What I like most about the book is that the techniques are put into a context, so that the technical information is given a solid grounding in art.
The book is in four parts. It starts with a chapter on the history of "compositing" by artists as well as by photographers. If you believe, as I do, that learning from what other artists have done is essential, then you will think that this chapter is crucial. The chapter on history is followed by a chapter on creativity, which I also think is valuable. I suppose that everyone knows that thinking creatively about portraits is different from thinking creatively about landscapes, and so no one should be surprised that there are creative issues in compositing that are worth thought and discussion. Consequently, I praise the authors for starting with these two chapters and thus making the book much more than a "how-to" compendium of technique. By doing so, they show that they are thoughtful artists.
The second part is about camera work for composites. While one can composite images drawn randomly from an archive, at times one needs to take photos for the specific purpose of making a particular composite. When this is true, there are particular issues that one must think about, and so the authors set aside three chapters to these topics. For example, they suggest that the sequence of taking the photos can matter, and thus they have a discussion of how to think about planning a photo project. Furthermore, putting together a top lit photo with a side lit photo is likely to create problems, so they have an intelligent discussion of light. (In fact, this chapter has one of the best short tutorials on light and lighting that I have ever read.) And of course, if one has a photo of a vase that was taken from below and tries to composite it on a table shot from above, a composite of the two is likely to look really weird, so they teach how to use perspective, point of view, and scale to plan ones photography. (And the bonus here is the most lucid discussion of one-point versus two-point versus three-point perspective that I have ever read.)
The third part of the book is six chapters (240 pages) on techniques for using Photoshop to make selections, that can be turned into masks, and that in turn can be used to make the composite look seamless. These sections contain the nitty-gritty. I, for one, need this sort of technical information, and I look forward to studying it closely. (One reviewer thought that Katrin Eismann did not need the help of Sean Duggan or James Porto in writing these chapters. I can't image why a reviewer would believe that he or she knows better than Katrin herself what others can bring to the table.) But even this technical detail, as one might expect, is set into an overall context. The authors ask one to understand that there is no all purpose selection technique, and thus, to understand that selecting by way of edges versus selecting by way of color versus selecting by luminance are different processes. So they advise one to sit back and think before jumping into the technical swimming pool, which is, of course, excellent advice.
The fourth and final part of the book is two chapters on "putting it all together." One of the chapters deals with creative composites that have a close affinity to what multi-media artists are doing, and thus connects back to the beginning of the book. The other chapter deals with the photorealistic composites that have a close affinity to the special effects techniques that come out of Hollywood. Both are fascinating, and combine both creative and technical thoughts that have the potential to fascinate and inspire anyone who is interested in what can be done in these incredible times of the twenty-first century.
My recommendation: buy the book.