| Figure 2.25a |
Chapter 3: The Essential Select Menu
Chapter 4: Pen Tool Power
Figure 9.64b
Figure 12.115
Download Appendix B "The Business of Imagemaking"Download Appendix C "Scanning Resolution"
Links to artists and resources mentioned in Chapter 1:General:
History of Photography through 1920's
Website dedicated to Photomontage
Dada
Raoul Hausman
Kurt Schwitters homepage in German
Daniel Clark
David Bishop
Copyright Information:
United States Copyright Office of The Library of Congress
D-65 Seth Resnick's site with useful links to copyright and business resources.
Business and Professional Information:
Books that address the business side of photography
The Business of Art Photography links
The Art of Business - a series of articles written for the creative professional.
Nine Simple Rules for Sustaining Success
Those Forgettable Fundamentals
Plan It. Bill It. Track It. Make Money.
Plan for a Creative Retirement
Dear Readers:
Although I have done my very best to avoid mistakes Photoshop Masking & Compositing the gremlins of late nights, deadlines, and distractions have caused misprints to appear in the first printing of the book.
Thank you to all the attentive readers that have kindly pointed out these errors. I appreciate this very much and in case you find additional mistakes please let me know and I will post them here and correct them in future printings.
Chapter 2: Selection Strategies and Essentials
Page 35, caption for figure 2.2: Left and right callouts need to be switched
Page 37: Figure credit should read © John McIntosh
Page 42,caption for figure 2.17: I used a feather of 0, 5, 20, and 50.
Page 42, figure 2.17 The lower four images that show the results of different feathering values imply that higher feathering values reduce the size of the image. This is not true or intended. The feathering does affect both the width of the edge and the scale of the selection, but not the size of the image.
Page 45, caption for figure 2.20: Use the Polygon lasso tool to select geometric shapes.
Page 47. Switch figures 2.28 and 2.29.
Page 48/column 2/last paragraph: If an area you want to include in the selection is not selected, press the Shift key and draw along the missing contour with the Lasso or Marquee tool....
Page 54, right-hand column, fourth bullet: "The higher the Frequency, the faster the anchor points will be laid down" is not accurate. Photoshop lays down each point as fast as the next one. It is not a matter of how fast points are placed, but how often points are laid down. Higher frequency lends itself to a more accurate, higher-resolution picture or in this case, a more accurate, higher-resolution selection). Thanks to reader John S for this explanation.
Page 54/column 2/last bullet point: Is 'Pen Pressure' not stylus pressure.
Page 55/paragraph 1, reads: "...lower Width and Edge Contrast settings of 30 pixels and 5%.
Chapter 3: The Essential Select Menu
Page 70/right hand column: needs to read, “...illustrates how increasing the Fuzziness in increments of fifty...”
Page 79/column 1/step 2: Then select Layer > New > Layer Via Copy
Page 84/column 1: Delete the word ‘freeform’ before Lasso in paragraph 2 and step #1.
Chapter 4: Pen Tool Power
Page 98/caption for 4.13: Delete (cmd) and [crt] – as the command is simply option or alt.
Page 105/column 1: Then I click on the Exclude Path Area
Page 105/column 2/caption 4.32: Click on the Exclude Path Area Button in the Options Bar...
Page 106/column 2: Delete "he then combined the two exposures with an image of a kitchen, as explained in Chapter 6 . . ." and replace with “He then combined the two exposures as explained in Chapter 7, “The Power of Layer Masking”.
Chapter 5: Masks Are Your Friends
Page149/step 3, line 2, the "...Edit > Copy, Edit > Copy,..." needs to be "Edit > Copy, Edit > Paste...
Page 153/step 3: Add Select Image > Adjustments > Invert to reverse the tonal values of the mask.
Page 159/step 5: I refer to an "Image Adjustment button" when I mean the "Create New Adjustment Layer” button.
Chapter 6: Layers Are Your Friends
Page177/ figure 6.36, "Hard Light" needs to be "Hard Mix"
Page 182/column 1: Lock Image Pixels will not let you to use any painting tools on the layer, while allowing you to move and transform the layer contents.
Page 204/step 4 - delete the incorrect figure reference (figure 6.45)
Chapter 10: Selecting Translucency & Green Screen Techniques
Page 353 – please flop the position of the clouds and the gradient – so that the gradient is on top.
Page 370/step # 4 - ...and name them…
Page 369/column 1/step #2 - Use Levels to dramatically MAKE the light background white...
Page 371/column 1/step #6 - Before returning to RGB please invert the large and Small alpha masks by clicking on each and then selecting Image > Adjustments > Invert.
Chapter 11: Image Execution & Photography
Page 394/column 1/caption 11.24: The closer the light is to the subject, the larger the light source, and the softer the shadows.
Page 401, figure 11.39: The circle should be on the second lightest square of the Macbeth Color Checker.
Chapter 2: Selection Strategies and Essentials
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Chapter 3: The Essential Select Menu |
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Figure 12.115 |
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