Real World Adobe® Photoshop® CS2 [Electronic resources] : Industrial-Strength Production Techniques نسخه متنی

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Real World Adobe® Photoshop® CS2 [Electronic resources] : Industrial-Strength Production Techniques - نسخه متنی

Bruce Fraser, David Blatner

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Ask Your Printer


We wrote this book for a lot of reasons, but the biggest one was probably our frustration with the knee-jerk advice we kept hearing about desktop prepress: "Ask your printer."

Go ahead. Ask your printer what values you should enter in the Color Settings and Proof Setup dialog boxes. In our experience, with nine out of ten printers you'll be lucky if you get more than wild guesses. In this new age of desktop prepress, there's simply no one you can ask (whether you're a designer, a prepress shop... or a printer). You're in the pilot's seat, with your hand on the stick (and the trigger). Where do you turn when the bogies are incoming?

We're hoping that you'll turn to this book.


Developing Your "Spidey Sense"


Flipping through nine hundred pages isn't exactly practical, though, when you've got a missile on your tail. So we try to do more with this book than tell you which key to press, or what value to enter where. We're trying to help you develop what our friend and colleague Greg Vander Houwen calls your "spidey sense" (those who didn't grow up on Spider-Man comics may not relate completely, but you get the idea).

When you're in the crunch, you've gotta have an intuitive, almost instinctive feel for what's going on in Photoshop, so you can finesse it to your needs. Canned techniques just don't cut it. So you'll find a fair amount of conceptual discussion here, describing how Photoshop "thinks" about images, and suggesting how you might think about them as well.


The Step-by-Step Stuff


Along with those concepts, we've included just about every step-by-step production technique we know of. From scanning to silhouettes and drop shadows, to tonal correction, sharpening, and color separation, we've tried to explain how to get images into Photoshopand back out againwith the least pain and the best quality. And yes, in the course of explaining those techniques, we will tell you which key to press, and what values to enter in what dialog boxes.


History Is Important


We hear some of you mumbling under your breath, "We've been doing prepress for 30 years, and we don't need to learn a new way of doing it." We beg to differ. Print manufacturing, of which prepress is the handmaiden, is in the throes of change. For example, direct-to-plate printing has largely replaced the practice of making plates from film. This cuts out the quality loss inherent in a generation of optical duplication, but takes away our old film-based proofs. Digital photography (which in a few years will almost certainly be called simply "photography") makes the drum scanner obsolescent, and in today's ultra competitive marketplace, the old industry-standard 3.2 rounds of proofing and correction just don't cut it any more.

Our goal is not to detract from the way you've been doing things. It's to show you how those approaches can be incorporated with the new tools, improved, and pushed to new limits.


Whither Photography?


This book isn't just about prepress. It's also about photography and about images. We believe that photographers understand tone and color as well as any other skilled group of professionals, and one of our aims has been to help photographers translate their own understanding of images into Photoshop's digital world.

Digital imaging has undoubtedly changed the practice of photography, but images still come from an intentional act on the part of the image maker, and that isn't going to change, whether the photons are captured by goo smeared on celluloid or by photoelectric sensors. We believe that digital imaging offers the photographer as many opportunities as it creates pitfalls. To all the photographers out there who are nervous about the digital revolution, we say, "Come on in, the water's fine." And more to the point, we can't do this stuff without you.


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