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Warning: Skipping This Section Could Sev... > Warning: Skipping This Section Could... - Pg. xvi

I N T R O D U C T I O N ( co n ti nu ed ) describe serious high-end amateurs who use serious cameras and take serious shots, yet don't do photography for a living), but at the same time, I wanted high-end professionals to feel right at home with techniques that are clearly just for them, at their stage of the game. For this edition, I also got advice and input for my new color management chapter from some of the leading color management experts in the industry, including Canon Explorer of Light and gifted instructor Eddie Tapp, who gave me some great insights, and I went back to my buddy Jim DiVitale to pick his brain as well. I also coaxed Photoshop guru Taz Tally (who teaches color management for a living) into taking a look at the final chapter, and he helped me tweak it even more to make it what it is today. I also got some great ideas from my home team, including Dave Cross and Matt Kloskowski, who work with me each day on Photoshop User magazine at the National Association of Photoshop Professionals. Me: Does all this make the book too advanced? Me: Absolutely not. That's because my goal is to present all these techniques in such a simple, easy-to-understand format that no matter where you are in your Photoshop skills, you'll read the technique, and rather than thinking, "Oh, I could never pull that off," you'll think, "Hey, I can do that." While it's true that this book includes many advanced techniques, just because a technique is advanced doesn't mean it has to be complicated or "hard to pull off." It just means that you'll be further along in the learning process before you'd even know you need that technique. For example, in the retouching chapter, I show you how to use the Healing Brush to completely remove wrinkles, and that's what many photographers will do--completely remove all visible wrinkles. But advanced Photoshop users might retouch the photo differently, because they know that a 79-year-old man's face shouldn't be as wrinkle-free as Ben Affleck's. When they do a similar retouch, they're not going to remove every wrinkle--instead they'll be looking for a way to just reduce the intensity of the wrinkles, so the portrait looks more natural (and the photo appears unretouched). To do that, they'll need something beyond the basic Healing Brush technique--they'll need a more advanced technique that may require a few more steps along the way, but produces far better results. So, how hard is it to do the advanced "healing" technique we just talked about? It's simple--duplicate the Background layer, remove all the wrinkles using the Healing Brush, then lower that layer's Opacity a bit to bring back some of the original wrinkles from the layer underneath (see Chapter 10). It works like a charm, but really--how complicated is that? Heck, anyone who's used Photoshop for a week can duplicate a layer and lower the Opacity, right? Right. Yet few photo- graphers know this simple, advanced technique. That's what this book is all about. If you understand that line of thinking, you'll really get a lot out of this book. You'll be able to perform every single technique--you'll be using the same advanced correction and retouching techniques employed by some of today's leading digital photographers; yet you'll make it all look easy, because it really is easy, and it's a lot of fun--once somebody shows you how to do it. Me: So what's not in this book? Me: I tried not to put things in this book that are already in every other Photoshop book out there. For example, I don't have a chapter on the Layers palette or a chapter on the painting tools or a chapter showing how each of Photoshop's 110 filters looks when applied to the same photograph. I just focused on the most important, most asked-about, and most useful things for digital photographers. In short--it's the funk and not the junk. xvi The Photoshop CS2 Book for Digital Photographers