The Adobe Photoshop CS3 Book for Digital Photographers

This is neither the biggest book on Photoshop, nor the most comprehensive. The author makes no pretense of covering every feature contained in the massive program known as Photoshop CS3. What he does attempt to do is identify tasks useful to digital photographers (and this includes film shooters who scan) and give step-by-step explanations to get them done. Most of the information is presented in a very task-oriented approach. The emphasis is squarely placed on giving you the tools to get things done quickly and efficiently. As such, I find it a highly useful reference book often as I edit photos.

For those who own the prior version for CS2, this is much more than a rehash of the same material with a few odds and ends added to cover the new CS3 features. I was surprised to see that most or all of the example photos appear to be new for this edition and the author has reorganized the material within each chapter. I applaud Mr. Kelby for what looks like an earnest attempt to earn our money rather than just cash in on the sales a new version of Photoshop automatically generate.

On the negative side, I do wish that the author would tone down his attempts to be funny throughout the book. Humor has gone from being unknown in how-to books to being painfully overused and this book is a prime example. It goes from being mildly cute for the first couple of pages to just getting in the way and slowing down the flow of information as you continue reading.

Overall, I highly recommend this book. Mr. Kelby has done an excellent job organizing and presenting a useful guide to Photoshop CS3 and I commend him for that. If he prunes 90% of his attempts at humor, I'll give his next book 5 stars instead of 4.

Layers

No photographer can unleash the full power of Photoshop to make an image look like the photographer's vision without understanding the power of layers. (At the very least layers allow the Photoshop user to make selective adjustments to an image, without actually changing the underlying data.) Yet many Photoshop books treat layers in bits and pieces rather than as an integrated whole so that the photographer has a hard time grasping the overall concept. That's where a book aimed solely at layers comes in.

Matt Kloskowski's book deals with all the major applications of layers. The subjects include the nature of layers, blending layers, adjustment layers, layer masks, type and shape layers, enhancing and adjusting photos with layers, layer styles and smart layers. It's all here, but in a short simple quick form. (I'm sure there are more esoteric things to learn about layers; at least one pair of authors has a book on layers that is over 750 pages long!) Most photographers will find that this book has all they need to know about the subject.

The author's text takes the form of tutorials. One can either download files for these tutorials or work with one's own pictures. The tutorials are short, well illustrated and have plenty of white space. If you make a mistake at an early step you won't have to backtrack through twenty or thirty steps to find out where you went wrong. Even if you work out each tutorial, this book will not take more than ten or twenty hours to complete, and it will teach you almost everything you need to know about the subject. Along the way, Kloskowski teaches the reader about other Photoshop tools, as when he integrates a discussion of gradients into a lesson on blend modes, or deals with selections in a tutorial on layer masks.

The author has an easy-going, breezy, humorous style, but those put off by the style of his mentor, Scott Kelby, probably will not be offended here.

Normally, as I go through a book, I make notes in the margin when I discover an error. I'm happy to report that I made no notes in the margin of this book.

For experienced Photoshop users this book will contain nothing new. Perhaps they'll have to look at the 750 page tomes. However, for the photographer who doesn't have a firm grip on the use of layers in Photoshop, this book will help him or her to master the subject.

The Moment It Clicks

Picture this. You meet one of the world's great photographers in a bar. He has a stack of pictures with him from his portfolio. As you go through the pictures, he talks about them, about the people in the photographs, and how he made each of them. About a third of the way through you realize that when he talks about the technical details he talks mostly about the lighting, and you are sorry you didn't pick up on that right from the beginning, but now you listen avidly to try to learn his lighting techniques.

Then, about two-thirds of the way through, he stops talking about the lighting, and starts meandering about the photo editors he knew, and how he may have sacrificed some of his family life to be a photographer, and how he came up through the ranks, and that's interesting too.

