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9780321346995

Photoshop Artistry : For Photographers Using Photoshop CS2 and Beyond

by ; ;
  • ISBN13:

    9780321346995

  • ISBN10:

    0321346998

  • Edition: DVD
  • Format: Paperback w/CD
  • Copyright: 2007-01-01
  • Publisher: New Riders Press
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List Price: $40.80

Summary

Artistry is the key word here: competent doesn't cut it. When you want to create museum-quality art prints, professional advertising effects, and dazzling digitally manipulated images, Photoshop CS2 Artistry is the place to start. Providing a focused approach to the advanced features of Photoshop CS2, this beautiful full-color guide tackles complex yet essential topics like color calibration and correction. Along the way, you'll learn how Photoshop's newest features-32-bit High Dynamic Range (HDR) color creation and editing (ideal for advanced compositing and professional photography), Vanishing Point, Image Warp, Spot Healing Brush, Smart Sharpen, and more-can aid in your quest for the perfect image. Throughout, the authors emphasize the relationship between Photoshop CS2 tools and traditional photographic techniques to provide essential context for complex tasks. Detailed, step-by-step exercises and a companion CD with before-and-after images, masks and tool settings extend the book's tutorials and enhance the learning process.

Table of Contents

About the Authors iii
Acknowledgments iv
Dedication v
Foreword xix
1 How to Use Photoshop Artistry
2(4)
How the Book is Organized
2(1)
Reading vs. Doing
2(1)
The Step Numbering System
2(1)
Screenshots and Commands
3(1)
A Little About the Authors
3(1)
Using Photoshop Artistry to Teach Classes
3(1)
Set Up Lighting in the Room
3(1)
Calibrate the Monitors
3(1)
Put Two Folders on the Desktop
3(1)
An Optional Folder
4(1)
Set the Preferences and Color Settings
4(1)
Suggested Course Outlines
4(1)
Working from the Menus
4(1)
Working on Your Own
4(1)
Other Resources
4(1)
Portfolios
4(1)
Suggested Course Outlines
5(1)
Beginners
5(1)
Intermediate
5(1)
Advanced
5(1)
2 Preferences and Color Settings
6(22)
General Preferences
6(3)
Color Picker
6(1)
Image Interpolation
6(1)
History States
7(1)
Additional General Preferences
7(1)
Automatically Launch Bridge
8(1)
History Log
8(1)
Reset All Warning Dialogs
9(1)
File Handling Preferences
9(2)
Image Previews
9(1)
Append File Extension
9(1)
Ignore EXIF Profile Tag
9(1)
Ask Before Saving Layered TIFF Files
10(1)
Enable Large Document Format (.psb)
10(1)
Maximize PSD and PSB File Compatibility
10(1)
Version Cue
11(1)
Display & Cursors
11(1)
Color Channels in Color
11(1)
Use Pixel Doubling
12(1)
Painting Cursors
12(1)
Other Cursors
12(1)
Transparency & Gamut
12(1)
Transparency Settings
12(1)
Gamut Warning
12(1)
Units & Rulers
13(1)
Units
13(1)
Column Size
13(1)
New Document Preset Resolutions
13(1)
Point/Pica Size
13(1)
Other Ways to Change Ruler Units
13(1)
Guides, Grid & Slices
14(1)
Plug-Ins & Scratch Disks
14(1)
Additional Plug-Ins Folder
14(1)
Scratch Disks
15(1)
Memory & Image Cache
15(1)
Image Cache
15(1)
Memory Usage
15(1)
Type Preferences
16(1)
Monitoring Memory Efficiency
16(1)
Configuring the Color Settings
17(1)
Synchronizing Color Settings for the Adobe Creative Suite
18(1)
What About Mac Gamma 1.8?
18(1)
Additional Settings for Color Correction
19(1)
Eyedropper Tool Setup
19(1)
Setting Highlight and Shadow Target Values
19(1)
Using the ArtistKeys Actions Set
20(2)
Saving Any Previously Created Actions
20(1)
Loading the ArtistKeys in the Actions Palette
20(1)
About the ArtistKeys
21(1)
If ArtistKeys Don't Work
21(1)
User-Defined Keyboard Shortcuts and Menus
22(1)
Custom Keyboard Shortcuts
22(1)
Using Custom Menu Sets
22(1)
The Preset Manager
23(2)
Loading Photo Brushes and Tool Presets from the DVD
23(1)
Presets That Are Accessed Indirectly
23(2)
Arranging Your Photoshop Workspace
25(1)
Saving and Standardizing Your Preferences
25(1)
Bridge Preferences
25(2)
Thumbnails: Background
26(1)
Additional Lines of Thumbnail Metadata
26(1)
Metadata
26(1)
Advanced
26(1)
Double-click Edits Camera Raw Settings in Bridge
26(1)
Cache
27(1)
What's Next?
