my photography knows that if it's not moldy and decrepit, I won't photograph it, so I rely on the generosity of others for portrait examples.
Thank you to the numerous readers who emailed since the release of the first and second editions. I sincerely enjoyed hearing from you, seeing the images you worked on, and reading your questions, which showed me what was unclear or missing in the first two editions. A technique that is overly complicated or poorly explained is worthless, and I listened to your ideas and addressed your questions while preparing this third edition. In fact, calling this book a third edition is not accurate—this really is a brand-new book. We reviewed every single technique, substituted many images with better examples, and increased the number of advanced techniques throughout the entire book. Our primary goal was to write a book that readers of the first and second editions would find valuable enough to purchase and feel they got their money's worth. Please let me know if we've accomplished this.
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Adobe Photoshop can be a complex tool only because you can do so much with it, however for in this video series, we're going to keep it as simple as possible. In fact, in this video you'll see an overview of the few tools and Adobe Photoshop features we will use. When you see this video, you'll see how you can do so much with so few features, but you'll learn how to use them in depth in the future videos.