By George DeWolfe
Learn the secrets and techniques of excellent paintings electronic photography
Produce eye-catching and high quality pictures simply and always with aid from this precious consultant, in response to popular photographer George DeWolfe’s most well-liked workshop. inside of, you are going to examine his “16-bit workflow” procedure for gaining knowledge of the craft of printing superb artwork images. additionally, you will observe how one can manage a profitable “closed loop” environment--one within which you deal with the whole photographic strategy your self, sending not anything out for processing, manipulating, or improvement. studying the features and methods necessary to making a electronic positive print with gentle, substance, and presence calls for ability, adventure, time, and imaginative and prescient. George DeWolfe’s electronic images fantastic Print Workshop places all of this services at your fingertips.
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Extra info for George DeWolfe's Digital Photography Fine Print Workshop
Example text
Figure 2-24: Hue/Sa turation dialog box with Edit set to Yellows and the Saturation slider moved to the right (to increase saturation) Figure 2-25: With yellow saturation on the highlights Remember that the first thing you need to do when evaluating co lor is to find the color(s) that needs to be adjusted. Using ACR, you can get so close to the correct white balance and color of the photograph that you often do not need to adjust it more using Photoshop. Defects A defect is any visible spo t in the picture that does not represent the original im age as seen through the camera (non-im age forming co ntent).
Co mpare the original image in Figure 2-8 to see how all the aesthetic decisions are combined to make an image that shows the soft glow of sunrise. The differences are subtle, but the final result has the "presence" of sunrise. 22 ::::> co o <: CD Figure 2-8: Separating the midtones (left). and the original image (right) <: Know the Instruments By now, you understand that the qualities of cropping, contrast, brightness, color, defects, and shatpness of a digital fine print are similar to the instruments of an orchestra, and the photographer is the conductor.
Well, suppose the white balance is accurate, but it doesn't look right to you (color is relative, remember). Your first clue that the color is strange is that it just doesn't feel right. Your simple task is to figure out what color is causing the offending cast or off-color. Once you determine that, you can adjust the color by adding some of the offcolor's complementary color (see Chapter 3). If it needs to be muted (less saturated), use its complement. On the other hand, if a color needs to be enhanced (more saturated), add more of the color to itself.