27(1)
3 Navigating in Photoshop
28(16)
Arranging the Workspace
28(1)
Saving Your Workspace
29(1)
Keys for Zooming and Scrolling
30(1)
Use Spacebar for the Hand Tool
30(1)
Command (Ctrl)-Spacebar to Zoom In, Option (Alt)-Spacebar to Zoom Out
30(1)
Command (Ctrl)-+ and Command (Ctrl)--
31(1)
Command (Ctrl)-0 and Command-Option (Ctrl-Alt)-0
31(1)
Other Useful Keys
31(1)
The Menu Bar
31(1)
The Options Bar
31(1)
Set Tool Options
31(1)
Tool Presets
32(1)
The Palette Well
32(1)
Context-Sensitive Menus
32(1)
The Photoshop Screen Modes
32(2)
Standard Screen Mode
33(1)
Full Screen Mode
33(1)
Full Screen Presentation Mode
34(1)
The Status Bar
34(1)
Comparing Images
34(1)
More Than One Window Per File
34(1)
Quick Reorganization of Open Windows
34(1)
Palette Management
35(1)
Accessing Palettes
35(1)
Tab to Hide Palettes
35(1)
Palette Locations
35(1)
Grouping and Separating Palettes
36(1)
Collapsing Palettes
36(1)
Palette Options
36(1)
Special or Important Palettes
36(4)
Using the Info Palette
36(1)
The Navigator Palette
37(1)
The Actions Palette
37(1)
The Brushes Palette
37(1)
History Palette
38(1)
Non-Linear History
39(1)
Save, Save As, and Save As a Copy
40(1)
Bridge
41(3)
Basic Organization
41(1)
Reorganizing the Bridge Window
41(1)
Alternative Views
42(2)
4 The Toolbox
44(24)
The Tool Groupings
44(1)
The Selection Tools
45(5)
Important Selection Tool Options
45(1)
Marquee Tool (M)
46(1)
Move Tool (V)
46(1)
Lasso, Polygonal Lasso, and Magnetic Lasso Tools (L)
47(1)
Magic Wand Tool (W)
48(1)
The Crop Tool (C)
49(1)
The Grow and Similar Commands
49(1)
The Image Editing Tools
50(11)
The Brushes Palette
50(1)
Common Image Editing Tool Options
51(2)
Spot Healing Brush, Healing Brush, Patch Tool, and Red Eye Tool (J)
53(2)
Brush, Pencil, and Color Replacement Tool (B)
55(1)
Clone Stamp and Pattern Stamp Tool (S)
55(2)
The History and Art History Brush (Y)
57(1)
Eraser, Background, and Magic Eraser Tool (E)
57(1)
Gradient Tool and Paint Bucket (G)
58(3)
Blur, Sharpen and Smudge Tools (R)
61(1)
Dodge, Burn, and Sponge Tools (O)
61(1)
Vector Tools
61(5)
The Path Selection/Direct Selection Tool (A)
61(1)
The Type Tool (T)
62(2)
The Pen and Freeform Pen Tools (P)
64(1)
The Shape Tool (U)
65(1)
Other Useful Tools
66(2)
Notes and Audio Annotation Tool (N)
66(1)
Eyedropper, Color Sampler and Measure Tool (I)
66(1)
Hand Tool (H)
67(1)
Zoom Tool (Z)
67(1)
5 Picking and Using Color
68(8)
Paint, Ink, and Light
68(1)
Warm or Cool Colors
68(1)
Photoshop Color Modes and Models
69(1)
The RGB Color Mode
69(1)
The CMYK Color Mode
69(1)
The Hue, Saturation, and Brightness Color Model
69(1)
The Lab Color Mode
70(1)
Using the Color Picker
70(1)
Using the Color Palettes
70(3)
RGB and the Color Wheel
70(2)
The Color Palette
72(1)
The Swatches Palette
72(1)
Using Custom Color Libraries in Photoshop
73(1)
Practical Applications of Choosing Colors
73(3)
Masking
73(1)
Matting
73(1)
Choosing Compatible Printing Inks
74(1)
Retouching
74(1)
Callouts, Dingbats, and Special Characters
74(1)
Bump Plates, Custom Separations, and Spot Colors
74(2)
6 Selections, Channels, Masks, and Paths
76(10)
Making Selections
76(1)
Shape-Based Selections
76(1)
Color-Based Selections
76(1)
Moving Selections
76(1)
Changing a Selection
77(2)
Selection Interaction
77(1)
Inversing Selections
77(1)
Select/Transform Selection
78(1)
Setting the Feather Value
78(1)
Quick Mask
79(1)
Mask Channels
79(3)
Quick Mask States
79(2)
How Mask Channels Work
81(1)
Editing Mask Channels
81(1)
Combining Mask Channels
81(1)
Deleting, Moving, and Copying Channels
82(1)
Color Channels
82(1)
The Relationship Between Active and Visible
83(1)
Editing a Mask Channel While Viewing RGB
84(1)
Paths
84(2)
Changing the Color of the Mask Overlay
84(1)
Converting Between Paths and Selections
85(1)
The Interactivity of Selections, Mask Channels, Layer Masks, and Paths
85(1)
7 Layers, Layer Masks, and Layer Comps
86(16)
The Layers Palette
87(1)
The Palette Icons
87(1)
The Palette Menu
87(1)
The Palette Options
87(1)
Layer Basics
88(3)
Creating Layers
88(1)
Naming Layers
88(1)
Copying Layers
88(1)
Copying a Layer to Another Image
88(1)
Layer Visibility
88(1)
Blend Modes and Opacity
88(1)
Fill
89(1)
Layer Groups
89(1)
Locking Layers and Groups
89(1)
Linking and Aligning Layers
89(1)
Moving Layers within the Image Window
90(1)
Changing the Stacking Order within the Palette
90(1)
Deleting Layers
90(1)
Merging Layers and Flattening
90(1)
Layer Styles and Blending Options
91(1)
Types of Layers
91(3)
The Background Layer
91(1)
Image Layers
91(1)
Adjustment Layers
91(1)
Fill Layers
92(1)
Shape Layers
93(1)
Text Layers
93(1)
Smart Objects
93(1)
Layer Masks
94(4)
Adding a Layer Mask
95(1)
The Choices for a Layer Mask
95(1)
Editing a Layer Mask
96(1)
Show/Hide Layer Mask
97(1)
Delete the Layer Mask
97(1)
Unlink a Mask from the Layer
98(1)
Clipping Groups
98(1)
Seeing Layers in Action
98(3)
The Channels Reflect the Layers
99(1)
View a Single Layer
99(1)
View the Layer Mask Only
99(1)
Turn Off a Layer Mask
100(1)
Edit Using a Layer Mask Overlay
101(1)
The Layer Comps Palette
101(1)
8 Transformation of Images, Layers,
Paths, and Selections
102(1)
Transform Commands
102(2)
Edit/Free Transform
104(1)
Changing the Reference Point
104(1)
Transforming the Contents of a Selection vs. Transforming the Selection Itself
105(1)
Transform Path
106(1)
Linked Layers Transform and Move as a Group
107(1)
Edit/Transform/Rotate and Flip vs. Image/Rotate and Flip Canvas
108(1)
Warp
108(1)
Vanishing Point
109(1)
Lens Correction
110(2)
9 Camera Raw
112(26)
What Exactly Is a Raw File?
