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Library | Item Barcode | Call Number | Material Type | Item Category 1 | Status |
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Searching... | 30000010202526 | TR267.5.A3 M68 2009 | Open Access Book | Book | Searching... |
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Summary
Summary
An easy-to-follow guide for photographers wishing to produce photo-real composite image. • Features an easy-to-follow, project-based approach which illustrates important camera and software techniques. • Covers Photoshop CS4 Extended, related plug-ins, 3D modeling and rendering fundamentals, and other skills needed to blend images into a new, seemingly camera-shot scene. • Focuses on important technical skills and concepts of composite imagery. In Real World Compositing with Adobe Photoshop CS4, experts Scott Valentine and Dan Moughamian show readers how to enhance their photography and Photoshop skills from scene selection and preparation to photographic technique. Professional photographers and digital artists wishing to produce photo-real composite images and surreal artwork by blending or compositing many individual images can learn all they need to know right here. Building from a presumed skill set, the authors provide detailed examples and explanations that cover the newest features in Photoshop CS4 and popular 3D applications. More than just a guide for using the software, this book also instructs readers on photographic planning and technique, key graphic design concepts, and even visual perception as applied to creative images an increasingly popular approach which requires the digital artist to become more involved in the presentation and concept of their images.
Author Notes
Dan Moughamian is a compositor and photographer of landscapes and urban architecture. With more than 14 years of experience with Adobe Photoshop, he has worked directly with Adobe Systems to help enhance many of Photoshop's core compositing functions. Learn more about Dan's work at www.colortrails.com.
Scott Valentine is an award-winning experimental photographer and long-time Adobe Photoshop user. He has a deep understanding of digital imaging and optical physics, and has served as a subject matter expert in microphotography and technical image analysis at a national laboratory. Follow Scott at: blog.lightningsymphony.com.
Table of Contents
Introduction | p. xi |
Chapter 1 System Considerations | p. 1 |
Hardware | p. 1 |
Memory (RAM) | p. 2 |
Graphics Processors (GPUs) | p. 4 |
Monitors | p. 6 |
Hard Drives | p. 9 |
Color Calibration and Profiling | p. 12 |
Software | p. 13 |
Adobe Bridge CS4 | p. 13 |
3D Modeling and Rendering | p. 14 |
Advanced Masking Tools | p. 15 |
Noise Reduction Software | p. 15 |
Chapter 2 Brainstorming | p. 17 |
Finding Inspiration | p. 17 |
Storing and Evaluating Ideas | p. 18 |
Sketching and Visualizing | p. 20 |
Choosing a Final Concept | p. 22 |
Chapter 3 Choosing the Scene and Subject | p. 25 |
The Scene | p. 25 |
Details Make the Difference | p. 26 |
Scouting the Options | p. 27 |
Travel Now, Travel Later | p. 29 |
Travel by Wire: Stock Imagery | p. 31 |
The Subject | p. 32 |
Other Considerations | p. 36 |
Complexity | p. 36 |
Color and Luminosity | p. 37 |
Chapter 4 Using Stock Images | p. 41 |
Finding the Right Shots | p. 41 |
Understanding What You Need | p. 41 |
Searching and Organizing | p. 42 |
Keyword Search Strategies | p. 44 |
Licensing and Restrictions | p. 45 |
Free Sites and Fair Use | p. 49 |
