By Mark Galer
Using a different mixture of step-by-step initiatives, motion picture tutorials and pattern photos, Mark Galer publications the reader during the strongest photograph enhancing instruments that parts has to offer. Discussing and demonstrating the talents and know-how to create professional-quality effects with this budget-priced software program. no matter if optimizing images for printing, bettering pictures for max influence, or developing striking, seamless montages, this publication will allow any aspiring electronic specialist to get the utmost functionality from the credits crunch licensed software.
The package deal is complted with an astonishingly complete DVD filled with over 7 hours of motion picture tutorials, a hundred+ pattern photos, a inventory picture gallery in addition to automatic activities to get much more out of the software.
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Extra resources for Adobe Photoshop Elements 8: Maximum Performance. Unleash the hidden performance of Elements
If, however, we value a vibrant appearance more than texture we must sacrifice texture for color. This is a subtle difference, so many viewers will fail to notice that the clipped colors they are looking at are slightly ‘flat’ (without a lot of texture) when compared to less vibrant colors that were not clipped. If we are printing to high-end print service providers or using high-quality inkjet printers then it is important to go to Edit > Color Settings in the main Edit space of Photoshop Elements before we open and process images in ACR.
D e. et p nt RAW ImAGE ON DVD What you see is not always what you get – target your levels to your output device for predictable results To achieve maximum quality, set the target levels in images that are in 16 Bits/Channel mode (accessed through the Camera Raw format or via 48-bit output scans from film). If you are optimizing your files in 8 Bits/Channel mode (via JPEG files) be sure to use an adjustment layer rather than an adjustment from the Enhance menu. Part 1: Optimize Ansel Adams was responsible for creating the famous/infamous ‘Zone System’ in order to precisely control the tonal range of each of his masterpieces.
If we hold down the Alt key (PC) or Option key (Mac) and then click on the Blacks slider we can see the yellow and magenta colors are clipped. The reality is that when colors clip in one or two channels they will have slightly less texture than if they were processed to have information in all three channels. If, however, we value a vibrant appearance more than texture we must sacrifice texture for color. This is a subtle difference, so many viewers will fail to notice that the clipped colors they are looking at are slightly ‘flat’ (without a lot of texture) when compared to less vibrant colors that were not clipped.
Adobe Photoshop Elements 8: Maximum Performance. Unleash the hidden performance of Elements by Mark Galer