Aperture 3 Portable Genius E-Book

Josh Anon

• Herausgeber: John Wiley & Sons
• Kategorie: Fachliteratur
• Serie: Portable Genius
• Sprache: Englisch

Seitenzahl: 404

Veröffentlichungsjahr: 2010

Beschreibung

Compact, fluff-free, full-color guide to getting the most out ofApple's Aperture digital photography softwareThis handy Portable Genius guide is designed to help you avoidhassle, save time, and quickly learn what you need to know to useApple's Aperture digital photography softwareeffectively--and have fun while you're doing it! In atrim size that fits in your laptop bag, this practical guide givesyou tips, tricks, and savvy advice on everything from navigatingAperture's user interface to advanced RAW image processing,publishing albums on the Web, and how to create your own photobook.* Provides tips and techniques for the new or most usefulfeatures of Apple's Aperture 3 digital photography and digitalmanipulation program* Includes savvy advice and plenty of no-nonsense content in ahip way that is easy to access* Covers key tools and topics, including keyboard shortcuts, howto streamline workflows, advanced RAW image processing, andmore* Features Genius icons throughout the book--smart orinnovative ways to handle tasks and save yourself timeLearn Aperture in a fun way and get even more out of your Appledigital lifestyle with Aperture 3 Portable Genius.

Leseprobe

Aperture® 3 Portable Genius

Table of Contents

Chapter 1: How Do I Get Started with Aperture?

Understanding Why Aperture Is a Key Part of Your Workflow

Seeing the difference between Aperture and iPhoto

Choosing Aperture over Bridge and Lightroom

Working with Aperture’s File Structure

Understanding the Aperture library and where your files live

Understanding referenced and managed files

Understanding how images are organized within Aperture

A Brief Tour of Aperture’s Interface

Understanding the Inspector, Browser, and Viewer

Managing files with Projects and Albums

Using special built-in views

Basic Customization Options

Setting library location and other General preferences

Changing appearance preferences

Changing default import behavior

Modifying preview preferences

Running in 32-bit or 64-bit mode

Chapter 2: How Do I Import Images?

Importing from a Memory Card, Camera, or Hard Drive

Touring the Import Panel

Using the Different Views in the Import Panel

Choosing Import Settings

Configuring a destination project for your images

Using referenced or managed files

Renaming files on import

Fixing time zone settings on your images

An introduction to presets

Configuring what types of files to import

Working with RAW + JPEG pairs

Running actions automatically after importing

Setting up an automatic backup on import

Accessing Images from iPhoto

Importing your iPhoto library

Importing select images from iPhoto

Dragging and Dropping Files into Aperture

Moving to Aperture from Bridge

Chapter 3: What Methods Can I Use to See My Images?

Customizing the Interface

Rearranging and grouping library items

Using Viewer modes

Using the Viewer with multiple monitors

Using multiple Browsers

Showing hot and cold areas of an image

Taking a Closer Look

Zooming and scrolling in Viewer

Using and customizing the Loupe

Viewing in Full-Screen Mode

Using Browser and Viewer in full-screen mode

Working with the filmstrip and toolbar

Working with heads-up displays

Additional Viewer Options

Using Primary Only

Using Quick Preview

Viewing the master image

Configuring and Using Metadata Overlays

Switching between RAW + JPEG Masters

Working with Referenced Images

Identifying and managing referenced images

Reconnecting a missing master

Relocating referenced masters

Converting referenced masters to managed masters

Deleting referenced files

Working with Stacks in Browser

Creating and Working with Light Tables

Chapter 4: How Can I Use Metadata to Organize and Find My Images?

Using Ratings to Sort Images

Setting ratings

Working with rejected images

Using Flags and Labels to Further Organize Images

Setting flags and labels

Customizing label names

Using the Metadata Inspector

Switching and customizing metadata views

Setting metadata

Managing and applying presets

Adjusting Date and Time after Import

Working with Keywords

The Keywords control bar

The Keywords heads-up display

Adding Custom Metadata

Applying Batch Metadata Changes

Using the Batch Change tool

Using the Lift and Stamp tool

Searching for Images

Searching within Browser

Creating Smart Albums

Searching with stacks

Writing IPTC Information to a Master

Chapter 5: How Do I Use Faces and Places to Categorize My Images?

