Adobe Photoshop CS2 Photographers Guide by David D. Busch

By David D. Busch

Images and Photoshop move hand in hand. in case you consider there is not sufficient images within the ordinary Photoshop e-book, and there's not adequate Photoshop within the typical images publication, then the ebook you are looking for is true on your fingers. This full-color e-book is full of powerful examples, basic to persist with concepts, and methods that function a jumping-off element to spark your personal creativity into motion. learn Photoshop from a photographer's point of view as you disguise either conventional and modern photographic suggestions, and tips on how to reproduce or improve them in Photoshop.

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37 Adjusting the saturation and hue of the image provides a bit more zip. Chapter 2 ■ Camera and Lens Effects in Photoshop 43 3. 38. 4. You can choose to imitate the lens flare typically produced by four different types of lenses, a 50–300mm zoom, as well as 35mm and 105mm prime (single focal length) lenses. The fourth choice was new to Photoshop CS: Movie Prime, which duplicates the flare effect of many motion picture camera lenses. Start off by selecting the 105mm prime lens. You can also adjust the amount of flare by moving the Brightness slider, and drag the cross hairs shown in the preview window around to precisely position the center of the flare.

In real life, they were probably separated by 40 feet or more, and crammed together through the magic of a telephoto lens. Unfortunately, most non-SLR digital cameras don’t have really long telephoto lenses available. Some digital models may have skimpy 3:1 zoom lenses that simulate at their maximum the view you’d get with, say, a short 105mm or 135mm lens on a conventional 35mm camera. Some semi-pro models offer 10:1 and 12:1 zooms (or better) that still don’t bring you close enough. The so-called “digital” zoom built into many models does offer more magnification, but they do nothing more than enlarge a selection of pixels in the center of the sensor to fill your entire image area.

Use the Rectangular Marquee tool to select only the image of the arch, not the blank space you created around it. 7. Choose Image > Transform > Perspective to activate Photoshop’s Distortion feature. 8. Drag the corner selection handles until the lines of the arch are lined up with the grid. 9. 5. Using Guides for Alignment The first method let you use your eyeballs to line up the corrected portions of the arch. Photoshop has a better way: Guide lines (including the new Smart Guides found in Photoshop CS2, which pop up when two objects are close to being aligned).

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