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Product details
File Size: 20233 KB
Print Length: 273 pages
Simultaneous Device Usage: Up to 5 simultaneous devices, per publisher limits
Publisher: New Riders; 1 edition (July 12, 2010)
Publication Date: July 12, 2010
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B003U8A356
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Amazon Best Sellers Rank:
#530,859 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
First, a warning. This is NOT a book that goes into every menu and submenu in Lightroom and explains what the sliders do. If you want that kind of book, try the latest from Scott Kelby or Deke McLelland or a variety of others.Next, a threat. If you bought this book thinking it was an item by item how to, and then trash it online, I'm going to break a chain letter rather than send it on to you and you'll have 7 years bad luck. Seriously, though. If this isn't what you thought it was when you bought it, return it or sell it. That wouldn't be the book's fault.Finally, the gold star review...DuChemin has several titles that talk about vision and voice. Many of them are very inexpensive eBooks available on his website,[...]. It's taken me about a year to understand what he's saying. I've got the voice part down, thanks to this book. When you see a picture from Ansel Adams or Anne Liebowitz, you don't need to see the signature to know who took it. In other creative genres, when you read about a hard-boiled detective, you know it is Hammet or not. Same with Monet or Picasso. They all have a voice.Vision is a little harder to explain. When you take a picture, there was something that made you choose what to include or leave out, something that drew you to put camera to eye, something you wanted to capture. When you begin post processing, that initial view is rarely what you had in your mind. Vision is taking the image and making it tell the story you intended to tell, the way you wanted to tell it.The first third of this book tries to explain both of these complimentary concepts in much more detail and in a much clearer manner than I've done here. (And with apologies to the author if I've messed it up; these aren't easy to define in a few words.)After that, David takes you through his process, starting with a zeroed image (the RAW file from the camera) and explains what he did and why he did it from before he clicked the shutter to the moment he was ready to print. You do get to see sliders and adjustment brushes, but you see them in action; in context.As David goes on to explain the process of realizing his vision (and by extension, as we readers use the concepts and techniques to realize ours) he talks about how people process images. He has a ten point bulleted list of what the eye goes to first. Things like Sharp before soft, warm colors before cool, etc. Then he writes a sentence that sums it all up, "This is the WHY of this book: understanding how to gently lead the eye through the image, to say to your viewer, 'Look here,' and to do them the courtesy of creating images that don't tire them out from the effort to discern important elements from unimportant ones."If you are at a stage where you can benefit from guidance on how to make better pictures, as opposed to how to simply better exercise the features of your camera and software then this book is for you.For me, it came at just exactly the right spot on my learning curve. More than that, when I read it again next year it will provide a second boost since I'll be able to absorb ideas that are still beyond my ability.This book has my highest recommendation.
In modern digital photography there are several paths to great images. Some are crafted by photo technicians, previous film photographers who turn their noses up at digital post-processing and insisting that everything must be right "in camera." Then there are the software geeks, geniuses whose skills with software mastery over their computer hardware allow them to unlock the hidden potential in good images, frequently making them extraordinary.Almost all digital photography books are geared toward one of these two audiences. David du Chemin, however, has written a book for the rest of us.This is a Lightroom guide that dares to begin not with endless screenshots of menus, but with several chapters on Vision and Voice. In other words this book is as much about why one is bothering to take an image in the first place, as it is the step one takes to create final processed image in Lightroom 3.It is about intention. It is about having an emotional roadmap. Because what difference does it make that you can use an adjustment brush to selectively adjust the Clarity on a portion of your image, if you don't understand the effect that will have on the mood of the overall image? And what good is it knowing that you can make a Clarity adjustment to affect the mood of the image, if you don't know what mood you wanted to create in the first place?But with that said, this is not a stodgy, anti-software book. Far from it. In fact, du Chemin is unapologetic about in his advocating that digital post processing is an essential part of modern photography, with unique tools (compared to film photography) that are worth exploiting to their full capacity. Because it's not about what you do to an image, it's why.And this book will show you how, as long as you are first thinking about the why.To that end, you will not learn about every, or even most features, in Lightroom. This is not the only Lightroom book you'll ever need, if you are new to using the program. But, especially if you've been tinkering for a while--or have another Lightroom manual that has made you dizzy with its in depth coverage of every Lightroom feature--this book will effect the way you process your images, and make you more deliberate in your choices. And, yes, you will learn plenty of step-by-step techniques for adjusting and refining RAW images into the finished ones featured throughout the book.
This book uses LR3, the then-current version of Lightroom when Vision & Voice was first published. Lightroom is now in version 4 (With LR5 in Beta), with settings that do not match the book (although they are still similar). It really makes little difference in my opinion because the strength of the book is not LR settings, but the visualization of images, the message one wants to convey with each image, and the conceptual way to go about the process of doing both.The author is careful to point out that matching his settings is not the point. (If I wanted to learn LR as a software tool, I would look elsewhere.) In an odd sort of way, the fact that my software version inhibits my ability to copy the author's settings, makes the book even more valuable to me. Not being able to copy him encouraged me to think through my own process through the author's mind. I was able to work with my own images using his ideas and general approach, with results that I believe have improved my own vision and voice. That is the point of this book. Reading it has been a thoroughly enjoyable and enriching experience.To date, Vision & Voice is the best book of its kind that I have read.
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