Using Faces

Enabling Faces

Using the Faces interface

Finding people using Faces

Using Places

Enabling Places

Assigning locations to photos

Removing location information from an image

Finding images using Places

Chapter 6: What Tools Can I Use to Make My Images Better?

Reprocessing Masters for Aperture 3

Straightening an Image

Cropping Images

Reducing Red Eye

Using the Adjustments Inspector

Setting Preferences for making adjustments

Working with the histogram

Commonalities of all the adjustment bricks

Brushing adjustments in or out

Making basic adjustments

Using Quick Brushes

Using the Retouch Brushes

Using the remaining Quick Brushes

Creating and Using Adjustment Presets

Using an External Editor

Using Third-Party Editing Plug-Ins

Chapter 7: What Options Do I Have to Create a Physical Copy of My Photos?

Color Management

Calibrating your monitor

Calibrating your printer

Soft proofing

Using Aperture’s Print Dialog

Configuring a Standard Print

Creating a contact sheet

Using built-in custom presets and creating your own

Clicking the Print button and its settings

Ordering Prints

Creating a Book

Creating a new book album and picking themes

Navigating the Book Layout Editor

Placing images and text

Switching page styles

Adding and removing pages

Customizing page layout

Editing master pages

Printing or ordering your book

Chapter 8: How Can I Share My Images Digitally?

Exporting Masters and Versions of Images

Exporting masters

Exporting versions

E-mailing Images

Slide Shows

Creating a new slide show

Creating a custom slide show preset

Using the Slideshow Editor

Web Pages

Comparing Web Journals, Web Pages, and Smart Web Pages

Creating and configuring a new Web Page

Creating and configuring a new Web Journal

MobileMe

Setting up a MobileMe Gallery album

Adjusting the settings on your MobileMe Gallery album

Facebook

Setting up Facebook access within Aperture

Publishing images from Aperture to Facebook

Flickr

Setting up Flickr access within Aperture

Publishing images to Flickr

Using Other Export Plug-ins

Chapter 9: How Can I Use Aperture with My HDSLR’s Video Files?

How Does Aperture Handle Video Files?

Importing Video Files

Viewing Video Files

Editing a Clip

Setting the clip’s poster frame

Trimming the clip

Exporting a Video Clip

Working with Audio Files

Importing audio files

Playing audio

Attaching and detaching audio files

Chapter 10: How Can Aperture Make My Workflow Smoother?

Understanding Badge Meanings

Managing Photo Previews

Controlling preview preferences

Generating previews

Previews and stacks

Working with Multiple Libraries

Switching libraries

Moving images between libraries

Working with multiple computers

Controlling Tethered Shooting

Configuring a tethering session

Running a tethering session

Customizing Keyboard Shortcuts

Using Aperture with Automator

Vaults and Backup

Using vaults to back up your images

Alternate backup strategies

Using Aperture’s Database Repair Tools

Aperture® 3 PORTABLE GENIUS

by Josh Anon and Ellen Anon

Aperture® 3 Portable Genius

Published byWiley Publishing, Inc.10475 Crosspoint Blvd.Indianapolis, IN 46256www.wiley.com

Copyright © 2010 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-38672-9

Manufactured in the United States of America

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Library of Congress Control Number: 2009925745

Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley and Sons, Inc. and/or its affiliates in the United States and/or other countries, and may not be used without written permission. Aperture is a registered trademark of Apple, Inc. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book.

About the Authors

Josh Anon has been a nature photographer for most of his life, with his interest in photography starting when he received his first Kodak 110 camera at the ripe old age of 4. Camera in hand, he received a B.S. in computer science from Northwestern University in Evanston, Illinois.

After graduating, Josh started working at Pixar Animation Studios in Emeryville, California. There he has worked on The Incredibles, Ratatouille, Toy Story 3, and more. Currently he is a camera and staging artist.

