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7 Photography Myths Exposed

19 Oct

Photographers, of all people, should know that the world is not black and white. There are many shades of grey between black and white, between good and bad, and between right and wrong. It’s all a matter of perspective and circumstance. Yet photography is full of blanket statements about what you should and shouldn’t do. In this article, I expose (pun intended!) a few of the most common photography myths every photographer should know.

North Algodones Sand Dunes, California - 7 Photography Myths Exposed

1. Full frame cameras are better

A full frame camera has a larger sensor than a crop sensor camera. That means you might get more megapixels or you might get larger megapixels or even both. But there are many more important factors to consider when choosing a camera than megapixels.

First, crop sensor cameras are generally smaller, lighter and much less expensive. Second, if you like to shoot wildlife, you’ll get extra reach with your telephoto lens on a crop sensor camera. A 400mm lens on a full frame camera is equivalent to over 600mm on a crop sensor camera. Also, if you like to photograph wildlife, a more important factor to consider above megapixels is frames per second.

A few years ago I went to Africa to photograph wildlife and took two cameras: a full frame Canon 6D and a crop sensor Canon 7D. I learned that the 7D was much better for my purposes because of the frames per second rate it was capable of shooting. The 6D (at the time) did 4.5 fps and the 7D did 8. That was a huge difference in the field.

Lion and cub at Ngorongoro Crater, Tanzania - 7 Photography Myths Exposed

2. Always use a tripod

A tripod is an essential piece of gear for any photographer and usually, you will notice a huge improvement in image quality when you start using one. However, “always” is one of those blanket statements that doesn’t always make sense (see what I did there?). I often notice photographers arrive on a scene, set up their tripod, and then try to find a composition they like. That tends to limit their possibilities since they are already stuck on the tripod.

A better approach is to go free hand until you find your composition. Then, when you find it, try to make your tripod fit in the exact position necessary. Sometimes you’ll find it won’t fit. Either the angle is lower than your tripod will allow you to go, or the tripod is not tall enough, or the position isn’t stable. When that is the case, ditch the tripod in favor of getting the composition.

Plateau lizard by Anne McKinnell - 7 Photography Myths Exposed

3. To make better photos, you need better gear

Undoubtedly, you will reach a point in time when you need better gear to carry out your vision for what you are trying to achieve with your photography. But the most important thing is to have that vision. Before getting new gear, make sure you exhaust your current gear. Use every single function and feature it has and know exactly what it is you need that your current gear doesn’t have before you move on. Blaming crappy gear is just a crutch. A really good photographer can make great images with pretty much any camera.

4. Never put your subject in the middle

Ah, the rule of thirds. The golden ratio. The fibonacci spiral. All good tools when it comes to learning composition. But don’t forget about the beauty to be found in simple symmetry.

When you think about a person’s face, the most beautiful face is the most symmetrical face. It’s all about balance, equality of proportion, and harmony. The key to making a compelling symmetrical composition is in the perfection of the symmetry. A composition that is almost symmetrical will seem off, but one that is perfect will seem awe inspiring.

Baobab tree in Tarangire National Park, Tanzania - 7 Photography Myths Exposed

5. Manual is the best shooting mode

It’s beneficial to all aspiring photographers to learn to shoot in manual mode so you have independent control over every factor in making your exposure including aperture, shutter speed and ISO. It’s no doubt that it’s one of the best ways to learn how your camera works. However, once you’ve learned how to use manual mode, why not let your camera do what it’s good at? Cameras these days are smart and the fewer things you have to do manually, the quicker you will be at responding to a changing scene.

When you are on a scene, decide which factors are important to you before you select your shooting mode. For example, if you are trying to intentionally blur a subject, shutter speed is important. You can use shutter priority mode and let the camera choose the aperture and ISO. That way when you want to shorten or lengthen the shutter speed, you only have one thing to change and the camera will figure out the rest. Similarly you might decide that depth of field is most important, and if you’re using a tripod, shutter speed might not matter at all. In that case, aperture priority mode is most convenient.

Summer flower in Butchart Gardens, Victoria, British Columbia - 7 Photography Myths Exposed

6. RAW format is better than JPEG

This refers to the image quality you select in your camera’s settings. You can choose to have your images saved as either RAW files, JPEGs, or both.

