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SCOTT KELBY


Multilizer PDF Translator Free version - translation is limited to ~ 3 pages per translation. Luz Shoot it it retoque libro it equipo

DIRECTOR CREATIVO

Publicado por nuev os os corredores

Nelson Felix

Copyright © 2012 por Scott Kelby

REDACTORES TÉCNICOS CNICOS

Cindy Snyder Kim Doty DIRECTOR DE ARTE ASOCIADO

Jessica Maldonado Maldona do

Todos los derechos reservados. Ninguna parte de este libro puede ser reproducida o transmitida en cualquier forma, por cualquier medio, electrónico nico o mecánico, incluy in cluyendo endo fotocop fot ocopia, ia, grabació gra bación o cualqu ier sistema de recup eración, n, sin permiso esc rito del editor, salvo la inclusión inclusión de breves citas en una revisió Compuesto en Gill Sans y Muse Mus e por Kelby Media Group, Inc.

DISEÑ ADOR ASOCIADO ADOR

Chicloso Clifford DIRECTOR DE TRFICO TRFICO

Gabriel de Kim DIRECTOR DE PRODUCCIÓ N

Dave Damstra FOTOGRAFÍA POR

Scott Kelby PRODUCCIÓN Y PRODUCTO FOTOGRAFÍA POR

Brad Moore

arcas aM rcas comerciales Todos los t rminos mencionados en este libro que se saben que son marcas comerciales o marcas de servicio han sido debidamente aprovechados. Nuevos jinetes no pueden dar fe de la exactitud de esta información. n. Uso de un trmino en el libro no debe considerarse como que afecta a la validez de cualquier marca registrada o marca de de Adobe servicio. Photoshop es una marca registrada Systems, Inc. Lightroom es una marca registrada de Adobe Systems, Inc. Macintosh y Mac son marcas registradas de Apple Inc. Windows es una marca registrada de Microsoft Corporation.

DV D AERTENCI E VRTENCIA y descargo desc argo de respo r esponsab nsabilid ilidad ad Este libro estádiseñado ado para proporcionar información para fotógrafos grafos sobre iluminación y retoque en Adobe Photoshop. Ha hecho todo lo posible para que este libro lo completa y tan preciso como sea posible, pero ninguna garantía garantía es implícita. cita. La información se proporciona en una-es base. El autor y nuevos pilotos tendrán ni la respo nsabilidad ni la responsabilidad responsab ilidad de cualqu ier persona o entidad con respecto a cualquier prdida o dao da o que surja de la información información contenida en este libro o de la utilización utilización de discos o programas que pueden acompañarlo. arlo. ESTE PRODUCTO APROBADO NO ES PATROCINADO O POR ADOBE SYSTEMS INCORPORADOS, EDITOR ADOBE DE PHOTOSHOP.

ISBN 13: 978-0-321-78661-6 ISBN 10:

0-321-7 8661-0

987654321

http://Kelbytraining.com w ww .N e wR i de rs .c om www


To my dear friend Terry Terry White: Your wisdom, humor, insights, and and advice have have helped me in more ways than I can ever c ount, ount, or ever hope to repay. repay. Thanks T.

Light It. Shoot It. Retouch It.

ACKNOW LEDGM LEDGM E N TS

After writing books for 13 years now, I still find that the thing that’s the hardest for me to write in any book is the acknowledgments. It also, hands down, takes me longer than any other pages in the book. For me, I think the reason reason I take these acknowledgments so seriously is because it’s when I get to put down on paper how truly grateful I am to be surrounded by such great friends, an incredible book book team, and and a family that truly makes my life life a joy. That’s why it’s so hard. I also also kno

To my remarkable wife, Kalebra: We’ve been married nearly 22 years now, and you still contin and everyone around you. I’ve never met anyone more compassionate, more loving, more hila genuinely beautif ul, and I’m so blessed blessed to be going through life with you, to have you as the m children, my business p artner, my private pilot, Chines e translator, and best friend. You truly woman love songs are written for, and as anyone who knows me will tell you, I am, without a

To my son, Jordan: It’s every dad’s dream to have a rela tionshi p with his son li ke I have with you, and I’m so proud proud of the bright, caring, creative young ma n you’ve become. I can’t wait to see the amazing amazing things life has in store for you, and I just want you to know that

To my precious l ittle girl, K ira: You You have been bless ed in a very speci al way, because you are a little clone of your mom, which is the most wonderful thing I could have possibly wished for you. I see all her gifts reflected in your eyes , and though you’re still too young to have

To my big brother Jeff, who has always been , and will a lways be, a hero to me . So much of who I am, and where I am, is because of your influence, guidance, guidance, caring, and l ove as I was growing up. Thank you for teaching me to always take the high road, for always knowing the rig

I’m incredibly fortunate to have part of the production of my books handled in-house by my own book team at Kelby Media Group, which is led by my friend and longtime Creative Director, Felix Nelson, Nelson, who is hands down the most creative person I’ve ever met. He’s surrounded by some of the most talented, talented, amazing, ambitious, ambitious, gifted, and downright brilliant people I’ve ever had the the honor of working work ing with.

