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Me: How did you develop the content for the book? Me: Each year I train thousands of professional digital photographers around the world at my live seminars, and although I'm doing the teaching, at every seminar I always learn something new. Photographers love to share their favorite techniques, and during the breaks between sessions, somebody's always showing me how they get "the job done." It's really an amazing way to learn. Plus, and perhaps most importantly, I hear right from their own lips the problems and challenges these photographers are running into in their own work in Photoshop, so I have a great insight into what photographers want to learn next. Plus, I'm also out there shooting, so I'm constantly fixing my own problems and developing new ways to make my digital imaging life easier. As soon as I come up with a new trick or if I learn a slick new way of doing something, I can't wait to share it. It's a sickness, I know. Me: So what makes this book different from all the other Photoshop books out there? Me: It's not another one of those Photoshop books that focuses on explaining every aspect of every dialog. I don't write "tell-me- all-about-it" books. Instead, I write "show-me-how-to-do-it" books. This is what makes it different. It shows photographers step- by-step how to do all those things they keep asking at my seminars, sending me emails about, and posting questions about in our forums--it simply shows them exactly "how to do it" without holding anything back. Plus, it does something that almost no other Photoshop book dares to do--it gives you the actual settings to use. For example, almost every Photoshop book out there includes info on the Unsharp Mask filter. They all talk about what the Amount, Radius, and Threshold sliders do, and how those settings affect the pixels, blah, blah, blah. They all do that. But you know what they generally don't do? They don't give you any actual settings to use! Usually not even a starting point. Some provide numerical ranges to work within, but basically they explain how the filter works, and then leave it up to you to develop your own settings. I don't do that. I give you some great Unsharp Mask filter settings--the same settings used by many professionals, even though I know some Photoshop expert somewhere might take issue with them. I come right out and say, "Hey, use this setting when sharpening people. Use this setting to correct slightly out-of-focus photos. Use this setting on landscapes, etc." I give stu- dents in my live seminars these settings, so why shouldn't I share them in my book? Plus, sharpening is much more than just using the Unsharp Mask filter, and it's much more important to photographers than the three or four pages every other book dedicates to it. I give you an entire chapter showing all the different sharpening tech- niques step-by-step, giving different solutions for different sharpening challenges. That's my thing--I want to be the guy that "shows them how to do it!" So, I did a whole chapter just on Camera Raw. Two chapters on all the amazing things the Bridge can do--and not just talking about it, but showing exactly how to do it all, with everything step-by-step from top to bottom but without all the techno jargon. The world doesn't need another "tell-me-all-about-it" book. It needs a "show-me-how-to-do-it" book, and that's my thing. It's who I am, and it's what this book is all about. Me: This sounds like a lot of work. Did you have any help? Me: When I developed the first edition of this book back in 2001, I got some incredible insights and advice from two of the industry's top digital photographers--commercial product photographer Jim DiVitale and fashion photographer Kevin Ames. These two guys are amazing--they both split their time between shooting for some of the world's largest corporations and teaching other professional digital photographers how to pull off Photoshop miracles at events such as Photoshop World, PPA/PEI's Digital Conference, and a host of other events around the world. When they heard I was writing this book, they met with me and we spent hours hammering out which techniques would have to be included in the book, and I can't tell you how helpful and insightful their input was. This wasn't an easy task, because I wanted to include a range of techniques wide enough that they would be accessible to "prosumers" (the industry term to Continued The Photoshop CS2 Book for Digital Photographers xv