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Digital Start To Finish

quick fixI usually devote this column to fixing and enhancing pictures in Photoshop Elements or Photoshop CS3 and, more recently, Adobe Lightroom. For a change, I thought I'd share my digital start-to-finish process, covering what I do, and what you can do, in the quest to make a picture-perfect inkjet print.

By Rick Sammon
I usually devote this column to fixing and enhancing pictures in Photoshop Elements or Photoshop CS3 and, more recently, Adobe Lightroom. For a change, I thought I'd share my digital start-to-finish process, covering what I do, and what you can do, in the quest to make a picture-perfect inkjet print.…

Lightroom Hearts Photoshop

Check out the opening image for this installment of Quick Fix. It's the result of using both Adobe Photoshop Lightroom and Adobe Photoshop CS3 on enhancing a photograph that I took in Cappadocia, Turkey, during a 2007 family vacation.
By Rick Sammon
Check out the opening image for this installment of Quick Fix. It's the result of using both Adobe Photoshop Lightroom and Adobe Photoshop CS3 on enhancing a photograph that I took in Cappadocia, Turkey, during a 2007 family vacation. Lightroom is a powerful application that works hand in hand with…

Simulating In-Camera Effects

With a digital SLR, and even with many compact cameras, you can manually select the shutter speed and ƒ-stop for powerful creative control. Fast shutter speeds (1?500 sec. and higher) freeze most action, and slow shutter speeds (1?30 sec. and slower) blur action. Wide apertures (ƒ/4.5 and wider) can be selected for shallow depth of field, and small apertures (ƒ/8 and smaller) can be used for greater depth of field.
By Rick Sammon
With a digital SLR, and even with many compact cameras, you can manually select the shutter speed and ƒ-stop for powerful creative control. Fast shutter speeds (1?500 sec. and higher) freeze most action, and slow shutter speeds (1?30 sec. and slower) blur action. Wide apertures (ƒ/4.5 and wider) can be…

Saving A Backlit Shot

One of the most challenging situations for a photographer is getting a good exposure of a subject when shooting into the sun. That's because the contrast range between the background and the backlit subject is usually too great for a good exposure of both the background and the subject.
By Rick Sammon
One of the most challenging situations for a photographer is getting a good exposure of a subject when shooting into the sun. That's because the contrast range between the background and the backlit subject is usually too great for a good exposure of both the background and the subject. Check…

Letting Your Image Take Off

The opening image for this column was inspired by something that I try to do all the time in real life, with my photography and in the digital darkroom: have fun! The image looks as though my son and I are soaring at top speed high above beautiful blue water in a colorful biplane. It's one of my favorites, which I created after a family trip to the Florida Keys, and it captures the speed, fun, excitement and togetherness of our experience.

By Rick Sammon
The opening image for this column was inspired by something that I try to do all the time in real life, with my photography and in the digital darkroom: have fun! The image looks as though my son and I are soaring at top speed high above beautiful blue water…

Hot Ice And Snow

This column is about how to use the digital darkroom to transform a straight-out-of-the-camera shot into the image you envisioned when you pressed the shutter-release button. First, I'll share some techniques for working in a high-contrast situation—getting an image to appear how it actually looked to our eyes when we initially took the picture. That's mainly my objective when working with image files in Photoshop. Then we'll see how we can bring a fanciful idea to reality to create an out-of-this-world image!

By Rick Sammon
This column is about how to use the digital darkroom to transform a straight-out-of-the-camera shot into the image you envisioned when you pressed the shutter-release button. First, I'll share some techniques for working in a high-contrast situation—getting an image to appear how it actually looked to our eyes when we…
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