Thank God for for Kim Doty, my my Editor. Editor. She is amazing, and single-handedly keeps keeps me from jumping off the Sunshine Skyway Bridge (although it’s still somewhat tempting when it’s getting close to deadline). Kim Ki m is just an incredibly organized, organized, upbeat, upbeat, focused person who keeps me calm and and on track, and no matter how tough the task ahead is, is, she always always says the same thing, “Ah, piece of cake,” and she convinces you that you can do it, and then you do it. I cannot cannot begin to tell you how grateful I am to her for being my Editor.

Working with Kim is Cindy Snyder, who relentlessly tests all the stuff I write to make sure I didn’t leave anything out, so so you’ll you’ll all be able to do the things I’m teaching (which with with a Photoshop book is an absolute necessity). She’s li ke a steel trap th at nothing ge ts through if it doesn’ doesn’tt w

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The look of the book comes from an amazing designer, a creative powerhouse, and someone whom I feel very, very lucky to have designing my books—Jessica Maldonado. She always adds that little something that just takes it up a notch, and I’ve built built up such a trust for her ideas and intuition, which w hich is why I just let her do her thing. Thanks Jess! I owe a huge debt of gratitude to my Executive Assistant and Chief Wonder Woman, Kathy Siler. She runs a whole side of my business life, and a big chunk of our conferences, and she does it so I have time to write books, spend time with my family, and have a life outside of work. She’s such an impor- tant part of what I do that I don’t know how I did anything without her. Thank you, thank you, thank you. It means more than you know. A special thanks to my photo assistant, Brad Moore, who not only assisted me during all these shoots, but also came up with the rig for taking the overhead shots in the studio and on location. I am so grateful to him, not just for what he did for this book, but for what he does all year long to help me get the shot. Thanks Braddo! Thanks to my best buddy, our Chief Operating Officer and father of twin little girls, Dave Moser, first for handling the business end of our book projects, projec ts, but mostly for always alway s looking out for me. Thanks to everyone at New Riders and Peachpit Press, in particular, part icular, my way cool Editor Ted Ted Waitt, my wonderful Publisher Nancy Aldrich-Ruenzel, marketing maven Scott Cowlin, Cowlin, marketing diva Sara Jane Todd, and the entire team at Pearson Education who go out of their way to make sure that we’re always working in the best interests of my readers, and who work tirelessly to make sure my work gets in as many people’s hands as possible. Thanks to my friends at Adobe: John Nack, Mala Sharma, John Loiacono, Cari Gushiken, Julieanne Kost, Tom Hogarty, Bryan Bryan O’Neil Hughes, Thomas Nielsen, and Russell Preston Brown. Brown. Gone but not forgotten: Barbara Rice, Jill Nakashima, Rye Livingston, Addy Roff, Bryan Lamkin, Jennifer Stern, Kevin Ke vin Connor, Deb Whitman, and Karen Gauthier. My thanks to Matt Kloskowski for letting me bounce ideas off of him for this book, and for his input and suggestions along the way. I want to thank all the talented lighting wizards who I’ve learned so much from over the years: Joe McNally, Frank Doorhof, Doorhof, Jim DiVitale, Helene Glassman, Jack Reznicki, David Ziser, and Jim Schmelzer. Also, Also, thanks to my mentors, whose whose wisdom and whip-cracking whip-cracking have helped me immeasurably, including John Graden, Jack Lee, Dave Gales, Judy Farmer, Farmer, and Douglas Pool Most importantly, I want to thank God, and His son Jesus Christ, for leading me to the woman of my dreams, for blessing us with two amazing children, for allowing me to make a living doing something I truly love, for always being there when I need Him, for blessing me with a wonderful, fulfilling, and happy life, and such a warm, loving family to share it with.

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OTHER BOOKS BY SCOTT KELBY

The Adobe Photoshop Lightroom Book for Digital Photographers Professional Portrait Retouching Techniques for Photographers Using Photoshop The Digital Photography Book, volumes 1, 2 & 3 The Adobe Photoshop Book for Digital Photographers The Photoshop Channels Book Photo Recipes Live: Behind the Scenes , parts 1 & 2 Scott Kelby’s 7-Point System for Adobe Photoshop Photoshop Down & Dirty Tricks The iPhone Book The Photoshop Elements Book for Digital Photographers

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ABOUT THE AUTHOR

Scott is Editor, Publisher, and co-founder of Photoshop User magazine, host of the top-rated weekly videocast Photoshop User TV , and co-host of The Grid (the weekly videocast for photographers and Photoshop users). He is President of the N ational Association of Photoshop Photoshop Professionals (NAPP), the trade ® ® association for for Adobe Photoshop users, and and he’s President of the training, training, education, and publishing firm, Kelby Media Group, Inc.

