Professional Information Technology-Programming Book part 2 ppt

Introduction
If you've picked up this book, you're obviously interested in digital photography.
And there is a wide variety of digital photography books available these days.
However, if you've ever dreamed of being a serious digital photographer, the
second edition of Digital Photography Expert Techniques is the place to start.
Since the first edition of this book was written, the focus of the book has moved to
a nondestructive workflow. The term "workflow" has been bantered about so much
that it can mean most anything. In the context of this book, it means an organized
process of creating a finished photograph that starts with an idea and ends by being
shown or passed on to other people. That organization is structured so that when a
change in the interpretation of the image is required, it is possible to go back only
to the specific stage at which the re-interpretation must be made. That is because
each new step is done in a way that does not disturb the original image, or the
process does not use any more adjustment steps than absolutely necessary in order
to make the needed change.
Organization of This Book
This book consists of 12 chapters. At the beginning of most chapters is a sidebar
titled "How This Chapter Fits the Workflow," which gives you perspective on what
you will be doing and why you're doing it at that stage of the organization. After
that, I address common issues that you're likely to face as you move further into
that domain. As the title of this book suggests, the combination of these issues
form a set of "expert techniques" that you can use to successfully master that task.

Chapter 1, A Plan for Nondestructive Workflow
Puts the organization of the entire book in perspective, so that you know
what my concept of start-to-finish workflow is all about, as well as the
rationale for the sequence.

Chapter 2, Be Prepared
Tells you everything you need to know about getting ready to start shooting.
The chapter covers how to set your camera to be prepared for shots, what
accessories are likely to be helpful, what settings are likely to work when
you don't have time to think, how to keep the camera steady, and how to
freeze action.

Chapter 3, Bridging the Gap
Is all about Bridge; this image management program now comes with any
and all the Adobe CS2 Suite applications. In this instance, however, Bridge
is discussed primarily in relation to Photoshop and to the myriad ways that it
helps to keep your workflow organized.

Chapter 4, Streamlining Camera Raw
Gets into a great deal more depth about streamlining your processing while
in Camera Raw and the benefit of doing as much of your processing as
possible while you're in this completely nondestructive stage of operations.

Chapter 5, Nondestructive Layering
Describes, in detail, how layers can be used to isolate destructive operations
so that they can be carried out without affecting anything else you've done to
the image.

Chapter 6, Nondestructive Overall Adjustments
Shows how to use adjustment layers, which are completely nondestructive,
to make overall image adjustments. There are tips and tricks for using almost
all the different types of adjustment layers. Image adjustments administered
by commands that are not available as adjustment layers are covered in
Chapter 8, when you've exhausted all the possibilities for completely

nondestructive editing.

Chapter 7, Making Targeted Adjustments
Discusses making and using selections, masks, and other means of making
adjustments th
at pertain only to portions of the image. You also learn how to
modify layer masks after the basic adjustments have been made to further
enhance a portion of the image.

Chapter 8, Repairing the Details
Covers all types of image repair, including retouching. Retouching is
always
maximally destructive, so you are also taught how to isolate the image to
preserve all the work you have done up to this point.

Chapter 9, Collage and Montage
Discusses making one image from multiple images using the techniques of
both collage and montage. A collage is an image obviously composed of
multiple images and doesn't require doing such things as matching shooting
angles, hiding cutout borders, and otherwise attempting to "fool" the viewer
into thinking that this is a factual photo. A montage takes the viewer to a
time and place that, though it looks real, never really existed as a visual
reality at least not when a camera was present to record it.

Chapter 10, Creating the Wow Factor
Presents the next stage of progressively more destructive editing: special
effects. Most special effects are created by filters and plug-ins that respecify
every pixel in the targeted portion of the image.

Chapter 11, Special Purpose Processing

Covers "specialized" (for lack of a better, all-inclusive term) image
processing. More specifically, it discusses panoramas and enhanced
resolution images (including how to shoot them so the multiple images
required to make them blend together seamlessly), dynamic range extension
techniques, and converting photos to "paintings."

Chapter 12, Presenting Your Work to the World
Contains the most effective techniques for communicating your
photographic talents to the world. In other words, this chapter is all about
preparing your image for output and then how to use that output to show off
your talents in an efficient and cost-effective way.

