The advanced digital photographer's workbook : professionals creating and outputting world-class images

2005·15.6 MB·English

by  Butler, Yvonne

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The Advanced Digital Photographer’s Workbook
Professionals Creating and Outputting World-Class Images
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The Advanced Digital
Photographer’s
Workbook
Professionals Creating and
Outputting World-Class Images
Yvonne J. Butler, Editor
AMSTERDAM • BOSTON (cid:127) HEIDELBERG (cid:127) LONDON
NEW YORK (cid:127) OXFORD (cid:127) PARIS (cid:127) SAN DIEGO
SAN FRANCISCO (cid:127) SINGAPORE (cid:127) SYDNEY (cid:127) TOKYO
Focal Press is an imprint of Elsevier
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Focal Press is an imprint of Elsevier
200 Wheeler Road, Burlington, MA 01803, USA
Linacre House, Jordan Hill, Oxford OX2 8DP, UK
Copyright ©2005, Elsevier Inc.All rights reserved.
No part of this publication may be reproduced, stored in a retrieval system, or
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mentioned in this book are protected by their respective trademarks.
Recognizing the importance of preserving what has been written, Elsevier prints its
books on acid-free paper whenever possible.
Library of Congress Cataloging-in-Publication Data
The advanced digital photographer’s workbook :professionals creating and outputting
world-class images / Yvonne Butler, Editor.
p.cm.
Includes index.
ISBN 0-240-80646-8 (alk.paper)
1. Photography—Digital techniques—Handbooks, manuals, etc.2.Image process-
ing—Digital techniques—Handbooks, manuals, etc.I.Butler, Yvonne.
TR267.A28 2005
775—dc22 2004030222
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN:0-240-80646-8
For information on all Focal Press publications
visit our website at www.books.elsevier.com
05 06 07 08 09 10 10 9 8 7 6 5 4 3 2 1
Printed in the United States of America
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Contents
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .vii
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix
PART 1 – Advanced Digital Requisites 1
Chapter 1– Calibration and Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Taz Tally
Chapter 2 – Getting Set Up for Your Film Capture . . . . . . . . . . . . . . . . . . . . . . . . . .31
Tony Sweet
Chapter 3 – File Formats: Choosing JPEG or Raw Capture . . . . . . . . . . . . . . . . . . . .51
Yvonne J. Butler
Chapter 4 – Digital Photography Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Yvonne J. Butler
PART 2 – Digital Capture 91
Chapter 5 – Digital Light and Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
Lou Jones
Chapter 6 – Digital Portraiture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Steve Anchell
Chapter 7 – Digital Macro Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Taz Tally
Chapter 8 – Digital Travel Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
Rick Sammon and Yvonne J. Butler
Chapter 9 – Digital Infrared Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .191
Eric Cheng
PART 3 – Advanced Digital Darkroom 203
Chapter 10 – Advanced Color Correction: The 90% Method . . . . . . . . . . . . . . . . .205
Eddie Tapp
Chapter 11 – Sharp Shots In-Camera and On-Computer . . . . . . . . . . . . . . . . . . . .229
Rick Sammon
Chapter 12 – Photoshop: Using Advanced and Power Tools . . . . . . . . . . . . . . . . . .247
Joe Farace
Chapter 13 – Black and White Part I: Converting Color for Printing . . . . . . . . . . . .275
George Schaub
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Contents
PART 4 – Digital Art Studio 299
Chapter 14 – Digital Fine Art Part I: How to Create It . . . . . . . . . . . . . . . . . . . . . . .301
Stephen M. Burns
Chapter 15 – Painter Creativity: Transforming Your Photographs into Paintings . . .335
Jeremy Sutton
PART 5 – Advanced Digital Output 353
Chapter 16 – Inkjet Printing and Color Synchronization . . . . . . . . . . . . . . . . . . . . .355
Joe Farace
Chapter 17 – Black and White Part II: The Digital Black and White Print . . . . . . . . .377
George Schaub
Chapter 18 – Digital Fine Art Part II: Selecting Printers and Papers . . . . . . . . . . . .385
Stephen M. Burns and Yvonne J. Butler
About the Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .393
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .401
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Acknowledgments
I
thank Diane Wurzel for sharing the vision of and commissioning
this book,Becky Golden-Harrell for editing assistance,and all the
editors and staff of Focal Press for seeing this project through to
completion.
I also acknowledge and thank the contributors to the book—Steve
Anchell,Stephen Burns,Eric Cheng,Joe Farace,Lou Jones,Rick
Sammon,George Schaub,Jeremy Sutton,Tony Sweet,Taz Tally,and
Eddie Tapp—for their numerous hours of research,testing,writing,and
photography for their chapters.Without their individual and collective
energy,knowledge,and pursuit of excellence,this book would not have
come to fruition.
I also thank so,so many members of the photo industry community,
far too many to name here,but particularly staffs of Canon,Leica,Sony,
nik Multimedia,Epson,Olympus,Wacom,Photoflex,Chimera,
Lowepro,Fujifilm,Tiffen,Kodak,Extensis,Legasse Marketing,iView,
Lowepro,Mamiya,Leaf,Minolta,Vivitar,Nikon,Adobe,Lasersoft,
SmartDisk,Capture One,Pantone,and all the others who provided
technical assistance,support,and documentation for the book.
On a very personal note,thank you from the bottom of my heart to
my parents,godparents,partner,close friends,and photography mentors
for encouraging me to always keep on keeping on.I am eternally grateful
to you and you are my inspiration.
Yvonne J.Butler
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Introduction:
Taking It to the Next Level
T
here are numerous reasons why you might have this book in
hand.You have finally decided it’s time to learn how to
calibrate your monitor,you are a film diehard and you just
want easy post-capture solutions,or you’ve got a digital
workflow that’s not exactly the easiest to get through.Perhaps you see
some exciting topics from some of the best in the business and you want
to check them out or your in-laws have given you a copy of this book for
your birthday and you thought you’d better open it up and have a look.
Whatever the reason,we would like to rock you out of your existing
digital comfort zone and take you into a new zone full of somewhat
complex yet practical solutions for advanced photographers.As the old
saying goes,knowledge is power.We want you to increase your digital
imaging power by “taking it to the next level.”
This digital imaging how-to book comprises topics and information
we deem critical to the future growth of the advanced photographer.We
believe most of us learn by doing and doing and doing.We also believe
we all have to pay our dues and spend time reading available information
and staying abreast of the latest developments in the photo industry.We
firmly believe it is up to all of us to test drive the technical background
information and sample exercises found in this book and adapt them to
our own styles and preferences.
The first part of the book might be the toughest or at least the
“driest”one for you to get through,unless of course you are a techno-
geek who thrives on techno-chatter.We know some of you might leaf
through the first chapter or even all of Part 1 and say,no way,I’m
moving straight to Part 2 on Digital Capture.We suggest you bite the
bullet and go through Part 1 with purpose to see why we believe
calibration,color correction,proper scanning,file format selection
(JPEG or raw),and workflow are all “required reading.”Expecting to
get predictable,reliable results from a non-calibrated system or working
without an established formal or informal color-managed workflow is
tantamount to depending on the lottery to make a living.Your ability to
grasp what we have to say in the rest of the book really depends on your
having a solid understanding of the topics presented in Part 1.
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