112(1)
Not All Raw Files Are the Same
112(1)
How Digital Camera Sensors Work
112(1)
Pros and Cons of Raw Files
113(1)
Advantages of Raw
113(1)
Disadvantages of Raw
113(1)
Proper Exposure for Raw Files
114(1)
Camera Raw Philosophy
114(1)
The Camera Raw Interface
115(2)
Tools, Previews, and the Histogram
116(1)
Settings Menus
116(1)
The Save Buttons
116(1)
Workflow Options
117(1)
Auto Adjustments
117(1)
Turning Auto Adjustments Off
117(1)
The Original Raw File Is Never Changed
117(1)
Saving No Auto Adjustments as a New Default
118(1)
Image Adjustments
118(1)
Adjust
118(1)
Detail
118(1)
Lens
118(1)
Curve
118(1)
Calibrate
118(1)
The Adjust Tab
119(5)
Exposure, Shadows, and Brightness
119(2)
White Balance
121(1)
How to Interpret the Clipping Colors
121(1)
Color Temperature and the Kelvin Scale
122(1)
Contrast and Saturation
123(1)
Curves
124(1)
The Detail Tab
125(2)
Sharpening
125(1)
Noise Reduction
126(1)
The Lens Tab
127(2)
Chromatic Aberration
127(1)
Vignetting
128(1)
The Calibrate Tab
129(2)
Calibration Overview
129(1)
Placing Color Sampler Points
130(1)
The Calibrate Controls
130(1)
Parallels to the Hue/Saturation Dialog
131(1)
The Calibrate Controls for Color Correction
131(1)
Crop and Straighten
131(1)
The Crop Tool
131(1)
The Straighten Tool
132(1)
Workflow Options
132(2)
Working Space Considerations
132(2)
Depth
134(1)
Size
134(1)
Resolution
134(1)
Adjusting Multiple Files
134(1)
In Camera Raw
134(1)
In Bridge
135(1)
The Camera Raw Save Options
135(1)
Saving Files and Processing New Images
136(1)
DNG: Digital Negative
136(1)
Future Accessibility to Raw Files
136(2)
DNG: A "Future-Proof" Raw Format
137(1)
Advantages of DNG
137(1)
10 Automating Photoshop 138(12)
First Steps
138(2)
Customized Menus
138(1)
Customizing Keyboard Shortcuts
139(1)
Actions
140(1)
ArtistKeys to Set Up Your Actions
140(1)
Record a Single Item Action
140(2)
Choose a Function Key
141(1)
Insert a Menu Item
141(1)
Record Multiple Commands
142(2)
Build a Sample File
142(1)
Save the Necessary Settings
143(1)
Create the Action
143(1)
Editing Actions After Recording
144(1)
Adding a Command
144(1)
Stop Message
144(1)
Modal Break Points
145(1)
Command Toggles
145(1)
Record Again
145(1)
Further Refinements
145(1)
Duplicating and Moving Actions and Commands
145(1)
Playing Part of an Action or a Single Command
146(1)
Functions That Actions Don't Support
146(1)
Other Actions Features
146(1)
Button Mode
146(1)
Useful Actions in ArtistKeys
146(2)
The ABCs of Actions
146(1)
Two Actions from Artist Keys Explained
147(1)
Batch Files and Droplets
148(1)
Batch Files
148(1)
Droplets
148(1)
The Big Guns: Scripts
149(1)
Automation Included in Photoshop and Bridge
149(1)
Where to Learn More About Scripts
149(1)
11 Image Processing with Bridge 150(22)
Setting Up Bridge Preferences
150(1)
General Preferences
150(1)
The Labels Preferences
150(1)
Advanced Preferences
151(1)
Organizing Bridge for Photography
151(2)
Shooting, Archiving, Updating
153(3)
Equipment to Take on a Digital Shoot
154(1)
Copying the Digital Files onto Your Computer
154(1)
Hard Drive Organization and Making Backups
155(1)
Burning CDs and DVDs
155(1)
Updating Software and Hardware
156(1)
Bridge's Automatic Raw Settings
156(1)
Sorting Images with Bridge
157(2)
Sorting a Single Folder Shoot
157(1)
Re-Sorting a Large Group of Many Shoots Each in it's Own Folder of Images
158(1)
About XMP File Info
158(1)
Creating a Web Site from a Group of Images
159(1)
Automating Camera Raw Production
160(3)
Use the Same Camera Raw Settings
160(1)
Default Raw Settings for Final Correction
160(1)
The Adjust Section of Camera Raw
161(1)
The Detail Section of Camera Raw
161(1)
The Lens Section
161(1)
The Curves Section
162(1)
Applying Camera Raw Settings to Other Images with Bridge
162(1)
Opening These Images into Photoshop
162(1)
Creating Photoshop Adjustment Layers and Applying Them to Several Images
163(3)
Getting Raw Corrected Images into Photoshop
163(1)
Use Threshold
