- Grain Surgery For Adobe Photoshop Cs5 Software
- Adobe Photoshop Cs5 Crack Download
- Adobe Photoshop Cs5 Extended
In this context, it's worth repeating that the best grain management software EVER was and remains the set of plug-ins in the Grain Surgery 2 software: Remove Grain, Add Grain, Match Grain, etc. This works only on PPC machines or under Rosetta, as its developer, Visual Infinity, was acquired by Adobe and promptly killed. The main reason might be incapability of the Grain Surgery plugins to perform with the newer versions of Adobe Photoshop CS4. But the same can be easily run on Adobe Photoshop CS2 with ease as it is already taking the path of Grain Surgery Plugins in its destination folder.
In this photo retouch tutorial, learn how Photoshop's Reduce Noise filter can reduce the appearance of noise without sacrificing image detail. Photoshop Essentials.com - Tutorials and training for Adobe Photoshop. Photoshop:: PS CS4 Extended And Grain Surgery 2 Mar 8, 2009. Just loaded PS CS4 on my 64 Bit Vista machine. Although loading the Grain Surgery filters, etc into my plug-ins folder works fine, CS4 doesn't 'see' them. The main reason might be incapability of the Grain Surgery plugins to perform with the newer versions of Adobe Photoshop CS4. But the same can be easily run on Adobe Photoshop CS2 with ease as it is already taking the path of Grain Surgery Plugins in its destination folder.
Companion Web Site
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• Find project files for the book’s tutorials
• Beautiful, full-color examples
Companion Web Site
• Make your image a canvas, and “paint” with new tools • Create, edit, and manipulate 3D objects, scenes, and settings • Create compelling images for the Web, print, and mobile devices • Batch process multiple images or use scripts to speed workflow
Edit and paint with brushes
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Create special effects
owns and operates a media creation business. She teaches Photoshop classes, is the author of Photoshop CS3 Extended Video and 3D Bible, and is coauthor of several books with her husband, Brad Dayley.
Brad Dayley is a senior software engineer with almost 20 years of experience creating computer applications as well as working with Photoshop. He is the author of the Silverlight 2 Bible, and other books.
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Adobe
®
Photoshop CS5 ®
Get the very most out of Photoshop CS5 Correct, enhance, or composite your photos
Design 3D projects
Shelving Category: COMPUTERS / Computer Graphics Reader Level: Beginning to Advanced
Lisa DaNae Dayley and Brad Dayley
®
• Work with video files, add cool effects, and master the Animation Panel
Lisa DaNae Dayley
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• Explore all the features of Photoshop CS5
The book’s Web site includes project files for the book’s tutorials: www.wiley.com/go/photoshopcs5bible
Adobe
Every previous edition of the Photoshop Bible has been a top-seller, and once you open this in-depth guide, you’ll understand why. Whether you’re a casual user or Photoshop professional, the 1000+ pages in this hefty book cover everything you need, from the very latest features and tools in Photoshop CS5 to the basics of Camera Raw—to techniques for creating 3D objects, producing images for mobile devices, and much more.
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Photoshop CS5
If you want to learn Photoshop, this is the book!
Dayley Dayley
Design for the Web, video, or mobile devices
The book you need to succeed!
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Photoshop CS5 Bible ®
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Photoshop CS5 Bible ®
Lisa DaNae Dayley and Brad Dayley
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Photoshop® CS5 Bible Published by Wiley Publishing, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com
Copyright © 2010 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-0-470-58474-3 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-7486008, or online at http://www.wiley.com/go/permissions. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (877) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002. Library of Congress Control Number: 2010926835 Trademarks: Wiley and the Wiley logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written permission. Photoshop is a registered trademark of Adobe Systems, 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. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
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Brad For D, A & F! DaNae As always, to Brad, my hero, my biggest fan, by best friend. Always and Forever. To my fantastic boys, may you always have as much energy as you do now. To all those who have been my cheerleaders and supporters, thank you!
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About the Authors Brad Dayley is a senior software engineer with almost 20 years of experience creating computer software. He has been working with Photoshop for 19 years, enjoying the transition of Photoshop from a simple image editor to the powerhouse it is today. He is the author of several books. He is an avid amateur photographer and spends most of his free time in the remote areas of the Pacific northwest with his wife DaNae and four sons (wherever a Jeep can get them). DaNae Dayley has been working with Photoshop for 16 years and is still constantly amazed at the cool stuff it can do! With a degree in Advertising from Brigham Young University, DaNae has owned and operated a media creation business for 15 years, incorporating writing, graphic design, and video editing over the years. She also enjoys teaching Photoshop classes locally. She has coauthored several books with her husband Brad Dayley and is the author of Photoshop CS3 Extended Video and 3D Bible and Roxio Easy Media Creator 8 in a Snap. DaNae lives in Utah with her husband Brad and their four sons. When she is not at her computer, she can be found in the great outdoors (with a camera), preferably in a Jeep!
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Credits Senior Acquisitions Editor Stephanie McComb
Project Coordinator Lynsey Stanford
Executive Editor Jody Lefevere
Graphics and Production Specialists Ana Carrillo Joyce Haughey Clint Lahnen Jennifer Mayberry Christin Swinford Ronald G. Terry
Project Editor Martin V. Minner Technical Editor Jon McFarland Copy Editor Gwenette Gaddis Editorial Director Robyn Siesky Business Manager Amy Knies Senior Marketing Manager Sandy Smith Vice President and Executive Group Publisher Richard Swadley Vice President and Executive Publisher Barry Pruett
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Quality Control Technicians Laura Albert John Greenough Proofreading and Indexing Christine Sabooni WordCo Indexing Services Media Development Project Manager Laura Moss Media Development Assistant Project Manager Jenny Swisher Media Development Associate Producers Josh Frank Shawn Patrick Doug Kuhn Marilyn Hummel
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Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxi Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiii
Part I: Getting Started with Adobe Photoshop CS5
1
Chapter 1: Introducing Adobe Photoshop CS5 . . . . . . . . . . . . . . . . . . . . .3 The Versatile World of Photoshop ............................................3 When to use Photoshop ...............................................4 When not to use Photoshop ............................................5 What’s New in Photoshop CS5 ...............................................6 Summary ..............................................................15
Chapter 2: Understanding the Photoshop Workspace . . . . . . . . . . . . . . . 17 Workspace Overview .....................................................17 The document workspace .............................................18 The application bar ..................................................22 Workspace presets ..................................................24 The Toolbox and tool options bar .......................................25 Cruising the Main Menus ..................................................26 The File menu ......................................................26 The Edit menu .....................................................26 The Image menu ....................................................26 The Layer menu ....................................................27 The Select menu ....................................................27 The Filter menu ....................................................27 The Analysis menu ..................................................27 Ruler tool ....................................................27 Count tool ....................................................27 Record Measurements ...........................................28 Set Measurement Scale ..........................................28 Set Data Points ................................................29 Place Scale Marker ..............................................29 The 3D menu ......................................................30 The View menu .....................................................30 Extras and Show ...............................................30 Ruler ........................................................30
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Contents
Snap and Snap To ..............................................31 New Guide, Lock Guides, and Clear Guide ...........................31 Lock Slice and Clear Slices .......................................31 The Window menu ..................................................31 The Help menu .....................................................31 Photoshop Help................................................31 Deactivate ....................................................32 Understanding Panels .....................................................32 Understanding the Tools in the Toolbox .......................................36 Using Presets............................................................40 Selecting tool presets .................................................40 Managing presets....................................................41 Creating presets.....................................................42 Setting Preferences .......................................................44 General preferences ..................................................45 Interface preferences .................................................48 File Handling preferences.............................................49 Performance preferences ..............................................51 Cursors preferences ..................................................53 Transparency & Gamut preferences .....................................54 Unit & Rulers preferences .............................................55 Guides, Grid & Slices preferences .......................................56 Plug-ins preferences .................................................57 Type preferences ....................................................57 3D preferences .....................................................58 Customizing Shortcuts and Menus ...........................................58 Customizing menus .................................................59 Customizing shortcuts................................................60 Summary ..............................................................62
Chapter 3: Image Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Exploring File Types ......................................................63 Compressed versus uncompressed ......................................64 Raster versus vector ..................................................64 HDR images .......................................................65 Image files .........................................................65 Photoshop (*.PSD, *.PDD) .......................................65 TIFF (*.TIF;*.TIFF).............................................66 JPEG (*.JPG;*.JPEG;*.JPE) .......................................66 JPEG 2000 (*.JP2;*.JPX) .........................................66 CompuServ GIF (*.GIF) .........................................66 PNG (*.PNG) .................................................67 Bmp (*.BMP; *.RLE; *.DIB).......................................67 RAW (*.RAW; *.CR; *.CR2; *.DNG; and several others).................67 Portable bitmap (*.PBM;*.PGM;*.PPM;*.PNM;*.PFM;*.PAM) ............68
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Wireless bitmap (*.WBM;*.WBMPI) ................................68 Encapsulated PostScript (*.EPS; *.AI3-*.AI8; *.PS; *.EPSP; *.EPSF) ........68 Photoshop PDF (*.PDF;*.PDP)....................................68 PCX (*.PCX) ..................................................69 PICT (*.PCT;*.PICT)............................................69 Pixar (*.PXR) ..................................................70 FXG (*.FXG) ..................................................70 Google Earth 4 (*.KMZ) .........................................70 PSB (*.PSB) ...................................................70 OpenEXR (*.EXR) ..............................................70 Cineon ......................................................71 IFF (*.IFF;*.TDI) ..............................................71 Scitex CT (*.SCT) ..............................................71 Targa (*.TGA; *.VDA; *.ICB; *.VST) ................................71 Radiance (*.HDR; *.RGBE; *.XYZE) ................................71 Video files .........................................................71 3D files...........................................................72 DICOM files .......................................................72 Creating and Opening Images ...............................................73 Creating a new image ................................................73 Opening an existing image ............................................74 Opening an existing image as a specific file type ............................75 Saving an image ....................................................76 Resizing Files and Adjusting Resolution .......................................78 Understanding resolution .............................................78 Changing the image size and resolution ..................................79 Understanding the resolution and size relationship .....................79 Understanding Photoshop’s resizing algorithms........................80 Adjusting the image size and resolution..............................81 Changing the canvas size..............................................82 Cropping and Straightening Images ..........................................84 Guidelines for cropping a photo ........................................84 Get rid of background clutter .....................................84 Preserving aspect ratio ...........................................84 Rule of thirds..................................................85 Give your subject somewhere to go .................................86 Closing in on your subject ........................................86 Don’t crop out the story .........................................86 Cropping an image ..................................................87 Using the Crop tool .............................................88 Cropping using the Selection tools .................................89 Straightening an image ...............................................90 Rotating and flipping images ......................................90 Rotating while cropping .........................................91
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Using the Crop and Straighten tool .................................92 Using the Ruler tool.............................................93 Trimming a border ..................................................94 Summary ..............................................................95
Chapter 4: Understanding Colors, Histograms, Levels, and Curves . . . . . 97 Color Basics ............................................................97 What is color? ......................................................97 Color, intensity, and the human eye .....................................98 Understanding Channels and Levels ..........................................98 Adjusting with Histograms .................................................99 Understanding histograms.............................................99 Determining overexposure and underexposure in an image .............100 Determining color balance in an image .............................101 Using the Histogram panel ...........................................102 Setting Histogram panel options ..................................103 Selecting channels .............................................103 Selecting a source .............................................105 Understanding statistics.........................................105 Adjusting images with the histogram tools ...............................107 Using the handles to adjust the histogram ...........................107 Using the eyedroppers to adjust the histogram .......................109 Adjusting levels with the Curves tool ...................................109 Understanding curves ..........................................110 Using the Curves tool ..........................................111 Working in Different Color Modes ..........................................113 Understanding the different color modes ................................114 Bitmap......................................................114 Grayscale ....................................................115 Duotone ....................................................116 Indexed color ................................................117 RGB color ...................................................118 CYMK color..................................................119 Lab color ....................................................119 Multichannel .................................................120 Bits per channel....................................................120 Choosing Colors ........................................................121 Using the Color Picker tool ...........................................121 Using the Color panel ...............................................123 Using the Swatches panel ............................................125 Using the Eyedropper tool............................................126 Using the Color Sampler tool .........................................127 Using the HUD Color Picker ..........................................128 Summary .............................................................129
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Chapter 5: History and Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Photoshop: The Non-Destructive Application ..................................131 Using the History Panel...................................................133 Understanding the History panel.......................................134 Configuring the History panel ....................................134 Navigating through history states .................................136 Using snapshots ..............................................136 Creating documents ...........................................137 Deleting history ...............................................137 Painting from history................................................137 Using the Eraser tool in the History panel ...........................138 Using the History Brush ........................................140 Using the Art History Brush......................................140 Using selections when painting history .............................140 Creating and Using Automated Actions.......................................141 Understanding the Actions panel.......................................141 Action list ...................................................142 Actions panel menu ............................................143 Toggle boxes .................................................143 Quick Buttons ................................................143 Changing the view of the Actions panel .............................143 Loading existing action sets ...........................................144 Creating custom actions .............................................144 Editing actions ....................................................145 Adding a stop ................................................145 Adding operations .............................................146 Moving operations .............................................146 Duplicating actions and operations ................................146 Modifying operations...........................................146 Deleting an operation ..........................................147 Modifying the action name and function key .........................147 Saving actions................................................148 Temporarily adjusting action settings by using the toggle boxes ..........148 Playing actions ....................................................148 Managing the action list .............................................148 Summary .............................................................149
Chapter 6: Using Bridge to Organize and Process Photos . . . . . . . . . . . 151 Working in the Bridge Workspaces ..........................................151 Understanding the Bridge utility .......................................151 Main menu ..................................................152 Toolbar.....................................................153 Window panes ...............................................154 Content view controls ..........................................155 Using the Bridge workspaces ..........................................156
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Organizing Files in Bridge .................................................157 Importing images from cameras and card readers..........................157 Get Photos From ..............................................158 Location ....................................................158 Create Subfolder(s) ............................................158 Rename Files .................................................158 Open Adobe Bridge ............................................159 Convert to DNG ..............................................159 Delete Original Files ...........................................161 Save Copies To ...............................................161 Apply Metadata ...............................................161 Working with image metadata.........................................161 Assigning ratings and labels to files .....................................163 Assigning keywords to files ...........................................164 Adding an existing keyword to a file ...............................164 Adding a new keyword .........................................164 Adding a new sub-keyword ......................................165 Finding a keyword in the list .....................................165 Deleting and renaming keywords .................................166 Renaming files .....................................................166 Finding files ......................................................167 Using the Filter panel ..........................................167 Using the Find tool............................................167 Using the review mode .........................................168 Using collections ...................................................170 Creating collections ............................................170 Creating smart collections .......................................171 Creating stacks ....................................................171 Deleting versus rejecting files .........................................172 Processing Images Using Bridge and Photoshop ................................173 Opening images in Photoshop.........................................173 Opening image in Photoshop ....................................173 Placing images in Photoshop .....................................173 Loading files as Photoshop layers .................................174 Opening in Camera Raw........................................174 Batch processing ...................................................174 Using the Image Processor............................................175 Merging photos ....................................................176 Using Photoshop Photomerge....................................177 Using Photoshop Merge to HDR ..................................177 Auto-merging images into HDR and panoramic images .................177 Creating PDFs and Web galleries ......................................179 Creating a PDF ...............................................179 Creating a Web gallery .........................................181
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Using the Mini-Bridge Tool in Photoshop .....................................183 Setting up Mini-Bridge ..............................................183 Browsing in Mini-Bridge.............................................184 Summary .............................................................186
Part II: Working with Camera Raw Images
187
