Book Description
Photoshop Elements 4 One-on-One marks a landmark in computer publishing. In addition to offering 12 lessons of project-based tutorials with all sample files included, each lesson starts with a video introduction, hosted by the author himself, Deke McClelland. And these are no ordinary videos. Produced by Adobe's official video training partner, Total Training, each video measures 960 by 540 pixels and plays at 30 frames per second, with no interlacing. That's a play rate of 15.5 million pixels per second, making this the first computer publication to include high-definition video, playable on any modern PC with a DVD-ROM drive. The picture is so crystal clear, it's like watching the world-reknowned expert work right along with you.
In addition to the video -- all new recordings created exclusively for this title -- the book has been completely revamped for Photoshop Elements 4. Inside the full-color pages are new exercises devoted to color-correcting skin tones, auto-tagging images with faces, isolating foreground subjects, extracting people and objects from their backgrounds, creating custom slide shows, correcting red-eye, and sharing images online. Every bit as wildly ambitious and brass-tacks practical as the best-selling image editor itself, Photoshop Elements 4 One-on-One will have you gasping with amazement at your own creations. Deke puts the magic of digital imaging squarely where it belongs -- in your hands.
Customer Reviews:
EXCELLENT PROGRAM.......2007-07-09
THIS PRODUCT WAS EASY TO FOLLOW IT WAS VERY HELPFUL. YOU NEED TO TAKE YOUR TIME GO SLOW. WATCH THE VIDEO, READ THE BOOK AND THEN DO THE PROJECTS. DO THIS WITH EVERY CHAPTER.
Very very very poor service.......2007-03-10
The Photoshop Elements 4 One-on-one which I order more than a month ago still has NOT shipped and you have the gull to ask me how I like it!!!
Come on and get real.
Ship my order to me.
HBG
Great Tutorial.......2007-01-10
Although Deke breezes through his video mighty fast, he does acquaint you with the many possibilities that Photoshop has to offer. If you then see something you wish to pursue, you can retrieve it at your own pace.
Good Introduction But...........2007-01-10
The book is well written and organized. However, the step by step approach does not allow for a good understanding of the tools, etc. that one is using. There are still so many questions I have when I work on photos. It also needs a much more in depth review and instruction of restoring old photographs. The section on color was very good and I liked it the best. Since I have a Mac, the first lesson is worthless. The Bridge application that ships with the Mac version is very different and quite sophisticated since it is part of the fuller versions of Photoshop. It all added to the learning curve. On the whole, it is an excellent book to get started. Now I wish I could find a book that explains Elements so I can learn to use the program to its fullest.
photoshop elements 4.......2007-01-09
this book is not at all conversent for Mac In talking with the editors they are not going to have an edition that is Feel that more explanation should be given as why to make changes in the color correction areas would not recommend for the novice Mac user 2 stars for the Mac user
Book Description
This full-color title is designed to be a classic reference for the millions of photographers going to digital, from enthusiasts shooting family events and vacations with their SLRs, to professionals creating journalistic prints and fine art. Its the only book on the market with a focus on complete, end-to-end workflow from shoot to print. Its tied to Adobes latest version of Photoshop, which boasts an installed base of 4 million! Serge Timacheff is a professional photographer living in Pacific Northwest. He is the official photographer for the International Fencing Federation, based in Lausanne, Switzerland, and he photographs fencing at World Championships and the Summer Olympics. His 100-percent digital studio provides portraiture, event, commercial, and boudoir photography, and his fine art photographs appear in galleries and individual collections worldwide. David Karlins is a digital imaging expert, Web designer, teacher, consultant and author of numerous books and magazine articles.
Customer Reviews:
Excellent for most Photographers.......2006-02-13
We own a full-service photography studio in the Midwest. Each holiday season, we give ourselves a book or books on photography. This year, we decided to get two books by the same author(s): Total Digital Photography and Digital Sports Photography. We bought these after reading the reviews and looking at them at a local bookstore.
