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Bitmap Boot Camp: Working with Photographs
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J marks Brightness, which you should play with only after setting the best Exposure If you drag Brightness to the right with this image, you ll see that the upper ranges of the image become brighter, but not the shadow areas So you use this slider to bring out detail in the midranges in an image without ruining the deeper tones K is the Shadows slider, and this option is used only to make deeper areas more pronounced without affecting the midtones and highlights Shadows might also be called contrast ; dragging the slider to the right does indeed create a difference between the lighter and darker areas of the overall image L marks both the Shadow and Highlights clipping regions These two buttons that frame the histogram (M) will display a bright red color overlay in the preview window in areas where the brightest brights have fallen out of range (they can t be accurately displayed onscreen, and they can t be accurately printed); and deepest shadows will display a green-tinted overlay If you see a tint in areas, this means that the Shadows, the Exposure, or the Saturation adjustments you ve made are too intense The solution is to choose lesser values for any of these options until the tint disappears in the preview window M is the histogram of the current photograph A histogram is a visual representation of how many pixels of what color are located at what brightness in the image A well-toned image will have a lot of color pixels in the mid-region of the histogram this is where the most visual detail is apparent in digital photographs If the histogram shows too many pixels for example, in the lower regions there s a hump in the histogram curve toward the left it means your image needs less Shadow or more Exposure
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6 Once you ve made your adjustments, you click OK, and you re then presented with
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a loaded cursor for placing and scaling the imported image, as discussed earlier in this chapter To import more than one digital image at a time, hold SHIFT while clicking to select contiguous files, or hold CTRL while clicking to select noncontiguous files in the Import dialog For different file types, set the Files Of Type option to All File Formats As multiple files are imported, the cursor indicates the file information for each image being placed
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In this section you ll take some of what you ve learned in previous sections, combine it with some new techniques covered here, and the result will be a color-corrected photograph as the centerpiece of a travel brochure design Most of the work has been done for you in Travel brochurecdr; the steps you ll learn put it all together as a complete solution for your next brochure need As far as the graphics go, it s simple stuff that s covered in 14
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on text and 17 on object fills All the text and graphics have been converted to curves DF Ancestor, a Bitstream typeface, was used for the primitive drawings
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Working in the Image Adjustment Lab
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For normal photographs photos in JPEG, TIFF, and file formats other than Camera Raw, you have under the Bitmaps menu in CorelDRAW a fairly comprehensive Image Adjustment Lab to make practically every global adjustment (but not local pixel adjustments) you ll find in PHOTO-PAINT This makes it very easy to photo-correct imported bitmaps and to integrate them into a composition without ever leaving CorelDRAW; better still, the features are almost identical to those in the Camera Raw Lab Let s work through a mock assignment: a 5 7" travel brochure has been created in Brochurecdr for you to download along with Cabana 5106jpg, the image for the cover of the brochure The following tutorial covers features in the Adjustment Lab, but it s only one of a threepart assignment, with image transformations covered after this tutorial, and finally a tutorial on how to export a completed design for use as a web graphic Here s how to add a little more punch to an image
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