Chapter 7: Camera Raw Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Benefits of Camera Raw—More Is Better ......................................189 Original CMOS information—more bits.................................190 Non-destructive editing—more metadata ................................191 Drawbacks of Camera Raw—Size Matters .....................................193 Camera raw is not universal ..........................................193 Memory card and disk space ..........................................194 Time ............................................................194 Camera Raw File Types ...................................................195 XMP ............................................................195 DNG ............................................................195 Standardization ...............................................196 No XMP files .................................................196 Those pesky proprietary vendors ..................................196 Opening Images in Camera Raw ............................................196 The Camera Raw Workspace and Workflow Options ............................197 Workflow options ..................................................199 Space .......................................................199 Choose a bit depth ............................................200 Size ........................................................201 Resolution ...................................................201 Sharpen For/Amount ...........................................202 Open in Photoshop as Smart Objects ..............................202 Setting Preferences ......................................................202 General ..........................................................203 Save Image settings in..........................................203 Apply Sharpening to ...........................................204 Default image settings ...............................................204 Apply auto tone adjustments .....................................204 Apply Auto grayscale mix when converting to grayscale ................204 Make defaults specific to camera serial number .......................205 Make defaults specific to camera ISO setting .........................205 Camera Raw cache .................................................205 DNG file handling ..................................................205 Ignore sidecar “.xmp” files .......................................205 Update embedded JPEG previews.................................205 JPEG and TIFF handling .............................................205
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The Camera Raw Panel Menu ..............................................206 Creating Snapshots ......................................................207 Saving Presets ..........................................................209 Exporting Camera Raw Files ...............................................210 Summary .............................................................212
Chapter 8: Processing Photos in the Camera Raw Workspace . . . . . . . . 213 The Camera Raw Tools ...................................................213 Synchronizing Adjustments in Multiple Raw Images .............................217 Adjusting the White Balance ...............................................218 Using the White Balance tool .........................................220 Changing the lighting settings .........................................221 Using the Temperature and Tint sliders..................................221 Adjusting Lighting ......................................................222 Adjusting Color and Clarity ...............................................226 Clarity, vibrance, and saturation.......................................226 Tone Curve .......................................................227 The Parametric panel ...........................................227 The Point tab .................................................231 HSL adjustments ...................................................233 Hue adjustments ..............................................234 Saturation adjustments .........................................234 Luminance adjustments .........................................235 Creating a grayscale photo............................................235 Split Toning ......................................................237 Correcting and Retouching ................................................238 Spot removal and cloning............................................238 Red-eye removal ...................................................240 Using the Adjustment Brush..........................................241 Setting the Mask options ........................................242 Using the pins ................................................242 Setting the Brush options........................................243 Setting the Adjustment options...................................244 Creating a Graduated Filter ...........................................246 Creating Artistic Effects ...................................................249 Adding grain ......................................................249 Adding a vignette ..................................................251 Correcting Camera Quirks ................................................252 Lens corrections ...................................................252 Camera calibration .................................................252 Adjusting Sharpness and Reducing Noise.....................................253 Noise reduction ....................................................254 Sharpening .......................................................254 Summary .............................................................255
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Part III: Selections, Layers, and Channels
257
Chapter 9: Creating Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 The Select Menu ........................................................259 Using the Selection Tools .................................................262 Quick Selection tool ................................................263 Quick Selection tool options.....................................263 Using the Quick Selection tool ...................................264 Magic Wand tool ...................................................266 Magic Wand tool options .......................................266 Using the Magic Wand .........................................267 Color Range ......................................................268 Selecting by shape ..................................................270 The Marquee options...........................................270 The Rectangle Marquee tool .....................................271 The Elliptical Marquee tool......................................272 Using the Lasso tools ................................................272 Lasso tool options.............................................272 Lasso tool ...................................................273 The Polygonal Lasso tool ........................................274 The Magnetic Lasso tool ........................................275 Refining Your Selection ...................................................277 Adjusting a selection ................................................277 Using the selection tools ........................................277 By transforming a selection ......................................278 Using paths ..................................................279 Using the Quick Mask mode .....................................281 Refining the edges ..................................................285 View Mode ..................................................286 Edge Detection ...............................................288 Adjust Edge ..................................................289 Output .....................................................289 Summary .............................................................291
Chapter 10: All about Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Working with Layers.....................................................294 Understanding multiple layers.........................................294 Adding new layers ..................................................296 Adding another document as a new layer ...........................296 Adding text or shapes as a new layer ...............................297 Creating selections to make a new layer.............................297 The Layer Menu and the Layers Panel Menu ...................................298 The Layer menu ...................................................298 The Layers panel menu ..............................................301
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The Layers Panel ........................................................303 Opacity and Fill settings .............................................303 Lock settings ......................................................304 Blending modes....................................................305 Normal and dissolve blending modes ..............................306 Darkening blending modes......................................307 Lightening blending modes ......................................307 Adding contrast blending modes ..................................308 Using difference blending modes ..................................308 Color blending modes ..........................................309 Using blending modes ..........................................309 Linking layers.....................................................312 Layer styles, Layer masks, and Fill and Adjustment layers ....................313 Grouping layers....................................................313 Creating a blank layer ...............................................313 Throwing layers (or their components) away .............................313 Applying Worry-Free Fill and Adjustment Layers ...............................313 Choosing a Fill or Adjustment layer ....................................314 Fill layers ........................................................314 Adjustment layers..................................................315 Editing a Fill or Adjustment layer ......................................318 Moving a Fill or Adjustment layer .................................318 Editing the properties of a Fill or Adjustment layer ....................318 Layer Style Special Effects .................................................319 Choosing a Layer Style ..............................................320 Adjusting Layer Style options .........................................321 Creating a separate layer from a Layer Style...............................322 Creating Smart Objects ...................................................323 Converting a layer to a Smart Object ....................................323 Adding Smart Filters ................................................324 Making changes to the Smart Filters ....................................325 Layer Masks ...........................................................327 Creating masks ....................................................328 Using the Add Mask icon .......................................328 Using the Refine Edge dialog box .................................329 Type masks ..................................................329 Clipping masks...............................................330 Editing masks.....................................................332 Edit a mask by painting on the image ..............................332 Edit masks using the Channels panel...............................332 Editing masks using the Masks panel...............................334 Unlinking and moving masks .........................................335 The Layer Comps Panel ..................................................337 Merging Layers .........................................................338 Summary .............................................................339
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Chapter 11: Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Understanding Color Channels .............................................341 Using the Channel Mixer .................................................343 Color mixing ......................................................344 Swapping colors ...................................................345 Converting color to grayscale .........................................346 Using the Channels Panel.................................................349 Selecting channels ..................................................350 Deleting channels ..................................................350 Duplicating channels ................................................350 Splitting/Merging channels ...........................................351 Sharing channels between images......................................353 Making Channel Selections ................................................353 The Alpha Channel ......................................................356 Creating alpha channels .............................................356 Loading selections from alpha channels .................................357 Modifying alpha channels............................................358 Alpha channels versus layer masks .....................................358 Changing the channel options for alpha channels ..........................359 Spot Color Channels .....................................................360 Creating a spot color channel .........................................361 Merging spot color channels..........................................363 Removing ink overlap using spot color channels ...........................363 Summary .............................................................364
Part IV: Enhancing, Correcting, and Retouching
367
Chapter 12: Adjustment Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Understanding Workflow .................................................369 Making Auto Adjustments.................................................371 Using the Adjustments Panel...............................................373 Adjustment icons ..................................................374 Adjustment panel icons ..............................................376 Adjustment presets .................................................377 Summary .............................................................379
Chapter 13: Lighting and Color Adjustments . . . . . . . . . . . . . . . . . . . . . 381 Applying Quick Adjustments to Light and Color ...............................381 Brightness and contrast versus exposure .................................382 Using the Brightness/ Contrast tool to adjust lighting ..................382 Using the Exposure tool to adjust lighting ...........................383 Changing the color balance ...........................................386 Making selective color adjustments .....................................389 Applying photo filter to images ........................................393
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Replacing specific colors.............................................394 Using the Variations tool .............................................398 Changing the shadows and highlights in images ...........................400 Fixing shadows...............................................400 Fixing highlights ..............................................401 Adjusting after shadows or highlights are corrected ....................401 Creating customized black and white photos .............................403 Hue and Saturation ......................................................404 Using the Hue/Saturation tool .........................................405 Adjusting the hue and saturation to make colors pop .......................408 Levels................................................................411 Using the Levels Adjustment tool ......................................412 Configuring the Auto Levels Adjustment .................................415 Adjusting levels to increase detail in images ..............................416 Curves ...............................................................420 Using the Curves Adjustment tool ......................................420 Configuring the Curves Display tool ....................................424 Configuring the Auto Curves Adjustment................................425 Adjusting the curve to correct color and contrast in images...................425 Using the Match Color Tool to Change Colors .................................430 Converting HDR Images to 8 Bits Per Channel .................................433 Summary .............................................................435
Chapter 14: Sharpness, Blur, and Noise Adjustments. . . . . . . . . . . . . . . 437 Using Sharpen Filters to Sharpen Images .....................................438 Applying basic sharpening filters .......................................438 Unsharp Mask .....................................................443 Smart Sharpen.....................................................445 Using Blur Filters to Soften Images ..........................................448 Automatic Blur filters ...............................................448 Shape Blur filters ...................................................449 Gaussian Blur ................................................449 Box Blur ....................................................449 Shape Blur ...................................................450 Direction Blur filters ................................................451 Adding a Motion Blur to an image .................................451 Radial Blur...................................................453 Surface Blur.......................................................454 Smart Blur ........................................................454 Lens Blur .........................................................455 Preview .....................................................456 Depth Map ..................................................456 Iris.........................................................457 Specular Highlights ............................................457 Noise .......................................................458
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Reducing Noise in an Image ...............................................458 Despeckle ........................................................458 Median ..........................................................459 Dust & Scratches...................................................460 Reducing noise ....................................................460 Add noise ........................................................462 Summary .............................................................462
Chapter 15: Using Cloning and Healing to Restore Digital Images . . . . . 465 The Healing Brush Tools ..................................................465 The Spot Healing Brush..............................................466 Proximity Match ..............................................466 Create Texture ................................................467 Content-Aware ...............................................467 The Healing Brush..................................................471 The Patch tool .....................................................475 Content-Aware fill ..................................................478 Fixing red-eye .....................................................480 The Clone Stamp Tool and Clone Source Panel ................................480 Setting the Clone Stamp options .......................................481 Cloning basics .....................................................482 Utilizing the Clone Source panel .......................................485 Using the Clone and Healing Brushes Together for Optimal Effect ..................490 Fixing damaged photos ..............................................490 Face swapping with multiple images ....................................493 Summary .............................................................497
Part V: Painting, Paths, Shapes, and Text
499
Chapter 16: Painting and Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501 Painting in Photoshop ....................................................501 Understanding the Painting Tools ...........................................502 Painting tools and blending modes.....................................502 Basic blending modes ..........................................503 Darkening blending modes......................................503 Lightening blending modes ......................................504 Adding contrast blending modes ..................................504 Difference, Exclusion, Subtract and Divide blending modes .............505 Color blending modes ..........................................505 Painting with painting tools...........................................506 Painting with editing tools............................................510 Healing tools .................................................511 Clone Stamp and Pattern Stamp tool ...............................511 History tools .................................................512
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Eraser tools..................................................512 Sharpen/Blur/Smudge tools ......................................516 Dodge/Burn/Sponge tools .......................................517 Painting with mixing tools............................................519 Using the Brush Panel ....................................................522 Selecting the brush tip shape ..........................................522 Selecting flat brush shapes .......................................522 Selecting bristle brush shapes ....................................524 Setting the brush behavior............................................526 Shape Dynamics ..............................................527 Scattering ...................................................528 Texture .....................................................530 Dual Brush ..................................................531 Color Dynamics...............................................531 Transfer .....................................................532 Brush Presets panel .................................................533 Painting with Non-Brush Painting Tools ......................................534 Paint Bucket tool ...................................................535 Gradient tool ......................................................537 Gradient Editor ....................................................538 Example Painting Techniques ..............................................539 Painting from a blank canvas..........................................539 Tracing edges from an existing image ...................................543 Wet paint on an existing image ........................................544 Summary .............................................................545
Chapter 17: Working with Paths and Vector Shapes . . . . . . . . . . . . . . . . 547 Understanding Paths .....................................................547 Path components...................................................548 Types of paths ....................................................549 Using Vector Path Tools to Create Paths ......................................551 Using the Pen tools .................................................551 Pen tools ....................................................552 Using the Pen tool options.......................................554 Using the Path Selection tools .........................................557 Path Selection tools ............................................558 Using the Path Selection tool options ..............................558 Paths panel .......................................................562 Using Paths ............................................................565 Creating a path ....................................................565 Creating vector shapes from paths......................................567 Creating a clipping mask .............................................568
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Creating vector masks ...............................................570 Vector Shape Layers ................................................572 Using vector shape tools .............................................573 Adding vector shape layers ...........................................577 Adding custom vector shapes .........................................579 Editing vector shape ................................................581 Summary .............................................................582
