Page #2 = A Whole Page For Photoshop (Software, Plugins, Scripts, How To's Plus more!)

Here’s an update:
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Thank you to those who were kind enough to comment and say thanks.
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In conjunction to my previous page which has consumed all the space it can.. here is the new additions to my Photoshop shared page.
Please check back often to see whats new..
should you have tips, or software links to share please feel free to add them to the comments so we all can enjoy what Photoshop has to offer :))

Kaz
x

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Speed Up Photoshop

Most people would prefer not to see Mac OS X’s spinning beach ball when working in Photoshop. Although eliminating it is not always possible, you can go some way toward doing that by managing your resources wisely. To that end, it’s worth spending a few minutes fine-tuning Photoshop to squeeze the maximum performance out of it.

Adjusting cache levels

When you view an image in the document window at anything less than 100 per cent magnification, Photoshop can use low-resolution cached versions of the 100 per cent view for speedier redraws. This can be helpful if you constantly work on large images and need to zoom out frequently. However, it will take longer to open files while Photoshop creates the low-resolution previews.

You can specify the number of cache levels in the Preferences: Memory & Image Cache screen (press Control/Command+K to open the Preferences dialog box). The higher the number of cache levels, the more resources Photoshop needs to consume. If you have limited RAM or scratch-disk space, you may wish to set the number of levels to 1 or 2; the default is 4 levels. You can go as high as 8 levels, which will give you cached views at 66.67, 50, 33.33, 25, 16.67, 12.5, 8.33, and 6.25 per cent.

Although the cached views can help with speedier redraws, you’ll do well to remember that any reading based on a cached view will be misleading. For example, when you sample a colour or use a cached view to judge the effect of a filter, what you’re looking at will not be based on actual pixels. For critical readings, always view the image at 100 per cent magnification.

Reducing history states

The History feature has become one of the most widely used in Photoshop. Its major downside is that it’s another resource hog.

But you can change several options to conserve and stretch your resources. The first is the number of History states that Photoshop saves in RAM or on your scratch disk. The higher the number, the more resources are eaten up. However, the higher the number, the more undos are available to you should you need to step back to a previous state. You need to strike a good balance between a fallback position and the ability to cruise faster.

By default, Photoshop saves 20 History states. You can change this number at any time via the Preferences: General screen’s History States setting. If you find that you rarely go back beyond, say, ten history states, then reducing the number will allow the saved resources to be used elsewhere. If you find yourself constantly trying to find states that have disappeared from the History palette, then increase the default number and just put up with slower performance, which may not be noticeable if you have small files or if you have large reserves of RAM.

Reducing palette thumbnail size

The palettes also have options that can affect performance. For example, the Layers, Channels, and Paths palettes all store thumbnails by default, and these thumbnails are continually updated as you work on an image. However, to draw and update the thumbnails, Photoshop uses resources that may be gainfully employed elsewhere. If your resources are painfully low, you may want to select None or the smallest thumbnail size. To customize the palette previews, select Palette Options from the palette’s menu and then choose an option that suits your needs.

Do you really need that snapshot?

You can set other options that affect performance by selecting History Options from the History palette menu.

The first two options in the History Options dialog box, Automatically Create First Snapshot and Automatically Create New Snapshot When Saving, are the ones that consume extra resources.

The first option is actually quite handy, even if it does consume extra resources. It can get you out of a tight spot if you accidentally flatten a multilayered file or press Control/Command+S but don’t discover your mistake until well into the editing session, by which time the earlier states will have been overwritten, including the first state. When you click on the snapshot, the document will revert back to the state it was in when it was first viewed in Photoshop, which may not be the same as the version on disk if you changed its colour profile in any way when you opened it.

The second option (Automatically Create New Snapshot When Saving) is one that you can probably live without — you’ll have to decide whether to take advantage of it. Just remember that it will consume extra resources if enabled.

Assigning RAM

All the software on your computer, from the operating system to applications to widgets, relies heavily on RAM for speed and efficiency. Photoshop can guzzle RAM the way a Merc guzzles petrol. So you need to give it as much RAM as you can possibly afford. The operating system also needs a plentiful supply of RAM, so it’s a bad idea to starve it while indulging Photoshop.