RAW is better than JPEG only if you are planning on post-processing your photos, which most people do. A RAW file contains more data and therefore you have more leeway in your post-processing. However, if you are just starting out and you haven’t gotten to the point where you’re processing your photos yet, it’s probably better to shoot JPEGs.

In JPEG mode, your camera will make some decisions for you when it comes to color and contrast and your photos will look better straight out of the camera. Ultimately you’ll likely come to the point where you want to make those decisions yourself. That’s when it is time to make the switch to RAW.

7. Good photography requires good light

All light is good light. The trick is to know what kind of images to make under the lighting conditions that are available. Do you have harsh (hard) light? Look for interesting shadows or photograph in the shade. Soft light? Perfect for macro shots. Looking into the sun? Find subjects with interesting shapes for silhouettes.

Saguaro in silhouette at Tucson Mountain State Park, Arizona by Anne McKinnell

Conclusion

Remember, as an artist, you are free to go about making your art any way you like. You can use your tools any way you see fit. The most important thing is to have a vision and then use your tools and techniques to help you achieve it.

Do you know of any other photography myths you want to expose here? Please share in the comments below.

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Four Common Myths About Full-Frame Cameras Dispelled

21 Jun

One of the beautiful things about modern digital photography is the astronomical degree of choice that is available to us. No matter whether you’re a professional photographer, a weekend warrior, or a casual enthusiast who just likes to take snapshots of your kids, your food, or your feet – there are dozens, even hundreds, of camera models and options to suit your needs. There are specialty cameras for recording extreme sports, underwater cameras for photographing the deep blue sea, and a slew of lenses available for DSLR and mirrorless cameras to suit any situation in which you might find yourself.

There are also some clear differentiating factors between these various options that make some cameras better suited to certain situations. One of the most common issues I see discussed is that of full-frame versus crop-sensor cameras. To help clear the air regarding this particular question I’d like to address four common myths about full-frame, with the goal of helping you choose a camera that suits your needs.

Four Common Myths About full-frame Cameras Addressed

Taken with a 10-year-old crop-sensor Nikon D200 and 50mm f/1.8 lens.

Myth #1: full-frame is better than crop-sensor

I see this myth being perpetuated all the time, particularly in online forums but also when talking to people in person. It’s a shame because it’s just not true. full-frame is certainly better in some aspects compared to crop-sensor cameras, but to declare that they are universally better is colossally misleading.

One analogy I like to use here is that of vehicles, particularly pickup trucks. A beast like the Ford F-150 is a fantastic and phenomenally well-rounded truck that excels at hauling, towing, and all the usual heavy-duty jobs for which one would typically buy such a vehicle. By comparison, the Toyota Tacoma is a smaller truck and not quite as powerful or capable, but actually beats its larger counterpart in some regards such as better gas mileage, smaller turning radius, and greater overall agility in a more urban environment.

Four Common Myths About full-frame Cameras Addressed

Taken with a full-frame Nikon D750 and 85mm f/1.8 lens. A crop-sensor camera would have worked, but would have required me to be farther back in order to get this same composition and there was simply not enough space in the room to do so.

Different not necessarily better

Neither truck is objectively better; both are well suited to the specific needs of the people who purchase them. The same is true for cameras in that full-frame cameras work very well in many regards. But to say they are better negates some of the unique advantages of smaller crop-sensor cameras.

full-frame models, as a rule, have strengths like greater high ISO capabilities, improved dynamic range, and improved build quality. If these things are important to you, then a full-frame camera might suit your needs. However, smaller and less expensive crop-sensor cameras have some unique advantages as well such as:

  • Autofocus points that reach farther out to the edges of the viewfinder.
  • Faster shutter sync speeds.
  • Longer reach—a 200mm lens on a crop-sensor camera is basically like shooting with a 300mm lens on a full-frame camera.
  • Generally less expensive.

These are all generalizations, of course, and there are always exceptions to the rule. But suffice it to say that just because full-frame cameras exist doesn’t mean you need to get one.

Four Common Myths About full-frame Cameras Addressed

Taken with a crop-sensor Nikon D7100, 50mm lens, and +10 close-up filter.