Chapter 18: Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583 A Little Bit about Text ....................................................583 Using the Text Tools to Add Text to Images ...................................584 Setting type preferences..............................................584 Using the text tools to add text ........................................585 Adding text as point type........................................588 Adding text as a paragraph type ..................................588 Editing vector text layers .............................................590 Edit Type....................................................590 Check Spelling ...............................................591 Find and Replace Text ..........................................592 Rasterize Type ................................................592 Create Work Path .............................................592 Convert to Shape ..............................................593 Horizontal/Vertical ............................................593 Anti-Alias adjustment ..........................................593 Faux options .................................................593 Convert to Point Text/Paragraph Text..............................594 Warp Text ...................................................594 Layer Style ...................................................595 Using the Character panel ............................................596 Using the Paragraph panel............................................602 Using the Character and Paragraph Styles panels ..........................604 Character Styles ...............................................604 Paragraph Styles ..............................................605 Applying Text to Images ..................................................607 Adding text on a path ...............................................607 Applying text to a path .........................................607 Editing text on a path ..........................................608 Constraining text using a vector shape ..................................609 Adding text in a Smart Object .........................................611 Applying text as a mask..............................................614 Summary .............................................................617
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Part VI: Artistic Effects
619
Chapter 19: Distorting Images Using Transformation Effects, Liquify, and Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 Using Transformations ...................................................621 The importance of the reference point ...................................622 Scale............................................................623 Rotate ...........................................................624 Skew ............................................................625 Distort ...........................................................625 Perspective .......................................................626 Warp ............................................................627 Free transform.....................................................628 Content-Aware Scale ................................................629 Using the all-new Puppet Warp........................................634 The Liquify Filter .......................................................639 The Liquify tools ...................................................639 Tool options ......................................................643 Mesh options......................................................643 Reconstruct options.................................................643 Mask options......................................................645 View options ......................................................646 Vanishing Point.........................................................647 Summary .............................................................652
Chapter 20: Applying Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653 A Comprehensive Look at Artistic Effects Filters ................................654 Artistic ..........................................................654 Brush Strokes .....................................................656 Distort ...........................................................657 Pixelate ..........................................................658 Render ..........................................................660 Sketch ...........................................................661 Stylize ...........................................................662 Texture ..........................................................663 Other ...........................................................664 Using the Filter Gallery ...................................................665 The preview pane ..................................................665 The filter thumbnail pane ............................................667 The options pane ..................................................667 Using Smart Objects to Make Non-Destructive Filter Adjustments..................668 Creating a Custom Filter ..................................................672 Summary .............................................................675
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Chapter 21: Combining Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 Creating Seamless Composites .............................................677 Combining files ....................................................678 Adjusting and transforming new layers ..................................679 Blending composite files .............................................680 Refining edges ................................................680 Creating a drop shadow.........................................680 Changing Fill or Opacity settings..................................681 Changing the Blending mode ....................................682 Creating a Fill or Adjustment layer ................................682 Using masks to “tuck in” a composite file ...........................683 Using Multiple Images to Create a Photo Collage ...............................688 Using Photomerge to Create a Panorama......................................693 Summary .............................................................696
Part VII: Working with 3D Images
697
Chapter 22: Creating and Manipulating 3D Objects . . . . . . . . . . . . . . . . 699 Understanding 3D File Formats ............................................699 Opening and Placing 3D Files in Photoshop ...................................701 Creating 3D Files in Photoshop.............................................702 Selecting a source for a 3D object ......................................703 Creating a 3D postcard..............................................703 Creating a 3D shape from a preset ......................................704 Using Repoussé to create a 3D object ...................................705 Creating a 3D mesh from grayscale .....................................711 Creating a 3D volume ...............................................713 Creating 3D Objects in the Layers Panel ......................................713 Manipulating 3D Objects .................................................714 Understanding static coordinates.......................................715 Using the 3D object tools ............................................715 The Home button .............................................716 Turning 3D objects around a central point ..........................716 Moving a 3D object through 3D space ..............................718 Changing positions and saving a view ..............................721 Using the 3D Axis Widget .................................................722 Positioning the Camera on a 3D Object ......................................724 Summary .............................................................726
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Chapter 23: Using the 3D Panel to Edit 3D Scenes and Settings . . . . . . . 727 3D Panel Overview ......................................................727 3D {Scene} Panel ........................................................729 Changing the 3D preferences .........................................729 Render settings ....................................................731 Render presets ................................................732 Edit render settings ............................................733 Quality .....................................................735 Paint On ....................................................735 Global Ambient Color ..........................................735 Creating cross sections ..............................................735 Toggle the 3D extras ................................................737 3D {Mesh} Panel ........................................................739 3D {Materials} Panel.....................................................742 Editing textures ....................................................742 Editing materials ...................................................745 Material Drop tool ..................................................749 3D {Lights} Panel .......................................................750 Adding new lights ..................................................751 Positioning lights...................................................753 Light settings ......................................................754 Summary .............................................................755
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 3D Paint Mode .........................................................757 Hiding areas on a 3D object ..........................................758 Painting on 3D objects ..............................................759 Adjustments, Layer Styles, and Filters ........................................765 Applying an adjustment to a 3D layer ...................................765 Applying a layer style to a 3D layer .....................................766 Applying a filter to a 3D layer.........................................767 3D layers as Smart Objects ...........................................768 Creating Composites .....................................................769 Flying a carpet over a lake ............................................769 Creating a 3D rug .............................................769 Placing the flying carpet into an image .............................772 Adding details to complete the flying carpet composite .................775 Giving the moon away ..............................................777 Create a gift box ..............................................777 Creating the moon.............................................780 Creating a present of the moon...................................781 Summary .............................................................785
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Part VIII: Working with Video and Animation
787
Chapter 25: Video Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789 Working with Video Files .................................................789 Setting aspect ratios .................................................790 Correcting the pixel aspect ratio ..................................790 Changing video aspect ratios .....................................791 Correcting the aspect ratio of an image .............................793 Video filters .......................................................796 De-Interlace ..................................................797 NTSC Colors .................................................797 Features of the Animation (Timeline) Panel ...................................798 Time adjustment ...................................................798 Work area ........................................................800 Icons ............................................................801 Defining the options found in the Animation (Timeline) panel menu ...........802 Accessing the Video Layers menu ......................................805 Setting layer favorites ...............................................807 Opening and Placing Video Files............................................808 Opening a video file ................................................808 Adding additional video files ..........................................809 Importing image sequences ...........................................810 Importing an image sequence into one layer .........................811 Importing an image sequence into multiple layers .....................813 Trimming Video Layers ...................................................815 Dragging the layer duration bar ........................................816 Trimming layers using the menu option .................................816 Trimming the document duration to the work area .........................817 Looking at trimmed layers in the Animation (Timeline) panel .................817 Moving Video Layers.....................................................818 Changing the layer hierarchy..........................................819 Dragging layers inside the layer duration bar..............................819 Changing the position of the layer in and layer end points ...................819 Splitting Video Layers ....................................................820 Lifting and Extracting Unwanted Sections of Video ..............................822 Lifting a section of a video layer .......................................822 Extracting a section of a video layer.....................................822 Performing Slip Edits ....................................................823 Adding Still Shots or Other Elements to a Video Project ..........................825 Adding a blank layer ................................................826 Adding a text layer .................................................826 Adding or placing an image file ........................................827 Adding or placing a 3D model.........................................828 Summary .............................................................829
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Chapter 26: Animating in the Animation (Timeline) Panel . . . . . . . . . . . 831 Creating and Editing Keyframes ............................................832 Creating keyframes.................................................832 Editing keyframes..................................................836 Setting interpolation ................................................838 Linear interpolation ............................................838 Hold interpolation .............................................838 Creating comments .................................................839 Animating the Position of a Layer...........................................841 Keyframe placement ................................................841 Animating positions in multiple layers ..................................843 Animating the Opacity Setting .............................................845 Animating Layer Styles ...................................................847 Animating the Global Lighting .............................................850 Animating Text .........................................................851 Animating Masks .......................................................852 Rotoscoping Basics ......................................................853 Creating a new video layer ...........................................855 Creating modified frames ............................................855 Utilizing onion skins ................................................857 Onion Skin settings ............................................858 Restoring frames...................................................860 Animating DICOM Files ..................................................860 Summary .............................................................862
Chapter 27: Correcting Video Files and Adding Artistic Effects . . . . . . . 863 Adding Fill or Adjustment Layers to Correct Tone and Color of Video Layers..........863 Clipping an Adjustment layer to the layer below it .........................865 Adjusting the duration of a Fill or Adjustment layer ........................866 Merging layers .....................................................867 Adding a Fill or Adjustment layer to a Smart Object ........................868 Applying Smart Filters to Video Files ........................................870 Cloning and Healing Over an Entire Video Layer ...............................872 Frame-by-Frame Correction and Artistic Effects................................874 Adding an adjustment to a single frame..................................875 Adding a filter to a single frame ........................................876 Cloning and healing video files ........................................876 Locking the source frame ............................................879 Summary .............................................................880
Chapter 28: Animating Using the Animation (Frames) Panel . . . . . . . . . 881 Working in the Animation (Frames) Panel ....................................882 Panel features .....................................................882 Frame delay time ..............................................882 Disposal method..............................................883
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Looping options ..............................................883 Tweens animation frames icon ...................................883 Duplicating selected frames ......................................885 Convert to Animation (Timeline)..................................885 The Animation (Frames) panel menu ..............................885 Animation (Frames) panel menu .......................................886 Layers panel features ................................................888 Creating Tweened Frame Animations ........................................889 Opening an image to animate .........................................889 Creating keyframes.................................................890 Tweening keyframes................................................892 Creating a Frame-by-Frame Animation .......................................893 Creating an animation from a layered image..............................893 Building an animation in the Animation (Frames) panel.....................896 Rendering Video ........................................................899 Summary .............................................................900
Part IX: Advanced Output Techniques
901
Chapter 29: Printing and Color Management . . . . . . . . . . . . . . . . . . . . . 903 Importance of Color Accuracy and Consistency ................................903 Understanding ICC color profiles ......................................904 Embedding color profiles in image files ..................................904 Device-independent color profiles ......................................905 Color Calibrating Monitors and Printers ......................................906 Using Color Management in Photoshop ......................................907 Configuring color settings in Photoshop.................................907 Settings.....................................................907 Working Spaces...............................................908 Color Management Policies ......................................909 Conversion Options ...........................................910 Advanced Controls ............................................912 Assigning color profiles to images ......................................913 Converting images to other color profiles ................................914 Proofing images using color management................................915 Printing Images from Photoshop ............................................917 Configuring general printing options ...................................918 Using color management to print accurate colors ..........................918 Adding crop marks and additional output to printed images ..................920 Summary .............................................................922
Chapter 30: Creating Images for the Web and Mobile Devices . . . . . . . 923 Preparing Images for the Web ..............................................923 Understanding Web image formats .....................................924 Selecting the right color profile ........................................925
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Slicing images for Web use...........................................925 Understanding slices ...........................................925 Creating slices ................................................926 Configuring slices .............................................928 Adding transparency to images........................................930 Animating images ..................................................931 Outputting Images Using the Save for Web & Devices Utility ......................933 Preview layout and toolbar ...........................................934 File output settings.................................................936 Color Table .......................................................942 Image Size settings .................................................942 Animation controls.................................................943 Previewing output in a browser ........................................944 Using Adobe Device Central to preview images on devices...................944 Using Zoomify to Add Zoomable Images to Web Sites ...........................946 Summary .............................................................948
Chapter 31: Digital Workflow and Automation . . . . . . . . . . . . . . . . . . . . 949 Automating Workflow in Photoshop.........................................949 Batch processing multiple images ......................................950 Creating droplets to process images ....................................954 Using Scripting to Speed Up Workflow.......................................956 Using Photoshop’s scripts ............................................956 Using stack modes on multiple images to analyze images and reduce noise ......959 Scripting workflow events ............................................962 Summary .............................................................964
Appendix A: Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins . . . . 969 Appendix C: Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977
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O
ur sincere gratitude goes out to the following persons, without whom this book could not have happened:
Our friends and family who force us to be more intelligent and creative than we necessarily would like to be. To our editors who made the book readable and technically accurate and kept us on track, you really rock. Thanks to Stephanie McComb for her positive attitude in keeping us on track and getting the project moving in the right direction. Thanks to Marty Minner for all your hard work and dedication. It was a pleasure working with you. Thanks for making sure that the end result was the highest standard. Thanks to Gwenette Gaddis for interpreting the ramblings of our minds and making us sound much better than we can actually write. And thanks to Jon McFarland for using your technical expertise to watch our back and improve the quality of the book. Also, thanks to the entire staff at Wiley who were very professional in helping get this project out the door. And last, but not least, our thanks go out to the talented photographers who have so generously contributed their fantastic photos to this work: Rachel Echols of Echols Photography, her ability to take stunning photos of animal life is unparalleled; Becky Diamond for her phenomenal wedding photos; and Janece Winder of Orange Works photography and design, who contributed wonderful photos of all kinds.
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W
elcome to the Photoshop CS5 Bible, the latest edition of the bestselling reference guides on Photoshop in publishing history. Now in its 16th year, the Photoshop Bible is the longest continuously published title on Adobe Photoshop. With numerous U.S. editions, dozens of localized translations around the globe, and hundreds of thousands of copies in print worldwide, the Photoshop Bible has become a must-have for Photoshop users worldwide. We have done our very best to accurately and directly address the vast majority of functionality, features, tools, and techniques wrapped up in your Photoshop package. As you may notice throughout the book, we love Photoshop and like to tell you about the great features. You also may notice that when something doesn’t work well or is awkward, we don’t hesitate to let you know. Our intent is to give you the best experience using Photoshop.
Who this book is for Photoshop tends to collect users from a variety of backgrounds. From casual users just playing around to professional graphics designers creating professional materials to digital artists creating fantastic artwork to medical technicians analyzing patient images, Photoshop has something for everyone. In fact, there really isn’t one specific group of users that you could call the average Photoshop user. So, with that in mind, the Photoshop CS5 Bible is designed to provide enough information so experienced Photoshop users can get more out of Photoshop, but also so someone who has little or no experience with Photoshop can quickly pick up on Photoshop’s interface and become an expert in no time. We discuss advanced techniques and add step-by-step examples to the more complex editing concepts. Although the book is large, most sections in the book are self-contained, so experienced users can simply look up tools they need help with. This book is really designed to be a desktop reference, but it’s much more than the Photoshop online help. We’ve incorporated examples designed to guide you through various techniques, provide our experience in tips and suggestions, and try to give you a jumpstart on how to leverage Photoshop’s features. The specific purpose of this book is to provide you with the understanding you need to get the very best results. So sit back, load up Photoshop, and enjoy the ride!
