By David D. Busch
A high-quality creation to Photoshop components three that may attract photographers relocating from conventional movie and darkroom printing to electronic images. whereas this booklet does not enterprise too a ways into 'advanced' thoughts, and does not discover the 'hidden positive factors' pointed out in another parts courses, it does disguise all of the necessities and contains a few necessary assistance and methods. Comparisons with movie digicam and darkroom ideas will attract conventional photographers.
If you are new to components, this consultant offers you an intensive grounding, but when you have been utilizing parts for your time and are searhing for extra complicated concepts then you will likely locate one other booklet extra fascinating.
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Additional info for Adobe Photoshop Elements 3.0: Photographers' Guide
3. Press A on the keyboard to activate Elements’ Selection Brush, which allows you to “paint” a selection using ordinary brush tools. 6 The picture looks like this prior to adding the zoom effect. CHOOSE MASK OR SELECTION In the Options bar you’ll find the Mode drop-down list that lets you choose whether the Selection Brush paints a selection or paints masked (unselected) areas. I usually choose to paint a selection, but the choice is yours. 22 Camera and Lens Effects in Photoshop Elements 4. Paint an area around the basketball using a soft, 100pixel brush chosen from the drop-down palette at the left side of the Options bar.
A more sophisticated (and expensive) solution requires a professional camera called a view camera, a device that usually uses 4 × 5-inch (or larger) film, and has lens and film holders that can be adjusted to any desired combination of angles. Those who can’t afford such gadgets, or who own digital cameras without interchangeable lenses, appear to be left out in the cold. That’s where Elements comes in. You can make some reasonable adjustments to the perspective of an image within your image editor.
As a bonus, panning often blurs the background enough to add the kind of motion blur you want to achieve. ■ Understand the dynamics of motion. Objects crossing the camera’s field-of-view blur more than those headed directly towards the camera. Some parts of an object, such as the wheels of a moving car or the feet of a running athlete, move faster than the rest of the subject, adding inevitable (or even desirable) blur. Subjects closer to the camera blur more than those located farther away. You can learn a lot more about these topics (from the camera’s point of view) in my book Mastering Digital Photography.
Adobe Photoshop Elements 3.0: Photographers' Guide by David D. Busch