Myth #2: Shooting full-frame will improve your photography

This is a myth that’s closely related to GAS, or Gear Acquisition Syndrome – a condition that plagues many photographers and often causes them to continually buy more cameras, lenses, and accessories in the hopes that these things will help improve their photography. Getting a full-frame camera will certainly allow you to take advantage of the unique benefits that they offer, but it will by no means do anything to actually improve the quality of your photographs.

No matter what camera you have, whether it’s a mobile phone, pocket camera, or crop-sensor DSLR, the best thing you can do to make yourself a better photographer is to learn more about photography, not spend money on new gear. In fact, sticking with the gear you have and learning to work within its limitations can have a profound impact on your photography and go quite a long way towards helping you improve.

Four Common Myths About full-frame Cameras Addressed

Taken with a full-frame Nikon D750 and 50mm lens, but it was years of learning about composition, lighting, and other photographic principles that helped me get this shot.

To extend the vehicle metaphor just a bit, buying a Formula 1 car will not automatically make you a better driver. Certainly, it will allow you to have access to the unique capabilities of such a fine automobile. But simply parking an F1 racecar in your driveway will in no way upgrade your own ability to operate a motor vehicle. Some photographers mistakenly think that purchasing a full-frame camera will give their photography a boost. But in truth, it’s the day-in-day-out work of practicing the fundamentals of photography like composition, lighting, color, contrast, etc., that will lead to improvements.

Myth #3 Full-frame is too expensive for casual photographers

If you do decide that you want to invest in full-frame gear, you can take solace in the fact that price is no longer the barrier to entry that it once was. The first full-frame camera was the Canon 5D, which came out in August 2005 and cost about $ 3500 USD, which made it prohibitively expensive for all but the most dedicated professionals and ardent enthusiasts. Crop-sensor cameras were far cheaper, making them the default solution for many photographers around the world. To this day they remain a perfectly viable option for almost any type of photography.

However, as prices have gone down over the years it is now much more feasible to purchase full-frame gear compared to days gone by. New full-frame cameras such as the Nikon D610 or Canon 6D are about $ 1400-1500 (at the time of writing this) and can often be found on sale, which is a steal compared to just a few years ago. And while more expensive models such as the Canon 1DX Mark II or Nikon D5 can easily cost as much as a used car, you certainly don’t need those high-end models to take advantage of many of the benefits of shooting full-frame.

Four Common Myths About full-frame Cameras Addressed

Taken with a full-frame Nikon D750 and 70-200 f/2.8 lens. I could have taken a similar shot with a crop-sensor camera and different lens, but I specifically wanted the wide aperture of this lens and the control over depth of field offered by the D750.

Another benefit of the passing of time is that full-frame cameras which were cutting-edge a few years ago are significantly cheaper in price now that they have been replaced by newer models. Consider the Canon 5D Mark II, a camera which is so good it was used to film the season finale of the TV show House in 2010. While it can’t match the blistering high ISO performance and other tricks of its newer counterpart, it’s still a phenomenal camera and can be found used online for much cheaper than the shiny new models.

Myth #4 All serious photographers will eventually go full-frame

Friends and family members often ask me for advice when it comes to buying cameras and camera gear, and this used to be somewhat precarious territory due to the understanding that real photographers always ended up buying full-frame cameras. Thus, advising someone to buy a crop-sensor camera was to tread on dangerous ground because in a few years that person might realize his or her gear is a second-class citizen in the world of photography and it would have been better had a full-frame model been purchased from the start. Thankfully nowadays, as Princess Leia said to Han Solo at the end of Return of the Jedi, “It’s not like that at all.”

Four Common Myths About full-frame Cameras Addressed

Taken with a crop-sensor Nikon D7100 and 50mm f/1.8 lens.

Sensor technology in cameras today is so good that you can shoot professional photos whether you have full-frame, crop-sensor, medium format, micro-four-thirds, or in some cases even just a mobile phone. Camera gear is not the limiting factor it once was. So while many professionals certainly like to shoot full-frame, there is a growing number who prefer the features, size, convenience, and price of smaller models especially in the world of mirrorless cameras like the Olympus OM-D EM1 Mark II or Panasonic GH5.

If you have specific needs that are not being met by your crop-sensor camera then it may be a good idea to consider a full-frame camera. But otherwise, the gear you have is probably good enough and you’d be better off investing your money in lenses, lighting, and education rather than a new camera body.