We converted from film to digital about three years ago, and workflow has been an issue for us as we've expanded and grown our studio, and dealt with all the factors involved with adding computers, archiving, etc. We do commercial, sports, and portrait photography so these books were right in-line with what we were doing.
Normally we have not written reviews on books in the past, but we felt it only fair to give these books a synopsis that we think more accurately matches the audience for which they are intended - and not all the reviews do that.
Reading the other reviews of these books, most of the complaints seemed nit-picky and not very substantial, and the overall impression was positive. A few of the technical points are well-taken, but seem a bit out of proportion to the overall spirit and gist of the books - which aren't intended to be deep technical works. We've used the books now for a bit more than a month, and we've found them both to be, for the most part, technically accurate, well-written, and very helpful for our work.
A few of the reviewers questioned the authors' use of fencing images, but we found these to be an interesting way to take an unusual and interesting subject, describe personal experience, and apply it to a variety of sports. And the images of all types were well done - good examples, well-composed, and applicable to a variety of photographers. We liked the use of a wide variety of sports photogrpahers' images in the sports book.
We must point out that these books aren't meant to be coffee-table books. One reviewer said many images are like snapshots. We disagree - they are like standard, everyday professional shots we might take, and aren't meant to be "haute" art photos. A few are of this caliber, but it's clear the authors' are attempting to reach ordinary photography enthusiasts and working professionals, not gallery artists.
One of the things we liked most was how personal and readable the books are - way more than just a reference where you'd read a snippet or two from various pages. These books have helped us understand digital photography much more deeply, and put into place a workflow and method for managing our studio more efficiently and profitably. We recommend the book to anyone seriously interested in photography as a regular pursuit-whether you're in it for the money or just as an active pursuit.
Nothing revolutionary, unimaginative photos.......2006-02-08
Trying to find a good book on digital workflow, I read the other reviews posted here. After reading the book, I tend to agree with the one reviewer that says the best picture is the cover. If several shots of fencers in action shot under existing light is your cup of tea, then this is your book. When explaining the rule of thirds, the author's sample grid is skewed so far right that that it's almost the rule of halves. The author spends an inordinate amount of time covering fencing, definitely a difficult sport to shoot given the speed and constraints, but too much of the book is dedicated to this subject making it seem too one-dimensional. Most of the other shots are uninspired shots, many of which seem vacation snapshot quality.
As for the text, more time should be spent on the post capture portion. While the author goes into monitor profiles, archival and printing, not enough time is spent on these steps which are just as important to final printing as the image capture itself. Rather than trying to be generic with the type of camera, the author overly uses his example of Canon 10D which dates the text immediately. The steps outlined are useful enough until the next generation software becomes available, don't date yourself immediately by mentioning cameras that become obsolete immediately after publication. The author misses one key point in editing: Never edit the original! Always make a copy since you can never go back to what the original shot looked like. This is especially critical with JPEG since every save of the file causes further loss of data with compression.
Comprehensive and Readable.......2005-10-23
I was looking for a book to better understand how to maintain an effective workflow from start to finish without wasting time at each stage. Key for me was getting a better understanding what was necessary at each stage (procedures and tools to accomplish them) vs. what was optional or simply unnecessary. This book did an excellent job of that. It was quite readable, which I did over a couple of weeks time in many short reading sessions. While the book tries to deliberately avoid being another Photoshop book and tries to be balanced, presenting comparable aspects of other programs, it does describe key actions where Photoshop excels.
Ready, set, shoot! And now lock yourself in your room for a month..........2005-10-10
Most of the book is on post-processing. This book assumes that you already have some idea of how to work your camera. Instead of really telling you how to do things, it focuses on how you can make things more easy on yourself.
It discusses the preparation, the shoot itself and post-production of the images. It doesn't tell you how to shoot perfectly, because in many conditions this just isn't possible. It does discuss how you can deal with those circumstances, making them work for you instead of you work for them all the time. It's general in its guidelines, but in-depth enough to show you how to do things for yourself.
This book assumes that you're a bit creative (which you really are, don't worry) and then helps you develop this creativity.
There's a lot in there, too much to put in here. (And it's all highly organised and easy to read.)
