53 von 54 Kunden fanden die folgende Rezension hilfreich
Kevin H. Stecyk
- Veröffentlicht auf Amazon.com
Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies
I just finished reading Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies, a wonderful book for Adobe® Photoshop® enthusiasts. Although I would only consider myself an intermediate user of Photoshop, I found Lee Varis' book immensely helpful, and I highly recommend it to all those who photograph people.
Chapter 1: Digital Imaging Basics is a brief introduction to digital imaging basics. It quickly covers chips and pixels as well as dynamic ranges. Furthermore, Varis covers JPEG artifacts, cameras, memory cards, computers and monitor calibration. He finishes the chapter with a discussion on Photoshop preferences.
Chapter 2: Color Management Workflow, and Calibration is as the title suggests. The first few pages provide a high level overview of workflow management. Then Varis discusses color and light calibration. I must admit, he does have a rather funky looking set up of test targets that include the GretagMacBeth 24 patch plus Styrofoam cutouts and black traps. Varis provides a lengthy and detailed discussion on his calibration method. He also mentions that he prefers 8 bit processing as opposed to 16 bit. Moreover, he comments on the popular expose to the right practice.
::::The idea is good theory but bad practice because the histogram cannot tell you where you are placing your tones with any precision, and it can't tell you whether the histogram is appropriate for the subject. (What picture goes with this histogram?) The camera's histogram is only a general indication of the distribution of values in the camera-generated JPEG. It is usually a composite of all three channels. The RAW data has a much wider distribution of tones that will vary in each channel, so you may not know if you are clipping important data in the Red Channel simply by looking at the histogram display on the camera.::::
Chapter 3: Lighting and Photographing People is an overview of lighting. Varis uses different configurations of lights and reflectors to demonstrate various effects. The photographs contained in the book are helpful to understanding the concepts discussed.
Chapter 4: The Color of Skin teaches the reader about proper skin tones. Varis introduces how to use curves effectively as well as how to adjust skin tones by using the CMYK values. He then finishes the chapter with a discussion on cultural and personal preferences. What one group of people might desire, others might oppose. So it is important to understand your audience.
Chapter 5: Tone and Contrast: Color and B+W is an extremely interesting chapter because it discusses how to create B+W conversions and how B+W conversions can create better color photos. The first few pages discuss the channel mixer and split channels to obtain stunning B+W conversions. Next, Varis teaches the reader how B+W image can be used in luminosity blending to darken, lighten, and recover detail. I enjoyed part of the chapter because it opened up new avenues for processing my photos. Last, he discusses hue, saturation and toning effects.
Chapter 6: Retouching is a thoroughly enjoyable chapter. Varis begins with a basic retouching where he uses the healing brushes to smooth away wrinkles. But then he kicks it up a notch by subtly using the dodge and burn tools to make the image just that much better. He then goes on to show how to use Hue/Saturation Repair to address red blotchy skin. I found the before and after pictures were amazing. Varis then walks his readers through an example of an attractive woman in her fifties. The before and after pictures are remarkable. He then shows a similar set of before and after pictures for a beautiful young model likely in her twenties. He wraps the chapter up by discussing some thinning techniques as well as some further skin processing.
Chapter 7: Special Effects provides some useful tricks to generate interesting images. The four main themes of this chapter are soft focus, film grain and mezzotint, cross-processing, and tattoos. A substantial portion of the chapter is devoted to soft focus, which includes depth of field effects. Because photographers often want to create a softer, less harsh image or part of an image, I found this discussion helpful. I am not one for film grain and mezzotint. Similarly, I am not wild about cross-processing where you get unexpected colors in unexpected places. The last section on tattoos was interesting, even though I am not a tattoo fan. I liked the last part of the tattoo section where he described how to use Photoshop to create a fake tattoo.
Chapter 8: Preparing for Print focuses the following key themes: sharpening, color management for print, soft proofing, desktop printing, and creative print finishing. I am going to comment on the first and last items. Varis' sharpening discussion is very helpful. Prior to reading this book, I simply used unsharp mask and was done. Now, when I want to get a sharper picture, I use multiple sharpening layers in luminosity blending modes as well as darkening and lighting blending modes. This technique has the advantage of offering better control of the halos. Creative print finishing provides some options for designing captivating borders or edges to the photographs. In his examples, Varis shows how the edges provide added pizzazz to the already great photo.
Chapter 9: Parting Shots is a short chapter that provides some further high level commentary on workflow. Varis then walks the reader through the companion CD. I suspect most readers have already opened the CD and have been using the files all along, so this information is superfluous at this point. And last, he reminds readers that digital photography is still in its infancy. Much of what we have just learned is likely to become outdated soon. I believe, however, that if we understand and have developed a sense of adventure to experiment, our newly gained knowledge will help us as newer technologies and techniques emerge.
Being an intermediate, at best, Photoshop user, I found Skin to be a valuable resource. I enjoyed learning by working through the examples. I also enjoyed seeing how just some subtle steps make a significant difference. I highly recommend this book.