He has traveled the globe searching for the next great picture, be it 100 feet deep on the Great Barrier Reef, on a cold and windy beach in the South Atlantic, or inside the Arctic Circle. His award-winning images, represented by the prestigious Jaynes Gallery and available on www.joshanon.com, have appeared in a variety of galleries, calendars, and other publications, including the San Diego Natural History museum, Nature’s Best, Photo Media, The Kiteboarder, and more. Josh teaches photography, both privately and for the Panasonic Digital Photo Academy, and he and his mother, Ellen, have also coauthored Aperture Exposed (Sybex, 2006) Photoshop CS5 for Nature Photographers (Sybex 2010), and more. He is also a cofounder of DSLRU (www.dslru.com).

Josh continues to develop software in his free time, currently focusing on FlipBook, which is movie-making software for iPad, iPhone, and iPod Touch.

When not shooting, making cartoons, or coding, Josh can be found kiteboarding.

Ellen Anon got her start with photography at age 5, but for years it remained a hobby as she took a very long fork in the road, eventually earning a Ph.D. in clinical psychology. Finally, a broken foot in 1997 forced her to take a break from work as a psychologist and she used the time to study photography. She debated briefly between building a traditional darkroom in her home and creating a digital darkroom. Because she’s not fond of being closed up in small dark spaces with strong smells of funky chemicals, she opted for the latter. Ever since, photography has been a two-part process for her. Making the image in the field is step one, and optimizing it in the digital darkroom is step two. Being creative with it is the icing on the cake!

Ellen is now a freelance photographer, speaker, and writer. Her goal with her photographs is to go beyond the ordinary in ways that she hopes stimulate others to pause and appreciate some of the beauty and wonder of our earth. Ellen’s images are included in collections in several countries. She is represented by several stock agencies, and her photos have been showcased in galleries, used in numerous publications (including Sierra Club’s Mother Earth and Inner Reflections 2010 calendar). In addition, she has been Highly Honored in Nature’s Best Photography Windland Smith Rice International Awards and Highly Commended in the 2008 BBC/Shell Wildlife Photographer of the Year competition. She is honored to be a member of the Aperture Advisory Board and is an Apple Certified Trainer for Aperture.

In addition to Aperture 3 Portable Genius, Ellen is the coauthor, along with Josh, of the series Photoshop CS5 for Nature Photographers: A Workshop in a Book (Sybex, 2010), and Aperture Exposed (2006). She has contributed chapters to several other books and she creates video training materials on digital software for several companies including www.maccreate.com. Ellen leads both photographic- and digital darkroom–oriented workshops and is a featured speaker at various events. She is an active member of the North American Nature Photography Association (NANPA) and is an instructor for its high school scholarship program. She is honored to be a member of Nik software’s Team Nik.

Credits

Senior Acquisitions Editor

Stephanie McComb

Project Editor

Jama Carter

Technical Editor

Paul Sihvonen-Binder

Senior Copy Editor

Kim Heusel

Editorial Director

Robyn Siesky

Editorial Manager

Rosemarie Graham

Vice President and Executive Group Publisher

Richard Swadley

Vice President and Executive Publisher

Barry Pruett

Business Manager

Amy Knies

Senior Marketing Manager

Sandy Smith

Project Coordinator

Katie Crocker

Graphics and Production Specialist

Andrea Hornberger

Quality Control Technician

Jessica Kramer

Proofreading

Penny Stuart

Indexing

BIM Indexing & Proofreading Services

Dedication

To my family, for having a second refrigerator just for film. –Josh Anon

To Jack, Josh, and Seth for always being there for me. – Ellen Anon

Acknowledgments

First and foremost, we both owe our family a big thank you for their continued support and encouragement. Neither of us would have made it where we are today without the support of Jack, Seth, and each other.

Someone once said it takes a village to raise a child. We don’t know whether that’s true or not, but it sure feels like it takes a village to create a book like what you hold in your hands. Specifically, we owe special thanks to Stephanie McComb, our Acquisitions Editor, and Jama Carter, our Project Editor. They somehow always managed to stay calm even when we were being stubborn.

We also owe our gratitude to our technical editor, Paul Sihvonen-Binder, for making sure that we really are leading you in the right direction.