Great for Beginning, Advanced Photographers.......2005-05-06
I have been using this book in teaching photography workshops for about three months. My students love it because it helps them understand the method and process of digital photography. It's been great for helping beginning and intermediate photographers understand the process of photography, especially how to get a digital final from an idea to either print or on the web. For advanced photographers and professionals, it's great especially for those who are transitioning from film to digital. It's written in conversational language, but it's got lots of detail and it does a lot to "de-mystify" the concept of workflow. The only suggest I'd really have for second editions would be to add a center section with photos ... there are lots of great photos, but it would be nice to critique them side-by-side.
Customer Reviews:
Great for beginners.......2007-09-02
Previous reviewer wrote:
"if you have no clue what a stop is, or that larger aperture number means smaller opening and less light, and if you cannot visualize a difference between what a 24mm and 240mmm lenses would show, this book is a very good starting point."
I agree and that's absolutely why I love this book. I really needed something basic.
Pictures are beautiful and content is informative.
an all-in-one encyclopedic digital photography resource.......2007-08-27
first off, this book comes in 2 different packaging, the one i got is titled "The Book of Digital Photography" although they are the exact same book. as the author himself said, this is truly an encyclopedic book of digital photography. almost all aspects of (digital) photography is covered and that includes sections on post-processing and printing/storage. it'll make a fine reference book for all photography lovers. the content is rich and diverse, with loads of pictures and diagrams to illustrate points. the high quality of the layout, pictures and text are undeniable. however, my only disappointment is the lack of clear instructions on the post-processing section, alot of the tools and features of post-processing is covered but they are generalised in just telling you what each feature does but not how to get around to doing it. but to be fair to the author, one would need a dedicated book on Adobe Photoshop in order to cover the subject in greater detail. nevertheless, it is a great resource on introducing one to almost all aspects of post-processing with everything clearly illustrated and before/after comparisons shown. the section on equipment/photography/accessories are truly excellent! you get a run-thru of the important aspects of all things photography and its makes interesting reading in bite-size portions for all photography lovers. i would have liked to rate this a 4.5 but unfortunately there are no half-points in the ratings here. i would heartily recommend this book for all photography fans as a "general digital photography reference guide" and would say its well worth the asking price. just a quick thumb-through of this book screams 'quality' but just wait til you jump in to digest tidbit info and you have much to inspire as well as to educate you on all aspects of digital photography. as with all things "encyclopedic", just don't expect everything to be broken down into the minutest detail and you won't be disappointed. every digital photographer should have this book by their bedside to keep the passion for the hobby going.
More like 2.5 stars... .......2007-08-03
If you are looking for a VERY, VERY basic intro to / overview of digital photography, and prefer something that is also a nice looking coffee-table book, this is a very good choice. This book is lavishly illustrated and some photos actually provide some useful information (exposure, etc.), unlike Hedgecoe's very pretty, but pretty much useless books.
The content is very, very basic: if you have no clue what a stop is,, or that larger aperture number means smaller opening and less light, and if you cannot visualize a difference between what a 24mm and 240mmm lenses would show, this book is a very good starting point. If you have even a very basic grasp of photography, however, this will be probably too rudimentary. I would very much recommend this as a good intro for a teenager (or a grown up) who got his/her first digital camera and would like to learn more about photography as a discipline.
This is NOT a how-to book, however: because it is so general and basic, it will give you ideas of how things work, but not necessarily HOW to take better pictures with your particular camera. If you are using a basic point and shoot digicam, you should not expect to produce pictures like the ones used for illustrative purposes here: there were most likely taken with top-of-the-line DSLRs, and further edited with photoshop. Still, if you want basic intro with some unrealistically pretty eye candy, this might be it. There are some good diagrams and infographics annd these are very competently produced (although some look vaguely, and somewhat uncomfortably familiar: the lens viewpoint diagram for example, is uncomfortably similar to the one in Lee Frost's excellent Q and A Guide that appears on the p. 17 of Frost's book)
I think the author / editors are somewhat misleading when they say it is also a good book for intermediate photographers. It is not: there are very few things that would be useful for the more competent amateur. Sure, there are a few pages that might be useful (e.g., night-time shooting table with recommended exposure info), but they usually have been covered in more detail in more advanced books. If you want something a little bit more practical, I would highly recommend The Q&A Guide To Photo Techniques instead - less flashy, but more useful.
