First, this article assumes you have content (even if it is only in your head) and ready to tackle the technical aspects of web comic creation. In short, many artists still work traditionally by scanning their pencils and/or inked drawings and digitally coloring them in Photoshop. However just as many create their work digitally either in Photoshop, Illustrator, or various 3D software programs. The main rule for web comics is it needs to be developed quickly, in order to meet those daily, bi-weekly or weekly deadlines. Which leads us to Comic Life Deluxe.
I used the sub-title as the title because I think it makes the subject clearer. I think that describes why Scott Kelby’s book is not just another Photoshop book even if you don’t know who Scott Kelby actually is. If you don’t know, then I suggest you crank up GOOGLE and pick a couple of dozen of the 999,000 entries it says it pinged up for your perusal when you punch in his name. I’ll give you the summation—he knows Photoshop. He knows it very well!
I secretly think he is at least a sextuple version of Superman in disguise. How else could he produce more than 40 books and be editor and publisher of Photoshop User and Layers magazines as well as be president and co-founder of the National Association of Photoshop Professionals (NAPP) with its 75,000 plus members? (If you are not aware of NAAP and you are at all interested in Photoshop, then you should be a member. Check it out). He’s also president of the Kelby Media Group, which is a software training, education, and publishing firm. Oh, he does video too.
He even does a lot more than that and keep a family as well, but I’ll let you go read up on his varied life and interests elsewhere, and we’ll talk about the he’s offered to us currently.
His premise is that no matter what picture you are trying to correct, the odds are that there are only seven (or less) real steps that are involved in that correction. He breaks the steps down for you to follow in twenty-one lessons (you shouldn’t call them chapters) that you are supposed to follow through as he solves a varied series of problems. That way you understand how to use the seven steps (and their variations) in the best order for the nature of the problem you face. Do this often enough and the rote practice should brand itself into your consciousness until the procedures are a second-nature process.
Should you have a short-term memory problem and come back to your need for corrections after a lay-off of several weeks, there is a refresher lesson to bring back the tricks and procedures. In the review he goes back to lengthier explanations of the procedures again so that you will have your memory refreshed.
In order to follow along with his lessons, all the images that are needed may be downloaded from his website http:// HYPERLINK "http://www.kelbytraining" www.kelbytraining com/7pointphotos.
Here’s the workflow order as Scott Kelby sees it:
Adobe Camera Raw Processing
Painting with Light
Layer Blend Modes & Layer Masks
On page 255 there is an elaboration that tells you what you should do in each of those steps through a thorough paragraph of WHAT to do, but not including the HOW to do it; for those you will have to work through each of the lessons.
I like to think that I am a very competent photographer and am equally good at post-processing my photography, but I can honesty say I am now better at both for having done the lessons. I either learned alternate ways to do things I had previously been doing, or else learned better ways. Also quite honestly, there were a couple of moments of pure epiphany when my inner self exclaimed "would you look at that!" where I had to erase old procedures in my mind and accept the much better way of solving a problem I thought I already knew how to do.
I did the twenty-one lessons over a four day period of doing other things as well and can tell you it is a bit like going to school on a Monday through Thursday schedule of two or three hour-long classes. Each lesson introduces you to a new problem and takes you through it step-by-step introducing new ideas and new sets of key commands each lesson. The idea is that through repetition you will learn the location of the particular menus and the key commands that activate them. Each lesson is intended to present a different kind of retouch problem and train the user into recognizing the best way to solve each type of problem.
As the lessons progress Scott Kelby tells you less and less HOW to do something only that you SHOULD do a specific thing. The intent is that you learn the key commands and menu positions and procedures as you go along. My only complaint or comment is that because I did the lessons over several days that I would liked to have had a summary of the menus, procedures, and key commands for the end of each lesson to be able to refresh my memory as I "came back to class" so to speak. Several times I simply had to go back a lesson or two and refresh my memory of how to do something that I knew needed doing but couldn’t remember the precise steps of how to do it.
The twenty-first lesson is a review lesson intended to use as many of the steps you have previously learned as possible.
In addition to the summary I already wished each lesson had, I also wish that there were a page or comprehensive list of all key commands or shortcuts that were introduced in the lessons because there were a number presented that I had never previously encountered in any Photoshop book and I have quite a large bookshelf of Photoshop books collected over the past few years, and yes, a large number of them are on Photoshop CS3 (version 10).
I can easily and happily recommend this volume to anyone interested in Photoshop CS3—but particularly to digital photographers—who want an excellent workflow to guide them in their post processing of images. It made me better at what I do, and it will make any user who diligently follows the lessons much better at their own digital image post processing.
I was always an F kind of guy. My first Nikon pro camera was the original F – a 1971 black body FTN. It supplemented my FM2 and I had it until just a couple of years ago when I sold it to a close friend, who bought it with the understanding that I might occasionally need to fondle it… call it conjugal visits.
A few years later I found a really nice F2 that I still have… I skipped the F3 and F4 entirely
When I studied traditional photography over twenty years ago I did not see how much the art would shift for me in the way I executed it and what it meant for me. I believed like many of us that the silver halide was a thing of exacting beauty that could never be replaced.
I recently encountered a relatively new book by Michael Meadhra and Charlotte K. Lowrie entitled Exposure and Lighting for Digital Photographers Only published by Wiley Press in 2007.
My job as a Still Photographer in the motion picture industry requires me to get the best possible images for publicity purposes. This requires me to constantly update my equipment when new and better technology is developed.
Such is the case with the Nikon D300 camera which hit the market in Dec 2007 and is now available without the waiting list that it had for several months. I had been using the Nikon D2x and the Nikon D200 cameras for several years, and a Nikon D100 and D1x prior to that.