When Joe McNally talks about lighting a picture of James Brown, or Sophia Loren, or Larry Tisch, the techniques he uses seem to be ones you could use. But when he talks about getting a bunch of masks from the Smithsonian to shoot Michelle Pfeiffer, or five full length mirrors set up on the field for a picture of shortstop Ozzie Smith, or using 10 or 15 2400 watt lights to light fielder Eric Davis, you may hope that you can at least get inspiration because you are never going to have that kind of equipment, or if you are, then to quote McNally, "you don't need my advice". And don't take a peek at McNally's equipment until you come to that page in normal reading or you may decide the book is not for you.

If you are looking for instruction, it's here amongst the stories, even if it's delivered in a non-structured sort of way. I haven't invested in a dozen Speedotrons, but after reading this book, I did decide to upgrade my umbrella to a couple of softboxes. On the other hand if you are interested in looking at a portfolio of great pictures, McNally has them. And if you like to listen to photographers tell stories about photography, often at their own expense, you'll probably love this book.

Other then the lighting there is little of a technical nature here. There's nothing about exposure, or depth of field or Photoshop. I am certain that the people that talked the author into writing this book loved the stories and the way they were told and how they related back occasionally to transforming a vision into an image by using equipment. McNally's personality comes through. Whether this is the way for you to learn some lighting tricks will depend on what you feel about winnowing them out of the stories and pictures. On the other hand, Joe McNally is a great guy to have a drink with.

Learning to See Creatively

Learning to be a photographer is about more than focusing and exposure. One of the most important and difficult things is learning what to take a picture of, and then designing an image that expresses something about its subject. Many authors of photography books talk about teaching the photographer to see. I think of that as being the process of selecting a subject and then deciding how it should look to capture the photographer's vision of it. Bryan Patterson promises to teach that in the revised edition of "Learning to See Creatively". Unfortunately, he doesn't keep his promise.

It's not that this is a poor book. The author talks about the elements of photographic design like line, shape, form, texture, pattern and color. Unfortunately he doesn't link these elements to the photographer's vision. It's as if one knew nothing about tools, had a plumbing problem, and was presented with a wrench. It would be nice to be told how to use the wrench to solve the problem. If you know how to relate the tools to the problem, you don't need this book.


He also talks about composition and guidelines like the rule of thirds, or frame within a frame. But even here, he doesn't make the connection to vision. Even the chapter called "Expanding Your Vision" turns out to be a discussion of the characteristics of lenses of different focal lengths.

There are chapters on digital photography and photographic careers but they look like they were added on to the work because somebody thought that was what would help the book sell.

Peterson's photographs are good. When he explains why he made the design and composition choices for a particular picture you can see some relationship of technique to vision. It's also interesting to occasionally see a comparison of the same subject handled two different ways. But unfortunately the author doesn't take the opportunity to relate similar pictures to photographic vision.

This might be a good enough book for the intermediate photographer who isn't really ready to work on his or her vision, although I much prefer Brenda Tharp's "Creative Nature & Outdoor Photography" which covers the same ground in a more concise way.

One might think that you can't teach someone to see creatively. That may be true, but Freeman Patterson's old standby, "Photography & the art of seeing" comes a lot closer than this volume. And books like those by Galen Rowell or Tony Sweet do a much better job of relating technique to the visions of their authors.

Understanding Exposure

If you are trying to learn more about how to properly use exposure (i.e. aperture, shutter speed, and ISO) this is a fantastic book to begin with. It informs for the film and digital photographer. I have been taking photos for many years, but it has only been over the past couple of years that I became more of a professional. Despite this, I still struggled to understand some of the concepts such as the difference between a good exposure and a "creatively correct exposure" and what options I had.

You learn how to expose for front-lit, back-lit, side-lit scenes, overcast skys, macro photography, motion, stationery objects, how to expose for bright scenes such as snow (grey card & 18% grey) and dark scenes such as night photography...you name it. Then Bryan Peterson tops it off with a sections on metering, special techniques and filters, and an analysis of film vs digital cameras.