How this book is organized To suit the most common needs of readers, we have organized this book into the following parts:
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Introduction
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Part I: Getting Started with Adobe Photoshop CS5
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Part II: Working with Camera Raw Images
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Part III: Selections, Layers, and Channels
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Part IV: Enhancing, Correcting, and Retouching
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Part V: Painting, Paths, Shapes, and Text
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Part VI: Artistic Effects
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Part VII: Working with 3D Images
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Part VIII: Working with Video and Animation
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Part IX: Advanced Output Techniques
Each part is subdivided into the following chapters. Part I: Getting Started with Adobe Photoshop CS5 In Part I, we introduce Photoshop and the basic workspace in Chapters 1 and 2 to familiarize you with Photoshop. Chapter 3 takes you through the basics of file formats as wells as opening, saving, and resizing image images in Photoshop. Chapter 4 discusses the basics of color as it relates to images and how to use Photoshop’s tools to understand and modify the color composition of an image. Chapter 5 discusses utilizing the History and Actions panels in your workflow as you begin editing images. Chapter 6 discusses using the Adobe Bridge application to organize and process your images. l
Chapter 1: Introducing Adobe Photoshop CS5
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Chapter 2: Understanding the Photoshop Workspace
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Chapter 3: Image Basics
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves
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Chapter 5: History and Actions
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Chapter 6: Using Bridge to Organize and Process Photos
Part II: Working with Camera Raw Images In Part II, we discuss the basics of camera raw images and how to use the Adobe Camera Raw interface to edit images before opening them in Photoshop. The purpose of this part is to familiarize you with camera raw image editing so you can incorporate it into your editing workflow. l
Chapter 7: Camera Raw Basics
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Chapter 8: Processing Photos in the Camera Raw Workspace
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Introduction
Part III: Selections, Layers, and Channels In Part III, we discuss the various ways to create selections in Photoshop. We also cover the Layers panel and how to utilize it for non-destructive editing. Then we cover using the Channels panel to edit and utilize individual color channels in an image. Selections, layers, and channels are basic functionality you need in most of your editing workflow. l
Chapter 9: Creating Selections
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Chapter 10: All about Layers
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Chapter 11: Channels
Part IV: Enhancing, Correcting, and Retouching In Part IV, we discuss the workflow, tools, and techniques that you can use to enhance, correct, and retouch your images. Use this part to get to know the features of Photoshop that you need to make color and lighting adjustments to photos as well as restore damaged images. l
Chapter 12: Adjustment Workflow
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Chapter 13: Lighting and Color Adjustments
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Chapter 14: Sharpness, Blur, and Noise Adjustments
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Chapter 15: Using Cloning and Healing to Restore Digital Images
Part V: Painting, Paths, Shapes, and Text In Part V, we discuss the tools used to create images. Specifically, we discuss using the Paint tools to use brushstrokes to add color, textures, and adjustments to images. Then we discuss using the path tools to create vector shapes. And finally, we discuss adding textual elements to images. l
Chapter 16: Painting and Brushes
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Chapter 17: Working with Paths and Vector Shapes
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Chapter 18: Working with Text
Part VI: Artistic Effects In Part VI, we cover using some of Photoshop’s tools to apply artistic effects to images. You can use these chapters to learn how to distort and warp portions of an image, apply a variety of filters, and combine elements from multiple images. l
Chapter 19: Distorting Images Using Transformation Effects, Liquify, and Vanishing Point
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Chapter 20: Applying Filters
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Chapter 21: Combining Images
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Introduction
Part VII: Working with 3D Images Part VII covers utilizing the 3D capabilities in Photoshop CS5 Extended to create, modify, and enhance 3D objects. l
Chapter 22: Creating and Manipulating 3D Objects
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Chapter 23: Using the 3D Panel to Edit 3D Scenes and Settings
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Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
Part VIII: Working with Video and Animation In Part VIII, we cover using the Animation panel and several other tools and techniques to make enhancements and corrections to video with Photoshop CS5 Extended. These chapters discuss various editing concepts and techniques that allow you to make use of Photoshop’s editing features when video editing. You also learn how to use the Animation panel to animate images. l
Chapter 25: Video Editing Basics
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Chapter 26: Animating in the Animation (Timeline) Panel
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Chapter 27: Correcting Video Files and Adding Artistic Effects
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Chapter 28: Animating Using the Animation (Frames) Panel
Part IX: Advanced Output Techniques In Part IX, we cover the tools and techniques you use to output images using Photoshop, from printing and color management to preparing images for the Web. We also discuss utilizing Photoshop’s batch processing and scripting capabilities to save lots of time in your editing workflow. l
Chapter 29: Printing and Color Management
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Chapter 30: Creating Images for the Web and Mobile Devices
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Chapter 31: Digital Workflow and Automation
Appendixes We provide appendixes for the things that don’t fit into the book but that we wanted to share with you. Appendix A contains some tables with the most commonly used keyboard shortcuts. Appendix B discusses how to use plug-ins to add functionality to Photoshop. Appendix C lists some Web resources that you can use to get more information about Photoshop and download cool stuff. l
Appendix A: Keyboard Shortcuts
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Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins
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Appendix C: Resources
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Introduction
How to use this book This book was not designed for a cover-to-cover read. For the most part, each section is self-contained. If you are new to Photoshop, take some time to look at Chapters 1 through 6 to familiarize yourself with the environment and digital editing concepts. If a chapter relies on information about another chapter, we note that in the chapter introduction or using a Cross-Ref note. If you want to know more about a particular workflow in Photoshop, such as color correction or adding text, use the list from the previous section to find the chapter number and read that chapter thoroughly to learn all about the different tools and features you can use. The book is really designed as a reference source. We have tried to pack in as much of Photoshop’s functionality and features as possible so you can look up items in the index and read the sections in which we discuss them. You should download the example projects from the book’s Web site and use them when available. The images in this book are in grayscale except for the color insert (and yes, we really, really wish it was in full color). So it may be difficult at times to see the full effect from the figure in the book. The examples on the Web site let you see what the images look like in full color as well as practice the tasks described in the book. Look at the next section, “Utilizing the book’s Web site,” to learn what projects are available.
Utilizing the book’s Web site One of the most important aspects of digital images is color. Unfortunately, the book was printed without color. So we have included several of the figures and projects used to generate the figures on the Web site. Some of the items on the Web site are JPEG images, some are PSD projects, and some are AVI files. The great feature of the projects is that many of them have the layers and objects available for you to play around with. The book’s Web site can be accessed at: www.wiley.com/go/photoshopcs5bible
Throughout the book, you see icons labeled “On the Web Site,” noting which figures are available on the Web site. Each note includes a filename that you can use to download the item and try the concepts out for yourself.
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Part I Getting Started with Adobe Photoshop CS5 IN THIS PART Chapter 1 Introducing Adobe Photoshop CS5 Chapter 2 Understanding the Photoshop Workspace Chapter 3 Image Basics Chapter 4 Understanding Colors, Histograms, Levels, and Curves Chapter 5 History and Actions Chapter 6 Using Bridge to Organize and Process Photos
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CHAPTER
Introducing Adobe Photoshop CS5
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f you are reading this book, you likely have access to one of the most complicated and complex software applications available. Don’t let that discourage you though. Photoshop is also a powerful and extremely fun application to use. Photoshop has throngs of fans all over the globe. Over the years, Photoshop has become the pinnacle software application for image editing. In fact, if you look up Photoshop at wiktionary.org, you find the term photoshop is actually a verb meaning “to digitally alter a picture or photograph.”
IN THIS CHAPTER Brief introduction to Photoshop CS5 Reasons to use Photoshop CS5 New features introduced in Photoshop CS5
Photoshop draws such a big crowd because it provides amazing results when you are editing images and yet is fairly intuitive to use such that even casual users can get pretty good results without much effort. Also, as digital imaging has advanced over the years, Photoshop has kept pace and even led the advancements in many areas. The purpose of this chapter is to give you a brief introduction to Adobe Photoshop CS5, when to use it, and what new features have been added since CS4. Chapter 2 dives into the nuts and bolts of Photoshop’s application workspace.
The Versatile World of Photoshop The simplest description of Photoshop is “a digital image-editing application.” That description doesn’t come close to Photoshop’s capabilities. Photoshop provides the standard color and lighting correction capabilities historically associated with photo editing, but it also provides filtering, painting, masking, layering, and many more tools that allow you to take image editing to the next level.
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Part I: Getting Started with Adobe Photoshop CS5 Photoshop comes in two versions. The standard Photoshop edition provides all the functionality you need to create, enhance, and correct digital images. The extended edition, which costs more, provides additional functionality to work with 3D objects, video, and digital animation. The extended edition is worth the money if you are working with 3D objects or need to add color/ lighting corrections and artistic effects to video. If you are not working with 3D objects or video, the standard edition is all you need. The following sections discuss the uses of Photoshop as well as a few times where you need to use additional applications with Photoshop. The purpose of the section is to give you a glimpse of what Photoshop is for before diving into using it. Of course, the only real way to understand Photoshop’s capabilities is to delve into them as you follow along with the next 30 chapters in this book.
When to use Photoshop Photoshop has so many tools and so much power that it can do an almost unlimited number of things. The following list describes the most common tasks that Photoshop is used for to help you get an idea of when to use it: l
Photo corrections: Photoshop’s strength lies in the ability to correct digital images to restore the original color and lighting as well as to correct problems introduced by camera lenses. These features of Photoshop are covered in Chapter 13.
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Photo enhancements: Photoshop also provides tools that allow you to enhance photos. For example, you can add a blur to soften a portrait or use a sharpening filter to remove motion blur. Photoshop also is great at fixing scratches and dust marks on older images. These concepts are discussed in Chapters 14 and 15.
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Photo compositions: One of Photoshop’s strengths is the ability to combine multiple images to create a single image or composition. A common use of Photoshop is to take a headshot from one image and place it into another. Photoshop also allows you to merge several photos that were taken at different horizontal angles from the same spot and turn them into a single panoramic image. Photo compositions are discussed in Chapter 21.
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Artistic effects: One of the most fun features of Photoshop is the ability to use different filters and warping tools to apply artistic effects to images. The combination of numerous tools and filters in Photoshop means that the only limitation you have with adding artistic effects is your own creativity. The tools used for artistic effects are covered in Chapters 19 and 20.
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Painting: Photoshop has always been a fairly good painting application, but with the addition of the wet brush capability in CS5, Photoshop is now one of the best applications available to create digital painting. What puts Photoshop ahead of the competition is that many of the powerful features, such as the layers and masks, also are available for use with the painting tools. Also, the painting brushes are integrated into many of the other tools in Photoshop. Chapter 16 discusses the painting tools.
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Creating vector artwork: Photoshop also is an excellent application to use when creating vector artwork. The path tools allow you to quickly create and manipulate vector artwork. You also can add vector artwork to raster images. Vector artwork, including vector text, is discussed in Chapters 17 and 18.
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Adding text to images: Photoshop provides tools that allow you to add text to images. The text can be resized, warped, and adjusted to provide some stunning visual effects to images. Chapter 18 discusses adding textual elements to images.
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Creating Web images: Another area where Photoshop excels is preparing images for the Web. Photoshop provides utilities that allow you to quickly format images with the appropriate size, file format, and colors for use in Web pages. Photoshop also provides some tools you can use to slice an image into clickable sections and provides the HTML code necessary to utilize the slices in a Web page. Outputting to the Web is discussed in Chapter 30.
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Print preparation: Photoshop often is used to prepare images for printing by converting the color mode to CYMK, adding spot colors, and creating color separations. These topics are covered in Chapters 11 and 29.
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Creating 3D objects: Photoshop has the capability to create and manipulate 3D objects. Although it is not the best utility for creating 3D objects, it is very good at manipulating them and then applying them to 2D images. The 3D capabilities of Photoshop are covered in Chapters 22, 23, and 24.
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Adding textures to 3D objects: Photoshop has a big advantage over other 3D applications at applying textures to 3D objects. With Photoshop’s filter and painting capabilities, you can edit the textures of your 3D objects in ways that you may not have thought possible. Chapter 23 discusses creating and enhancing 3D textures.
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Video corrections: Just as with 3D modeling, Photoshop should not be your choice for creating video projects; however, using Photoshop’s color, lighting, and filter effects, you can quickly apply corrections to video and even add some artistic effects. Chapter 27 discusses applying corrections and effects to video files.
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Animating images: Another fun feature of Photoshop is the ability to add animation to your images. Animated images can give life to Web pages and allow you to create short animated movies. Chapter 28 discusses animating images.
When not to use Photoshop Believe it or not, Photoshop is not designed to do everything, and you should use a different application for those tasks after you have created/adjusted the image in Photoshop. For example, use another program for the following: l
Word processing: Most word processing applications allow you to add images to documents created with those programs, and although Photoshop supports adding text to images, it doesn’t support text editing all that well and can’t handle text flowing from one page to another. You should use Photoshop to work with the images and then import them into the word processor.
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Business graphics: Photoshop doesn’t do charts and presentations very well, but you can create great images in Photoshop and then use them in business applications.
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Page layout: Applications such as Adobe InDesign are much better adept at laying out most brochures, flyers, and documents that are mostly textual. You should create the images in Photoshop and then import them into the layout application.
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Vector art: Although Photoshop has a lot of capability when it comes to creating vector paths, Illustrator is much better application for working with clipart and designing advertisements, flyers, and one-page layouts that have multiple vector objects.
What’s New in Photoshop CS5 Adobe has added several great new features to Photoshop CS5 that make tools easier to use, extend capabilities, and add lots of justification for upgrading. These new changes are discussed throughout the book. The purpose of this section is to describe the biggest changes and let you know where in the book you can find more information about them: l
Sticky Workspaces: The workspaces in Photoshop now save themselves when you switch between them. That way, your panels and other settings stay the same way you left them when you come back. Photoshop also provides a reset option to reset the workspace to the default. See Chapter 2.
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Workspace Switcher: Adobe has modified the method to switch between workspaces with a new option in the application bar that allows you to access workspaces more easily. See Chapter 2.
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Mixer Brush: One of the coolest features in Photoshop CS5 is the addition of the Mixer Brush to the painting tools. The Mixer Brush mixes colors in the brush and on the canvas as you apply strokes to the document, allowing you to create realistic painting effects. This one new feature makes Photoshop CS5 worth the upgrade. Chapter 16 covers the Mixer Brush in detail. Figure 1.1 shows an example of using the Mixer Brush to add brush strokes to a photograph to create a paint effect. Notice that by using the Mixer Brush, the colors in the image have been spread like brush strokes.
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Bristle Brushes: Another feature that adds to the painting functionality in Photoshop is the addition of realistic paint brushes. The new Bristle Brush tips allow you to define paint stroke behavior that mimics real paint brushes by allowing you to define the number of bristles, stiffness, shape, and other behaviors that simulate real-life brushes. Combined with the Mixer Brush tool, the Bristle Brushes elevate Photoshop CS5 to one of the premier digital art applications. See Chapter 16. Figure 1.2 shows the various new Bristle Brushes.
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FIGURE 1.1
The new Mixer Brush allows you to treat the pixels in an image like wet paint as you apply brush strokes, significantly increasing Photoshop’s ability as a painting application.
FIGURE 1.2
The new Bristle Brushes allow you to define bristle length, shape, stiffness, and behavior, providing realistic brush effects.
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Bristle Brush Preview: The new Bristle Brushes also come with a preview window that simulates the movement and pressure of the brush as you apply brush strokes. As you put more pressure on the brush, the preview shows the bristles as they fan out. The preview is especially useful if you are using a stylus that supports tilt and pressure, because the preview shows you the behavior of the brush when it is tilted and as you apply more pressure. Figure 1.3 shows some examples of the Bristle Brush preview window.
