Customer Reviews

Digital Imaging for Visual Artists

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When I purchased this book in 1993, it was the gold standard for introduction to digital photography. I can honestly say I recommended this book to literally hundreds of people when I worked in the photographic industry.

However, while the subject has changed in the last decade, the book has not. For example, there is a chapter devoted to obsolete film recorders, yet only passing mention is made to the jpeg image file format.

While I will forever love and appreciate the Grottas for the incredible book they wrote, until it is revised I would recommend readers look for an alternative.

A customer wait list and the high life are there with DIGITAL IMAGING FOR VISUAL ARTISTS. Computer programs, filmless cameras and scanners chart pioneer creative paths, save time and turn what used to be a sharply defined chain of creative responsibilities into a one-stop digital design and service bureau. The digital visual professional chooses brush types and reactions between media and surface; combines media unmixable in the real world; and controls brush strokes like never before. They come up with all the good images by doing everything from concept to development, execution, layout, color separation, and final ad, catalog, display, whatever. Wife and husband Sally Weiner and Daniel Grotta leave nothing out of digital imaging equipment and methods, covering all that is needed for input to and output from the computer and for storage. One of the most convincing pages in their masterpiece is Sally's composite with penguins: I wish I had the original. The book works as a one-of-a-kind clearinghouse with Joe Farace's THE PHOTOGRAPHER'S DIGITAL STUDIO, Adele Droblas Greenberg's DIGITAL IMAGES, Aaron Marcus' GRAPHIC DESIGN FOR ELECTRONIC DOCUMENTS AND USER INTERFACES, and Carl Sesto's THE MACINTOSH DESIGNER'S GUIDE TO DIGITAL IMAGING.