Understanding Exposure not only explained the basics in a conversational manner, but is also informed me of how the pros work and how to step up my photography to a higher level.

This book has hands-on exercises that anyone can go through so that the reader has experience of all of the methods explained. Along with this, the book is FULL of color photos that show exactly what the end result could be. Where applicable, there are comparisons of before and after exposure adjustments so the reader may understand WHY they should make such changes.

Where there is a difference between adjustments for digital versus film cameras, Bryan Peterson gives you the specifics of the difference and haw to adjust for it.

It is a book every photographer should have!

My Sister's Keeper

Jodi Picoult has masterfully covered yet another controversial topic in her novel "My Sister's Keeper." This time, young Kate is diagnosed with a severe form of leukemia. Her parents then have a baby, Anna, who is genetically selected to be a close donor match for Kate. From her birth onward into her early teens, Anna is called upon to undergo increasingly invasive and dangerous procedures to provide blood, bone marrow, and other tissues to sustain her older sister's life. Now, a kidney is needed, and Anna brings a lawsuit against her parents, claiming the right to her make own decision about what medical procedures can be performed on her. Anna's mother Sara, an attorney, decides to represent her own daughter Kate at the trial.
There are some very difficult questions raised in this story. Does Anna have the obligation to risk her own health to save her sister? Do her parents have the right to make the medical decisions about Anna's donor role, and where should their loyalties lie? Where is the fine line between what is legal and what is ethical in a situation like this? There seem to be no right or wrong answers here, and the ensuing trial recounts all the physical, moral, psychological, and familial struggles that are brought to bear on the issue. Picoult paints a powerfully emotional picture of a family in turmoil. She adds additional tension to the story through brother Jesse, whose drug taking and criminal tendencies add even more burdens to an already overwrought situation. The story also includes the love/hate relationship between Anna's lawyer and her legal guardian.

The narrative switches from character to character so that the reader hears the voices of each family member, as well as that of Anna's lawyer and of the legal guardian appointed to watch out for her interests. Sara's narrative includes flashbacks on the history of Kate's illness, Anna's role in providing medical support, and the toll that the constant threat of Kate's death takes on the family. There are several shocking twists to the plot that make the story even more riveting. This is Picoult's best book yet!

Nineteen Minutes

This time around, Picoult finally lived up to my hopes and she did so by tackling a difficult subject, one that has been in many novels thus far...a school shooting, a look at both the victims' world and that of the shooter (who is also a victim, in his own way), the alienation of kids who are on the outside and the interconnection between the popular kids and those who aren't. Although the novel is graphic, it would certainly provoke plenty of discussion and understanding between parents and teens, although parents may want to consider how ready their teen is to read a book so detailed and so complex and with graphic sexuality (including rough sex).

As a long-time reader of her books, my one disappointment with Picoult has always been how often her endings seemed to fall apart into stereotypical or "pat" solutions, when the rest of her writing, up to that point, would be so very, very strong. And yet, I KEPT buying her books, because she did everything else so well - solid, compelling characters, great plots (until those endings), riveting events. I kept rooting for her. I knew she had the chops to produce a solid book, from start to finish, without those letdowns at the end (and I'm sure others will disagree with me about the endings, as she IS a popular writer).

This time,with Nineteen Minutes, she pulls it off, does everything right...and I'm delighted to be able to say so. I wasn't able to stop reading, except for short periods when I had to stop and think about WHAT I was reading. I have raised three teenagers and her portrayal of teenage life, the cruelties of the bullies, the fears and insecurities suffered by even the most popular kids, was eerily accurate.

Buy this one, savor every word and take time to think about how you'd feel in a similar situation. This is the kind of book that can be life-changing and motivate readers to change things and make the world better for our children. How and why readers do that is up to them, of course but, at the least, they'll be haunted by this book long after they finish it.

As for me, I'm going to reread it - and soon. It is simply that good.