FIGURE 1.3
The Bristle Brush preview window displays the behavior of the brush in real time as you make brush strokes, including the tilt of the brush and how the bristles fan out with more pressure.
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Mini Bridge: A new Mini Bridge panel has been added to Photoshop. The Mini Bridge panel allows you to quickly find and open files in Photoshop using Navigation and Content panes similar to those in Bridge. You no longer need to switch between Photoshop and Bridge to find files. See Chapter 6. Figure 1.4 shows the look of the Content and Navigation panes in the Mini Bridge panel.
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FIGURE 1.4
The Mini Bridge panel provides a simple interface you can use to more easily find and open files in Photoshop.
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Puppet Warp tool: The Puppet Warp tool is another fun feature in Photoshop CS5. Using the Puppet Warp tool, you can lock pieces of the image to remain static and then adjust points in the no static sections. As you adjust the points, the image is warped as if you were pulling on a piece of cloth. The result is that you can take an object such as a person and warp only the arms or legs as you would a puppet. See Chapter 19. Figure 1.5 shows an example of using the Puppet Warp tool to change the position of a spider’s legs. Notice how the locking pins hold the rest of the image in place while the spider’s legs are warped.
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FIGURE 1.5
The Puppet Warp tool allows you to warp and change the position of specific areas of the image without affecting the rest of the pixels.
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Content-Aware Fill and Spot Healing: Adobe has enhanced the Spot Healing Brush tool so you can enable the Content-Aware feature. This feature takes into account the pixels in the area being healed and tries to match other similar patterns in the image. You also can create a Content Aware Fill that replaces a selection with a content aware patch. The result is that you can quickly remove content from an image without the anomalies that you used to get. It’s a situation of “now you see it, now you don’t.” See Chapter 15. Figure 1.6 shows an example of removing an elk from an image using the Content-Aware Spot Healing. Using the Content-Aware Spot Healing feature, you can simply paint loosely over an object and Photoshop does the rest. Notice how cleanly the animal is removed and replaced with grass similar to the content around it.
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FIGURE 1.6
The Content-Aware Spot Healing feature allows you to easily use painting strokes to remove elements from an image and replace them with content similar to the content around where the object was located.
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Repoussé: Another major advancement in Photoshop CS5 is the addition of the Repoussé tool. Repoussé allows you to take a 2D vector path and turn it into a 3D vector object. This is a huge bonus to the extended edition, because you can now create a variety of 3D shapes by utilizing vector paths. A great use of the Repoussé tool is to create 3D text art from vector text layers. Repoussé is covered in detail in Chapter 22. Figure 1.7 shows the Repoussé tool along with an example of turning 2D text into a 3D object.
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FIGURE 1.7
Using the Repoussé tool, you can turn a 2D shape into a 3D object. The Repoussé tool allows you to define several parameters such as depth, bevels, and textures.
2D to 3D
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3D tools: The 3D tools and 3D panel have been reworked in Photoshop CS5. They are now easier to use and have more robust features. For example, the Scene Panel tools can now be accessed at all times. See Chapter 22 for a more detailed description of the 3D tools.
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3D axis widget: The coolest advancement in the 3D toolset is the new 3D axis widget. This new widget allows you to move, scale, and rotate 3D objects, lights, cameras, and meshes. See Chapter 22 to learn more about the 3D axis widget. Figure 1.8 shows the new 3D axis widget.
FIGURE 1.8
The 3D axis widget provides a simple tool where you can easily grab an axis of a 3D object with the mouse and drag to scale, rotate, and move the object along that axis.
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Adobe Camera Raw 6.0: Photoshop CS5 comes with a new version of Adobe Camera Raw that has lots of behind the scenes enhancements to improve the adjustments that are made. See Chapter 7.
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Protect detail in the Sharpen tool: A new option has been added to the Sharpen tool that allows you to sharpen images with high-frequency details, such as stripped ties, without introducing unwanted artifacts. See Chapter 14.
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Character Styles: A new Character Styles panel has been added to Photoshop CS5 that allows you to define type styles as presets that can be saved and reused later. You can save details such as the font, size, tracking, color, and kerning. See Chapter 18 for more details.
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Paragraph Styles: A new Paragraph Styles panel has been added to Photoshop CS5 that allows you to define paragraph styles as presets that can be saved and reused later. You can save most of the settings available in the Paragraph Styles panel such as the indent, spacing, justification, and much more. See Chapter 18 for more details.
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Grid Options in the Crop tool: The Crop tool now displays new Crop Guide Overlay settings that allow you to display a grid in the cropped area so you can more easily see the spatial composition of the area that will make up the new image. You can select None, Rule of Thirds, or Grid, where Grid specifies the spacing between grid lines. See Chapter 3 for more information about using the Crop tool.
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Drag-and-Drop document to create a layer: In Photoshop CS5, you can now drag an open document window onto a PSD document window and the file is added as a new layer.
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Straighten image in the Ruler tool: A Straighten button has been added to the options bar for the Ruler tool. When you draw a line with the Ruler tool and then click the Straighten tool, the canvas is rotated to match the angle of the ruler measurement and the excess corners are clipped.
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Sampling ring in the Eyedropper tool: The Eyedropper tool now has an additional option in the options bar that enables a sampling ring when you drag the Eyedropper onto the document. The bottom of the ring shows the original foreground color, and the top of the ring shows the color of the pixel directly below the Eyedropper. See Chapter 4 for more information about the Eyedropper tool.
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Scrubby Zoom option in Zoom tool: The Zoom tool now has a Scrubby Zoom option that, when enabled, allows you to zoom in and out by clicking the image, holding down the mouse button, and dragging the mouse to the left or right. See Chapter 2 for more info about the Zoom tool.
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HDR Toning: A new option, Image ➪ Adjustments ➪ HDR Toning Option, has been added that provides single-image access to HDR Toning for 8-bit, 16-bit, or 32-bit images. HDR images are discussed in Chapter 3. Nest layer groups: Photoshop CS5 now supports nested layer groups ten levels deep instead of just five.
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Delete All Empty Layers command: You can now delete all empty layers by selecting File ➪ Scripts ➪ Delete All Empty Layers from the main menu. This allows you to quickly clean up after editing in several layers. Layers are covered in Chapter 10, and scripts are covered in Chapter 31.
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Modify opacity and fill of multiple layers: Photoshop CS5 allows you to change the opacity and fill values for multiple selected layers. This has been a needed feature for a long time. Layers are discussed in Chapter 10.
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Layer Mask from Transparency: Photoshop CS5 includes a new menu command, Layer ➪ Layer Mask ➪ From Transparency, that allows you to directly edit the layer transparency data. This command moves the transparency data to a user mask, while setting the existing transparency to opaque. This makes the data editable while preserving the document appearance. See Chapter 10 for more information about layer masks.
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Sticky Layer Style settings: The settings that you configure in the Layer Styles dialog box are now sticky, which means that they are automatically saved when you leave the dialog box. That way, the modified settings are preserved the next time you open the Layer Style. Photoshop provides Make Default and Reset to Default buttons to handle returning the settings to the original values. See Chapter 10 for more information about layer styles.
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Refine Edge algorithm: A new algorithm is used in edge refinement that is controlled by a Thickness slider. This new algorithm captures more detail on the edges of a selection or mask allowing for improved mask shaping around finely detailed image subjects like hair, grass, treetops, and so on.
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Refine Mask views: Two new view modes have been added to aid in the visual representation of the mask as the user refines it: l
On Layers: The On Layers view shows the unmasked image data with the data of the revealed composite layers that appear below it.
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Reveal Layer: The Reveal Layer view disables your layer mask so you can see the entire active layer, providing a quick way to see all the masked image data in your selected layer.
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Refine Edge—Edge Detection: The Refine Edge feature also includes another new feature, Find Hard Edges, that automatically adjusts the level of refinement that occurs around localized areas of the mask edge, helping to remove background noise that can get picked up by the refined mask.
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Refine Edges—Color Decontamination: The Refine Edge feature also includes another new feature, Color Decontamination, that allows you to remove color fringing around the edges of your masked image by replacing the original color with that of the subject. Using the Color Decontamination, you can more easily extract an item or person in an image from its background.
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Refine Edges—Add and Subtract Brushes: The Refine Edge tool also provides two new brushes, Refine Radius and Erase Refinements, that add to and subtract refinement of the edges of selections. These brushes allow you to make localized refinements to the edges of your mask.
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Paste in Place: In Photoshop CS5, the Edit ➪ Paste Inside command has been replaced by an Edit ➪ Paste Special submenu containing the following options: Paste In Place, Paste Into, and Paste Outside. The Paste Into and Paste Outside options work the same way they did in CS4. The Paste In Place option works just like Edit ➪ Paste unless the clipboard contains pixels that are copied from another Photoshop document. If the clipboard contains Photoshop data, Photoshop tries to paste the selection into the same relative location in the target document as it occupied in the source document.
Summary This chapter introduced Photoshop CS5 by discussing the general uses of Photoshop and the new features in Photoshop CS5. Photoshop can be used for a variety of purposes from photo editing to digital art to adding artistic effects. In this chapter, you learned the following: l
Photoshop can be used to edit, enhance, and create images in several ways.
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Photoshop CS5 includes a new painting tool and brushes that allow you to treat an image as if it were a wet paint canvas.
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Adobe has improved the set of 3D tools that allow you to use Photoshop’s editing capabilities on 3D objects.
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CHAPTER
Understanding the Photoshop Workspace
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he Photoshop CS5 workspace has had years to develop into a finetuned working environment, and with bigger monitors and faster processors, working in Photoshop has only become much more fun. With all the room that larger display options give you, you can easily organize the panels, documents, and tools in the workspace to provide an efficient photo-editing environment.
Touring the workspace
With all its features, Photoshop can be a bit daunting at first. The purpose of this chapter is to familiarize you with the Photoshop workspace, how to navigate around, find tools, customize settings, and set the environment so it works best for you.
Tool overview
IN THIS CHAPTER Looking at the menus Understanding and organizing panels
Using presets to save tool configurations Configuring Photoshop preferences
Workspace Overview At first glance, the Photoshop workspace seems a little dreary—lots of gray, but that is very misleading. With beautiful photographs (or other colorful graphics) in the work area and fascinating tools at your fingertips, you’ll soon be addicted to the Photoshop playground. In fact, you probably are glad that the background not only makes a good contrast for colorful files but is easy on the eyes.
Creating custom menus and shortcuts
So without any further ado, I give you the Photoshop workspace, as shown in Figure 2.1.
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FIGURE 2.1
The Photoshop workspace Arrange Documents Screen Mode
Application bar Menus
Tool options menu bar
Document info Zoom value
Workspace presets Panel icons Panels
Panel tabs
Document window
Document tabs
Toolbox
The document workspace The document workspace, in the center area of the workspace, houses the documents (image files) that you are currently editing. The document workspace is large enough to really get some work done; it gives you the flexibility to expand your image to a workably large size and keep your favorite panels open and docked as well. The document workspace is also home to the panels and Toolbox discussed later in this chapter.
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Note The screenshots in this book were taken at a screen resolution of 1024x768, which is a really low resolution, especially if you have a larger screen. If your resolution is set higher, you have a larger work area than is shown here. If you set your resolution as high as 1920x1200 (which is what mine is usually set to), you have an insane amount of room to expand your panels, tile your document windows, and generally make everything available to you at once. Of course, if your resolution is set lower than 1024x768, your work area is smaller. n
As you open image files, they appear in the center of the document workspace, and you have several options for viewing them. When you click the View menu, as shown in Figure 2.2, and you can choose the following basic options: l
Fit to Screen: If you are working on your entire document (and not working with other files), your best option is to choose Fit to Screen so you can see all of it as large as possible.
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Actual Pixels: The Actual Pixels mode is the best option if you want to see the cleanest view of a specific area because the pixels in the image match the pixels in the screen, so no interpolation is necessary.
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Print Size: The Print Size option is handy if you want to get a better idea of how the document will look when printed.
FIGURE 2.2
You can change the way your image fits into the document workspace by using the View menu.
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Tip Don’t use the zoom options in the View menu; you have several better options—the Zoom tool, the Magnify box, and the roller wheel on your mouse, all of which are discussed later in this chapter. n
In addition to the standard View modes, you can easily zoom in and out on the image, depending on your editing needs. Notice at the bottom-left corner of the document windows is a percentage representing the Zoom value and the document information. You can change the size of your document by selecting the Zoom value and typing a new percentage. Another useful feature in the document window is the information section at the bottom. By default, the document information displays the size of your file. Keep an eye on this as you begin to add multiple layers and effects to a document; you might be surprised by how these changes can increase the size of your document. If you click the arrow next to the document information, a pop-up list opens, as shown in Figure 2.3, that gives you several options for the information display. You can choose to display the Adobe Drive, the Document Size, the Document Profile, Document Dimensions, Measurement Scale, Scratch Sizes, Efficiency, Timing, the Current Tool, and the option to preview an image at 32-bit exposure.
FIGURE 2.3
The information section of the document window can be very useful when you are editing images. The menu allows you to display several types of information.
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Chapter 2: Understanding the Photoshop Workspace When multiple documents are open in the document workspace, Photoshop provides tabs for each of them, as shown in Figure 2.1. These tabs display the document name, and you can access the document for editing by clicking its tab. Using the tabs is the most economical and organized way to have multiple files open, and you probably will prefer this option most of the time. There are also other View options when you have multiple documents open. To change how the document windows are organized, select Window ➪ Arrange from the main menu and then choose one of the following options: l
Cascade: Cascading your documents shows the document windows in a cascade fashion from the upper left to the lower right of your document workspace.
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Tile: Tiling adjusts the size of all open document windows so they can all be viewed together in the workspace. For example, if you are working with two or more documents at the same time, cloning areas of one into another, you probably want to tile your documents in the document workspace.
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Float in Window: Floating your documents releases them from the document workspace or from a floating group to their own individual window. When the document windows are floating, they are independent of the Photoshop interface, and you can use the standard operating system window controls on them. You can organize floating windows into groups by dragging one window on top of another window. When more than one document is in a floating group, their tabs are displayed at the top of the window. You also can float windows by grabbing the tab in the floating group or document workspace and dragging it out. You can add a floating document to a group or document workspace by dragging it into the tabs.
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Float All in Window: This causes all windows to float.
Tip You can quickly cycle through open tabbed document windows by using the Ctrl/Ô+Tab hotkey sequence. n l
Consolidate All to Tabs: This docks all floating windows into the document workspace. This option is great if you find that you have so many windows open that navigating them is difficult. You also can consolidate windows to the document workspace or floating group by right-clicking the tab bar at the top and selecting Consolidate All to Here.