Scott Kelby

Scott is a photographer, designer, and an award-winning author of more than 50 books, including The Adobe Photoshop Lightroom 3 B ook for Digital Photographers Photographers , The Adobe Photoshop CS5 Book for Digital Photographers, Professional Portrait Retouching Techniques for Photographers Using Photoshop , Photoshop Down & Dirty Tricks, The Photoshop Channels Book , The iPhone Book , and The Digital Photography Book , vols. 1, 2 & 3. Scott’s book, The Digital Photography Book , vol. 1, is the best-selling book ever on digital photography. In 2010, 2010, Scott became the #1 # 1 best-selling author across all photography book categories. From 2004–2009, he held the honor of being the world’s #1 best-selling author of all computer and technology books, across all categories. His books have been translated into dozens of different languages, including Chinese, Russian, Spanish, Korean, Polish, Taiwanese, French, German, Italian, Japanese, Dutch, Swedish, Turkish, and Portuguese, among others, and he is a recipient of the prestigious Benjamin Franklin Award. Scott is Training Director for the Adobe Photoshop Seminar Tour and Conference Technical Chair for the Photoshop World Conference & Expo. He’s featured in a series of Adobe Photoshop online courses at KelbyTraining.com, and has been training training Adobe Photoshop users users since 1993. For more information on Scott, visit his daily blog, Photoshop Insider , at www.scottkelby.com .

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CONTENTS

CHAPTER ONE

1

3-Light Classic Beauty Setup Clamshell Lighting

The Setup.....................................................................................................2 Gear Guide.................................................................................................3 Camera Settings........................................................................................3 The Post-Proc CHAPTER TWO

23

2-Light Edgy Setup High-Contrast Lighting

The Setup...................................................................................................24 Gear Guide...............................................................................................25 Camera Settings........ CHAPTER THREE

35

2-Light Dramatic Setup Dramatic Glamour Lighting

The Setup...................................................................................................36 Gear Guide...............................................................................................37 Camera Settings......................................................................................37 The Post-Proc CHAPTER FOUR

49

3-Light Lens Flare Setup Lens-Flare Lighting

The Setup............................ Setup............................................ ................................ ................................ ............................... ...................... ....... 50 Gear Guide........................... Guide........................................... ................................ ................................ ............................... .................... ..... 51 Camera Settings........................... Settings........................................... ................................ ............................... ........................... ............ 51 The Post-Processing.......................... Post-Processing......................................... ............................... ................................ ..................... ..... 54 CHAPTER FIVE

67

1-Light Ring Flash Setup Using Ring Flash for Fashion Lighting

The Setup..................................................................................................68 Gear Guide...............................................................................................69 Camera Settings......................................................................................69 The Post-Processing...............................................................................72 CHAPTER SIX

83

3-Light Sports Setup Edgy Lighting

The Setup..................................................................................................84 Gear Guide...............................................................................................85 Camera Settings......................................................................................85 The Post-Processing..............................................................................88

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CONTENTS

CHAPTER SEVEN

97

1-Light Full-Length Setup Full-Length Fashion Lighting

The Setup..................................................................................................98 Gear Guide .............................................................................................. 99 Camera Settings..................................................................................... 99 The Post-Processing............................................................................102 CHAPTER EIGHT

117

1-Light Home Interior Setup Soft Glamour Lighting

The Setup.................................................. Setup.................................................................................................1 ...............................................118 18 Gear Guide .............................................................................................1 .............................................................................................119 19 Camera Settings................................................... Settings....................................................................................119 .................................119 The Post-Processing............................................................................ 122 CHAPTER NINE

139

2-Light On-Location Fashion Setup Fashion Side Lighting

The Setup................................................................................................140 Gear Guide .............................................................................................141 Camera Settings....................................................................................141 The Post-Processing............................................................................144 CHAPTER TEN

15 3

4-Light Sports Composite Setup Lighting for Compositing

The Setup................................................................................................154 Gear Guide .............................................................................................155 Camera Settings....................................................................................155 The Post-Processing............................................................................158 CHAPTER ELEVEN

175

1-Light Dramatic Setup Dramatic Side Lighting

The Setup.................................................................................................176 Gear Guide .............................................................................................177 Camera Settings....................................................................................177 The Post-Processing............................................................................ 182 CHAPTER TWELVE

191

2-Light Beauty Setup 1940s Hollywood-Style Lighting

The Setup......................... Setup....................................... ............................. ............................. ............................ ............................ .............. 192 Gear Guide ............................. ........................................... ............................ ............................. ............................. .....................193 .......193 Camera Settings........................ Settings...................................... ............................. ............................. ............................ .................193 ...193 The Post-Processing...................... Post-Processing.................................... ............................. ............................. ......................... ........... 196 CHAPTER THIRTEEN

191

If You Use Hot Shoe Flash Instead… G E A R G U I DE

2 28

I N DE X

23 4

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