Photoshop
Páginas: 149 (37005 palabras)
Publicado: 29 de marzo de 2011
The Best of Adobe Photoshop
® ®
® ®
TECHNIQUES AND IMAGES FROM PROFESSIONAL PHOTOGRAPHERS
BILL HURTER
Amherst Media
® P U B L I S H E R O F P H OTO G R A P H Y B O O K S
Copyright © 2006 by Bill Hurter. All rights reserved. Front cover photograph by Craig Kienast. Back cover photograph by Jerry D. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax:716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN: 1-58428-181-2 Library of Congress Card Catalog Number: 2005937362 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded orotherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.
table of contents
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Photoshop HasReplaced the Conventional Darkroom . . . . . . . . . .13 2. Good Digital Working Techniques . . . . . . . . . . . .17 Profile—John Lund and his Animal Antics . . . . . . . . . . . . . . . . . . . . . .18 Determining Your Camera’s E.I. (Exposure Index) . . . . . . . . . . . . .22 Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Profile—JimDiVitale: Conceptual and Commercial Artist . . . . . . . . . . .26 White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Evaluating Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
table of contents
3
PHOTOGRAPH BY DAVID WENDT.
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .34 RAW Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Prepping RAW Files for Processing . . . . . . . . . . . . . . . . . . . . . . . .34 Adobe Camera RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 How JPEG Differs from RAW . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Color Space . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . .39 Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Printing Options . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . .41 Profile—Glen Honiball: Master Photoshop Retoucher . . . . . . . . . . . . . .42 3. color management and device profiling . . . . .48 Profile—Rich Nortnik, Jr.: Illustrator Extraordinaire . . . . . . . . . . . . . .50 It’s an RGB World Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Monitor Profiles . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
4 The Best of Adobe Photoshop
PHOTOGRAPH BY RICH NORTNIK, JR.
Camera Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Profile—Marcus Bell and the Photoshop “Darkroom” . . . . . . . . . . . .. .57 Printer Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Soft Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Profile—Gigi Clark: Hanging Out at the Photoshop Cafe . . . . . . . . . . .63 Profile—David Wendt Shoots Beautiful Cars . . . . . . . . . . . . . . . . . . . .68 4. photoshop techniques . ....
® ®
® ®
TECHNIQUES AND IMAGES FROM PROFESSIONAL PHOTOGRAPHERS
BILL HURTER
Amherst Media
® P U B L I S H E R O F P H OTO G R A P H Y B O O K S
Copyright © 2006 by Bill Hurter. All rights reserved. Front cover photograph by Craig Kienast. Back cover photograph by Jerry D. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax:716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN: 1-58428-181-2 Library of Congress Card Catalog Number: 2005937362 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded orotherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.
table of contents
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Photoshop HasReplaced the Conventional Darkroom . . . . . . . . . .13 2. Good Digital Working Techniques . . . . . . . . . . . .17 Profile—John Lund and his Animal Antics . . . . . . . . . . . . . . . . . . . . . .18 Determining Your Camera’s E.I. (Exposure Index) . . . . . . . . . . . . .22 Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Profile—JimDiVitale: Conceptual and Commercial Artist . . . . . . . . . . .26 White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Evaluating Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
table of contents
3
PHOTOGRAPH BY DAVID WENDT.
File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . .34 RAW Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 Prepping RAW Files for Processing . . . . . . . . . . . . . . . . . . . . . . . .34 Adobe Camera RAW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 How JPEG Differs from RAW . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Color Space . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . .39 Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Printing Options . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . .41 Profile—Glen Honiball: Master Photoshop Retoucher . . . . . . . . . . . . . .42 3. color management and device profiling . . . . .48 Profile—Rich Nortnik, Jr.: Illustrator Extraordinaire . . . . . . . . . . . . . .50 It’s an RGB World Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Monitor Profiles . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
4 The Best of Adobe Photoshop
PHOTOGRAPH BY RICH NORTNIK, JR.
Camera Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Profile—Marcus Bell and the Photoshop “Darkroom” . . . . . . . . . . . .. .57 Printer Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Soft Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62 Profile—Gigi Clark: Hanging Out at the Photoshop Cafe . . . . . . . . . . .63 Profile—David Wendt Shoots Beautiful Cars . . . . . . . . . . . . . . . . . . . .68 4. photoshop techniques . ....
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