Photoshop gets its share of RAM from the figure allocated to it in Preferences. When it has used up its allocation, it pages out the data to the hard disk (allocated to it as the scratch disk in Preferences), and the result is that it runs more slowly. Knowing this, you may be tempted to max out the RAM allocation at 100 per cent in order to make it run faster. This not a good idea — Allocating too much memory to Photoshop may slow down performance by forcing the operating system and Photoshop to swap pages in and out of memory. So what amount of available RAM should you allocate? It depends.

Photoshop can use a maximum of only 4GB of RAM. This limitation is imposed by hardware, operating systems, and some other things that only geeks and engineers with degrees in astrophysics understand fully.

Suffice to say, if you have 4GB of RAM, or more, installed, you can safely increase the RAM allocation to 70 per cent. Doing so will ensure that Photoshop uses as much RAM as it possibly can, up to the 3.7GB limit (or thereabouts, because the OS will reserve some of the 4GB for itself). If you do not have more than 4GB of RAM installed, you should reduce the allocation to about 50 or 60 per cent, especially if you are experiencing slow performance in Photoshop, which includes Camera Raw. To allocate RAM, go to Preferences: Memory & Image Cache and specify a per centage in the Memory Usage section of the dialogue box. You will need to restart Photoshop before the revised allocation takes effect.

Assigning scratch disks

Photoshop uses a temporary file for storing data and performing computations when there is insufficient RAM. It places this temporary file, or scratch disk, on your hard disk, or it can spread the file across several hard disks. When you exit Photoshop, this temporary file is deleted, and a fresh one is created the next time you launch Photoshop.

By default, Photoshop uses your startup hard drive as the location for the scratch disk. This is something to be avoided because it can hinder performance if your OS also uses that drive for its virtual memory needs. Because OS X uses the start-up drive to place its paging file, you are almost guaranteed conflict on a Mac. To overcome this potential conflict of interests, you can tell Photoshop which hard disk to place its scratch disk on — provided, of course, that you have more than one hard disk installed in your computer. If you have just one disk but it’s partitioned, selecting a partition different from the one containing the OS virtual memory files won’t speed up performance. In fact, performing some operations may even take longer because the read-write heads will have to travel further.

You can assign scratch disk(s) in the Preferences: Plug-Ins & Scratch Disks screen. It’s possible to assign up to four hard disks, or partitions, and Photoshop will see them as one large storage space for the temporary file. Photoshop supports up to 64EB (an exabyte [EB] is equal to 1 billion gigabytes) of scratch-disk space — more than sufficient for most needs.

Regardless of the number of hard disks you assign, make sure the minimum size is three to five times the RAM allocated to Photoshop. Furthermore, the hard drive should be fast, and if it’s partitioned, the first partition should be assigned. Do not assign removable media, such as a Zip drive, or a network drive as a scratch disk. If you assign dedicated partitions that do not store any other files, defragging should not be required.

The more space you can spare, the lower the likelihood that you will encounter the dreaded “Scratch Disk Is Full” error message at a crucial moment.

This article is an excerpt from Hacking Photoshop CS 2, by Shangara Singh (2005; reprinted by permission of Wiley Publishing).


You don’t have to be an obsessive Coldplay fan like me to admire the beautiful effects shown in the latest Coldplay / Apple ad. This tutorial will show how to design portraits based on that style.
Coldplay / Apple Style Portrait

This tutorial will show you how to create a portrait based on the style of the latest Coldplay / Apple Ad featuring “Viva la Vida” from Coldplay. In case you’re not familiar with the commericial I’m referring too, findthatsong has uploaded a copy of it onto YouTube.

Here’s a quick look at what we’re going to create:

Before going any further, I’d like to give a quick shout out to Fabio who wrote an awesome tutorial for a similar effect based on the same ad. Maybe I’m not the only Coldplay fan out there!

Time to begin!

Step 1 – Create the Document

Begin with a document sized to your liking. I’m working at around 750×450px myself, but the exact size really doesn’t matter.

What does matter is the background color though. Using the Paint Bucket Tool, fill your background layer with a dark (nearly black) green or blue (#010500).

Step 2 – Adding Light

Create a new Layer.

Using a large, white, soft brush (500-1000px, 0% Hardness), paint the lower part of your image. The brush should basically extend from the very bottom of your canvas in all direction to the other edges of the canvas.

