By Harold Davis
Award-winning photography/design group Harold and Phyllis Davis are again with a new quantity of their new Photoshop Darkroom sequence. selecting up the place their best-selling first e-book left off, The Photoshop Darkroom 2: complicated electronic Post-Processing will express you every little thing you want to recognize to take your electronic imaging abilities to the subsequent point. nice photographers comprehend that the simplest photographs start good ahead of the shutter clicks, and positively good ahead of Photoshop boots up. Harold takes a step again, and stocks his worthwhile information for shooting the main compelling pictures attainable by way of conserving in brain what form of post-processing you will do sooner than you begin taking pictures. you are going to additionally locate whole insurance of vital issues corresponding to compositing, operating with layers, and HDR. jam-packed with a whole lot eye-popping photographs that have gained Harold nationwide acclaim, this can be a wonderful source for photographers who are looking to imagine outdoor the field and create really lovely paintings. *Compatible with any model of Photoshop *Useful case stories holiday info down into condensed, real-world examples that are effortless to keep on with and positioned into perform instantly *Images and supplemental fabric can be found at no cost on focalpress.com. Read more...
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Additional info for The Photoshop darkroom 2 : creative digital transformations
In this case, I just used a single Black & White adjustment layer to make the conversion. But many times I need a whole bunch of layers to get the monochromatic conversion right. It’s easier for me to see this layer stack as a completely separate image that can be merged down and copied over to the original image. adjustment By default, Photoshop names thLais yer s palette layer “Black & White 1” in the A Ballet with Reality 51 raw rescue, part 3 5: desaturating with black and white te, In the Adjustments payletfrom the select Neutral Densit own list Black & White drop-d Black & Whi adjustment layerste work with the Adjustmen palette.
Grab the Brush Tool and start painting! 2 Seeing is believing to remember about An important thing mething object is to create so retouching is that the le will op pe e, ibl s visually plaus plausible. If it seem might it as tly ac ex have to be believe it. It doesn’t . t has to be believable appear in life, it jus 36 The Photoshop Darkroom 2 Use the Eyedropper Tool to sample the color of the railing close to where you will be painting 3 Select the Brush Tool from the Toolbo use the Brush Preset Picker to make thex and brush diameter smaller than the railing and set the Har dne ss to 50%.
Next, you cloned out the flaws—no more feet or tripod legs. The final steps involved creative decision making about the overall tonality of the image. The primary tools for enhancing the creative color qualities of the image were to combine the image with a LAB equalization and to selectively desaturate it using two monochromatic versions. One point here is that you need to look at RAW digital captures as potential images. The RAW capture is the starting point, and not the final version of your photo.