Good for average user.......2007-07-30
Pretty decent book. Good for both beginner and advanced user. Not shallow and not too sophisticated, just right.
Good layout and excellent detail.......2007-03-15
Both text and illustration are top notch. The book gives me a relative newcomer to digital photoagraphy both an ovrerall scope of the subject and specific details. I like it.
Book Description
TOTAL DIRECTING is the first book to fully integrate the technical aspects of screen directing with practical methods for directing actors, deeply and carefully exploring how these two primary aspects of the director's craft work together.
Viewed from a perspective that seeks a balance successful work with actors and technically high-level production values, the complete directing process is discussed in detail from the start of script development through the delivery of a finished project covering every aspect of preparation and decision-making with solid background information, practical suggestions, and clear illustrations. Topics include:
• project development • screenplay analysis • choosing and working with a production team • auditioning and casting • script preparation • using the language of acting • working with a set • understanding screen acting styles • conducting a rehearsal • blocking camera and actor moves • using improvisation • working with storyboards • the Hollywood continuity style • choosing camera shots and lighting • multi-camera directing • preparing for each day's shoot • editing and working with editors & much more.
Customer Reviews:
tota directing.......2007-01-09
very effective, simple, but interesting the book gives a complete insight in directing. It is really difficult to find such a complete book, I found it a great book.
What a director needs to know besides "attitude" and how to yell, "Action!".......2006-09-07
There's nothing wrong with reading interviews with master film directors, but they rarely give you the practical, hands-on information you need for becoming a professional director. Tom Kingdon's book is one of the only books that guides you through the steps and skills a director needs to know to take a script through to the final cut. I'm a professional documentary filmmaker, script writer and production teacher in a major media arts college, and in over twenty years of teaching, this is the first time I've assigned a directing text.
So by all means, study the words and works of Hitchcock, Kazan, Scorcese et al, but don't expect them to teach you how to break down a script or rehearse actors or many of the myriad tasks and procedures essential to being a real director.
...wow.......2006-07-11
It is my opinion that the only books on filmmaking that should be read and utilised are the books which are written by people who know what they're talking about. This is a book on filmmaking by a man who has never made a film! I've always found that to be ridiculous. The types of film books I read are mostly interview books, because you are getting the information straight from the source. Also, there are many books wwritten by actual award-winning, famous directors. For example, MAKING MOVIES, by Sidney Lumet. As far as interview books, you have what I call the "big four," being CONVERSATIONS WITH WILDER (Cameron Crowe), HITCHCOCK (Francois Truffaut), THIS IS ORSON WELLES (Peter Bogdonavich) and, in my opinion the best, KAZAN: THE MASTER DIRECTOR DISCUSSES HIS FILMS (Jeff Young). These are actual directors speaking about the craft. Wouldn't it be better to read books on directing from actual directors? But, its up to you. It's your choice. Learn the craft from masters like Hitchcock, Kazan, Welles, or Wilder, or you can learn from Tom Kingdon.
Average customer rating:
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Total Photography
Andreas Feininger
Manufacturer: Amphoto Books
ProductGroup: Book
Binding: Hardcover
 General
| Photography
| Arts & Photography
| Subjects
| Books
Feininger, Andreas
| Photographers, A-Z
| Photography
| Arts & Photography
| Subjects
| Books
General
| How-to
| Photography
| Arts & Photography
| Subjects
| Books
Equipment
| Photography
| Arts & Photography
| Subjects
| Books
ASIN: 081743531X |
Average customer rating:
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Total Picture Control.