Types of Images Available | p. 51 |
Chapter 5 Capturing the Scene and Subject | p. 53 |
Working with Light | p. 53 |
Soft Light | p. 54 |
Hard Light | p. 56 |
Reflections | p. 57 |
Highlights | p. 60 |
Shadows and Texture | p. 61 |
Edge Contrast | p. 63 |
Opaque Edges | p. 64 |
Transparent Edges | p. 65 |
Distance Factors | p. 66 |
Perspective | p. 67 |
Composition and Selective Focus | p. 69 |
Compositional Balance | p. 69 |
Tilt-Shift | p. 71 |
Digital Noise | p. 74 |
Color Considerations | p. 76 |
Camera Location | p. 78 |
Equipment Considerations | p. 79 |
Chapter 6 Organizing and Evaluating Images | p. 83 |
Bridge Workflow Tips | p. 83 |
Tips for Metadata | p. 84 |
Tips for Keywords | p. 87 |
Tips for Searching | p. 89 |
Tips for Using Collections | p. 91 |
Tips for Evaluating and Comparing Images | p. 92 |
Photoshop Workflow Tips | p. 94 |
Managing Your Workspace | p. 94 |
Using Layers and Layer Groups | p. 96 |
Chapter 7 Processing Raw Source Files | p. 99 |
Enhancing Color and Tone | p. 100 |
Global Color Corrections | p. 100 |
Global Tonal Corrections | p. 103 |
Localized Color and Tone Corrections | p. 108 |
Controlling Camera Noise | p. 116 |
Controlling Sharpness | p. 117 |
Handling Multiple Corrections | p. 119 |
Managing Output | p. 121 |
Chapter 8 Enhancing Source Images | p. 123 |
Compositing Workflow | p. 123 |
Identifying Problem Areas | p. 124 |
Retaining Image Flexibility | p. 125 |
Making Image Corrections | p. 132 |
Reducing Noise | p. 132 |
Modifying Tonal Values | p. 134 |
Correcting Color | p. 136 |
Making Layer-Based Edits | p. 138 |
Chapter 9 Creating 3D Content | p. 149 |
3D Fundamentals | p. 150 |
3D in Photoshop | p. 157 |
Basic 3D Tools | p. 157 |
The 3D Panel | p. 161 |
The 3D Axis | p. 164 |
Creating 3D Content in Photoshop | p. 167 |
Understanding Textures | p. 169 |
Working with Materials | p. 172 |
Adding Contour with Depth Maps | p. 173 |
Lighting 3D Content | p. 174 |
Rendering and Performance | p. 175 |
Choosing Your 3D Environment | p. 176 |
Chapter 10 Compositing Source Materials | p. 181 |
Quick Setup | p. 181 |
Adding Source Files | p. 184 |
Adjusting Scale and Placement | p. 189 |
Obscuring Extra Pixels | p. 193 |
Clone, Patch, and Healing Tools | p. 194 |
Selections, Layer Masks, and Alpha Channels | p. 197 |
Alternate Removal Methods | p. 204 |
Perfecting Focus | p. 206 |
Lighting Enhancements | p. 212 |
"Lighting Layers" | p. 212 |
Creating Shadows | p. 215 |
Final Touches | p. 217 |
File Versioning Options | p. 222 |
Chapter 11 Output Options | p. 223 |
Commercial Press Output | p. 223 |
Choosing the Right ICC Profile | p. 224 |
Soft-Proofing Your Work | p. 227 |
Making Corrections | p. 231 |
Ink-Jet Printer Output | p. 232 |
Web Output | p. 235 |
Appendix: Project Examples | p. 239 |
Project 1 Blue Moon | p. 239 |
Step 1 Process the Raw Source Image | p. 240 |
Step 2 Correct the Perspective on Buildings | p. 241 |
Step 3 Create an Illustrator "Orb" | p. 241 |
Step 4 Create a 3D Photoshop "Orb" | p. 242 |
Step 5 Place Files as Smart Objects | p. 243 |
Step 6 Position, Scale, and Rotate | p. 244 |
Step 7 Mimic the Evening Light | p. 245 |
Step 8 Adjust the Focus | p. 246 |
Step 9 Add the Final Touches | p. 247 |
Project 2 Alley Man | p. 248 |
Step 1 Match the Tonality and Color | p. 248 |
Step 2 Place the Man in the Alley | p. 249 |
Step 3 Achieve Accurate Scale | p. 250 |
Step 4 Set the Focus Points | p. 251 |
Step 5 Work the Shadows | p. 252 |
More Composite Examples | p. 253 |
Parting Words | p. 256 |
Image Credits | p. 257 |
Index | p. 259 |