164(1)
Use Levels
164(1)
Use Curves
164(1)
Use Hue/Saturation
164(1)
Open the Shadows
165(1)
Automatically Apply Those Adjustments to Other Images
165(1)
Using a Batch to Adjust a Larger Set of Images
166(3)
Save Layer Settings
166(1)
Create an Action to Make these Adjustments
166(1)
Applying the Action to Other Images
167(1)
The Batch Dialog
168(1)
Choose OK and See What Happens
168(1)
A Batch That Leaves Files Open in Photoshop
168(1)
Renaming Files
169(1)
The Edit/Find Command
169(1)
Bridge Keywords and Metadata
169(1)
Conclusion
170(2)
12 Essential Photoshop Techniques for Photographers 172(20)
Thinking About Masks
173(1)
Selections
173(1)
Channels
173(1)
Adjustment Layer Masks
173(1)
Regular Layer Masks
173(1)
Burning and Dodging
174(4)
Soft Light Burn & Dodge Layer
174(2)
Burn or Dodge with Curves
176(2)
Actions Give More Control Than Shadow/Highlight
178(1)
Other Artistry Examples of Burn & Dodge Curves
178(1)
Spotting
178(5)
When and Where to Spot
178(1)
Strategy and Tools for Individual Spotting
179(3)
Dust and Scratches Filter to Remove Spots
182(1)
Removing Noise
183(3)
Channel Mixer Techniques
183(1)
New Reduce Noise Filter
184(2)
The Remove Sky Crud Action
186(1)
Sharpening
186(4)
Origin of the Term Unsharp Mask
186(1)
The Amount, Radius and Threshold Settings
186(1)
Image/Duplicate to Sharpen a Flattened Copy
186(1)
Smart Sharpen
187(1)
The Sharpen Only Edges BH Action
188(1)
Tweaking the Masks of Your Sharpening Layers
189(1)
Unsharp Mask by Itself
190(1)
Conclusion
190(2)
13 Color Correction Tools 192(8)
Using the Info/Color Sampler and Color Palettes
192(1)
Common Color Correction Techniques
193(1)
Levels and Curves
193(1)
The Hue/Saturation Command
194(1)
The Replace Color Command
195(1)
The Selective Color Tool and CMYK
195(1)
The Channel Mixer
196(1)
Color Balance, Brightness/Contrast, and Variations
196(2)
The Color Balance Tool
197(1)
The Brightness/Contrast Tool
197(1)
The Variations Tool
197(1)
Match Color
198(1)
Shadow/Highlight
199(1)
Photo Filters
199(1)
The Auto Levels, Auto Contrast, Auto Color, Desaturate, and Gradient Map Commands
199(1)
Where to Learn More
199(1)
14 Digital Imaging and the Zone System 200(6)
Transitions to the Digital World
200(1)
Achieving Your Visualization
200(1)
Capturing the Dynamic Range
200(1)
Dividing a Scene into Zones
201(1)
Ansel Adams, the Zone System, and Digital Imaging
201(1)
Getting a Good Exposure
202(2)
Measuring the Brightness
202(1)
Middle Gray Brightness and Your Camera's Light Meter
202(1)
Placing the Zone V Exposure
203(1)
Utilizing Exposure Latitude
204(1)
The Advantages of a Digital Image
204(2)
15 Color Spaces, Device Characterization, and Color Management 206(8)
Color and How the Eye Sees It
206(1)
An Image on Paper
206(1)
An Image on a Computer Monitor
207(1)
A Slide on a Light Table
207(1)
Color Gamuts
207(2)
Measuring Color
207(1)
Measuring the Gamut of a Film
208(1)
Characterizing a Scanner
208(1)
Characterizing or Calibrating a Digital Camera
208(1)
Characterizing a Monitor
208(1)
Characterizing a Digital Printer
209(1)
Choosing Your Color Working Space
209(4)
The Lab Working Space
209(1)
The RGB Working Space
210(1)
ProPhoto RGB
211(1)
Adobe RGB (1998)
212(1)
ColorMatch RGB
212(1)
sRGB
212(1)
Other RGB Working Spaces
212(1)
CMYK Master Workspace
213(1)
Working with 16-Bit-Per-Channel Scans and Files
213(1)
16 Color Preferences, Calibration, and Printing 214(24)
Setting Your Photoshop Color Preferences
215(7)
Working Spaces
215(1)
Editing Color Spaces
216(1)
Color Management Policies
217(1)
Color Management Policy Dialogs
218(1)
Summary of Color Management Policies
219(1)
Conversion Options
219(1)
Advanced Controls
220(1)
Other Preferences Relating to Color
221(1)
Playing with Conversion Settings
221(1)
Calibration of Monitors, Printers, Cameras, and Scanners
222(2)
What Are Calibration, ColorSync, and ICC Profiles?
222(1)
Do You Need to Calibrate?
222(1)
Monitor Calibration for Free?