Four Common Myths About full-frame Cameras Addressed

Taken with a full-frame Nikon D750 and 50mm f/1.8 lens. Why that particular setup? Honestly, I just like how that camera feels in my hands and I enjoy using it.

Conclusion

I’d like to hear from you, the DPS community, on this one. What type of camera gear do you shoot with, and is there any way in which you find it to be limiting? Do you shoot with full-frame and if so, what do you like about it? Are you content using crop-sensor cameras?

For the record, I personally use both crop-sensor and full-frame cameras and have specific purposes for both. But it’s always interesting to hear from other photographers on subjects like this. Leave your thoughts in the comments below.

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The Myths and Realities of Becoming a Professional Photographer

19 Jan

As a professional photographer, I think the number one mistake for aspiring pros is to fall for certain myths about the craft and career. In this article, we’ll look at some of the myths and realities of being a professional photographer. If you’re on the fence about taking the leap it may help you decide.

professional photography myths

But first a little story

My heart was beating fast as I approached the school. My dad was holding my hand when I started to put my foot down on the ground. Despite my protests, my dad quickly dropped me in class and left in a flash. I wasn’t his problem anymore.

Bad move. I started screaming.

The teacher, as wise and as calm as she could, tried to calm me down. She made the mistake of putting her hands near my face. I opened my mouth just like you see in the movie jaws and WHAM I bit her hands and pressed as hard as I could. I bit her so bad you would think an enraged dog bit her.

The moral of the story

What, you may ask, does that have to do with professional photography? In a sense, everything, because that episode taught me about one thing I would like to talk about today – setting expectations.

You see, I had absolutely no idea what I was getting into both as a 5-year-old heading to school for the first time and starting out as a professional photographer. They both caused me trouble. If you do not plan, you plan to fail, but it’s hard to plan when you have absolutely no idea what to expect!

professional photography myths

Here are a few myths that I believed about professional photography and how reality slapped me hard. Hopefully, these will help you avoid the same mistakes I made.

Myth #1 – Being a professional photographer = validation

I don’t know where the idea comes from, but it seems like for everyone that picks up the camera, the pinnacle of achievement seems to become a professional photographer. It’s almost like a necessary evolution. At first, you have a camera, people start complimenting your work, then you decide to become a pro. It was too late for me to realize it, but I would have been perfectly happy as an amateur.

At the end of the day what really matters is the images, if you can get a few bucks for them, great! But becoming a pro will not magically validate you or your images. I expected to feel better about my images and myself when money started rolling in, but that never really happened.

Myth #2 – You get to spend all your time shooting

pro-photography-myths-1

This is most likely the biggest myth of all time in regards professional photography. People sell it to you like all you will be doing is shooting all day, every day. But that is far from the truth because you will spend more time seeking work than actually working.

You don’t spend most of your time shooting, you spend it marketing, attending events, networking, putting yourself out there. Whatever time you get in front of the camera, you’ll spend two to three times as much simply editing as well.

If you believe photography is hard, it is actually the easy part. The hard part comes after; selling your work. It’s a sobering truth that probably hits every photographer, writer, painter, etc., that the product or service is only the first and easiest part of the process, the hardest effort comes afterward.

professional photographer myths

But you say, “I believe that I am good photographer, and people will realize how much better I am than Joe Shmoe.” I understand the feeling, and you are probably better than Joe, but that brings us to the next myth.

Myth #3 – Being good is enough

I call this myth the “best product fallacy”. Just because you are good doesn’t mean anything. Van Gogh was good yet he died in obscurity. Talent is not enough, the world has millions of talented photographers, painters, actors and more that are eating dust.They had a social experiment where they put one of the

There was a social experiment where they put one of the world’s highest paid musicians in a subway station, playing a million dollar violin by the way. Did the world recognize his talents, did they put their wallets out begging him to take their money? No. Nobody really cared. Watch the video below.

We’ll get back to this later but for now, just know it doesn’t matter that you’re a good photographer. Don’t get me wrong, you’d better be good at what you do, but that does not in any way shape or form guarantee you success by itself. Talent is just not enough.

