By Chris Tarantino
Which results are top completed with a movie or digicam? Which results are most sensible utilized in a picture editor? "Adobe Photoshop components 3.0: Photographers? consultant" solutions those questions and extra! It cuts correct to the guts of the main misunderstood?but simply applied?tools in Photoshop components 3.0, reading every one from a photographer?s viewpoint. This specific advisor is full of unusually potent examples, easy to stick to thoughts, and tips that function a jumping-off aspect to spark your individual creativity into motion. You don?t must be an ace photographer or picture enhancing specialist. This straight-forward booklet includes every thing you should use Photoshop parts 3.0 to reinforce your photographs with the types of results you appreciate.
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Extra resources for Adobe Photoshop Elements 3.0: Photographers' Guide
Even if you’re not using film, you can get this kind of wrong color if your white balance is set incorrectly. If you manually set your white balance for incandescent light and then take pictures under daylight, you’ll end up with the same bluish pictures a film photographer gets when using indoor film in outdoor illumination. In both cases, Elements’ Photo Filter adjustment can provide a quick fix. You can also add Wratten 80- and 82-series filters to go the other way, correcting outdoor film (or white-balance settings) for incandescent illumination.
If you have a digital camera with 5-6 megapixels or more, this can work quite well. The key to successfully mimicking a long telephoto with Elements is to start with the sharpest original picture possible. Follow these suggestions to get your best picture: ■ Set your digital camera to its highest megapixel rating, and use the least amount of compression possible. If your camera has an SHQ, Extra Fine, TIFF, or RAW setting, you’ll find these will give you the sharpest original image. ■ Use the sharpest film (conventional camera) or lowest ISO setting (digital camera) you can, given the lighting conditions and your subject matter.
With experience, you’ll learn which shutter speeds work with which kinds of motion. ■ Learn to move your camera with the action (a technique called panning), which reduces the relative speed of your subject to the camera, allowing you to capture action with a slower shutter speed. 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.