Lower the Opacity of your new layer to around 70%.

Step 3 – Coloring the Light

For this step, we’re going to be playing with a similar effect that I discussed in my Unique Abstract Website Header Photoshop Tutorial. Create a new Layer, and select a large (400-600px), soft, orange (#f38c11) brush. Paint a large dab to fill the bottom right of the canvas.

Now select a light blue (#2afaf0) and paint in the bottom left of the canvas.

Finally, fill in the top center of the canvas with a shade of purple (#c94ce1).

Set this layer to Overlay.

Step 4 – Adding some Highlights

Create a new Layer.

Using the Brush Tool, and a small (30-60px) soft, white brush, paint a few lines curving around the center of your canvas. Apply a Radial Blur (Filter > Blur Radial Blur), using the Spin blur method with an amount between 50-70. Set this layer to Overlay.

Step 5 – Insert Photo

Desaturate the Subject

Time to add a photograph of our subject into the portrait. Going over the process of cutting out a subject is out of the scope of this tutorial, but I will suggest using the Pen Tool to prepare such a cutout.

When you have a cutout prepared, Paste it into a new layer in your document. Line it up so that the highlights seem to be coming from behind it.

Destaturate (Images > Adjustments > Desaturate) the cutout so that the subject is black and white on top of the colored light we created earlier.

Step 6 – Dodge and Burn

In the Coldplay / Apple commercial, the subjects are nearly silhouetted with the light bursting out from behind them. However, the photo I chose is pretty clear, as if there is a light source in front of the subject.

If you have the similar problem on your image, you can fix it using the Dodge and Burn Tools.

Grab the Burn Tool (Located underneath the Paint Bucket Tool) from the toolbox, and in the Options Bar, set the Range to Shadows. Using a large, soft brush, paint over most of your subject to darken it. I’m going to leave a bit of the right side of my subject lit up to show that there is some light reflecting off of him.

You can go back with the Dodge Tool to bring out some brighter highlights if you find it helps light up part of your subject.

Step 7 – Adding the Smoke Effect

There are a few ways we could go about creating smoke in our design but in this tutorial we’re actually going to use a stock image.

Download the “smoke” stock image from stock.xchng (Requires a free account).

Paste and Transform the smoke stock image so that it’s positioned and sized somewhere over your subject. Set the blending mode for this new layer to Screen.

Screen Blending Mode

Confused about what just happened? The Screen Blending Mode can be very handy sometimes, as any pixels that are black will essentially become transparent in the blended layer.

Step 8 – Adjusting Smoke Color

Using any of the Selection Tools (Magic Wand Works Great), select the smoke from the stock image. Apply a feather to the selection (Select > Feather) of a 1-3px to soften things up.

Create a new layer, and using the Paint Bucket Tool, fill your selection with a light blue/cyan (#28dff5). Set this layer to Color.

Step 9 – Enhancing the Background

Duplicate the Smoke layer (not the color, but the smoke layer – Layer > Duplicate Layer while selected), and move the new layer underneath your subject layer.

Transform the new smoke layer so that it takes up a lot of the background behind your subject. Set this new layer to Color Dodge. You may wish to also apply a slight Guassian Blur to this layer.

Step 10 – Add Dark Lines

Steps for creating the Black Lines

Create a new layer underneath your subject. Using the Rectangular Marquee Tool, make a long selection spanning about the width of your canvas.

Fill the Selection using the Paint Bucket Tool with a dark color (black will work fine).

Deselect your selection by going to Select > Deselect (Or Ctrl + D).

Now, Transform your black rectangle (using Free Transform, Scale, Rotate, Perspective, or any mix of those you are comfortable with). We want the side of the bar that is going to be underneath our image to be more narrow than the end coming out of our subject (similar to a sunburst effect).

Use the Move Tool to reposition your bar. Set the blending Mode to Overlay. You may consider fading your bar out like I did with a large, soft eraser.

Add a few more of these bars using the same technique.

