LEADER 01423nam2 22003013i 450 001 VAN0086681 005 20221207022920.769 100 $a20120117d2007 |0itac50 ba 101 $aita 102 $aIT 105 $a|||| ||||| 200 1 $aˆ<<3: ‰Romanzi e racconti, 1950-1959>> 3.1$fAlberto Moravia$ga cura e con introduzione di Simone Casini 205 $aMilano : Classici Bompiani$b2007 210 $aCXVIII$d1060 p. ; 18 cm 215 $aContiene: Il conformista, I racconti, Racconti romani, Il disprezzo. 461 1$1001VAN0086679$12001 $aˆ3: ‰Romanzi e racconti$e1950-1959$fAlberto Moravia$ga cura di Simone Casini$1210 $aMilano$cClassici Bompiani$d2007$1215 $a2 volumi$d18 cm.$v3.1 620 $dMilano$3VANL000284 700 1$aMoravia$bAlberto$3VANV052737$0177392 702 1$aCasini$bSimone$3VANV070930 712 $aBompiani$3VANV108062$4650 790 1$aPincherle, Alberto <1907- >$zMoravia, Alberto$3VANV052738 801 $aIT$bSOL$c20221209$gRICA 856 4 $u/sebina/repository/catalogazione/documenti/86681@.pdf$z86681@.pdf 899 $aBIBLIOTECA DEL DIPARTIMENTO DI LETTERE E BENI CULTURALI$1IT-CE0103$2VAN07 912 $aVAN0086681 950 $aBIBLIOTECA DEL DIPARTIMENTO DI LETTERE E BENI CULTURALI$d07CONS Zb Moravia 1490-3a $e07 20121 20120117 996 $aRomanzi e racconti, 1950-1959 3.1$91435380 997 $aUNISOB LEADER 05100oam 2200685I 450 001 9910778920403321 005 20230912155808.0 010 $a1-136-10869-6 010 $a1-136-10870-X 010 $a1-280-58234-0 010 $a9786613612120 010 $a0-240-82413-X 024 7 $a10.4324/9780240824130 035 $a(CKB)2550000000088765 035 $a(EBL)862055 035 $a(OCoLC)778339817 035 $a(SSID)ssj0000611345 035 $a(PQKBManifestationID)11411723 035 $a(PQKBTitleCode)TC0000611345 035 $a(PQKBWorkID)10666790 035 $a(PQKB)10803687 035 $a(OCoLC)897451494 035 $a(CaSebORM)9780240824093 035 $a(MiAaPQ)EBC862055 035 $a(MiAaPQ)EBC4661754 035 $a(EXLCZ)992550000000088765 100 $a20180706d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aArt beyond the lens $eworking with digital textures /$fby Sarah Gardner 205 $a1st edition 210 1$aWaltham, Mass. :$cElsevier,$d2012. 215 $a1 online resource (183 p.) 300 $aIncludes index. 311 $a1-138-47235-2 311 $a0-240-82409-1 327 $aCover; Title Page; Copyright Page; Table of Contents; Introduction; Chapter 1 Back to Art; An artist's journey; A question of art; Painters who influenced my style; Minimalism: Hidden in the absence of detail; Painting with a digital canvas; Discovering textures; Gaining confidence to work intuitively; Chapter 2 A Working Style; How textures bring nostalgia and emotion to my work; A question of inspiration or influence; Developing a signature style; Chapter 3 Shooting with Textures in Mind; Negative space and the right composition; Backgrounds; How light and dark backgrounds work differently 327 $aFrom plain to texturedWorking with bokeh; Shooting with natural light; Why is it important to shoot with textures in mind?; Chapter 4 Digital Textures Explained; The right textures; What is a digital texture?; Don't judge a book; Making textures from the right source material; Processing textures; How scale is important; Varying scale; Layers, blend modes, and opacity; Blend modes explained; Tints and color casts; Pictorial layers; Chapter 5 Processing Insights; How to prepare an image for texturing; Identifying my image; Lightening with a Screen Blend; Reducing image contrast 327 $aIncreasing clarityFinal adjustments and fine tuning; Levels Adjustments; First Save; Processing with textures; Pure texture; Effective texture removal; Using a mask layer effectively; The "paint away" technique; Processing example; The "paint away" technique on a single texture; Layering multiple textures; The "paint away" technique on multiple textures; Flatten; Beyond the textured; Gradient Fills; Processing example; Introducing Gradient Fills; Gradient fills on extreme backgrounds; Levels RGB tinting; Black-and-white conversion; Desaturating Textures; Solid color layers 327 $aBackground color layersFinish with a curves adjustment; Final sharpen and save; Example recipes; Last word on processing; Chapter 6 Photography Insights; ISO settings; Keep ISO settings as low as possible to reduce unwanted image noise; Aperture priority; Work in AV (aperture priority) mode to ensure shallow depth of field; Prime lenses; Get moving with prime lenses and vary shooting angles; Exposure; Slightly overexpose to keep photograph's light and colors vibrant; White balance; Customize white balance to avoid overly warm or "yellowed" greens and skin tones; Lighting 327 $aIdentify the right light for the jobComposition; Consider backgrounds, middle grounds, and foregrounds; Focus; Self-select the auto focal points for precision focusing; Chapter 7 Presentation & Design Work; Introducing digital papers and design ideas; Client storyboard presentation; Client work, weddings, and portrait shoots; Endnote; Special thanks; Index 330 $aVintage-looking, dream-like textures can open up a whole new world in your photography. However, there is much, much more to working with textures than simply merging them with an image via Photoshop. In this gorgeous new guide from texture guru Sarah Gardner, you'll learn everything there is to know about how to maximize the potential of these exciting tools. In addition to hundreds of beautiful example images, this book is also packed with practical advice on what makes a good texture, and how and when to use them. How an image is initially captured and processed has a significant impact 606 $aPhotography, Artistic 606 $aTexture (Art) 606 $aPhotography$xDigital techniques 615 0$aPhotography, Artistic. 615 0$aTexture (Art) 615 0$aPhotography$xDigital techniques. 676 $a770 700 $aGardner$b Sarah$f1973-,$01506781 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778920403321 996 $aArt beyond the lens$93737151 997 $aUNINA