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In previous chapters, I explained how Photoshop sees an image, pardon me for bringing this up again, but it goes like this. First, Photoshop sees every one of your vibrant full color photographs as a collection of gray scale images mixing together. Second, Photoshop sees luminance levels from shadows to mid-tones to highlights. And third, it sees edges, areas of rapid contrast. In this chapter, we bring all three of these core elements of digital imaging together.
The Masters of Art from the ancient Greek Apollodorus to the High Renaissance Caravaggio, ultimately labeled the term Chiaroscuro, meaning the interplay of light and dark. Volumetric forms what you and I think of as the stuff of life can be rendered in terms of how light reflects and plays off of them. Shadows and highlights define the objects that we see. In this chapter, we delve into that world; one of Shadows and Highlights and how they inform the contours of reality.
Photoshop let's you open up shadows, so that you can peer into the detail they contain and temper highlights, so that you can look into them too based on Channel and Luminance and Edge information. The ancient masters would have been tickled to see what Photoshop can do. They might have even envied you for what you are about to learn.
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