DIGITAL ART PHOTOGRAPHY
ABOUT THIS BOOK FOOLISH ASSUMPTIONS CONVENTIONS USED IN THIS BOOK WHAT YOU DON’T HAVE TO READ HOW THIS BOOK IS ORGANIZED PART I: THE ART OF A DIGITAL PICTURE PART II: THE PHOTO SHOOT PART III: PHOTOSHOP ART: USING SOFTWARE TO ENHANCE OR CREATE ART PHOTOS PART IV: THE FINAL OUTPUT: GALLERY-WORTHY PRINTS PART V: THE PART OF TENS ON THE WEB SITE ICONS USED IN THIS BOOK WHERE TO GO FROM HERE DE?NING DIGITAL ART PHOTOGRAPHY MASTERING FIVE STEPS TO CREATING A GALLERY-READY ART PRINT 1) DE?NE YOURSELF, YOUR SUBJECT MATTER, AND YOUR AUDIENCE 2) MASTER YOUR CRAFT AND HONE YOUR PHOTOGRAPHIC SKILLS 3) THE TREK FROM CAMERA TO COMPUTER 4) PRINTING IMAGES 5) FRAMING YOUR MASTERPIECE COMPOSING AN ART PHOTOGRAPH SIMPLICITY BALANCE RULE OF THIRDS ALL ABOUT LIGHT, SHADOWS, AND SHADES RECOGNIZING LINES, SHAPES, AND FORMS SUBJECT PLACEMENT DECIPHERING COLOR UNDERSTANDING POSITIVE AND NEGATIVE SPACE FOREGROUND, BACKGROUND, AND DEPTH OF ?ELD PERSPECTIVE IN-CAMERA CROPPING AND FRAMING THE DIGITAL PATH FILM VERSUS DIGITAL DIGITAL CAMERA 101 DIGITAL CAMERA TYPES HOW DIGITAL CAMERAS WORK THE WHOLE MEGAPIXEL (MP) THING LENSES SETTINGS FLASH AND ?ASH ATTACHMENTS BATTERIES SUPPORTS MEMORY AND REMOVABLE STORAGE MEDIA GETTING A DIGITAL IMAGE FROM CAMERA TO COMPUTER RESOLVING RESOLUTION ISSUES UNDERSTANDING FILE TYPES JPEG TIFF RAW EXPLORING YOUR COMPUTER STORAGE SPACE MONITORS CALIBRATION GO-GETTER GRAPHICS ADD-ONS CHOOSING A PLATFORM CHOOSING A PRINTER AND PAPER FOR THE RESULTS YOU WANT FINDING A PRINTER THAT’S RIGHT FOR YOUR WORK PAPER AND FRIENDS: SELECTING THE BEST MEDIUM FOR YOUR PRINTS FINDING THE RIGHT IMAGE SIZE FOR YOUR PRINT EXPLORING THE INS AND OUTS OF SCANNERS CHOOSING A SCANNER CON?GURING YOUR SCANNER DE?NING YOURSELF AS A PHOTOGRAPHER SHOOT WHAT YOU LIKE STUDY THE MASTERS RIGHT-BRAIN, LEFT-BRAIN ALL A MATTER OF PERSPECTIVE FINDING THE UNUSUAL DE?NING YOUR AUDIENCE: CREATING ART THAT SELLS CHOOSING SUBJECT MATTER PRESENTATION SHOOTING WITH NATURAL LIGHT PROPER EXPOSURE USING AUTO SETTINGS WHEN SHOOTING OUTDOORS USING MANUAL SETTINGS FOR CREATIVE CONTROL FOREGROUND AND BACKGROUND COMMON OUTDOOR LIGHTING SITUATIONS CREATING A VIVID SHOT WITH YOUR BACK TO THE SUN FACING THE SUN AVOIDING AND EXPLOITING SHADOWS SHOOTING AT NOON, DUSK, AND DAWN GLARE AND ?ARE SHOOTING GLARE ON WATER, ICE, AND SNOW WEATHER AND ATMOSPHERE AUGMENTING NATURAL LIGHT USING ?ASH ?LL SHOOTING BRIGHT LIGHTS IN DAYTIME SETTING UP TO SHOOT INDOORS ISO SPEED MANUAL VERSUS AUTO SETTINGS WHITE BALANCE TAKING INDOOR PICTURES WITHOUT FLASH USING AVAILABLE LIGHT ONLY INTENTIONAL BLUR TAMING AVAILABLE BRIGHT LIGHT TAKING ADVANTAGE OF COLOR IMBALANCE AUGMENTING INDOOR LIGHT COMPARING SHOOTING WITH AND WITHOUT ?ASH COMBINING INDOOR AND OUTDOOR LIGHT USING WHITEBOARDS ADDING EXTRA LIGHT SOURCES; STUDIO SET UP SHOOTING INDOORS WITH FLASH PHOTOGRAPHING PEOPLE TRADITIONAL POSED PORTRAITS CANDID PORTRAITS CAPTURING PORTRAITS OF INANIMATE OBJECTS WILDLIFE PORTRAITURE PET PORTRAITURE DISCOVERING HOW LIGHT MAKES COLOR POSITIONING YOURSELF AND YOUR CAMERA USING COMPLEMENTARY AND CONTRASTING COLORS HOW YOUR CAMERA INTERPRETS LIGHT AND COLOR SETTING ISO SPEED FOR MAXIMUM COLOR SETTING WHITE BALANCE USING AN F-STOP