223(1)
Inexpensive Monitor Calibration Systems
223(1)
Hardware Monitor Gamma vs. Working Space Gamma
224(1)
Calibrating Scanners, Cameras, and Printers
224(1)
Making Epson Prints with Canned or Custom Profiles
224(6)
Photoshop Print with Preview and Page Setup Dialogs (Mac)
225(1)
The Print Dialog and Save As
226(1)
Printing Something Already Converted to the Printer Profile
227(1)
Custom Paper Size
228(1)
Further Comments About Epson Printers
229(1)
Printing Black and White
229(1)
Papers to Try
230(1)
Getting Accurate Soft Proofs of Your Output to RGB Printers
230(2)
Using Proof Colors and Gamut Warning
231(1)
Editing Profiles Using Photoshop Adjustment Layers
232(2)
Color Management Systems and How They Fit into the Photoshop Environment
234(1)
Calibrating Your Output Device
234(2)
Checking Printer Output on Your RGB Printer
235(1)
Conclusion
236(3)
Special Printing Situations
237(1)
17 Image Resolution and Scanning 238(16)
Bytes, Bits, PPI, and DPI
239(1)
Digital Prints vs. Traditional Prints
239(1)
PPI and How It Affects Print Size
240(1)
How Big Should I Make a Scan or a Digital Capture?
240(2)
Calculating Scan Sizes
240(1)
For Epson Printers
241(1)
One File Fits All Print Sizes
241(1)
Evaluating Histograms to Make Better Scans and Final Images
242(1)
Scanning or Capturing All Parts of an Image
242(3)
Adjusting the Scanner to Get the Right Values
243(1)
Scanning up to 16 Bits Per Pixel
244(1)
Scanning Step by Step
245(1)
Getting the Right Histogram
246(3)
Comparing the Histogram to the Original
246(1)
Modifying with Levels and Curves
247(2)
Some Scanners We Recommend
249(4)
How to Compare Scanners
249(1)
Imacon Flextight Scanners
250(1)
The Nikon Super Coolscan 4000, 5000, 8000, and 9000
250(1)
The Polaroid SprintScan 120
251(1)
Epson Perfection 2450, 3200, 4990 and V700
252(1)
Conclusion
253(1)
18 The Master Image Workflow 254(14)
The Master Image
254(1)
Choosing Your Color Working Space and Color Management Policies
254(1)
Digital Capture Workflow: Maximizing Quality in the Camera
255(1)
8-Bit or 16-Bit?
256(1)
Realities of a 16-Bit Workflow
257(1)
Scanner Workflow: Scanning for Print Size and Best Quality
257(1)
Opening the Image: Working with Mismatched and Missing Profiles
258(1)
Opening a File with an Embedded Profile That Is Different from Your Working Space
258(2)
Opening a File with No Embedded Profile
258(1)
Using Assign Profile to Test-Drive Different Profiles
258(1)
Converting to the Working Space
259(1)
Raw Captures and Profiles
259(1)
Color Correcting the Scan or Digital Camera Image
260(1)
Using the Info and Histogram Palettes
260(1)
Creating the Initial Master Image
260(1)
Color Correction and Workflow Summary
261(1)
Workflow Details
262(7)
Camera Raw
262(1)
Cropping
262(1)
Save the Master File
262(1)
Overall (Global) Color Correction
262(2)
Color Correction of Specific (Local) Areas Using Layer Masks
264(1)
Retouching, Multi-Image Compositing and Spotting
264(1)
Saving and Archiving the Master Image
264(1)
Resizing, Sharpening, Mode Conversions and Final Adjustments
265(1)
Saving Device-Specific Output Files
266(2)
19 Making Selections 268(10)
Create a Layer Mask
269(2)
Use the Magic Wand
269(1)
Use Similar
270(1)
Inverse the Selection and Create the Mask
270(1)
Darken the Top of the Camera
271(2)
Use the Lasso and Polygonal Lasso
271(1)
Use Quick Mask
271(1)
Quick Mask No-No
272(1)
Use Curves to Tone Down the Top of the Camera
273(1)
Recolor the Visor
273(2)
Use the Magic Wand
273(1)
Use the Grow Command
273(1)
Add Areas to the Selection with the Lasso
274(1)
Subtract Areas from the Selection with the Lasso
274(1)
Use Hue/Saturation
275(1)
Darken the Camera Lens
275(1)
Subtracting with the Polygonal Lasso
275(1)
Recolor the Sunshine Coast Logo
276(2)
20 Levels, Curves, and Hue/Saturation 278(24)
Introduction to Levels
278(1)
Input Levels
278(2)
The Input Shadow Levels (Black Point)
278(1)
The Input Highlight Levels (White Point)
279(1)
The Midtone Slider
280(1)
Output Levels
280(1)
The Histogram Palette
281(1)
Input/Output Values in Levels and Curves: Same Dance, Different Partner
281(1)
Adjusting Color with Levels
282(2)
Modifying Color with the Midtone Slider
282(1)
Modifying Color with the Input and Output Endpoint Sliders
283(1)
The Levels Eyedropper Tools
284(1)
The Highlight (White Point) Eyedropper
284(1)
The Shadow (Black Point) Eyedropper
284(1)
The Gray-Point Eyedropper
285(1)
The Levels Clipping Display
285(2)
How the Clipping Display Fits into the Overall Color Correction Process
286(1)
Auto Color Correction Options
287(2)
What the Auto Corrections Do
288(1)
Fine-Tuning the Autocorrections
288(1)
Are the Auto Color Corrections Worth Your Time?