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Match Zoom: This sets the zoom percentage of all open document windows to match the value of the active document window. This is useful when you are working with multiple images that eventually will be consolidated into a single document.
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Match Location: This sets the center panning position of all open document windows to match the center position of the active document window. This is useful if you are working with multiple versions of the same image or a sequence of images and you want to quickly move to the same location in all windows for comparison.
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Match Rotation: This sets the rotation angle of the image in all document windows to match the rotation angle of the image in the active document window.
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Match All: This sets the zoom, center panning position, and rotation of all document windows to match the values of the active document window.
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The application bar The application bar (refer to Figure 2.1) provides quick links to the following options: l
Bridge: This starts the Adobe Bridge application or navigates to it if it is already open. Bridge is the application that you should use to organize your image files.
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Mini Bridge: This opens a miniature version of Bridge inside Photoshop. You can use the Mini Bridge panel to easily select files to edit.
Cross-Ref Bridge is a great tool for organizing your files for use in Photoshop as well as other Adobe applications. Mini Bridge is new to CS5 and gives you a panel-sized version of Bridge to work directly from in the Photoshop workspace. Both applications are covered extensively in Chapter 6. n l
Guides/Grids/Rulers: Next to the application icons is the View Extras icon, which allows you to quickly control the visibility of guides, grids, and rulers to the document window using a simple drop-down menu. The guides, grids, and rulers are shown in Figure 2.4, and the following list describes the purpose of each:
FIGURE 2.4
The guides, grids, and rulers features of Photoshop allow you to better organize and align objects in your images. Guides Ruler
Cursor location indicator
Ruler units
Guides Subdivisions
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Guides: Guides are vertical or horizontal lines that you can add to a document using the View ➪ New Guide menu option. Guides can help you with object placement and organization. You also can force items to be snapped to guides by selecting View ➪ Snap To ➪ Guides from the main menu. The position of guides can be adjusted in the image using the Move tool.
Tip When you click and hold down the mouse button on the ruler, the cursor changes to a guide adjustment cursor. You can quickly add guides to an image by clicking the ruler and dragging them into the document. n l
Grids: Grids are a mesh of vertical and horizontal lines that you can use to more easily see the alignment and organization of objects in your images. Photoshop also divides the grids into subdivisions of lines that are not as visible but are visible enough to be useful. A great feature of Photoshop is that you can force items to be snapped to grids by selecting View ➪ Snap To ➪ Grid from the main menu. This option is useful when placing images, text, and shapes in a document. The number of grid lines, colors, and style can be configured in the Preferences dialog box discussed later in this chapter.
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Rulers: When rulers are enabled, a vertical ruler is displayed on the left and a horizontal ruler is displayed on the top of the document window. You can change the rulers’ unit of measure by right-clicking the ruler and selecting the unit from the dropdown menu. While you are moving the cursor over the documents, the exact placement of the cursor is noted in the ruler by a line that moves with the mouse. The Ruler tool is very important if you are preparing items for print.
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Zoom: The Zoom Value found in the document window is duplicated on the application bar. An added benefit is the easy-to-use drop-down menu that allows you to quickly choose from 25%, 50%, 100%, or 200%. You also can enter a custom value by highlighting and changing the percentage.
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Arrange Documents: The Arrange Documents icon gives you more convenience and versatility than the View menu for arranging more than one open document in the document window. Use the drop-down menu shown in Figure 2.5 to choose from several tiling options, float all windows, or open a new window. Use the Match Zoom and Match Location options to show all your open files at the same percentage and in the same location. You also can fit your selected document to the screen or view actual pixels.
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Screen mode: The Screen mode is the last icon on the application bar. The Screen mode icon lets you choose between standard screen mode, full screen mode with menu bar, and full screen mode. l
Standard Screen Mode: Standard screen mode is the default, and it allows you access to other applications that are running.
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Full Screen Mode with Menu Bar: This mode looks similar to standard screen mode, but you can’t access other programs, through the Windows taskbar for instance.
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Full Screen Mode: This mode hides everything but the selected document so you can work without distractions. The Photoshop tools are still available to you; just hover over the tool you want to use and it appears, or press the Tab key to view all your tools. Press Esc to return to standard screen mode.
FIGURE 2.5
The Arrange Documents drop-down menu lets you choose how to tile multiple documents and makes it easy to quickly access several other options. Arrange Documents
Workspace presets The workspace presets shown in the middle right of the application bar are quick ways to change the layout of the panels and tools in Photoshop, depending on the task you are performing. When you select a preset, the panel layouts are adjusted so you have easier access to the tools that are typically used for the selected task. Presets are selected by clicking the name or the double arrows and selecting one of the options from the drop-down menu: l
New in CS5: This displays the panel icons for panels with new features in CS5, such as the new 3D tools, paint brush, the paragraph and character presets, and Mini Bridge.
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Essentials: The Essentials preset gives you full access to the most commonly used panels in Photoshop, including the navigation, swatches, and layers panels.
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Design: The Design preset gives you the more common graphic design panels, such as the swatch, character, and paragraph panels.
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Painting: The Painting preset makes the paint brush and brush presets readily available.
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Photography: The Photography preset provides the histogram and adjustments panels that make it easy to apply adjustments to photographs.
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3D: The 3D preset displays the 3D, Mask, and Layers panels that are used heavily when working with 3D objects.
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Motion: The Motion preset displays the Animation {Timeline} and Clone Source panels that are frequently used in animation.
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Reset/New/Delete: When you select a workspace preset and then adjust the panels, Photoshop remembers those adjustments so you don’t have to make them each time you start the application. The Reset option restores the currently selected workspace to the original settings so you can start over with a fresh set of panels. The Create option allows you to save the current panel layout as your own custom workspace. The new workspace then shows up in the list. The Delete option deletes the currently selected workspace preset.
The Toolbox and tool options bar The Toolbox, shown in Figure 2.6, provides easy access to all of the tools in Photoshop that require mouse or stylus interaction with the document. The Toolbox includes tools such as selection tools, painting tools, erasing tools, and much more. We discuss each of the tools available in the Toolbox later in this chapter.
FIGURE 2.6
The Toolbox provides access to the mouse/stylus tools. Each time you select a new tool, the tool options bar changes to reflect settings for the new tool.
The tool options menu bar, usually referred to as the “options bar” or the “tool menu,” sits below the main menu. The tool options menu looks very different depending on the tool you have selected in the Toolbox. Figure 2.6 shows the different options for the Move, Brush, and Type tools.
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Part I: Getting Started with Adobe Photoshop CS5 It is always smart to keep an eye on what is going on in the options bar. When you select a tool, the options are set to default values that are commonly used, but not necessarily the values you would use in a particular situation. After you change the options for any given tool, those options stay changed, even after using other tools. The options bar is so useful and important that you’ll see many examples throughout this book of different ways to set your options, and as you use Photoshop, you soon become very familiar with it.
Cruising the Main Menus Now we come to the menu bar. The menus listed here give you a good comprehensive idea of what you can accomplish in Photoshop. In this section, I show you the primary purpose of each menu and highlight some of the menu options that might not be covered in other areas of the book. As you learn how to use the Photoshop tools throughout the book, you learn so much more about many of the menu options, so for now, I just give you a brief overview.
The File menu The File menu has many of the options that you would expect, and many of them are self-explanatory. For the most part, all the options listed are different ways to open, save, or export your documents. The options in the File menu are covered throughout the book, opening and saving files are covered in Chapter 3, exporting to the Web and mobile devices is covered in Chapter 30, and batch operations on files are covered in Chapter 31.
The Edit menu Again, this menu is a familiar menu found in most applications with many familiar options. Above and beyond cut, copy, and paste, you can step backward, undoing several of the last changes you made. Farther down the menu, you find the transformation edits—Content-Aware Scale and Puppet Warp among them. These are covered in Chapter 19. You learn about using color in Chapter 4 and color profiles in Chapter 29. Setting Preferences and using the menus and shortcuts options to customize menu and shortcut behavior are covered later in this chapter.
The Image menu The Image menu is loaded with lots of options for changing your image. Making changes to your image is different than making changes to your file, because these options actually affect the look of your image. The options in your Image menu let you change the color mode, resize, rotate, or duplicate your image, among other things. Neatly tucked into the Image adjustments menu you find some of the most powerful tools for correcting the color and light of your image. These are covered in Chapter
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Chapter 2: Understanding the Photoshop Workspace 13. The Apply Image and Calculations options blend the channels of your image and are covered in Chapter 11. Image variables and data sets allow you to create multiple images with similar components by defining and replacing layers. These options are covered in more detail in Chapter 10.
The Layer menu The Layer menu is built specifically for use with the Layers panel. Layers are an important part of working efficiently and non-destructively in Photoshop, and you want to learn all you can about how they work. Layers and the Layers menu are covered extensively in Chapter 10.
The Select menu You might not have thought that an entire menu could be dedicated to selections. The Selection tools are some of the most powerful tools in Photoshop. They allow you to create masks, cut precise areas out of an image, and edit only specific parts of the image. The Toolbox contains several Selection tools, and they are covered, along with the Selection menu, in Chapter 9.
The Filter menu Filters are placed over images to change their appearance. There are corrective filters such as Sharpen and Reduce Noise, and there are also special effect filters that can make your image look like it is being viewed through rippled glass or embossed into chrome. Filters are most definitely the fun side of Photoshop. You learn how to use them and their menu options in Chapters 14 and 20.
The Analysis menu The Analysis menu is all about measuring and, of course, analyzing areas in your document. You can customize the tools found here for your own use to measure, scale, and mark your images. You can choose from six menu options. I don’t list them in the order they appear in the Analysis menu because they make more sense in the order listed.
Ruler tool The Ruler tool is simply a tool that allows you to drag from one area in your image to another and measure it. The measurement information is displayed in the Info panel. By default, the measurement is displayed in pixels. The Ruler tool plays an important role in the other options found in the Analysis menu.
Count tool Selecting the Count tool and clicking your document leaves a number behind, in increments of one. This allows you to count and mark multiple items in your image. If you were trying to count a flock of birds, for instance, you would click each bird until each one had been marked. The last number placed would be the number of birds in the photo.
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Part I: Getting Started with Adobe Photoshop CS5 Record Measurements Clicking Record Measurements opens the Measurement Log panel on the bottom of your document window, as shown in Figure 2.7. As you create measurements, click the Record Measurements button on the Measurement Log panel and the measurement details are recorded. Notice that the first measurement was taken by the Ruler tool, and the second measurement was taken by the Count tool. You also can use the Measurement Log to export these measurements. Simply click the Export icon to export the measurements as a text file to any specified location. You also can access the Measurement Log menu by clicking the menu icon.
FIGURE 2.7
The Measurement Log panel allows you to record and display measurements you have taken within your document. Export
Set Measurement Scale The measurement scale can be set to Default, which simply means that one pixel is equal to one pixel. If you choose the custom option, however, it allows you to translate a set number of pixels in your document to any other measurement you prefer. For instance, in Figure 2.8, if I know the measurement of the right window pane is 20 inches, I can choose Analysis ➪ Measurement Scale ➪ Custom to open the Measurement Scale dialog box. The Measurement Scale dialog box automatically activates the Ruler tool so I can measure from the bottom of the window pane to the top. In the photo, this measurement is 225 pixels, shown as the pixel length in Figure 2.8. From here, I can enter any relative measurement that I choose—in this case, 20 inches. I could have just as easily entered 1 foot, 3 meters, or 7 girth units. I can save this measurement scale by clicking Save Preset and naming it. After closing the Measurement Scale dialog box, I can activate the Ruler tool and measure other areas of the photo. These measurements are recorded in the Measurement Log panel. Notice that the third measurement in Figure 2.7 was taken after the Measurement Scale was set. The scale indicates that 225 pixels = 20 inches; the scale unit is inches and the length is 20 (rounded up, of course).
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FIGURE 2.8
You can set a measurement scale to record any type of measurement you want.
Set Data Points The Measurement Log shows data on each measurement you record. You can choose what data to keep and display by selecting specific data points. Click Analysis ➪ Select Data Points ➪ Custom to display the Select Data Points dialog box. In this dialog box, you can deselect the types of information that you don’t want recorded. For instance, if you don’t require date and time information, deselect the box next to Date and Time. Every measurement you take after this point no longer displays the date and time in the Measurement Log panel.
Place Scale Marker You can place a scale marker in your image to denote scale. Figure 2.9 shows a scale marker in the window indicating the length of 20 inches in the document. To place a scale marker, choose Place Scale Marker from the Analysis menu to open the dialog box. You can choose the length of the scale by selecting more than one unit of measurement. In Figure 2.9, the unit of measurement is indicated by 20 inches, the measurement set by the measurement scale. If I were to change the number from 1 to 2, my scale marker would appear twice as long and be labeled “40 inches.” You also can choose to display the text and what font and size that text will be. Finally, you have the choice to display the scale marker at the top or bottom of your document and in black or white.
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FIGURE 2.9
Placing a scale marker in your image allows you to clearly see the scale of the image.
The 3D menu The 3D menu is packed full of goodies for helping you work in the 3D environment. The 3D environment allows you to bring in 3D models and use the powerful Photoshop tools to make incredible changes to their appearance. The 3D menu is covered in Chapter 22.
The View menu The View menu has the basic options for adjusting the view of your document, such as its size (fit screen, actual pixels, print size, and so on) and screen mode (full screen, full screen with menus, and standard screen) that I discussed earlier in this chapter. The proof options let you soft-proof your documents before printing; these settings are covered in more detail in Chapter 29. Options for setting pixel aspect ratios are available as well; these settings are for use with video files and are covered in Chapter 25. Several more menu options of interest will help you as you work with documents in Photoshop.
Extras and Show You might find it interesting that the Extras option allows you to see non-printing guides like selections, bounding boxes, and grids. If you deselect the Extras option, any of these items that are visible in your document disappear. The Show menu lets you customize which non-printing items are visible.
Ruler Select the Ruler option if you want Rulers to appear in your document window. The rulers start at 0 in the upper-left corner of your document and measure the actual print size of your document.
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Chapter 2: Understanding the Photoshop Workspace Snap and Snap To As you move things around in your work area, whether they are selections, panels, or objects, you can choose to have them snap to the guides or to other objects. For instance, as you customize your panels, they snap together so you can easily place them right next to each other with no space between them and no overlaps. The Snap To option lets you choose what elements your objects snap to: guides, grids, layers, and so on. The elements that have a check mark will draw objects you are moving, like a magnet. If you want to place things without the guides snapping them one way or the other, just deselect Snap in the View menu and you have full control.
New Guide, Lock Guides, and Clear Guide The line under text and the bounding box around a placement in your document are guides. They help you see and move such objects. You can make your own guides to help you with placement and alignment in your document. Select View ➪ New Guide, and select whether you want the guide to run vertically or horizontally and where you want it placed in your image. The New Guide dialog box asks you how many inches into your image you want the guide placed, so it’s helpful to have the rulers on. You also can lock these guides so you don’t accidentally move them or clear them out of the way entirely by choosing Lock Guides or Clear Guides.
