Introduction | p. xi |
System Considerations | p. 1 |
Hardware | p. 1 |
Memory (RAM) | p. 2 |
Graphics Processors (GPUs) | p. 4 |
Monitors | p. 6 |
Hard Drives | p. 9 |
Color Calibration and Profiling | p. 12 |
Software | p. 13 |
Adobe Bridge CS4 | p. 13 |
3D Modeling and Rendering | p. 14 |
Advanced Masking Tools | p. 15 |
Noise Reduction Software | p. 15 |
Brainstorming | p. 17 |
Finding Inspiration | p. 17 |
Storing and Evaluating Ideas | p. 18 |
Sketching and Visualizing | p. 20 |
Choosing a Final Concept | p. 22 |
Choosing the Scene and Subject | p. 25 |
The Scene | p. 25 |
Details Make the Difference | p. 26 |
Scouting the Options | p. 27 |
Travel Now, Travel Later | p. 29 |
Travel by Wire: Stock Imagery | p. 31 |
The Subject | p. 32 |
Other Considerations | p. 36 |
Complexity | p. 36 |
Color and Luminosity | p. 37 |
Using Stock Images | p. 41 |
Finding the Right Shots | p. 41 |
Understanding What You Need | p. 41 |
Searching and Organizing | p. 42 |
Keyword Search Strategies | p. 44 |
Licensing and Restrictions | p. 45 |
Free Sites and Fair Use | p. 49 |
Types of Images Available | p. 51 |
Capturing the Scene and Subject | p. 53 |
Working with Light | p. 53 |
Soft Light | p. 54 |
Hard Light | p. 56 |
Reflections | p. 57 |
Highlights | p. 60 |
Shadows and Texture | p. 61 |
Edge Contrast | p. 63 |
Opaque Edges | p. 64 |
Transparent Edges | p. 65 |
Distance Factors | p. 66 |
Perspective | p. 67 |
Composition and Selective Focus | p. 69 |
Compositional Balance | p. 69 |
Tilt-Shift | p. 71 |
Digital Noise | p. 74 |
Color Considerations | p. 76 |
Camera Location | p. 78 |
Equipment Considerations | p. 79 |
Organizing and Evaluating Images | p. 83 |
Bridge Workflow Tips | p. 83 |
Tips for Metadata | p. 84 |
Tips for Keywords | p. 87 |
Tips for Searching | p. 89 |
Tips for Using Collections | p. 91 |
Tips for Evaluating and Comparing Images | p. 92 |
Photoshop Workflow Tips | p. 94 |
Managing Your Workspace | p. 94 |
Using Layers and Layer Groups | p. 96 |
Processing Raw Source Files | p. 99 |
Enhancing Color and Tone | p. 100 |
Global Color Corrections | p. 100 |
Global Tonal Corrections | p. 103 |
Localized Color and Tone Corrections | p. 108 |
Controlling Camera Noise | p. 116 |
Controlling Sharpness | p. 117 |
Handling Multiple Corrections | p. 119 |
Managing Output | p. 121 |
Enhancing Source Images | p. 123 |
Compositing Workflow | p. 123 |
Identifying Problem Areas | p. 124 |
Retaining Image Flexibility | p. 125 |
Making Image Corrections | p. 132 |
Reducing Noise | p. 132 |
Modifying Tonal Values | p. 134 |
Correcting Color | p. 136 |
Making Layer-Based Edits | p. 138 |
Creating 3D Content | p. 149 |
3D Fundamentals | p. 150 |
3D in Photoshop | p. 157 |
Basic 3D Tools | p. 157 |
The 3D Panel | p. 161 |
The 3D Axis | p. 164 |
Creating 3D Content in Photoshop | p. 167 |
Understanding Textures | p. 169 |
Working with Materials | p. 172 |
Adding Contour with Depth Maps | p. 173 |
Lighting 3D Content | p. 174 |
Rendering and Performance | p. 175 |
Choosing Your 3D Environment | p. 176 |
Compositing Source Materials | p. 181 |
Quick Setup | p. 181 |
Adding Source Files | p. 184 |
Adjusting Scale and Placement | p. 189 |
Obscuring Extra Pixels | p. 193 |
Clone, Patch, and Healing Tools | p. 194 |
Selections, Layer Masks, and Alpha Channels | p. 197 |
Alternate Removal Methods | p. 204 |
Perfecting Focus | p. 206 |
Lighting Enhancements | p. 212 |
"Lighting Layers" | p. 212 |
Creating Shadows | p. 215 |
Final Touches | p. 217 |
File Versioning Options | p. 222 |
Output Options | p. 223 |
Commercial Press Output | p. 223 |
Choosing the Right ICC Profile | p. 224 |
Soft-Proofing Your Work | p. 227 |
Making Corrections | p. 231 |
Ink-Jet Printer Output | p. 232 |
Web Output | p. 235 |
Appendix: Project Examples | p. 239 |
Blue Moon | p. 239 |
Process the Raw Source Image | p. 240 |
Correct the Perspective on Buildings | p. 241 |
Create an Illustrator "Orb" | p. 241 |
Create a 3D Photoshop "Orb" | p. 242 |
Place Files as Smart Objects | p. 243 |
Position, Scale, and Rotate | p. 244 |
Mimic the Evening Light | p. 245 |
Adjust the Focus | p. 246 |
Add the Final Touches | p. 247 |
Alley Man | p. 248 |
Match the Tonality and Color | p. 248 |
Place the Man in the Alley | p. 249 |
Achieve Accurate Scale | p. 250 |
Set the Focus Points | p. 251 |
Work the Shadows | p. 252 |
More Composite Examples | p. 253 |
Parting Words | p. 256 |
Image Credits | p. 257 |
Index | p. 259 |
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