Black Bars added to the Design

Time for Polish

At this point, you’ve finished the effect we were aiming for! You don’t have to stop here of course. If you’re going to continue playing with the design, and adding your own finishing touches, here are a few suggestions that may get you started:

  • Add a Vignette – Fade out your borders to a dark black color. Since we’re designing a portrait in this tutorial, it’s a really nice way to frame your subject!
  • Add some abstract dust – We’ve got a brilliant Photoshop tutorial for adding Abstract Dust and Spray Effects to designs like this which you may be interested in!
  • Play with Text – Some clever text placement can really add a lot to a design! White text seems to look really great on top of this effect, especially if you’re using a blocky Type.

And here is another example of the style put to good use!


Photoshop Elements / Brushes /Hard & Soft Round Brushes Library

You can download a brush library called Hard & Soft Round Brushes.

This brush library contains the brushes photographers use the most—round brushes.

The Mac version of Photoshop Elements doesn’t have a default library containing these brushes, nor are they in the Basic Brushes library.

Users of the Windows versions of Photoshop Elements may like having these brushes in a library all by themselves.

The zip file also contains a file called _Empty in which you can put brushes that you create.

’*Download Hard & Soft Round Brushes*":http://www.photokaboom.com/Hard_Soft_Round_Brus...

1) Go to Hard Soft Round Brushes (Zip folder).

2) Select Save.

3) Save the folder to My Download Files (Windows) or Desktop (Mac).

Unzip

1) Go to My Download Files (Windows) or Desktop (Mac) and locate the Hard_Soft_Round_Brushes folder.

2) Unzip (open) the Hard_Soft_Round_Brushes folder by double clicking on the folder.

If you have difficulty downloading or opening the zip file, go to Zip File Problems

Browse

3) Browse to the folder in which Photoshop Elements stores brushes.

This folder is called Brushes.
Windows

a) Go to My Computer.

b) Browse using this pathway: C: / Program Files / Adobe / Photoshop Elements / Presets / Brushes

Mac

a) Go to Finder.

b) Browse using this pathway: Applications / Adobe Photoshop Elements / Presets / Brushes

4) Open the Brushes folder.

Zip File Window

Brushes Folder Window

6) Select the two files in the left-hand window, and drag them onto the right-hand window.

The new brush library will appear in the Brush Picker menu after you restart Photoshop Elements.

To open the _Hard & Soft Brushes file immediately, do the following.

1) Select the Brush tool.

2) Locate the Brush Picker in the options bar.

3) Click the black arrow, to the right of the Brush Picker in the options bar, to open the Brush Picker window.

4) Click the blue arrow in the upper-right corner of the Brush Picker window

5) Click Load Brushes.

6) Select the _Hard & Soft Brushes file in the Load window.

7) Click Load.

You’re done.

The two files have underscores at the beginning of their names.

_Hard & Soft Round Brushes

_Empty

Because of the underscore, the files will appear at the top of the Brush Picker menu.

If you encounter any problems
Windows XP and Vista, and Mac OS X 10.3 and later, can open zip files.

If you don’t have a zip file program on your computer, download WinZip, which has a free trial period.

If you’re unfamiliar with zip files, go to the WinZip tutorial


WOW Thank you CUT for this excellent post! Woo HoO!


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Description:
Photoshop Top Secret will teach you to create high-quality special effects to get attention for the movie posters, book and magazine covers, brochures, colorful illustrations, as well as a wide range of all kinds of advertisements and graphics for Web-sites.

Lessons are in English, and even if you’re with him for you, do not be afraid! Authors to such an extent, explain everything in detail and show that after a while and did not notice that all the talk in English.

Photoshop Top Secret – excellent tutorial that teaches you step by step how to create the most advanced graphic effects using Adobe Photoshop. The product will be understandable to anyone, until those who are first confronted with fotoshopom.V kit includes a color gallery with a start and the end result of work of each project throughout the course.
Producer: Mark Monciardini
Year: 2007
Language: English

Info:
How to Become a Photoshop \“Black Belt\”-Fast!
Just released by Mark Monciardini, Photoshop \“Top Secret\” is an Extreme
Training Course that teaches you, step by step, how to create cutting-edge
graphics and special effects with Adobe Photoshop.
This student-friendly home study course includes four DVD-ROMs of video tutorials
and project files. It also comes with a full-color gallery book
(printed, not pdf) that shows the end result of each project in the course
You can look, learn, practice, and master these advanced techniques wherever
you may be, without the need for expensive classes or tutors.
Create Posters, Movie Covers, Surreal Graphics and More!
The course will teach you how to become the ultimate Photoshop \“black belt\” pic
for fun and/or profit. You\’ll learn how to create top-level special effects
for eye-catching movie posters, album covers, book jackets, brochures,
mailing pieces, magazine covers, article illustrations, and a tremendously wide range of print ads and Web site graphics.

