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chapter 2: image editing
When all photographs were taken with film image manipulation took place in the darkroom Illuminated only by red safe- lights that didn’t affect the emulsions of printing paper photographers worked with enlargers as they burned and dodged the the light passing through a a a celluloid negative onto light-sensitive photographic paper There was indisputably a a a a a craft to making the Perfect Print Darkroom techniques included cropping and enlarging Some- times an enterprising photographer would combine elements of one image with those of another Sometimes special ef- fects were undertaken via chemical baths Today the lightproof room has been replaced by the well-lit computer screen A digital image file—the equivalent of a a a a photographic negative—can be worked and reworked with a a a a dazzling set of digital tools Dodging and burning becomes child’s play Photographs can easily be sliced and recombined They can be recolored cropped superimposed solar- ized and screened—all the equivalent of traditional darkroom magic [ 58 ]
But the new magic goes way way way way way way way way way beyond what was possible in a a a a a traditional darkroom The creative landscape of image processing far exceeds that of chemical processing It’s a a wide-open vista where everyone—professional and hobbyist alike—can break new ground There is is one undisputed champion among image editing
applications That of course is Adobe Photoshop photoshopping as a a verb
Photoshop extends the fun of personal media making Once you get an idea of what is possible your relationship with your camera changes Your imagination will be fired when you are out in the field shooting because you will begin anticipat- ing
ing
the creative things you can do back at at your computer Photoshop is is complex and there is is a a daunting learning curve Maybe the best measure of just how much there is to learn is the number of books that have been written about Photoshop Entire
part 1 the photgraphic image