288(1)
When the Autocorrections Fail
289(1)
Introduction to Curves
289(1)
Deconstructing the Curves Dialog
290(1)
Changing the Grid Size
290(1)
Finding a Tone on the Curve
290(1)
How to Interpret the Curve
290(2)
Using Curves to Adjust Contrast
292(2)
Increasing Contrast
292(1)
Decreasing Contrast
293(1)
Adjusting Specific Areas
294(1)
Creating and Saving Lockdown Curves
294(1)
Luminosity Blending with Curves
294(1)
Color Adjustments with Curves
295(1)
Dangerous Curves
296(1)
Introduction to Hue/Saturation
297(2)
Editing Specific Colors with Hue/Saturation
298(1)
Fine-Tuning the Color Range
299(2)
When to Use Hue/Saturation and When to Use a Layer Mask
300(1)
Starting with a Good Foundation
301(1)
21 Overall Color Correction 302(22)
Evaluating the Image
303(1)
Activate Full Screen Mode
303(1)
Initial Cropping and Creating a Master File
304(1)
Add a Levels Adjustment Layer
304(1)
Finding the Brightest Point
305(1)
Finding the Darkest Point
306(1)
Neutralizing the Highlights
306(1)
Neutralizing the Shadows
307(1)
Overall Brightness Adjustments
308(1)
Improving Contrast with Curves
308(1)
When to Use the Levels Eyedropper Technique
308(1)
Adjusting Color Saturation
309(2)
Curves, Contrast and Color Saturation
309(1)
Using Oversaturation to Find Colors
310(1)
Fine-Tuning Specific Areas
311(1)
Color Correcting the Mountain
311(1)
Editing the Curves Layer Mask
312(1)
Opening Up the Shadows
313(1)
Spotting the Master File
313(2)
Creating a Suggested Crop Guide
315(2)
Create a Flattened Copy Using the Suggested Crop
317(1)
Create a Flattened Copy with No Suggested Crop
317(1)
Resize for Print
318(1)
Sharpening with Smart Sharpen
318(1)
Final Spotting Check
319(1)
The Print with Preview Dialog
319(2)
Checking Image Orientation and Paper Size
320(1)
Print with Preview Color Management Options
320(1)
Printer Driver Considerations
321(4)
The Epson 2200 Driver for Mac
322(1)
The Epson 2200 Driver for Windows XP
322(2)
22 Correcting Problem Images 324(22)
Play Color Correction Like Music
325(1)
What Is a Problem Image?
325(1)
Gibsons Morning, Our First Problem Image
325(10)
Creating a Raw Smart Object
326(1)
Automatically Creating Your Workflow
327(1)
Finding the Highlight and Shadow with Threshold
327(1)
Overall Color Correction Steps Starting with Levels
328(1)
Adjusting the S-Curve Template
329(1)
Saturating the Colors
329(1)
Opening the Shadows
330(1)
Improving the Highlights
331(1)
Adjusting the Midtone Contrast
331(1)
Making a Channel Mask to Enhance the Water
332(1)
Using the Burn&Dodge and Crop Layers
333(2)
Other Problem Images
335(8)
Sunset and Water Color Casts in Boat and Sunset on Howe Sound
336(3)
Looking at the Mono Lake Image
339(4)
Sharpening the Image and Sending It to the Printer
343(1)
Conclusion
343(3)
23 Replace Color, Color Range, and Selective Color 346(8)
Replace Color
347(1)
Make the Initial Selection
347(1)
Change the Hue and Finesse the Selection
347(1)
Save the Replace Color Settings
348(1)
Color Range
348(1)
Load the Settings and Check the Preview
349(1)
Create a Hue/Saturation Adjustment Layer
349(1)
Blur the Mask
349(1)
Duplicate the File and Convert to CMYK
350(1)
Compare the Images
350(1)
Use Selective Color
351(1)
Add a Hue/Saturation Adjustment Layer
352(1)
Add a Layer Mask with Apply Image
352(2)
24 Color Matching Images 354(6)
Set Up the Screen and Palettes
355(1)
Choose the Color Match Spots
355(1)
Sample Color from the RedAcura
356(1)
Adjust Hue/Saturation in the GreenDetail Image
356(1)
Adjust RGB Values with Levels
357(1)
Where Did My Number Go?
357(1)
Convert to CMYK Mode
358(1)
Use Selective Color
358(2)
25 Black and White, and Duotones 360(16)
Getting the Best Input
361(1)
Shoot Color
361(1)
Color Correct First
361(1)
Methods for Conversion
361(4)
Desaturate
361(1)
Image/Mode/Grayscale
361(1)
The Lab Channel
362(1)
A Single RGB Channel
362(1)
All Three RGB Channels
363(1)
The Channel Mixer
364(1)
Channel Mixer with Variations
365(1)
Burn and Dodge Layer
365(1)
A Curve for Every Layer
366(1)
Cropping
366(1)
Toning
366(2)
Hue/Saturation Adjustment Layer
367(1)
Color Fill Layer
367(1)
Split Toning
368(2)
Adjustment Layers with Layer Masks
368(1)
Color Balance
368(1)
Gradient Map
369(1)
Color Range to Select Tones
369(1)
Duotones, Tritones, and Quadtones
370(3)
Creating a Duotone
370(1)
Adjusting Your Duotone Curves
371(1)
Creating a Tritone
372(1)
Calibrating and Printing Your Duotones
373(3)
26 Restoring Old Photos 376(12)
Prepare the File
377(1)
Increase the Density
377(1)
Use Levels to Bring Back Detail
377(1)
Set the Highlights
377(1)
Set the Shadows
378(1)
Set the Midtones
378(1)
Use the Channel Mixer
378(1)
Create Layer Comps
379(1)
Add a Graduated Mask
379(1)
Set Up the Gradient
379(1)
Add a Gradient to the Mix 86, 12, -4 Layer Mask
380(1)
Turn on the Mix 100, -10, 10 Layer
380(1)
Add a New Comp and Update Previous Layer Comps
380(1)
Add a New Layer Comp
380(1)
Update Previous Layer Comps
381(1)
A Little More on Layer Comps
381(1)
Create a New Layer and Merge
381(1)
Retouch and Repair
382(1)
The Spot Healing Brush
383(1)
Use the Patch Tool
383(1)
Use the Clone Stamp
383(1)
Make Feathered Copies
384(1)
Sketch in Details
385(1)
Use Curves to Burn and Dodge
385(1)