Lock Slice and Clear Slices The Lock Slices and Clear Slices options allow you to lock slices from being altered and to clear the existing slices so you can easily clean them up. Chapter 30 discusses slices in more detail as part of preparing images for the Web.
The Window menu The Window menu is a comprehensive list of the panels that are available to you. From this menu, you can select the panels that you want to be visible. When a panel is visible, a check mark appears next to it. Selecting a visible panel makes the panel invisible; selecting a hidden panel makes the panel visible. The different panels are discussed later in this chapter.
The Help menu The Help menu contains information about and help for Photoshop and the plug-ins that are installed. It also contains Web links to various sites that Adobe thinks might be of interest to you. The two menu options worth noting are Photoshop Help and Deactivate.
Photoshop Help Photoshop Help is a great resource that can be very helpful if you are stuck figuring something out. Click the Help link, and you are taken to the Photoshop Help Web site where you can browse through the Help contents, search the Adobe Help resources, or even show articles and threads from others who are looking for and adding help.
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Part I: Getting Started with Adobe Photoshop CS5 Deactivate This menu option is one that is absolutely imperative for you to know. When you install Photoshop on your computer and activate it, Adobe keeps a record of it. After you have done this twice (with the single-user application, at any rate), Adobe doesn’t allow you to activate your product and you can’t use it. This obviously keeps you from passing your copy of Photoshop to your friends, neighbors, and your cousin’s boyfriend’s sister-in-law. Adobe’s anti-piracy feature becomes a problem, however, if you are restructuring your system or purchasing a new computer. In order to reinstall Photoshop on a new system, you need to deactivate it on the old one. Go to the Help menu and choose Deactivate. Doing so allows you to activate your software the next time you install it.
Understanding Panels The panels in Photoshop are really mini-applications with their own windows, controls, and menus. You rely heavily on the Photoshop panels to do most of the editing. Photoshop has many panels, each of which provides its own set of functionality. The purpose of this section is to familiarize you with how panels work in general and how to organize them. Panels tend to take up quite a bit of the workspace, so efficient management helps with how easy it is to get things done. Because panels tend to take up quite a bit of space in the work area, Photoshop allows them to be visible, collapsed into an icon, or hidden. To hide or unhide a panel, select the panel from the Window menu. Figure 2.10 shows a collapsed panel group and a visible panel group. To collapse the panel group, click the Collapse button. To expand a panel in a collapsed group, click the icon.
FIGURE 2.10
Panel groups can be collapsed to icons to reduce their footprint on the workspace. Collapsed button Collapsed Panel Group Panel tabs
Settings
Panel Menu
Panel buttons
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Note You typically only have a small number of panels that pertain to your current workflow open at a time. This makes finding the panels you need much easier. n
A panel group is one or more panels that are connected to each other. To add a panel to a group, drag the panel or icon onto the group. To remove a panel from a group, drag the panel out of the group. Organizing panel groups is really no different that organizing the items on your desktop. You can decide which panels go in which groups. The bottom line is, if you know where to find a panel, you can use it much faster. The panel groups have the following basic components, as noted in Figure 2.10: l
Panel tabs: The panel tabs are used to select which panel is visible in the group and to drag panels out of the group.
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Collapse button: This button collapses the panel to an icon to reduce the footprint in the work area.
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Settings: The settings area contains the controls used by the panel to perform various tasks. Each panel has different settings.
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Panel menu: All panels have a menu that pops out when you click the menu button in the top-right corner. The panel menus usually include additional features that are not included in the main settings area. If you can’t find something, it is probably in the panel.
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Panel buttons: Panels often have buttons on the bottom that do things such as add or delete items or perform common tasks needed by the panel.
Another way to organize panel groups is to dock them either together or to the sides of the Photoshop workspace. Panel groups can be docked by dragging the groups to the side or bottom of another group. They can be docked to the side of the workspace by dragging them until the mouse is on the workspace edge. The functionality of each individual panel is far too much to cover in a single chapter, so the panels are covered in various chapters throughout the book. Figure 2.11 shows the icons for each of the panels, and the following list describes them and where they are covered in the book to give you a quick guide: l
Swatches: Provides a simple way to manage sets of colors that you use in different documents. See Chapter 4.
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Color: Allows you to quickly select any color in the possible ranges that Photoshop supports. See Chapter 4.
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Styles: Allows you to manage the style sets that can be applied by various tools when painting or applying filters. See Chapters 10 and 16.
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Brush: Provides a robust interface that allows you to define different types of brush qualities and behaviors that are used by Brush tools. See Chapter 16.
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Brush Presets: Allows you to easily manage sets of brushes that can be used by the various Brush tools. See Chapter 16.
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FIGURE 2.11
Photoshop provides several panels that each act as individual utilities. These panels can be viewed by selecting them from the Window menu or clicking their icons.
Swatches Color Styles
Brushes
Layers Channels Paths
Histogram
Brush Presets
Info
Clone Source
Layer Comps
3D
Adjustments
Animation (Timeline)
Character
Masks
Navigator
Paragraph
Actions
Character Styles
History
Paragraph Styles
Mini Bridge
Measurement Log Notes
Tool Presets
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Clone Source: Provides a dynamic interface to control the source used by the Clone tools to heal areas of photos and remove unwanted items. See Chapter 15.
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3D: Provides a powerful interface that allows you to manipulate 3D objects and lighting. See Chapters 22, 23, and 24.
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Animation (Timeline): Provides a timeline-based utility that adds animation to images. See Chapter 26.
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Character: Provides options to quickly format character styles, fonts, and spacing of textual elements in images. See Chapter 18.
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Paragraph: Provides options to quickly format paragraph styles and spacing of textual elements in images. See Chapter 18.
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Character Styles: Allows you to create and save character style settings that allow you to keep text consistent between documents. See Chapter 18.
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Paragraph Styles: Allows you to create and save paragraph style settings that allow you to keep text consistent between documents. See Chapter 18.
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Mini Bridge: Provides a portion of the functionality of Bridge that allows you to quickly select and organize images files. See Chapter 6.
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Layers: Allows you to select, create, edit, and mange layers. This is one of the most common panels you’ll use. See Chapter 10.
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Channels: Allows you to view and manage each of the different color channels in an image as well as create additional channels such as alpha channels. See Chapter 11.
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Paths: Allows you to manage and utilize vector paths in images. See Chapter 17.
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Histogram: Provides a simple-to-understand view of the overall distribution of color and levels in an image. See Chapter 4.
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Info: Allows you to view color and other information about individual pixels in the image by hovering the mouse over them. See Chapter 4.
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Layer Comps: Allows you to easily create, manage, and view multiple versions of a layout in a single Photoshop file. See Chapter 10.
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Adjustments: Allows you to apply several adjustments to a layer in an image. See Chapters 10 and 13.
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Masks: Provides a simple interface to create masks from selections and vector data. Masks shield areas of an image when certain effects are applied. See Chapter 10.
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Actions: Allows you to record and then reapply a series of commands that perform common tasks such as applying filter settings. See Chapter 5.
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History: Provides access to the history states of the document that are recorded each time the document is changed. See Chapter 5.
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Navigator: Provides a simple interface that allows you to quickly zoom in on areas of an image. The interface includes a slider control at the bottom that zooms in on the image. It also displays a miniature of the images with a red rectangle that you can move to pan to a specific area of the image, as shown in Figure 2.12.
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Measurement Log: Keeps track of measurements as discussed earlier in this chapter.
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FIGURE 2.12
The Navigator panel allows you to quickly zoom in on the image in the document window and then pan to specific locations.
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Notes: Allows you to view and manage notes that are created by the Note tool. This is discussed later in this chapter.
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Tool presets: Allows you to quickly view and select presets for the tool that is currently selected in the Toolbox.
Understanding the Tools in the Toolbox The Toolbox, shown in Figure 2.13, provides easy access to all the tools that you use to interact directly with pixels in the document window. To enable or disable the Toolbox, select Window ➪ Tools from the main menu. Most of the tools shown in the Toolbox expand by holding down the mouse button over them to reveal several other tools, as shown in Figure 2.13. From the expanded tool menus, you can select other tools. The icon of the currently selected tool is displayed in the Toolbox, and the cursor changes to reflect the current tool as well.
Note As you select different tools in the Toolbox, the tool option menu bar changes to reflect specific options for the new tool. The settings in the tool option menu define the behavior of the tool selected in the Toolbox and extend the capabilities of what you can do. The changes you make to the tools settings are the same the next time you return to the tool, so you can usually use multiple tools and keep the same settings when you return to the tool. n
Just as with panels, the tools in the Toolbox are covered in various sections throughout the book. The purpose of this section is to familiarize you with the organization of the Toolbox and what kind of tools you can find there.
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FIGURE 2.13
Photoshop provides several tool sets in the Toolbox, and the tool sets can be expanded to reveal additional tools. Move tool
Shape Selection tools
Lasso Selection tools
Quick Selection tools
Crop and Slice tools
Eye Dropper/Ruler/Note/Count tools Healing tools
Brush tools
Stamp tools
Eraser tools History Brush tools Blur/Sharpen/Smudge tools Gradient/Paint Bucket tools
Path Creation tools
Dodge/Burn/Sponge tools
Text tools
Path Selection tools
3D Object tools Shape tools
3D Camera tools Zoom tool Hand/Rotate View tools Edit in Quick Mask mode Background/Foreground
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Tip A great feature in Photoshop is the ability to quickly select and even temporarily switch tools on the fly. In many of the tool sets, you see a letter on the right side of the tools. Pressing that letter on the keyboard selects that tool set. Holding down the Shift key while pressing the letter on the keyboard toggles through the different tools in the tool set. You can temporarily switch tools by holding down the letter key for the tool while you use it, and when you release the key, Photoshop reverts to the original tool. For example, if you hold down the V key when another tool is selected, Photoshop temporarily changes to the Move tool and you can move objects. When you are finished moving items, release the V key and the tool reverts to the original tool. n
The following list describes each of the tool sets in the Toolbox briefly and where you can find more information about them in this book: l
Move tool: Only one tool allows you to move items in the document window, and this is it. It allows you to move several items, including guides, objects and shapes in shape layers, and text objects.
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Shape Selection tools: These tools allow you to quickly select areas of the document using rectangle, ellipse, row, and column shapes. See Chapter 9.
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Lasso Selection tools: These tools allow you to quickly select areas of the document by using the mouse to draw a lasso around them. See Chapter 9.
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Quick Selection tools: These tools can intelligently select areas of the document by detecting areas that are similar to those selected by the mouse. See Chapter 9.
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Crop and Slice tools: The Crop tool lets you select an area of the document to keep and remove the area around it. See Chapter 3. The Slice tools are used for creating clickable hot areas for Web images. See Chapter 30.
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Eye Dropper/Ruler/Note/Count tools: This tool set is a catchall. The Eyedropper tool is used to select foreground colors directly from pixels in the image. See Chapter 4. The Ruler tool is used to measure areas in an image. The Note tool allows you to add notes to an image that help you retain things such as to-do editing lists with the image. The Count tool allows you to count and log items in the image, which can be useful if you are working with medical images. The Ruler, Note, and Count tools were discussed earlier in the menus section of this chapter.
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Healing tools: The Healing tools provide quick ways to apply brush strokes that can heal areas of an image, from removing dust and scratches to removing red eye. See Chapter 15.
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Brush tools: The Brush tools allow you to apply painting techniques to repair, enhance, and create images. See Chapter 16.
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Stamp tools: The Clone Stamp tool allows you to select an area of the image and then stamp or brush that area into other parts of the image or even other documents. See Chapter 15. The Pattern Stamp tool allows you to apply a style pattern to an image using brush strokes. See Chapter 16.
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Eraser tools: The Eraser tools allow you to quickly remove pixel data from an image. See Chapter 16.
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History Brush tools: The History Brush tools are used to repair and enhance areas of an image by painting data from previous editing states of the image. For example, you could change the image to grayscale and then use brush strokes to add color to specific areas. See Chapter 5.
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Blur/Sharpen/Smudge tools: The Blur and Sharpen tools allow you to use brush strokes to blur or sharpen specific areas of an image. The Smudge tool allows you to use brush strokes to smudge existing pixels into each other. See Chapter 16.
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Gradient/Paint Bucket tools: The Gradient tool allows you to paint a gradient pattern onto an image. The Paint Bucket tool allows you to apply a paint color to sections of an image. See Chapter 16.
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Dodge/Burn/Sponge tools: The Dodge and Burn tools allow you to use brush strokes to lighten or darken areas of an image. The Sponge tool allows you to use brush strokes to remove or add color saturation in areas of an image. See Chapter 16.
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Path Creation tools: The Path Creation tools allow you to create vector paths by creating lines between anchor points. See Chapter 17.
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Path Selection tools: The Path Selection tools allow you to select and manipulate vector paths by adjusting the anchor points. See Chapter 17.
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Text tools: The Text tools allow you to add textual elements to images. See Chapter 18.
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Shape tools: With the Shape tools, you can easily create and manipulate simple geometric vector shapes and lines as well as custom vector shapes. See Chapter 17.
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3D Object tools: These tools allow you to create and manipulate 3D objects. See Chapters 22, 23, and 24.
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3D Camera tools: These tools let you to manipulate camera views when working with 3D elements. See Chapters 22, 23, and 24.
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Hand/Rotate View tools: Using the Hand tool, you can grab onto the image and pan by dragging the mouse. This is available only when you are zoomed in on the image, but it’s very useful for navigating around your image. The Rotate View tool allows you to rotate the canvas in the document window by dragging with the mouse. If you hold down the Shift key while rotating the canvas, the rotation occurs in 15-degree increments. Rotating the canvas can be useful if you need to align elements in the image with the vertical or horizontal axis of the display screen for editing.
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Zoom tool: The Zoom tool allows you to use the mouse to drag a specific rectangle to zoom in on the image. You also can zoom in at 100 percent increments by simply clicking the document with the mouse. You can zoom out at 100 percent increments by holding down the Shift key while clicking the document. The options menu for the Zoom tool provides several buttons to resize the document view based on actual pixels, print size, and screen size. If you have OpenGL Drawing enabled then you can use the Scrubby Zoom option in the Zoom tool options menu. When you enable Scrubby Zoom, then you can click and drag the mouse to the left and right on the image to zoom in and out.
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Background/Foreground: The background/foreground area of the Toolbox allows you to see and modify the current background and foreground colors. The foreground color is used by several tools to paint onto the image. The background color is used by several tools when removing pixels from the image. See Chapter 4.
