Copyright
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First edition 2012
Copyright 2012 Mark Galer and Abhijit Chattaraj. Published by Elsevier Ltd. All rights reserved.
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Notices
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British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Control Number: 2011939002
ISBN: 978-0-2405-2379-8
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Printed and bound in Canada
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Picture Credits
Dorothy Connop, www.iStockphoto.com, Shane Monopoli, Ed Purnomo, Victoria Verdon-Roe.
All other images by the authors.
Cover Design: Namrata Chattaraj, www.wagdesign.net
Preface
The creative projects in Adobe Photoshop Elements 10 Maximum Performance are designed to provide you with the essential techniques for professional quality editing without the need to upgrade to the full version of Photoshop. The projects are designed to unleash the hidden potential of the budget software through a series of workarounds, advanced techniques and loadable presets. Each creative project is supported by a QuickTime movie tutorial and high-resolution images all available from the supporting website (www.markgaler.com). This website contains all of the project images together with full and comprehensive movie support. Each project is designed to build the skills required so that any photographer can attain the status of imaging guru. The magic is deconstructed using a series of easyto-follow step-by-step projects using large clear screen grabs and jargon-free explanations. Completed multilayered project files are also available from the supporting website for those users who like to have access to the completed project for comparison and analysis.
This book will act as your guide to some of Elements' less well-known and more powerful post-production editing techniques. It will enable you to attain the same high-quality images as professionals using the full version of Photoshop. This book makes Elements a viable alternative to the full version of Photoshop for imaging professionals and enthusiasts looking to extract the maximum performance from their software.
This book is primarily concerned with the post-production stage of the creative process and demonstrates how this part of the creative process can optimize and enhance the original capture or create an entirely new image out of several images (the creation of a composite photograph or photomontage). Where appropriate the book will discuss measures that can be taken by the photographer in pre-production or production to enable the highest-quality outcome as a result of the post-production stage. To ensure the best quality image from our sophisticated and professional post-production techniques we should make certain that we access quality raw materials whenever possible quality in, quality out. The vast majority of the JPEG images from the supporting website were processed from either Camera Raw files or high- quality 16 Bits/Channel scans. Many of the images featured in this book were captured using budget digital SLR and fixed-lens digital cameras, affordable cameras used to capture information-rich images.
The techniques used in this book promote a non-destructive approach to image editing wherever possible. The term non-destructive image editing refers to the process of editing an image whilst retaining as much of the original information as possible and editing in such a way that any modifications can usually be undone or modified. Editing on the base layer of the image can often mean that modifications to the pixel information cannot be undone easily or at all, e.g. sharpening an image file cannot be undone once the file has been saved and flattened. It is, however, possible to sharpen non-destructively in post-production so that the amount of sharpening can be altered when the file is opened at a later date. This latter approach would be termed non-destructive. When capturing images with a digital camera many users do not realize that if the JPEG file format is used image processing starts in the camera. Color correction, contrast adjustment, saturation levels and sharpening all take place in the camera. If maximum quality is to be realized the Raw format should be chosen in preference to the JPEG format, if possible. The post-production decisions can then be left to the Adobe software, allowing the user many more options.
Photoshop Elements replaced Photoshop LE (limited edition as in limited function and not availability); both of these software packages share something in common they offer limited elements of the full version of Photoshop. Adobe limits the access to some of the features that would be the first port of call for some professional image editors and photographers, but this does not mean that the same level of control cannot be achieved when using the budget software. Professional post-production image editing does NOT have to be compromised by using Photoshop Elements. When editing images there is usually more than a single way to reach the destination or required outcome. With a good roadmap the Elements user can reach the same destination by taking a slightly different course. These roads are often poorly signposted, so are often inaccessible to the casual user of the software. This book will act as your guide to enable you to attain a broad range of sophisticated post-production image-editing skills through a series of creative projects designed to circumnavigate the missing features.