Book Review:
The Creative Digital Darkroom by Katrin Eismann and Seán Duggan.
Publisher: O’ Reilly, see link in the sidebar
Essence:
The book really touches on the nuts and bolts of Photoshop and attempts to cover a wide spectrum by including Lightroom as well. The authors really try to maintain the balance between the creative personal touch and the realities of the digital darkroom.
Opening chapters – it’s not really creative – but a necessary foundation:
The first chapter sets the tone and explains the structure of the book – firstly, there is a reference to the way a photographer is always “taking” pictures, even without a camera. Then the authors set out the workflow process, Acquire,-File Preparation,-Global Enhancement,-Selective Enhancement,-Output.
In order to work in a digital darkroom, one has to look at what a digital darkroom should consist of, and this is addressed shortly in the second chapter, berfore the authors rush through Photoshop’s preferences menu and color settings. This may seem very technical to a newcomer, but is addressed in a straightforward, no nonsense way – (no drowning in the details, rather short explanations with the authors recommendations -)
In the third chapter, the authors take one tremendous bite at complex issues like scanning, developing and organizing photographs. One travels the fast route here – there’s Camera RAW, DNG conversions and even printer information
The quick, straightforward way in which the authors cover concepts (whole books have been written on aspects like Camera Raw) shows that their intent is to get through the workflow to the creative part, and when one gets to page 90, you have a firm “shorthand coverage” of the environment and basics of the Digital Darkroom, but, at this stage I was really looking forward to see more of Eismann’s creative hand in the book (her other books shows a tremendous creativity). Lo and behold, this does not happen in chapter 4! And with good reason.
Before one can start playing around in the Digital Darkroom, there are certain things which have to happen. Ask any photographer who has had their work rejected by stock photography sites. Sharpening, spotting and cleanup needs to be done before one can really start “making it personal”. Again, the authors waste no time in getting through the grad-grind, hardcore realities of what needs to be done.
Middle chapters – more interpretation:
Chapter 5 is where creativity comes into play – when the authors talk about the photographer “listening to the image,” it becomes clear that this is where the “smoke and mirrors” should happen. Again, the authors stick to the basics, - curves, adjustment layers and toning – and it really makes sense! Because, as they conclude this chapter, they refer to the fact that most tonal corrections are “variations on (those) simple themes.” It’s at this time that I realize that this was not a “how to – effects book,” this is a book that teaches the fundamentals of being creative in the digital darkroom (exactly as stated in the title :-) ). And that’s no easy task in the world of “itchy mouse-buttons”. The next chapter addresses “Dodging, Burning and Exposure control,” and if one takes into account that photography is about Painting with Light, it’s a really crucial chapter --- this is where clutter is often confused with creativity – and again, the authors succeed in steering clear of “playing around,” but rather make sure the reader realizes the importance of understanding the “delicate interplay” between light and shadow.
More colorful as we go along:
By chapter 7, the authors are still sticking to the important basics, showing the interplay of the color-wheel with the interpretation of colors. And yes, they even show the working of the LAB color mode. (Again, this is encyclopedic in nature – as books have been written on LAB color as well –and here the basics are covered in 8 pages – yet, they make sure it makes sense as they stick to the basics, and they keep their recommendations straightforward).
Now that we know the rules:
By the time the reader gets to chapter 8, the authors seem to feel that you know enough about the basics not to mess up the process – it’s also the first chapter with the word “creative” in the chapter heading. And yes, now that you understand what really matters, you can play around with cross-processing and mode blending – it’s indeed a colorful world and yes, the smoke and mirrors are coming – chapter 9 touches on adding textures, edges and special effects. By now you realize that you’ve been on a journey, guided by the authors to make sure you really understand the nature of the darkroom, so as not to mess it up when you get there, but to know where you go when you create your visual stories.
Conclusion:
A great book if one realizes that creativity is not necessarily the result of merely “messing about” with the tools in the digital darkroom, it’s about understanding the tools first, and then “messing about” in a responsible manner. This book is about the fundamentals of the digital darkroom as much as about creativity – I would gladly recommend it to anyone who wants to have a broad understanding of the digital workflow process, as well as the basics of the digital environment.
A big bite into a big elephant!
Reviewed by: Igno van Niekerk
Manager, Adobe User Group, Bloemfontein, South Africa
(ACE, ACI, Photoshop, Lightroom)