Andreas, Feininger
Manufacturer: Watson-Guptill Pubns
ProductGroup: Book
Binding: Hardcover
Feininger, Andreas
| Photographers, A-Z
| Photography
| Arts & Photography
| Subjects
| Books
ASIN: 0817404651 |
Book Description
This digital document is an article from Photo Marketing, published by Photo Marketing Association International on June 1, 2002. The length of the article is 1403 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: By the numbers: people labs look for ways to increase revenue per employee. (Feature).(Candid Color Systems)(Total Photographics Inc.)(Garden State Color Corp.)(Brief Article)(Company Profile)
Author: Ken Beer
Publication:
Photo Marketing (Magazine/Journal)
Date: June 1, 2002
Publisher: Photo Marketing Association International
Volume: 77
Issue: 6
Page: 52(3)
Article Type: Brief Article, Company Profile
Distributed by Thomson Gale
Book Description
This digital document is a journal article from Science of the Total Environment, The, published by Elsevier in 2006. The article is delivered in HTML format and is available in your Amazon.com Media Library immediately after purchase. You can view it with any web browser.
Description:
Various approaches have been used to estimate metal pollutant element (TE) contents at unsampled locations in a 15-ha contaminated site located in the plain of Pierrelaye-Bessancourt (about 24 km Northwest of Paris). 87 samples of soil plough layer were randomly sampled at each mesh of a regular square grid over the whole study area and the total contents of Cd, Cr, Cu, Ni, Pb, and Zn were measured. A first set of 50 measurements, randomly selected from the 87 samples, was used for the prediction and another set of 37 measurements was kept for the validation. Topsoil organic carbon contents (SOC) were measured at 75 sites with 50 measurements sharing the same locations as TE. An aerial photography of the study area showing bare soils was selected for relating brightness intensities and SOC. Mapping procedures used were ordinary kriging (OK), cokriging (COK), collocated cokriging (CC), and kriging with external drift (KED). SOC maps used as exhaustively sampled information in KED and CC of TE were obtained by KED and CC procedures, respectively, accounting for 75 SOC measurements and the brightness intensities of numerical counts provided by the visible bands of the aerial photograph bare soils. Consequently, for each TE, four maps were generated: two maps resulting from KED and CC procedures (KED-SOC75P, CC-SOC75P), another one provided by standard cokriging (COK-TE50SOC75) accounting for TE prediction set plus 75 SOC measurements, and the last one corresponding to that estimated by ordinary kriging from only prediction set measurements (OK50). Three indices: (1) the mean prediction error (ME) and the mean absolute prediction error (|ME|); (2) the root mean square error (RMSE); and (3) the relative improvement (RI) of accuracy, as well as residuals analysis, were computed from the validation set (observed data) and predicted values. On the 37 test data, the results showed that the more accurate predictions were systematically those obtained by kriging accounting for SOC map predicted by KED from 75 SOC measurements and brightness values of the aerial photo (KED-SOC75P) followed closely by CC-SOC75P procedure, except for Cu and Zn where CC-SOC75P appeared to be slightly more accurate than KED-SOC75P. In regard to the RI of accuracy between prediction methods, the results confirmed once for all the benefit of accounting for SOC data set plus the exhaustively sampled information provided by the aerial photography regardless of the considered TE. Nevertheless, for Cd, Pb, and Zn, the RI of accuracy was less than 20% between the two most accurate methods (KED-SOC75P and CC-SOC75P) and standard cokriging in which the information provided by the aerial photography is ignored when mapping. The sensitivity of KED-SOC75P and CC-SOC75P approaches to the sampling density of the target variables (TE) was assessed using 10 random subsets of different sizes (25 and 33 observations) drawn from a prediction set that includes 50 data. Results have shown that the TE estimates by KED-SOC75P and CC-SOC75P approaches using only 25 TE samples were much more accurate than the estimates performed by OK50 and COK-TE50SOC75 approaches that use the whole samples of the prediction set. Moreover, the RI of accuracy was reduced by less than 15% if the original sampling density was reduced by a third.
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![Enhancing spatial estimates of metal pollutants in raw wastewater irrigated fields using a topsoil organic carbon map predicted from aerial photography ... from: Science of the Total Environment, The]](http://ec1.images-amazon.com/images/I/21WAVFR1MML.jpg)