Appendix, Workflow Alternatives
Takes a look at some workflow alternatives, including software tools such as
Capture One, Aperture, and Raw Shooter. You'll also find information there
about how to access the bonus chapter on Adobe's Lightroom
(
Who This Book Is For
This book is for photographers who are serious about producing the highest quality
photographs in the most efficient and cost-effective
way possible. For that reason, I
speak as though I'm talking to fellow professionals, all the while knowing that any
serious photographer can do her best by taking a professional approach to creating
images that communicate as effectively as possible.
Beca
use there are so many solutions and techniques to cover, I faced a conundrum:
should I try to make it easy for everyone to understand, or assume that readers
have at least a little familiarity with Photoshop? I opted for the latter. For example,
I assume that you know how to use common commands and tools (e.g., the Magic
Wand and the Move tool), and I also saved a lot of time, words, and pictures by

making liberal use of keyboard shortcuts or by simply putting the command in
brackets.
Does this mean that Photoshop novices shouldn't buy this book? Not at all. It just
means that you may need a beginning Photoshop book as a quick tutorial. If you're
looking for a good place to start, consider Deke McClelland's Adobe Photoshop
CS2: One on One (O'Reilly).
This edition concentrates on digital single-lens reflex (SLR) cameras, which have
become the hallmark of serious digital photographers in the time since the first
edition was written. This book focuses on digital SLR cameras that have higher
megapixels of noninterpolated resolution, interchangeable lenses, and larger, more
noise-free sensorsin other words, professional-quality cameras that let you clearly
see exactly what the lens sees. Because these cameras are all capable of producing
high-quality RAW files, this book also explores how to get the most out of RAW
files.
This book is more about workflow than it is about procedures in a specific
program. Because the majority of serious digital photographers use Photoshop,
that's the program used in most of the examples in this book.
So does this book contain all the information you'll ever need as a professional
digital photographer? Of course not. Hundreds of books have been written on the
subject of digital photography and digital image editing. If anyone could have fit
all that information between the covers of one or two books, it would have been
done a long time ago. Be sure to let me and the folks at O'Reilly know if we've
missed any that are especially dear to your heart. We'll try to squeeze them into the
next edition.
About Photoshop Versions

Adobe Photoshop CS2, which first appeared in the summer of 2005, is the ninth
iteration of Adobe's world-famous image editing program. I'll gleefully point out
new features in Photoshop CS2 that are especially notable at particular stages of
the workflow recommended in this edition of Digital Photography: Expert

Techniques.
Conventions Used in This Book
This book is meant to be equally useful to both Mac and Windows aficionados.
There is virtually no difference in the operation of Photoshop and the other
programs mentioned herein.
Menu commands are exactly the same unless followed by a parenthetical remark
that points out a difference or distinction. Menu commands are given in
hierarchical order, with an preceding each new appearance of a cascading
menufor example, Image Adjustments Levels. If a menu appears from a
palette or dialog menu, the name of the menu or dialog will precede the naming of
the command hierarchy.
Macs and PCs use different but equivalent keys for keyboard shortcuts, so I'll give
you both commands in one breath. Because Photoshop first appeared on the Mac,
the Mac command abbreviation is given first, followed by the Windows command
abbreviation. So a keyboard shortcut is given like this: Cmd/Ctrl-Opt/Alt-D (that
is, Cmd-Opt-D on the Mac and Ctrl-Alt-D on the PC). Today, there is no
meaningful difference in the functionality of the Mac or Windows versions of
Photoshop CS2.
The following typographical conventions are used in this book:

Plain text

Indicates menu titles, menu options, menu buttons, and keyboard
accelerators (such as Alt and Ctrl).

Italic
Indicates URLs, email addresses, filenames, file extensions, pathnames, and
directories.
Comments and Questions
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Acknowledgments
Thanks to Steve Weiss, the O'Reilly executive editor for digital media who has
groomed many a Photoshop author into achieving fame and fortune. He's also fun
to talk to and a superb human being. Colleen Wheeler, the developmental editor, is
supremely intelligent and has a wonderful sense of humor as well as organizational
and technical perspectives. James Duncan Davidson was the technical reviewer for
this book, providing insight and helpful comments every step of the way. And I

have to give credit to the great O'Reilly production team.
Also, many thanks to Margot Maley Hutchinson, my agent at Waterside
Productions. She is simply the cream of the crop: honest, loyal, brainy, hard-
working, and a great mom.
Many of the best lessons in life are taught to us by our families. My son, Lane, has
been a great teacher, and the directions his life is taking today are just downright
inspiring. I also owe a lot to my extended family: Bob Cowart, Janine Warner,
Nancy Miller, Jane Lindsay, Sherry Epley, Kim Friscia, Jim Coe, Roger Mulkey,
Rick White, and a host of other friends and neighbors.
I'd especially like to thank Tatyana You'no, the amazing face painter who did a job
on herself especially for this book's cover. Her baby daughter is also on the cover.
If you're looking for a face painter or a very patient model, you can reach Tatyana
by email at
Finally, this book couldn't have happened without support and help from every
manufacturer or publisher whose products are mentioned or featured.