By David D. Busch
Written from a photographer's viewpoint, "Digital Retouching and Compositing: Photographers' consultant" solves each snap-shooter's real-life difficulties painlessly. It distills complicated themes right down to a number of pages of rationalization and straightforward steps so clients can speedy and dramatically swap the way in which photographs glance. The booklet is split into 3 components: learning the fundamentals, functional Retouching, and Compositing Magic. each one part builds at the final in order that readers can develop into ok with making unique choices, doing uncomplicated retouching, and adjusting tones and hues prior to leaping into significant subject matters like retouching pics or developing practical composites.
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Additional info for Digital Retouching and Compositing: Photographer's Guide
These are all things you can easily accomplish with Photoshop, if you know how. This book shows you the secrets of retouching images and how to create new ones through seamless compositing techniques. This chapter provides a little background on both, and lists the skills you'll need to master to become a proficient image manipulator. Photography has always been part craft, part science, and part fine art, with a little alchemy and magic mixed in. Early photographers were often skilled artisans who built their own cameras, amateur chemists who sensitized photographic plates, as well as artists.
It's refreshing to work for a publisher who has actually written best-selling books on the topic, too. Also, thanks to senior editor Mark Garvey for valuable advice as the book progressed, as well as copyeditor Karen Annett, production editor Megan Belanger, and book/cover designer Chad Planner. Due credit also must go to several of the behind-the-scenes masterminds like Kathy O'Hara and Sherri Schwartz, who were instrumental in getting this book packaged and out on the shelves. Thanks also to my family and the countries of Spain, Ireland, and Italy, without whom there would have been a lot of blank spaces in this book where the illustrations were supposed to be; and to historian/photographer Candace Wellman for her gorgeous photos of places I haven't had the chance to visit.
Once processors reached the 800 MHz mark, Photoshop began operating in a fairly speedy manner. Even complex effects can be applied in a second or two. I know most books about Photoshop recommend that you always buy the fastest computer available, but experience tells me you can work quite comfortably with a less gnarly machine. The last time I had some big bucks to spend, I sprang for a better digital camera, kept my old computer for another year, and never regretted it. If you're retouching or compositing images professionally, or manipulating a large number of multi-megabyte photographs, you'll certainly want to spring for the fastest processor you can afford.