Download PDF by Chris Tarantino: Adobe Photoshop Elements 3.0: Photographers' Guide

By Chris Tarantino

ISBN-10: 1592001068

ISBN-13: 9781592001064

ISBN-10: 1592001076

ISBN-13: 9781592001071

ISBN-10: 1592001084

ISBN-13: 9781592001088

ISBN-10: 1592001149

ISBN-13: 9781592001149

Which results are top completed with a movie or digicam? Which results are top utilized in a picture editor? "Adobe Photoshop parts 3.0: Photographers? consultant" solutions those questions and extra! It cuts correct to the center of the main misunderstood?but simply applied?tools in Photoshop components 3.0, analyzing each one from a photographer?s viewpoint. This precise consultant is full of strangely potent examples, easy to stick to innovations, and tips that function a jumping-off element to spark your personal creativity into motion. You don?t must be an ace photographer or photo modifying professional. This straight-forward e-book includes every little thing you should utilize Photoshop parts 3.0 to augment your photographs with the categories of results you recognize.

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Extra resources for Adobe Photoshop Elements 3.0: Photographers' Guide

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If your grid’s squares are too large, use Edit > Preferences > Grid to define a grid layout. I chose one line every 200 pixels for this project. 5. Use the Rectangular Marquee tool to select only the image of the tower, not the blank space you created around it. 6. Choose Image > Transform > Perspective to activate Elements’ distortion feature. 3 This arch appears to be falling backwards, because the camera was tilted up to shoot the picture. 4 The Grid helps line up your image as you change its perspective.

17 The pixels are the same size, so the resolution must be the same. Yet, the more contrasty half of the image, on the left, looks sharper than the lower-contrast image on the right. When working with the Threshold slider, values from 0 to 255 can be used. A very low value means that edges with relatively small contrast differences will be accentuated. High values mean that the difference must be very great before any additional sharpening is applied. Normally, you’ll need this control only when the default value produces an image with excessive noise or some other undesirable effect.

Filters, slower films, lower ISO settings on your digital camera, and other aids can help control the lens opening you use and, thus, the amount of depth-of-field you’re working with. ■ Learn the dynamics of focus, such as how two-thirds of the depth-of-field at any particular distance and lens opening is applied to the area behind your subject, and only one-third to the area in front of it. ■ Preview the amount of area in focus using your single lens reflex camera’s depth-of-field preview, or your digital camera’s LCD screen.

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Adobe Photoshop Elements 3.0: Photographers' Guide by Chris Tarantino


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