Introduction to Digital Photography / Edition 2

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Unique in approach, this is the first introduction to digital photography written specifically for beginning photographers. Using a photographer's perspective, it shows users how digital photography relates to traditional photography, how it can improve traditional picture-making, and how it diverges from traditional photography to open up new avenues for creative growth. The volume covers digital imaging, image capture and storage, basic and more advanced editing, digital printing and electronic publishing and more. For amateur and professional photographers.

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Product Details

  • ISBN-13: 9780131175150
  • Publisher: Pearson
  • Publication date: 3/4/2005
  • Edition description: 2ND
  • Edition number: 2
  • Pages: 144
  • Product dimensions: 8.22 (w) x 10.72 (h) x 0.28 (d)

Table of Contents

1. Digital Imaging.

Digital Imaging: An Overview .

Pictures into Pixels.

Bit Depth.

Picture "Size": Ppi, Dpi, and Other Image Measurements.

Modes And Color Spaces: How Computers Work with Color.

Digital Imaging, Changing Ethics, and the Law: Is it Possible? vs. Is it Right?

2. Image Capture And Storage.

Film Cameras and Digital Cameras.

Exposure Latitude.

Digital Cameras.

How Digital Cameras Work.

Types of Digital Cameras.

Digital View Cameras.

The Settings of Your Digital Camera.


Making a Scan Step-by-Step.

Storing Your Images.

File Formats.

Resizing an Image Step-by-Step.

3. Basic Image Editing.

Interface: How You Give Commands to the Software.

Adjusting Brightness and Contrast.

More About Adjusting Brightness and Contrast: Using Histograms to Diagnose Exposure Problems.

Adjusting Color: Color Balance.

More About Adjusting Color: Hue and Saturation.

Editing an Image Step-by-Step.


Defining an Area that You Want to Change.

Outlining Selections.

Selecting Areas that are Similar in Color or Brightness.

Drawing Selections with Pen Tools.

Modifying Selections.

Cropping and Transforming Selections.

Brush Tools: Painting on an Image.

Using Brush Tools: Applying Paint and Special Effects.

Cloning: Copying from One Part of an Image to Another.

Healing and Patching: Repair Tools that Can be Used Creatively.


4. Beyond Basic Image Editing.


The Best Way to Combine Images.

Creating Image Layers.

Harmonizing the Elements of a Collage.

Managing Image Layers.

Making a Composite Image Step-by-Step.


The Professional Way to Control Tones and Colors.

Using Curves.

Adjustment Layers:

Preventing Color Banding and Data Loss.

Using Adjustments.

Using Masks to Create Selections.

Layer Masks:

Attaching a Mask to a Layer.

Adjustment Layer Masks: Professional-Level Photoshop.

Alpha Channels: Where Masks are Stored.

Color Channels:

Where Color Information is Stored.

Editing Color Channels.

Modifying the Past: The Fade Command and the History Brush.

Troubleshooting: Keeping Track of Layers and Channels.

Digital Filters for Special Effects.


5. Digital Printing and Electronic Publishing.

How Color Is Created: Additive and Subtractive.

Calibrating Your Monitor for Consistent Color.

Making Your Prints Match the Monitor:

Color Settings for Printing.

Printers, Inks, and Papers.

Sharpening Prints.

Making Images for the Internet.

Making Images for Multimedia.

Making Prints On Film and Photographic Paper.

Black-and-White Photography In the Digital Age.

Digital Imaging for Non-Silver Processes.

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This book is written for students who have had at least one semester of traditional black-and-white photography. It links what students have learned about traditional photography with the basics of digital photography.

This book results from an exploration into the needs of teachers and beginning students in this new field. The author realized that nearly all the successful books about digital imaging fall into two camps. Some texts are aimed at experienced photographers. Others are encyclopedic software manuals about Adobe Photoshop that give excellent descriptions of every proverbial "tree," but no overview of the "forest." Neither kind of book provides what beginning students need. Beginners need a logical starting place and guidance about what is essential and what is less important.

A truly useful basic textbook about digital imaging would be one that takes the revolutionary step of not being encyclopedic; it would be one that presents principles and essentials. Consequently, this book focuses on the most broadly useful aspects of Photoshop, and demonstrates, with numerous illustrations, how the most important tools work together to make the software a powerful whole. An example of essential tools working together is the use of masks on adjustment layers. (See pages 79, 84, and 87).

The choice of topics places a strong emphasis on the photographic qualities of imaging software. The makers of Photoshop have added excellent vector graphics capabilities and expanded page/web layout and word processing features to their software. Professional users demand these features, but a school curriculum that is photographic at its core needs a basictextbook that stays focused on the photographic fundamentals.

Clarity of presentation is the uppermost value in the organization of this book. We wanted to organize the presentation to be both logical and interesting.

  • An easy-to-use format is employed in which facing pages present a single idea, process, or family of software tools.
  • Boldfaced topic sentences organize the topics on every page.
  • Numerous color illustrations enhance the teaching power of the book. The illustrations were created or chosen to motivate the learner to want to learn the techniques discussed in the text.
  • Whenever possible, topics in digital imaging are related to similar topics in the traditional basic photography curriculum.
  • Complex operations such as scanning, creating composite images, and resampling images are presented as illustrated step-by-step procedures. The logical, easy-to-follow sequences of each procedure are clearly explained.
  • Projects are given that are suitable for individuals or whole classes.

Without the help and experience of many others, an author cannot complete a book like this. Barbara London proposed and championed the project, and her knowledge of every aspect of creating a textbook helped the author in ways beyond measure. Sheena Cameron gave levelheaded perspective and warm support when it was most needed. Craig Collins helped with ideas about how to explain the ins and outs of Photoshop. Peggy Jones' years of experience with teaching several digital subjects provided a context for thinking about how students experience Photoshop. Bonnie Kamin helped when many additional illustrations were needed. M.K. Simqu helped with more insights about how people learn Photoshop. Fellow photography author Jim Stone helped with structuring the project in its difficult early stages. The many photography teachers who spoke with me about their experiences and the dozens more who contributed essays about teaching digital-.imaging to the book Magic Wand all helped in innumerable ways.

Producing a book requires professionalism. Editors and production chiefs from HarperCollins and later, Prentice Hall were extremely helpful to the author: Kimberly Chastain, Priscilla McGeehon, Harriet Tellem, and Bud Therien.

The classroom is the best test of ideas about teaching. This book is dedicated to my Digital Imagery I and II students at the University of New Mexico, Taos.

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