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This full-color title is designed to be a classic reference for the millions of photographers going to digital, from enthusiasts shooting family events and vacations with their SLRs, to professionals creating journalistic prints and fine art. It's the only book on the market with a focus on complete, end-to-end workflow from shoot to print. It's tied to Adobe's latest version of Photoshop, which boasts an installed base of 4 million! Serge Timacheff is a professional photographer living in Pacific Northwest. He is the official photographer for the International Fencing Federation, based in Lausanne, Switzerland, and he photographs fencing at World Championships and the Summer Olympics. His 100-percent digital studio provides portraiture, event, commercial, and boudoir photography, and his fine art photographs appear in galleries and individual collections worldwide. David Karlins is a digital imaging expert, Web designer, teacher, consultant and author of numerous books and magazine articles.
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By Michael Johnson (Seattle)
The information in this book is a must have for anyone who takes more than just a few snapshots. Workflow is a major consideration for digital photography and this book helps you make sence out of it.
By Brianna & Dave (Midwestern U.S.)
We own a full-service photography studio in the Midwest. Each holiday season, we give ourselves a book or books on photography. This year, we decided to get two books by the same author(s): Total Digital Photography and Digital Sports Photography. We bought these after reading the reviews and looking at them at a local bookstore.
We converted from film to digital about three years ago, and workflow has been an issue for us as we've expanded and grown our studio, and dealt with all the factors involved with adding computers, archiving, etc. We do commercial, sports, and portrait photography so these books were right in-line with what we were doing.
Normally we have not written reviews on books in the past, but we felt it only fair to give these books a synopsis that we think more accurately matches the audience for which they are intended - and not all the reviews do that.
Reading the other reviews of these books, most of the complaints seemed nit-picky and not very substantial, and the overall impression was positive. A few of the technical points are well-taken, but seem a bit out of proportion to the overall spirit and gist of the books - which aren't intended to be deep technical works. We've used the books now for a bit more than a month, and we've found them both to be, for the most part, technically accurate, well-written, and very helpful for our work.
A few of the reviewers questioned the authors' use of fencing images, but we found these to be an interesting way to take an unusual and interesting subject, describe personal experience, and apply it to a variety of sports. And the images of all types were well done - good examples, well-composed, and applicable to a variety of photographers. We liked the use of a wide variety of sports photogrpahers' images in the sports book.
We must point out that these books aren't meant to be coffee-table books. One reviewer said many images are like snapshots. We disagree - they are like standard, everyday professional shots we might take, and aren't meant to be "haute" art photos. A few are of this caliber, but it's clear the authors' are attempting to reach ordinary photography enthusiasts and working professionals, not gallery artists.
One of the things we liked most was how personal and readable the books are - way more than just a reference where you'd read a snippet or two from various pages. These books have helped us understand digital photography much more deeply, and put into place a workflow and method for managing our studio more efficiently and profitably. We recommend the book to anyone seriously interested in photography as a regular pursuit-whether you're in it for the money or just as an active pursuit.
By Charlie L. (Seattle, WA)
Trying to find a good book on digital workflow, I read the other reviews posted here. After reading the book, I tend to agree with the one reviewer that says the best picture is the cover. If several shots of fencers in action shot under existing light is your cup of tea, then this is your book. When explaining the rule of thirds, the author's sample grid is skewed so far right that that it's almost the rule of halves. The author spends an inordinate amount of time covering fencing, definitely a difficult sport to shoot given the speed and constraints, but too much of the book is dedicated to this subject making it seem too one-dimensional. Most of the other shots are uninspired shots, many of which seem vacation snapshot quality.
As for the text, more time should be spent on the post capture portion. While the author goes into monitor profiles, archival and printing, not enough time is spent on these steps which are just as important to final printing as the image capture itself. Rather than trying to be generic with the type of camera, the author overly uses his example of Canon 10D which dates the text immediately. The steps outlined are useful enough until the next generation software becomes available, don't date yourself immediately by mentioning cameras that become obsolete immediately after publication. The author misses one key point in editing: Never edit the original! Always make a copy since you can never go back to what the original shot looked like. This is especially critical with JPEG since every save of the file causes further loss of data with compression.
By J. Krstenansky (Loma Linda, CA)
I was looking for a book to better understand how to maintain an effective workflow from start to finish without wasting time at each stage. Key for me was getting a better understanding what was necessary at each stage (procedures and tools to accomplish them) vs. what was optional or simply unnecessary. This book did an excellent job of that. It was quite readable, which I did over a couple of weeks time in many short reading sessions. While the book tries to deliberately avoid being another Photoshop book and tries to be balanced, presenting comparable aspects of other programs, it does describe key actions where Photoshop excels.
By E. M. Hobo (Everywhere)
Most of the book is on post-processing. This book assumes that you already have some idea of how to work your camera. Instead of really telling you how to do things, it focuses on how you can make things more easy on yourself.
It discusses the preparation, the shoot itself and post-production of the images. It doesn't tell you how to shoot perfectly, because in many conditions this just isn't possible. It does discuss how you can deal with those circumstances, making them work for you instead of you work for them all the time. It's general in its guidelines, but in-depth enough to show you how to do things for yourself.
This book assumes that you're a bit creative (which you really are, don't worry) and then helps you develop this creativity.
There's a lot in there, too much to put in here. (And it's all highly organised and easy to read.)
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