We both want to thank our friends at Apple involved with Aperture, especially Kirk Paulsen, Martin Gisborne, and Joe Schorr for working hard to create such an amazing program that’s completely optimized our workflows.

Josh wants to thank his friends and co-workers at Pixar, including Trish Carney, Jeremy Lasky, Patrick Lin, Eben Ostby, and Matt Silas. You guys always provide great inspiration and are just awesome people. To his friend Michelle Safer: thank you for always being there to provide moral support. Last but certainly not least, he owes his continued gratitude to his high school English teacher Claudia Skerlong, for teaching him to write well; although he thinks he heard she once started a betting pool about whether his authoring a book (to say nothing of four) or Armageddon would happen first.

Ellen wants to extend a special thanks to her son Josh for being the lead author on this book and smoothing the way. It is a special pleasure to coauthor books with you! She also wants to thank all the people who have requested that she and Josh do another Aperture book. She also wants to thank Dr. Gary Brotherson and Dr. J.P. Dailey for their flexibility and perseverance in safeguarding her eyesight while enabling her to travel to remote places in search of the next photographic adventure.

Introduction

In many ways, Aperture needs no introduction. It’s professional photo management done by Apple, the same folks who brought you iPhoto, iPhone, and more. We could lavish it with praise for the next few hundred pages and describe to you how happy we are with the photographic workflows we’ve developed with Aperture, but while that praise would be completely true (perhaps garnished with a touch of hyperbole to add some humor), that wouldn’t leave much room to explain how Aperture can help your workflow. Instead, we’ll simply say that Aperture has helped us optimize our digital workflows more than any other piece of software (and between the two of us, we’ve tried them all) so that we can quickly process thousands of images and spend more time shooting and less time at our computers.

When you first look at it, though, it’s tough to understand how this neutral-gray window can do so much, and more importantly, what all these weird words like stacks and projects mean. Don’t worry: we’re here to help.

The next few hundred pages will take you through Aperture, from understanding the basic terms in Chapter 1 to advanced topics in Chapter 10. As you read, we encourage you to import some images and videos into your Aperture library and to try clicking the buttons we describe for yourself.

Don’t feel obligated to read this book from start to finish, however. While we’ve tried to build the text so that the chapters follow roughly a digital workflow order and build on each other, feel free to skip around, especially if you’ve used Aperture before.

Lastly, while it’s easy to sometimes feel overwhelmed by all the features in a program like Aperture, don’t be. There’s no test at the end of this book, and you don’t have to use every possible feature to its fullest to integrate Aperture into your workflow. That’s part of what’s so great about Aperture — it’s flexible enough to fit into your workflow instead of forcing you to fit into its workflow.

Chapter 1: How Do I Get Started with Aperture?

©Josh Anon

Aperture in some ways is like iPhoto on steroids, but in other ways it’s a completely different beast. Unlike iPhoto, it’s designed to be an incredibly flexible image, video, and audio file asset management tool so that it can integrate into your existing workflow. However, this flexibility means that Aperture has more jargon, settings, and buttons than iPhoto. This chapter helps demystify Aperture’s jargon and shows you key fundamentals you need to know when using Aperture.

Understanding Why Aperture Is a Key Part of Your Workflow

Working with Aperture’s File Structure

A Brief Tour of Aperture’s Interface

Basic Customization Options

Understanding Why Aperture Is a Key Part of Your Workflow

Most photographers agree that the time you spend behind the lens shooting is the best part of being a photographer, and all the other stuff (processing an image, categorizing it, trying to sell it or use it to promote business) is really just annoying. While digital photography enables you to be more creative as a photographer, from being able to see right away whether you got the shot or not to being able to experiment as much as you want with the only cost being disk space, the “other stuff” arguably gets more frustrating because now you have to manage digital files instead of physical film and learn to use multiple programs to develop and output your images. That’s where Aperture comes into play. Aperture is a central point for all of your image management, from the moment you download an image from camera to computer until you search for an image and click Print to make a physical copy for a client. Aperture makes it relatively easy and fast to organize and manage your digital files, and that lets you spend more time having fun shooting. However, Aperture isn’t the only digital asset management tool out there. Let’s look at what Aperture gives you over iPhoto, Bridge, and Lightroom.