Myth #4 – You’ll be rich and famous

If everything you see is success story after success story, doesn’t it follow that if you try it too, you might become rich and famous? Even more, won’t you just blaze through it because you are talented? Many photographers make a living telling you how to be a professional, so of course, they will sell you a dream. It’s like many guys on YouTube, you’ve probably seen a few.

professional photographer myths

They try and sell you a dream. But the reality for all the photographers that I know, is that it’s an income that pays the bills. And they sure aren’t well-known outside their local area. Sure there are superstar photographers in the world but that is what they are, stars. Just like the Hollywood stars, for every well-known one, there are others just making a living.

The things is that not everyone can be a superstar photographer (depending on who you ask, a superstar makes more than $ 40,000 a year) because when it comes to wealth distribution there is inherent inequality. There will always be a group that makes more than the rest combined. For example, there’s about 20% of the countries that have 80% of the wealth, about 20% of actors make 80% of the wealth, about 10% of the companies that make 90% of the wealth: Companies like Apple, Google, Microsoft, Samsung, etc., take the lion’s share.

Only the top elite will ever reach that level

Same for photography, there’s a group that earns more than all others combined (and if you really want to go deep, a group within that group that earns more than the others combined again, Terry Richardson, who earned 58 million in one year, is probably in that group ).

professional photographer myths

The worse part is that many of them make it sound easy because they want to teach you how to become a professional photographer. I’m not saying you can’t become rich and famous. What I am saying is, that when you are on your quest for fame and fortune know that there’s only a few that can make it to the very top. It’s a bit like football, not everyone can be an NFL player. That should put in perspective the amount of effort required.

Count the costs

A few years ears ago I had to rent a U-Haul truck to move from my apartment to my wife’s parents’ house with our baby in tow. The reason was that I had failed to understand that professional photography was as much about marketing and selling as it was photography. It almost cost me my marriage as well.

So, count the costs. If you want to build a house, add up the costs, if you want to be a pro, count the costs. It’s not just about shooting, see the sacrifices and the long and hard road ahead.

professional photographer myths

Also, understand the nature of the beast. You will usually see success stories but never those who have failed…and there’s more of the latter than the former. Take it from me, I cried many times because things were not working.

What now?

This article is by no means meant to discourage you from becoming a professional photographer, just the opposite. It is meant to empower you to avoid unnecessary pitfalls due to unrealistic expectations. That episode at 5-years old would not have happened if only my dad prepared me for exactly what was going to happen. I would not have needed to move out to my in-laws’ if I had known what to expect going pro.

If you want to become a pro, by all means, go for it, just be realistic about it. You’ll need to learn a whole other field (business, marketing, etc.) above and beyond photography. Coming back to Joshua Bell (the violinist), he didn’t change, his skills didn’t change, the only difference between him and countless other metro violinists is his marketing. So the wisest thing you can do is to learn about marketing, running a business, and how to sell your work. This is probably the single most important piece of advice I could ever give you, because trust me, your images won’t sell themselves.

professional photographer myths

Conclusion

I love being a professional photographer, I wouldn’t do anything else, it’s in my blood. But making a living from photography is harder than many would lead you to believe. It’s not just about being talented, it’s about selling yourself, and more of your time will be spent doing the latter than the former.

I believe people make mistakes so that not only they can learn from them, but others can benefit as well. So, take it from me, I had to move in with my wife’s parents, I was on the brink of divorce and had many teary nights. Count the costs, and learn how to sell.

Be yourself, stay focused, and keep on shooting.

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12 Myths About Photography And Photographers

16 Dec

Myth #1 “I’m not going out to shoot today because the light is bad.”

There is no such thing as bad light. As long as there is light, there is opportunity to make amazing images. There is also no reason to limit yourself to the golden hours on each end of the day. The most adverse weather conditions are perfect for making the most beautiful pictures. So get out there!

Myth #2 “I need to bring several lenses with me on my photo walk, just in case…”

Well, that’s fine if you don’t mind carrying around heavy equipment all day “just in case.”  Depending on what you shoot, if you limit yourself to just one lens for the day you can improve your skills, especially if you decide on a fixed focal length lens such as a 50mm. This simple decision will slow you down which will help you see better and allow you to compose more carefully. Plus you won’t miss the shot while you’re busy switching lenses.

Myth #3 “I shoot 1,000 frames in a day so that I increase my chances of having a lot of keepers!”