The contents of the archive:
01. About.
02. Bonus DvD (by Malestrom).
03. DVD Covers (by Malestrom).
04. DVD Labels (by Malestrom).
05. Flying out of Bounds (by Malestrom).
06. header-image.jpg
07. Photoshop Top Secret DVD 1 (by Malestrom).
08. Photoshop Top Secret DVD 2 (by Malestrom).
09. Photoshop Top Secret DVD 3 (by Malestrom).
10. Photoshop Top Secret DVD 4 (by Malestrom).
11. Photoshop TopSecret Gallery Book (by Malestrom).

Content
CD 1:
Break Apart
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~750 kbps avg, 0.06 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Dark Faces
Video: 640×480 (1.33:1), 25 fps, XviD MPEG-4 ~216 kbps avg, 0.03 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Dream Scene Montage
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~470 kbps avg, 0.03 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Dream Skin
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~684 kbps avg, 0.05 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Movie Credits
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~622 kbps avg, 0.04 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Movie Poster I
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~512 kbps avg, 0.04 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Movie Poster II
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~525 kbps avg, 0.04 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Special Effects
Video: 969×545 (1.78:1), 15 fps, Microsoft MPEG-4 Video Codec V2 ~518 kbps avg, 0.07 bit/pixel
Audio: 44.100 kHz, Microsoft MPEG, 2 ch, ~128.00 kbps avg
Stone Portrait
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~653 kbps avg, 0.05 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg
Surreal Mist
Video: 976×560 (1.74:1), 25 fps, XviD MPEG-4 ~516 kbps avg, 0.04 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~128.00 kbps avg

CD 2:
Applying Tattoos
Computer Screen Images
Creating DVD Covers
Download Button
Elegant Headers
Flower Greeting Card
Logo Basics
Masking Fur
Order Button
Painting a Portrait
Pop Art
Screen Captures (Mac)
Screen Captures (PC)
Seal of Guarantee
Shattered Type
Subscribe Button
Swapping Faces
Vanishing Point
Video: 969×545 (1.78:1), 15 fps, Microsoft MPEG-4 Video Codec V2 ~509 kbps avg, 0.06 bit/pixel
Audio: 44.100 kHz, Microsoft MPEG, 2 ch, ~128.00 kbps avg

CD 3:
Chocolate Milk Frog
Covered With Wax
Invisible Man
Layer Comps
Metal Collage
Morphing Creatures
Reaching Out of Bounds
Square Fruit
The Grunge Look
Video: 969×545 (1.78:1), 15 fps, Microsoft MPEG-4 Video Codec V2 ~509 kbps avg, 0.06 bit/pixel
Audio: 44.100 kHz, Microsoft MPEG, 2 ch, ~128.00 kbps avg

CD 4:
Dreamy Backgrounds
Liquid Metal
Masking Mastery
Smoke
Soap Bubbles
Stylized Character
Swap Animal Skin
Underwater Scene
Vector Art Portrait
Water Bubbles
Video: 969×545 (1.78:1), 15 fps, Microsoft MPEG-4 Video Codec V2 ~509 kbps avg, 0.06 bit/pixel
Audio: 44.100 kHz, Microsoft MPEG, 2 ch, ~128.00 kbps avg
Bonus DVD:
Painting Fantasy Portraits
A 19 video Tutorial
Video: 976×560 (1.74:1), 15.000 fps, XviD MPEG-4 ~270 kbps avg, 0.03 bit/pixel
Audio: 44.100 kHz, MPEG Layer 3, 2 ch, ~192.00 kbps avg
EXTRAS:
Flying out of Bounds
-DVD Covers
-DVD Labels
-Photoshop Top Secret Gallery Book (PDF)
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Thank you Linda for this link
http://photokaboom.com

And don’t forget, if you have a site you’d like to share or even a program please post it here :0)
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Cool Australian Art Sites


The biggest Nikon forum on line. Not puppets of Nikon but Nikon lovers. Great site.


