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If you want your website visitors to see a Ask me a Question website button, Here is a free photoshop lesson on how to make a question mark website button using photoshop techniques.
NO - DEFINITELY MAY NOT! I don't mind, of course, any form of back link to Digital Photo News tutorials section, but taking any one of the tutorials whole and supplanting it on your website is theft. If you really like the tutorials and want to advertise them, why not just hyperlink directly to their URL? Is it possible to submit some of my own tutorials?
Get all your Photoshop upgrade options and the best prices at the Adobe Store. Find the latest Photoshop CS3 tutorials on our Photoshop CS3 Tutorials Page. Buy. Download. Create. Get Photoshop CS3 now at the Adobe Store. Adjusting Exposure in Adobe Camera Raw CS3 by Mark Galer For those digital photographers interested in the dark side, an old SLR loaded with a fine-grain black and white film is a hard act to follow. The liquid smooth transitions and black velvet-like quality of dark low-key prints of yesteryear is something that digital capture is hard pressed to match. The sad reality of digital capture is that underexposure in low light produces an abundance of noise and banding (steps rather than smooth transitions of tone). The answer, however, is surprisingly simple for those who have access to a DSLR and have selected the Raw format from the Quality menu settings in their camera. Simply be generous with your exposure to the point of clipping or overexposing your highlights and only attempt to lower the exposure of the shadows in Adobe Camera Raw. STEP 1 The first step is the most difficult to master for those who are used to using Auto or Program camera exposure modes. Although the final outcome may require deep shadow tones, the aim in digital low-key camera exposure is to first get the shadow tones away from the left-hand wall of the histogram by increasing and NOT decreasing the exposure. It is vitally important, however, not to increase the exposure so far that you lose or clip highlight detail. The original exposure of the image used in this project reveals that the shadow tones (visible as the highest peaks in the histogram) have had a generous exposure in-camera so that noise and banding have been avoided (the tones have moved well to the right in the histogram). The highlights, however, look as though they have become clipped or overexposed. The feedback from the histogram on the camera's LCD would have confirmed the clipping at the time of exposure (the tall peak on the extreme right-hand side of the histogram) and if you had your camera set to warn you of overexposure, the highlights would have been merrily flashing at you to ridicule you of your sad attempts to expose this image. The typical DSLR camera is, however, a pessimist when it comes to clipped highlights and ignorant of what is possible in Adobe Camera Raw. Adobe Camera Raw can recover at least one stop of extra highlight information when the Exposure slider is dragged to the lef...
Try before you buy. Download any Adobe product for a free 30 day trial. See our Photoshop CS4 Tutorials Page for free Photoshop 11 video clips. Buy. Download. Create. Get Photoshop CS4 now at the Adobe Store. Adobe Photoshop CS3 Tutorial - HDR - High Dynamic Range by Mark Galer Contrary to popular opinion ? what you see is not what you always get. You may be able to see the detail in those dark shadows and bright highlights when the sun is shining ? but can your CCD or CMOS sensor? Contrast in a scene is often a photographer's worst enemy. Contrast is a sneak thief that steals away the detail in the highlights or shadows (sometimes both). A wedding photographer will deal with the problem by using fill-flash to lower the subject contrast; commercial photographers diffuse their own light source or use additional fill lighting and check for missing detail using the 'Histogram'. Sometimes, however, there is not enough fill light to resolve the problem, so the photographer has to resort to taking multiple exposures (bracket the exposures) and then merge detail from each in a new composite image. Photoshop's Merge to HDR (High Dynamic Range) automated feature has been improved for CS3, but it is still not able to merge exposures where subjects have moved between the separate exposures. The technique in this tutorial (taken from the new Photoshop CS3: Essential Skills book) shows you how to resolve this problem. This technique also offers superior midtone contrast than Photoshop's merge to HDR automated feature. STEP 1 Open two different exposures of the same scene in Adobe Camera RAW. Click on the lighter image thumbnail and optimize the shadow detail (pay no attention to the highlights that will clip). STEP 2 Click on the darker thumbnail and this time optimize the highlight detail. Click on Select All in the top left-hand corner of the ACR dialog box and while holding down the Shift key click on the Open Objects button. The two images will now open as Smart Objects. STEP 3 Select the 'Move tool' in the Tools palette and drag the dark underexposed image into the window of the lighter overexposed image (alternatively just drag the thumbnail from the Layers palette with any tool selected). Holding down the Shift key as you let go of the image will align the two layers (but not necessarily the two images). STEP 4 In the Layers palette set the blend mode of the top layer to 'Difference' to check the alignment of the two images. If they align no white edges will be ...