The ‘spray and pray’ approach sounds like a good idea, but it is no guarantee that you’ll have more keepers at the end of the day. Instead, pretend you are shooting film and limit yourself to a 24 or 36 exposure that day. You will quickly discover the creative power of limitation.  Shoot with intent, make every single frame count, and you will have plenty of keepers at the end of the day with the added benefit of not having so many images to process.

There is no bad light. Foggy days are my favorite days to shoot landscapes.

Myth #4 “I can’t shoot, I forgot my tripod.”

The tripod is a useful tool, but can also become a bit of a crutch. Unless you are on a paid job assignment that requires a tripod, liberate yourself and shoot hand held. There are other ways to stabilize your camera if necessary, you can use a wall or a boulder for example. Tripods are definitely useful, but the problem is that photographers tend to set them once and rely on them to shoot everything from the same level.  Be creative and shoot your subject from different perspectives. Unless you are shooting long or multiple exposures or macro, liberate yourself from that tripod once in a while and try new perspectives.

Myth #5 “I‘m in a creative rut, I need to go to an exotic location to get out of it.”

Everyone gets into a rut. One solution is to learn to see the extraordinary in the ordinary, see the new in the familiar. Go out into your own backyard and see it with fresh eyes.  Give yourself an assignment such as a photo-a-day project for a month or a year.  Create a theme for your photo walk and it becomes a treasure hunt. Shoot with fellow photographers. Give a camera to a child and see the world “fresh” through their eyes. Once you get out there and use your imagination, you’ll be free from that rut!

Myth #6 “I would take better pictures if only I had a better camera.”

Okay, I’m not going to give you a lecture here. It’s true that more expensive equipment, when used skillfully, will yield better images than a point and shoot camera. The mistake, however, is upgrading before using your current gear to its full potential. Believe me, gear lust is easy to catch, yet most of us never outgrow our equipment. Invest into education, attend a photo workshop or go on a vacation instead of spending thousands on the latest and greatest gear. If you can do both, that’s terrific, but it’s not always necessary. Also, there is a lot of bad photography made with very expensive gear and some stunning images shot with iPhones… Food for thoughts!

Myth #7 “I’m too old to learn how to use a digital camera.”

If you have the strength to hold a camera and press the shutter, you can learn to use a digital camera.  Photography is a life long passion. It’s never too early or too late to start!

Myth #8 “I’m making money with my photography. I learned everything there was to learn about the craft.”

Nothing could be further from the truth! Once you think you know it all, you will stop growing. The world of photography is so exciting and is changing at the fastest pace ever. All you have to do is to keep current with the latest technology and embrace it.

Myth #9 “I need hundreds of pictures in my portfolio before I can show my work to clients.”

This is just not true. What is true, and important, is to be discerning about your selection, show only your best work. Quality over quantity is your guideline here.

Myth #10 “Being a photographer is a glamorous job.”

Maybe in the movies, but not in real life.  Most photographers don’t realize at first how much nitty gritty work is required once you turn your passion into a profession. For most of us, it’s 80% business and 20% shooting. This is true for just about any artist, so you need to be realistic.

Myth #11 “All you need to be successful as a pro is talent.”

Wouldn’t that be nice? Ever heard of the expression “starving artist?”  Talent is definitely an important ingredient, but solid business skills are also important. Business and marketing are a vital part of being a successful working photographer, but if that’s not your forte, be sure to get help or hire someone for that.

Myth #12 “Pro photographers are better than amateurs.”

Just because some photographers make money with their pictures doesn’t make them better shooters. A successful pro will be able to offer quality and consistency. I see the work of so-called amateur photographers every day that far exceeds the work of many pros. Actually, pro photographers run the risk of losing the passion for their craft if the work becomes a routine and this can adversely affect the quality of their work. It is very important for pro photographers to make time for personal projects in order to keep their passion alive.

The list could go on! Feel free to add a myth or two in the comment section.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

12 Myths About Photography And Photographers


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Myths #001 Do I need 300dpi?

02 Aug

Myths & Misconceptions in Photoshop #001.

In this training, you will find seven sections which each focus on different aspects of using Photoshop. You’ll start with an overview and learn how to use many of the tools; then you’ll work with styles, adjustment layers, and layer masks; create web graphics and simple frames- and timeline-based animations; learn some retouching, editorial, and restoration techniques; discover how easy it is to create 3D effects from 2D text and artwork; and end with a section on special techniques, many of which are new in Photoshop CS5.

 
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