Download e-book for kindle: Adobe Photoshop Lightroom and Photoshop Workflow Bible by Mark Fitzgerald

By Mark Fitzgerald

ISBN-10: 0470303093

ISBN-13: 9780470303092

The electronic photographer's workflow is split into exact components - the construction Workflow and the inventive Workflow. The construction workflow is used to import and set up huge numbers of pictures, and get ready them for presentation through evidence printing, internet, or slideshow. more and more, photographers are turning to Adobe's acclaimed new Lightroom software program to control this a part of the workflow. After the easiest pictures are pointed out, photographers circulate to the second one a part of the workflow, the inventive Workflow, to fine-tune distinct pictures utilizing quite a few complicated electronic instruments in order that the artistic imaginative and prescient is learned. an overpowering majority of electronic photographers use Photoshop for this complex modifying.

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Extra resources for Adobe Photoshop Lightroom and Photoshop Workflow Bible

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To get the most from Photoshop, a user has to remember where specific tools and commands are located. Lightroom is different. It’s as if someone went to Photoshop’s giant toolbox and picked out only the tools a photographer uses the most. The rest of the esoteric tools are left in the Photoshop toolbox where they’re saved for special projects. What’s even better is that once all of the photographer’s tools are gathered together in Lightroom, they’re laid out in groups on the workbench in the order in which they are most often used.

When the brightest part of a scene is exposed correctly, you take advantage of the ability of a raw file to capture highlight detail. The correct exposure moves the rest of the image’s tonal levels to the right, so that each gets twice as much information dedicated to describing it, as shown in the second diagram. Stops of Exposure 6 5 4 3 Stops of Exposure 2 1 6 5 4 3 2 1024 1024 512 512 256 256 64 128 1 2048 2048 64 128 I know this flies in the face of conventional wisdom for a JPEG shooter. When you shoot JPEG, a highlight that is overexposed is gone forever.

When I point my digital SLR camera at a scene and click the shutter, the camera’s chip captures a huge amount of information. If I have the camera set to capture JPEG files, the camera’s onboard processor processes all that information into a JPEG file. The processor looks at all the settings I have dialed into my camera — sharpness, white balance, color space, contrast, and so on. Then it applies all these settings and creates the JPEG file from a small sliver of the data that the chip recorded.

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Adobe Photoshop Lightroom and Photoshop Workflow Bible by Mark Fitzgerald


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