By Stephen Burns
Whereas the knowledge round the options during this ebook is excellent, it sort of feels love it wasn't edited rather well. a number of the directions for such things as software instructions within the publication don't fit the Photoshop CS3 software instructions. for instance, in a single half it says press "P" to raise the paintbrush, yet in CS3 "P" brings up the pentool. it'd be a small deal to find the paintbrush, yet those kinds of issues reason you not to keep focus at the thoughts utilized in the ebook, and consequently you spend time concentrating on the diversities among CS2 and CS3, which isn't presupposed to be the aim for this ebook.
I'd supply this 5 stars if it have been correctly edited, yet as a result concerns concerned, i'm going to supply it three stars.
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Additional info for Advanced Photoshop CS3 Trickery & FX
74 Results of the “Convert To Grayscale” option. 9. In this example, the sand dune is altered toward a high key tonal range. In other words, the tonal information in the image is dominated by medium gray toward bright white. To define the contour of the sand dune more effectively, the Brightness and Contrast sliders were moved toward the right. CUTOMIZING ACR4 THROUGH THE OPTIONS PANEL Let’s take a look as to how to customize ACR 4 to better assist you in preparing your photographic images to be imported into Photoshop.
31A). 31 Brush properties are set to normal. 16 Advanced Photoshop CS3 Trickery & FX 2. 31B). 3. 31C). 4. Click on the Shape Dynamics layer to get the options for it, which are listed on the right. 31D). 5. 31E. Jitter is simply the random application of a technique over the length of the stroke. The higher the percentage, the more drastic and varied the technique. 6. 32F). 7. As you adjust the Angle Jitter slider, notice that the brush applies a percentage of rotation over the length of each stroke.
The Exposure slider will help you make adjustments to any overexposed or underexposed images. In Photoshop CS2, you had to click the Preview button for both the Shadows and the Highlights at the top of the interface to observe what areas were losing detail due to underexposure or overexposure. This in invaluable to photographers. The way ACR communicates which areas are losing detail due to underexposure or overexposure is through color mapping. Any shadow regions losing detail are designated with a blue tint, and any highlight areas losing detail have a red tint.