Photoshop Effects for Portrait Photographers English | Pdf | 252pages | 35Mb
Award winning photographer, Christopher Grey, has developed techniques to enhance portrait photography, using the creative applications available in Photoshop. Photoshop Effects for Portrait Photographers contains detailed explanations of how to replicate many darkroom techniques with Photoshop (Dodging, Burning, Vignettes, etc.) as well as camera and earlier technology techniques (Short Focus, High Speed Film Grain, Hand Colouring, etc.). Grey has also developed almost two dozen ways to replicate traditional painterly and illustrative techniques such as Rough Charcoal Sketch, Wet Watercolour, Silkscreen, and Oil Chalk.
Over the time I needed to write this book, it became obvious I had to make a few assumptions about my audience. My first (and most necessary) assumption is that you are at least familiar with Photoshop on an intermediate level, that you understand the concept of Layers and Blending Modes and that you are willing to spend some time to learn a new way of thinking. If you’re new to Photoshop, there’s no reason why you can’t use my tricks, but any introductory instruction you might need will have to be found elsewhere. Even though these effects were built with Photoshop CS2, they will (almost) all work with any version of PS that supports Layers. Within the entire book, I believe I’ve used only two filters that are new to CS2, but those are largely optional steps, anyway.
It’s always annoyed me when authors tell you to “Click OK” at the end of each step, as if you’re too stupid to figure out that if you don’t, nothing will happen. I only wrote it once (okay, maybe twice), because it was necessary for the instruction. There are many keyboard shortcuts within Photoshop which become second nature for some users. I’ve deliberately not noted them, and have left it up to you and your level of expertise and preference as to whether or not you’ll use them. For each technique, I’ve tried to make these sometimes complicated instructions as simple as possible. Most of the images used as samples are studio portraiture, although I’ve placed a few non-portrait samples here and there. The techniques I’m presenting, while wonderful for portrait photographers, are equally valuable for stock photographers and photographic fine artists. All of the first-state images are available for you to download so you can precisely follow my directions and get the same results you see in this book.