The Darken Curve
385(1)
Create a Curves Adjustment Layer for Contrast
386(1)
Use Dust and Scratches on Selected Areas
386(1)
Make a Duplicate to Print
387(1)
27 Compositing Bracketed Photos 388(20)
Bracketing Your Exposures
389(2)
Digital Capture
389(1)
Film Capture
389(1)
Other Issues When Capturing the Images
389(1)
Shooting for HDR (High Dynamic Range) Images
390(1)
Exposing for HDR
390(1)
When to Use HDR and When to Shoot Just One or Two Exposures
391(1)
Combining Two Versions of the Same Image
391(7)
Opening the Ship Rock Image
391(1)
Combining the Two Files
392(1)
Creating the Mask Separating Sky from Foreground
393(1)
Using Levels Adjustments to Make the Mask
393(1)
Fine-Tuning the Two Parts of the Image
394(1)
Tweaking the Mask
395(1)
Creating a Merged Edge
396(2)
Combining Two or Three Shots
398(5)
Lining Up Two Shots
398(1)
Combining Three Lined-Up Digital Camera Shots
398(2)
Separating Sky from Foreground
400(1)
Basic Adjustments to the Foreground and Sky
401(1)
Adding Shadow Detail with the Shadows Layer
402(1)
Creating an HDR Image from Many Exposures
403(3)
Combining the Images into a 32-Bit HDR File
403(1)
Converting the HDR Image to 16 Bits
404(1)
Finalizing the 16-Bit Version of the Merged Image
405(1)
Conclusion
406(2)
28 Compositing Multiple Images 408(14)
Set Up the Four Files
409(1)
Crop, Color Correct, and Group
409(1)
Paths and the Pen Tool
410(1)
Points, Segments, and Curves
410(1)
Open and Closed Paths
410(1)
The Path Selection and Direct Selection Tools
410(1)
Pen Tool Practice
410(4)
Create a Trapezoid
411(1)
Create an Oval Closed Path
411(1)
Create an Open Curved Path
411(1)
Create a Corner Point
412(1)
Create a Cusp Point
413(1)
Adding and Deleting Points
413(1)
Converting a Point
413(1)
Copying a Path
414(1)
Use
414(1)
Do This
414(1)
Turning a Path into a Selection
414(1)
Saving Paths
414(1)
Knock Out the Bus Window
414(1)
Create a Layer Mask
415(1)
Use Channels to Correct the Mask
415(2)
Choose the Best Channel
416(1)
Adjust Levels for the Best Mask
416(1)
Paint the Channel Mask Where Needed
416(1)
Load the Channel Mask and Add to the Layer Mask
416(1)
Paint the Layer Mask
417(1)
Lock the Layers
417(1)
Position the Red Car and Add a Layer Mask
417(1)
Increase the History States
418(1)
Paint the Red Car Mask
418(1)
Color Correct the Red Car
418(1)
Resize the Car
418(1)
Add the Running Woman
419(1)
Refine the Woman Mask
420(1)
Finish the Composite
421(1)
29 Portrait Compositing 422(14)
Decide Which Images to Use
423(1)
Copy to the Overall Best Image
423(1)
Adjust Composited Portions and Create Masks
424(1)
Adjust Justin
424(1)
Adjust Zach
425(1)
Do Overall Color Corrections
425(1)
Retouch Denise
425(1)
Correct Five-O'Clock Shadow
426(1)
Liquify
427(1)
Choose Only What You Need
427(1)
Learn the Tools
427(1)
Learn the Settings
427(1)
Practice, Practice, Practice
428(1)
Use Liquify to Open the Eye
428(1)
Correct Justin Again
429(1)
Add a Photo Filter Layer
429(1)
Use the Red Eye Tool
430(1)
Brighten Teeth
430(1)
Sharpen
430(1)
The Extract Filter
430(1)
Highlight the Edges
431(1)
Fill the Interior
431(1)
Cleanup and Edge
431(1)
Extract
431(1)
Extract the Family
431(2)
Use the Extract Layer for a Layer Mask
433(1)
Add a New Background
433(1)
Finesse the Mask
433(4)
And Finally
434(2)
30 Product Compositing 436(12)
Create a Knockout Path
437(1)
Create and Edit the PowerBook Vector Mask
438(1)
Move the PowerBook and Mask to the Background File
438(1)
Transform the PowerBook
438(1)
Correct the Vector Mask
439(1)
Neutralize the Color Cast
440(1)
Add a Drop Shadow on the Computer
440(1)
Create a Shadow Layer
441(1)
Make a Path for the Computer Screen
441(1)
Assemble the Screen's Images
442(1)
Add a Layer Mask to the Menu
443(1)
Create Drop Shadows
443(1)
Group the Layers
444(1)
Copy the Screen Layers to the PowerBook File
444(1)
Placing a Smart Object
444(1)
Distort the Screen Layers Group
445(1)
Add a Layer Mask
445(1)
Use the Layer Comps Palette
446(2)
31 Blend Modes, Calculations, and Apply Image 448(20)
The Blend Modes
449(1)
The Tools for Blending
449(5)
The Fill Command
450(1)
The Painting Tools
450(1)
Combining Images Using Layers and Blend Modes
450(1)
Combining Images, Layers, and Channels Using Apply Image
450(1)
Combining Channels Using Calculations
451(1)
Apply Image to Create a Special Printing Ink Plate
452(2)
Blend Modes and Opacity in Layer Styles
454(1)
Understanding Each Blend Mode
454(1)
Normal
454(1)
Dissolve
454(1)
The White Neutral Blend Modes
455(2)
Darken
455(1)
Multiply
455(2)
Color Burn
457(1)
Linear Burn
457(1)
The Black Neutral Blend Modes
457(2)
Lighten
457(1)
Screen
457(1)
Color Dodge
458(1)
Linear Dodge
459(1)
The 50% Gray Neutral Blend Modes
459(2)
Overlay
459(1)
Soft Light
459(1)
Hard Light
459(1)
Vivid Light
459(2)
Linear Light
461(1)
Pin Light
461(1)
Hard Mix
461(1)
Blend Modes for Sharpening and Contrast
461(2)
Radical Sharpening with Unsharp Mask
461(1)
High Pass Sharpening
461(1)
Merge and Resharpen
462(1)
The Rest of the Blend Modes
463(6)
Difference and Exclusion
463(1)
Hue, Saturation, Color, and Luminosity
464(1)
Behind
465(1)
Clear
465(1)
Add and Subtract
466(1)
Pass Through
467(1)
Blending Options
467(1)
32 Digital Paint 468(18)
Why Paint Digitally?