For the latest in Australian Industry information head here.


Fred Miranda is one of the finest forums on the web.It reviews everything that’s happening and has more info than you have time to read.


An Australian site, photo & imaging news keeps track of the latest news in the industry.


Want to find some cool photography gadgets and toys? Photojojo is one of the most fun photography sites around.

Current photo contests at Photocompete
A great place to find out about worldwide competitions.


David Hobby is THE Strobist. What he doesn’t know about lighting, isn’t worth knowing. This site is one of the best known on earth – check it out a world of info awaits.


A well renowned site and magazine for fine photographers, well worth
a look.

Michael Coyne


In its about us section Aquabumps says “Aquabumps parades images of waves, surfers (good and bad), hot morning joggers and stunning beaches.” If you like water photography you’ll love this.


Find out what’s happening with photography competitions around the world.


Where’s my picture gone to in PHotoshop?

Have you ever applied a filter and after doing so your image has disappeared?

Well it happened to me several times and besides the natural cursing that went on.. ‘what the ****!’ I decided to gather some patience and look into it myself..

Well low and behold I found the solution.

If your image suddenly dissapears but remains visible in the navigator window to the top right do the following:

1. click on View
2. click on Screen Mode
3. select the first one Standard Screen Mode

wallah! Your image will magically re-appear.. :))
If you prefer to use the other modes you can then reselect them in this menu, make sure the image is displayed first after you select standard otherwise it will not reappear.

hope this helps you if like me you’ve encountered the same problem.

Kaz
x
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Photoline V15.50

PhotoLine is an imaging software, layout program, vector editor, batch converter, and Web editor with many functions. It provides painting, cloning, filtering, blending, and flood fill, many special effects, dynamic layer effects, and working layers. The program supports many picture formats, animated GIFs, CMYK, 16 bit per channel, color management, multiple undo/redo levels, plug-in filter, action recording, animations, poster and label printing.

Image Processing

  • 16 bit per channel, support of CMYK and Lab
  • Color management with ICC profiles
  • Lossless imaging
  • Process digital photos
  • Retouch, correct, …

Browse

  • IPTC and EXIF data handling
  • Rotate images lossless
  • Rename images and create catalogues
  • Create HTML galleries
  • Add and edit keywords
  • Powerful search capabilities

Layout/Text

  • “Real” PDF Import and Export (not just a big image)
  • Multipage documents
  • Calendar and barcode creation
  • Rich text functions

Internet/Animations

  • Create Flash and GIF animations
  • Web Export
  • Tile images, create buttons and image maps

Many more

  • Batch conversion
  • Create slideshows
  • Record actions
  • Print multipage documents, flyers and labels
  • USB-Stick support
  • Multiprocessor support

more info @ http://www.pl32.com/


Portrait Photography: Secrets Of Posing & Lighting

Mark Cleghorn – Portrait Photography: Secrets of Posing & Lighting
Lark Books | 2004 | ISBN: 157990548X | 128 pages | PDF | 53 Mb

With easy-to-follow instructions and detailed photo sequences showing how to arrange lights and lighting accessories, this carefully structured course teaches all the fundamentals of portraiture, as well as a host of other creative techniques. It sets out everything the amateur needs to know to create a wide range of styles, from choosing the right equipment to composing the background to placing and positioning the subject for maximum effect. The basics of color and black and white, digital capture and film, and studio and location shooting all receive detailed attention, and helpful tips on mood-enhancing lighting will help raise novices’ skills to professional levels.

Download


Click on these links below, to learn the tricks of the trade :)


Airbrushing is used by professional makeup artists to prepare subjects for photo shoots. In this retouching tutorial, you’ll discover how to perform this process digitally with the help of Photoshop tools such as the Surface Blur Filter and the Paint Brush Tool.


This professional-level Photoshop tutorial goes over the ways in which you can give someone a full digital makeover, including how to whiten eyes to make the subject look more vibrant, using the Paint Brush Tool in conjunction with lay blending modes.


This photo-retouching tutorial outlines several handy techniques for improving an image, such as taking advantage of the Patch Tool for skin blemishes and using the Turbulence Tool for smooth pixel scattering and for blurring out imperfections.

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