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This is truly a useful basic textbook about digital imaging that presents principles and essentials of the medium for photographers. Focusing on the most broadly useful aspects of Photoshop, author Joe Ciaglia demonstrates, with numerous illustrations, how the most important tools work together to make the software a powerful whole.
The choice of topics places a strong emphasis on the photographic qualities of imaging software. Topics in digital imaging are related to similar topics in the traditional basic photography curriculum.
Clarity of presentation is the organizing principle of this book. Features includes:
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.
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.