469(1)
The Brushes Palette
469(1)
Reset the Brushes
470(1)
Use the Preset Manager to Delete Brushes
470(1)
Delete a Brush via the Brushes Palette
470(1)
Brush Tip Shape Options
471(1)
Shape Dynamics
471(2)
Opacity and Flow
471(1)
Size Jitter
472(1)
Minimum Diameter
472(1)
Angle Jitter
472(1)
Paintbrush Tool Tip
472(1)
Roundness Jitter
473(1)
Save a Brush Preset
473(1)
"Pouring" a New Preset
473(1)
Scattering
474(1)
Texture
474(1)
Dual Brush
475(1)
Color Dynamics
475(1)
Other Dynamics
476(1)
Save a Tool Preset
477(1)
Other Brush Settings
477(1)
Noise
477(1)
Wet Edges
477(1)
Airbrush
477(1)
Smoothing
478(1)
Protect Texture
478(1)
Acrylic Landscape
478(2)
Load Tool Presets
478(1)
Create the Initial Sketch
478(1)
Rough in the Color
478(1)
Add Detail
479(1)
Pastel Landscape
480(2)
Create the Ground
480(1)
Set Up the Clone Relationship
480(1)
Clone the Image
481(1)
Add Color and Detail
481(1)
A Digital Watercolor
482(2)
Create a Grayscale Version of the Image
482(1)
Duplicate, Invert, and Blend
482(1)
Gaussian Blur for Details
482(1)
Create a Paint Layer
483(1)
Clone or Paint
483(1)
Photoshop's Limitations
484(1)
Choosing a Tablet
485(2)
Wet Paint
485(1)
33 Contact Sheets, Picture Packages, Slide Shows and Web Photo Galleries 486(20)
Contact Sheets
487(1)
Picture Package
488(2)
Using the Automated Presentation Features with Raw Images
488(2)
Customizing a Watermark
490(1)
Editing Picture Package Layouts
491(2)
PDF Presentations
493(2)
Web Photo Galleries
495(1)
File Preparation
496(1)
Adding Data to the File Info
496(1)
Using Actions to Prepare Web Photo Gallery Images
496(1)
The Web Photo Gallery Controls
497(4)
The General Settings
497(1)
The Banner Options
498(1)
Large Images Options
499(1)
Titles
499(1)
Thumbnails Options
499(1)
Custom Colors Options
500(1)
Security Options
500(1)
Customizing a Gallery Style
501(1)
Making a Copy of an Existing Template
501(1)
Deciding What to Change
501(1)
Creating the New Logo Image
502(1)
Editing the HTML Pages
502(1)
Testing the Results and Fixing Glitches
503(1)
Browser/Platform Differences and Other Disclaimers
503(1)
Using Customized Gallery Styles
504(2)
Customizing the Photographer's Name Field
504(1)
Creative Use of the Description in File Info
504(2)
34 Optimizing Images for the Web 506(14)
Determining Optimal Image Size
506(1)
Image Size and Monitor Resolution
506(1)
Resising Images for the Web
507(1)
Bicubic Sharper Interpolation
507(1)
Resolution
507(1)
Cropping
507(1)
Automate/Fit Image
508(1)
Sharpening Images for the Web
508(1)
The Sharpen Filter
508(1)
Using the Fade Command with the Sharpen Filter
508(1)
Smart Sharpen
509(1)
Unsharp Mask
509(1)
Converting the Color Profile
509(1)
File Naming Conventions
510(1)
Saving JPEGs with the Save As Dialog
510(3)
Saving a JPEG without Image Previews
511(1)
Comparing File Sizes
512(1)
The Save for Web Dialog
513(2)
Preview Tabs and Tools
513(1)
Optimization Controls and Dialog Menus
514(1)
Details, File Size, and Download Time
515(1)
Optimization Controls
515(2)
File Formats
515(1)
Quality Settings and Weighted Optimization
515(1)
Blur and Matte
515(1)
Optimized and Progressive
516(1)
ICC Profile
516(1)
The Settings Menu
516(1)
Image Size
517(1)
Save for Web: Conclusion
517(1)
Customizing Web Photo Gallery JPEGs
517(3)
Web Photo Gallery JPEGs Are Not Sharpened
517(1)
Using Actions to Create Sharpened Replacement Images
518(1)
Replacing the Original Gallery Images
519(1)
Bibliography 520(1)
Colophon 521(1)
Photo Credits 521(1)
Index 522

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