TO ENHANCE COLOR ADVANCED COLOR TECHNIQUES UNDEREXPOSING YOUR PHOTO TO ENHANCE COLOR SHOOTING COLORS IN THE SHADE COLOR AND THE ATMOSPHERE WHY SHOOT IN BLACK-AND-WHITE? A BRIEF B&W PERSPECTIVE SHOOTING ARCHITECTURE SHOOTING PORTRAITS SHOOTING FOR JOURNALISM CAPTURING BLACK AND WHITE CREATING A B&W IMAGE MANIPULATING A COLOR IMAGE TO BECOME B&W GETTING THE BEST QUALITY IMAGE UNDERSTANDING THE 256 SHADES OF GRAY DE?NING HIGHLIGHTS, MIDTONES, AND SHADOWS PRINTING FOR BEST QUALITY TAKING A SHOT IN THE DARK CREATING A BLUR-FREE, ?ASHLESS NIGHT PHOTO USING FAST ?LM AND HIGH ISO SETTINGS SHOOTING WITH A ?ASH OTHER NIGHTTIME ART OPPORTUNITIES LIGHT YOUR SUBJECT FROM BENEATH SHOOT THE MOON SEEK NIGHTTIME LANDSCAPES USE RE?ECTIONS SEEK OUT SHADOWS AND WEATHER TWEAKING AUTOMATIC MODES AND SETTINGS TO ACHIEVE CREATIVE RESULTS PLAYING WITH LIGHT COME GET ’YER EFFECTS HERE! DOUBLE EXPOSURES PANORAMIC SHOTS RE?ECTIONS ZOOMING WHILE SHOOTING INTENTIONAL LACK OF FOCUS INTENTIONAL UNDEREXPOSURE/OVEREXPOSURE MAKING ?OWING WATER TURN TO SILK USING ?LTERS USING AUTOMATIC ADJUSTMENTS TO REFRESH OLDER PRINTS USING MANUAL ADJUSTMENTS FOR FINE-TUNING DODGE BURN TOOL SMART SHARPEN/UNSHARP MASK COMMANDS SPONGE TOOL DUST & SCRATCHES ?LTER BLUR TOOL COLOR BALANCE REMOVING A HORRIBLE SHADOW HEALING DAMAGED PHOTOS MAKING THE CORRECTIONS TWEAKING COLOR IN THE DIGITAL WORLD ENHANCING SEPIA AND OTHER TONES ENHANCING SHADOW, HIGHLIGHTS, HUE, AND SATURATION PRESERVING DETAIL MAKING AN IMAGE WHOLE AGAIN WITH PHOTOMERGE SEAMLESSLY INTRODUCING BACKGROUNDS IN PHOTOGRAPHS CREATING ART PHOTOS THROUGH SYMMETRY USING LAYERS IN PHOTOSHOP FEATHERING CREATING A SIMPLE TWO-LAYER PROJECT CREATING A MORE COMPLEX LAYER PROJECT PHOTOSHOP FILTER EFFECTS GAUSSIAN BLUR ?LTER UNSHARP MASK ?LTER PLASTIC WRAP ?LTER GLOWING EDGES ?LTER WATERCOLOR ?LTER SKETCH ?LTERS EMBOSS ?LTER CONSTRUCTING A COMPOSITE À LA WARHOL USING PHOTOSHOP FILTERS MAKING A BACKGROUND FOR YOUR IMAGES TRANSFERRING AN IMAGE FROM YOUR CAMERA TO YOUR COMPUTER FROM ?LM/SCANNING FROM A JPEG ?LE FROM A RAW ?LE ARE RAW FILES A RAW DEAL? UNDERSTANDING THE RELATIONSHIP BETWEEN FILE TYPE AND FILE SIZE DE?NING AND CONSTRUCTING A TIFF ?LE IN PHOTOSHOP CREATING A WEB GALLERY IN PHOTOSHOP INTERPOLATION RESAMPLING AN IMAGE CHANGING RESOLUTION WITHOUT RESAMPLING DISCOVERING PROOFS AND PRINTING THE FINAL PRODUCT PREPARING FOR OUTPUT MAKING A CONTACT SHEET PREVIEWING YOUR PRINT TAKIN’ IT TO THE MATS COMPARING MAT OPTIONS CUTTING YOUR OWN MATS CREATING A MAT IN PHOTOSHOP THE GREAT FRAME-UP BUYING RETAIL BUYING ONLINE; ?NDING INTERNET DEALS BUYING FOR THE BARGAIN PUTTING TOGETHER THE FRAME CREATE WITH CLASSIC LINES AND COLORS START WITH A GOOD CAMERA EXPLOIT THE RIGHT LIGHT FOR YOUR PHOTO KEEP IT SMALL AND SPECTACULAR BALANCE ITEMS ONSCREEN AND ON PAPER ORGANIZE YOUR PHOTOS INTO SETS BY THEMES KNOW THE ART TECHNIQUES OF THINE MASTERS CREATE A STORY OR MESSAGE CAPTURE THE UNEXPECTED OR UNREAL ALWAYS HAVE YOUR CAMERA WITH YOU OVEREXPOSE AND UNDEREXPOSE EMULATE THE MASTERS SHOOT ON A CLOUDY DAY CREATE A MATCHING BACKGROUND MELD LAYERS TO CREATE MOTION BUILD YOUR ARCHIVE OF BACKGROUNDS DON’T OVERDO EFFECT(S) USE THE EDIT?FADE COMMAND KEEP YOUR IMAGE IN HIGH RES ON ALL PLATFORMS