Tip Pressing D on the keyboard resets the foreground and background colors to Black and White, respectively. Pressing X on the keyboard swaps the foreground and background colors. n
The foreground is represented by the front square and the background by the back square. The color of each is changed by clicking the square to launch a color chooser. The two can be switched by clicking the curved line with arrows on each end. To revert to the default of black and white, click the small black and white icon. l
Edit in Quick Mask mode: This toggles between Normal and Quick Mask mode. The Edit in Quick Mask mode option allows you to tweak selections using the brush tool to paint the exact shape. See Chapter 9.
Tip You can activate the Quick Mask mode using the Q key whenever you have an active selection in the document. n
Using Presets As you become more familiar with options available for different tools panels in Photoshop, you realize that it takes a while to get some tool settings and panels optimized for what you need them to do. If you have to do that over and over, it can become very time consuming. That’s where presets come into play. A preset is simply a set of saved settings that can be easily reloaded to make the tool behave the exact same way each time the preset is used. Presets are organized into sets that can be loaded for each tool or panel and then easily selected. You will work with presets throughout the book, but this section is designed to familiarize you with what presets are and the tools that you use to select and manage them.
Selecting tool presets The simplest way to select tool presets is from the Preset menu option that’s in every tool options bar, as shown in Figure 2.14. For the Crop tool, you see presets for each of the standard photo sizes. Selecting one of the presets configures the Crop tool to crop the image to the specific size without changing the settings manually.
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FIGURE 2.14
The Presets option in the tool options bar allows you to quickly configure settings for the tool by selecting a preset from a list of tool configurations. Tool Preset
Preset List Menu Add New Preset
Note Presets can be selected from the Tool Presets panel. If you deselect the Current Tool Only option, the list in the tool options menu and in the Tool Presets panel displays all currently loaded presets instead of just those for the current tool. Selecting a preset switches to that tool with the appropriate settings. n
Managing presets Presets are organized into sets, and each set is saved as a separate file on the file system. The Preset Manager, shown in Figure 2.15, allows you to create, load, and manage the sets of tool presets. To access the Preset Manager, select Edit ➪ Preset Manager, or click the menu icon of the Preset list shown in Figure 2.15 and select Preset Manger from the pop-up menu. The Preset Manager provides the Preset Type option that allows you to select the preset types. In addition to tool presets, you find presets for paint brushes, color swatches, styles, and others. When you select a different type, the list of presets changes to reflect the presets for that type. You can use the mouse to select presets from the list, including any new ones you have created, and then use the Save Set button to save the selected presets as a new set. To load additional presets, click the Load button. When you try to load a new set, you are prompted to add the set to the current list or to append the loaded set to the existing list.
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FIGURE 2.15
The Preset Manager allows you to load, save, and manage presets for Photoshop tools as well as other settings types such as brushes, text, and colors. Preset Manager menu
Preset list
Preset List options
Reset options Preconfigured presets
Clicking the Preset Manager Menu button loads a menu similar to the one in Figure 2.15. The menu is different for each preset type, but they are all organized into the following sections: l
List options: This defines how to display the presets. You can select icons only, lists with icons, and different sizes of icons, depending on the preset type.
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Reset options: The Reset Presets option resets the preset list for the selected preset type to the Photoshop default. This option is a must when you begin tweaking lists and appending sets. The Replace Presets option allows you to load a preset list from a file on disk and replace the current preset list.
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Preconfigured presets: Photoshop provides several preconfigured preset sets that can be applied to the current set. The list of preconfigured presets is different for each preset type. When you select one of these sets, you are prompted to either replace the current list or append the new list to the current list.
Creating presets Presets are created differently depending on what type of preset you are creating. Follow these steps to create a new tool preset: 1. Select a tool from the Toolbox. 2. Adjust the settings in the tool options menu.
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Chapter 2: Understanding the Photoshop Workspace 3. Open the Preset option for the tool, as shown in Figure 2.15. 4. Click the Add New Preset button. 5. Enter the name that you want to use for the preset, and click OK.
This permanently saves the preset in the Preset Manager until it is deleted. Follow these steps to create a custom style preset: 1. Select a layer that is not locked. 2. Select one of the options in the Add a Layer Style button at the bottom of the Layers panel to launch the Layer Style dialog box. 3. Adjust the options for each effect to be included in the preset. 4. Click the New Style button in the Layer Style dialog box, and name the preset.
Follow these steps to create a custom brush or pattern preset: 1. Select the pixels you want to use to create the brush or pattern.
Area selections are discussed in Chapter 9. 2. Select Edit ➪ Define Brush Preset or Edit ➪ Define Pattern from the main menu. 3. Name the Brush or Pattern and click OK. 4. Select the Brush tool if you are creating a custom brush preset. 5. Refine the brush or pattern by adjusting the settings in the Brushes panel.
Follow these steps to create a custom shape preset: 1. Create the path. 2. Select a path in the Paths panel. 3. Select Edit ➪ Define Custom Shape from the main menu. 4. Name the shape preset.
Follow these steps to create a custom color swatch preset: 1. Click the Foreground color in the Toolbox to launch a Color Picker. 2. Define the custom color. 3. Hover the mouse cursor over a blank area in the Swatches panel until the cursor changes to a paint bucket. 4. Click to add the color to the Swatches.
Note When you save preset lists, the filename must be saved with the appropriate file extension. This actually makes the preset files easy to locate later by searching the filesystem if you forget where you saved them. The default extensions are brushes (.abr), color swatches (.aco), contours (.sch), custom shapes (.csh), gradients (.grd), patterns (.pat), styles (.asl), and tools (.tpl). n
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Setting Preferences Setting the preferences allows you to work in a customized environment that feels comfortable to you. Whether you like to have more precise cursors or you would like your rulers to show centimeters instead of inches, you can make a range of changes using the preferences dialog box. The preferences are under the Edit menu, so choose Edit ➪ Preferences ➪ General to bring the Preferences dialog box up in the General pane, as shown in Figure 2.16. All the options available in the Preferences menu are also available in the left pane of the Preferences dialog box, with the exception of the Camera Raw preferences. Simply click them to display the pane you want. Before you get started setting preferences, though, you’ll probably want to know how to restore the Adobe presets, just in case. To restore all the settings to the Adobe defaults, press and hold the Ctrl/Ô+Alt/Option+Shift (Windows) keys while you open Photoshop. You are asked if you want to delete the current settings. You have a second option if you are running the Mac OS: Open the Preferences folder inside the Library folder, and drag the CS settings to the trash. The folder is automatically re-created the next time Photoshop starts.
FIGURE 2.16
The Preferences dialog box allows you to customize many of the settings in Photoshop.
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General preferences The General panel has several basic options that either apply to Photoshop as a whole or just don’t fit well into any other menu: l
Color Picker: Several applications of Photoshop require you to choose a color—most notably, when you choose a new background or foreground color using the color control displayed in the Toolbox. You use a color picker to choose a color. Color pickers are usually color wheels or a color palette. The Adobe color picker is the default used, and in many cases it’s the best choice; it was custom designed for Photoshop, after all. You also have the option to use the standard color picker for your operating system—Mac OS or Windows. At some point, you may install plug-ins that give you additional color picker options. They also are displayed in the Color Picker drop-down menu.
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HUD Color Picker: This allows you to define the style of color picker that is used by the HUD (Heads Up Display).
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Image Interpolation: When images are resized, transformed, or otherwise manipulated, pixels are added or taken away to make up the difference. This is called interpolation, and the method of interpolation determines not only the quality of the resulting image but the speed with which the image is processed. Figure 2.17 shows examples of an image of a rose increased four times using each method of interpolation. I zoomed way in so the difference would be much more obvious.
Note You can change the image interpolation in the Image Size dialog box. A drop-down menu includes all the options available. The option you set in the preferences is the default in the Image Size dialog box. n l
Nearest Neighbor (preserve hard edges): If you select Nearest Neighbor, Photoshop simply copies the pixels and creates identical pixels next to them. This is a much faster process, but for obvious reasons, it creates an image with jagged edges.
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Bi-linear: The Bi-linear method of interpolation takes the four surrounding pixels and averages them to create the new pixel. This is a softer look than the Nearest Neighbor option, creating a smoother image but at the sacrifice of sharpness.
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Bicubic (best for smooth gradients): The Bicubic option goes one better than the Bi-linear option by using the eight surrounding pixels to create an average. It also creates more contrast between the pixels, restoring some sharpness to the image.
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Bicubic Smoother (best for enlargement): Bicubic Smoother is designed to create the smoothest possible transition when enlarging an image. It reduces the jagged edges and overall “filled-in” look you get when pixels are created to fill in the gaps of an image.
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Bicubic Sharper (best for reduction): Bicubic Sharper uses the Bicubic method of interpolation and adds a sharpening filter to further increase the sharpness of the pixels. This option is best for reducing the file size.
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FIGURE 2.17
The image interpolation option affects the quality and look of the final image.
Nearest Neighbor
Bi-linear
Bicubic
Bicubic Smoother
Bicubic Sharper
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Note It should be obvious from reading about image interpolation that the more you manipulate an image, the more that image deteriorates. Although some changes are usually necessary to get the results you desire, be careful how many steps you take to create those changes. If you want to make an image smaller, for instance, and you reduce it more than you anticipated, don’t just make the reduced image larger. Step backward and undo the first resize and then try reducing again. n l
Auto-Update Open Documents: When this option is checked, Photoshop automatically checks the hard disk for changes made to any open file and updates the file to reflect the saved changes. The best time to use this option is when two or more collaborators are working on the same file and you want to keep up with the changes being made by others.
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Beep When Done: If you select this option, Photoshop beeps whenever it finishes an operation. This could be useful if you are making less obvious changes and want to be sure the operation is finished, or you’re making more time-consuming operations and you want to walk away from your computer while they process.
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Dynamic Color Sliders: When you open Adobe’s color picker, you use a color slider to change the range of colors visible in the color selection box. With Dynamic Color Sliders turned on, as you move the slider, the box changes color in real time. The only reason to turn it off is if you are using a computer that was built sometime in the last millennium and it just can’t handle the real-time change without slowing you down.
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Export Clipboard: This option copies Photoshop’s clipboard to the operating system’s clipboard, allowing you to copy or cut from Photoshop and paste into other applications.
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Use Shift Key for Tool Switch: The Toolbox includes “tool drawers” or more than one tool hiding behind the visible icons in the Toolbox. Hotkeys also provide access to these tools. With this option on, you need to press the Shift key and the hotkey to switch tools. If this option is turned off, pressing the hotkey more than once cycles through the available tools.
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Resize Image during Paste/Place: When you are pasting or placing an image into another document, having this option on resizes it to the base document specs. For instance, if I am placing a very large file into an open image that is much smaller, the document resizes to fit into the smaller canvas area. If this option is not turned on, the larger document may overlap the canvas area and the entire image isn’t visible. Keep in mind that any resizing compromises the image quality and should be kept to a minimum if possible.
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Animated Zoom: Use this option to continuously zoom with the Zoom tool by holding down the left mouse button. It’s a great way to have control over how far you want to zoom in (or out), but be warned: It can be a little slow with larger files.
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Zoom Resizes Windows: This option works only if you are using floating windows for each of your documents. These windows are resized as your images are resized. This eliminates the white space around images that have been reduced and keeps the images that you’ve zoomed into in view, instead of hanging out of the edges of your window. If you use floating windows very often, I suggest turning this option on.
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Zoom with Scroll Wheel: This is my personal favorite zoom preference to turn on. With this option activated, you can use the scroll wheel of your mouse to zoom in and out of
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Part I: Getting Started with Adobe Photoshop CS5 the selected image. No looking around for the Zoom tool or trying to remember its hotkey; just use the scroll wheel, and you can take a closer look at that area of your image you are trying to get just right and then zoom right back out to fit it in the screen. l
Zoom Point Clicked to Center: When you click an area of your image with the Zoom tool, it zooms into that area generally, and with the Zoom Point Clicked to Center option turned on, the area you click becomes the center of the zoomed image.
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Enable Flick Panning: When this option is enabled, you can use the Hand tool to click the document, drag quickly and then release the mouse button, and the document continues to pan just as if you had flicked it.
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Place or Drag Raster Images as Smart Objects: When this option is selected, raster images in layers can be dragged and placed. Photoshop does this by temporarily converting them to Smart Objects and then back to raster. This option can use up lots of processing power, so you should enable it only if you are willing to sacrifice some computer speed.
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History Log: This option lets you keep a log of what editing has been done to the file using the following settings:
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Save Logs To: The Save Logs To option lets you store the history as metadata inside the image file itself, as a separate text file, or both. Keeping Log as Metadata makes the history data easily transferred between systems, but it increases the size of the file, and you need to remove the history before distributing it to others.
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Edit Log Items: This option allows you to specify how detailed the history is. The Session Only option records only the date and time you edit the file in Photoshop. The Concise option also records the text that appears in the history panel. The Detailed option additionally records the commands used to edit the file. Obviously, the more detailed the history, the more the file size grows.
Reset all Warning Dialog Boxes: This option enables any warning dialog boxes that have been disabled by selecting the warning dialog box’s “Don’t Show Again” option.
Interface preferences The Interface panel, shown in Figure 2.18, allows you to define the general look of the Photoshop interface including windows, panels, and documents: l
General: This defines the color and border used for the standard and full screen modes. You also can specify whether to show the following: l
Show Channels in Color: By default, channels are displayed in grayscale when you view them individually. Displaying the channels in color can give you a better perspective on the color, but it’s not the best option when trying to determine tonal adjustments that need to be made to an individual channel. See Chapter 11.
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Show Menu Colors: When this option is enabled, the colors that you define using Edit ➪ Menus or Window ➪ Workspace ➪ Keyboard Shortcuts & Menus ➪ Menus are displayed in the menus. The ability to toggle this on and off can be useful if the menu colors are distracting for some of your workflows.
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Show Tool Tips: When enabled, a textual description of tools, settings, windows, and panels is displayed when the mouse hovers over these things.
Panels & Documents: This defines the behavior of panels and document windows using the following options: l
Auto-Collapse Iconic Panels: When enabled, panels that are opened by clicking the panel icon close automatically when you click another panel or tool in the workspace.
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Auto-Show Hidden Panels: This reveals hidden panels on rollover.
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Restore Default Workspaces: Photoshop keeps track of the panels that are opened and layout changes you make to the current workspace. When you open the workspace again, the panels are back to the way you left them. The Restore Default Workspaces button resets the workspace to the default settings.
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Open Documents as Tab: When enabled, files are opened in tabbed document windows that are docked to the document workspace. When disabled, files are opened in a floating document window.
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Enable Floating Document Window Docking: When enabled, you can dock floating document windows with each other to make floating document groups that can be controlled together.
UI Text Options: This allows you to set the language and font size used for the text in Photoshop’s menus, tools, panels, and so on. You need to restart Photoshop after changing these settings.
FIGURE 2.18
The Interface settings in the Preferences dialog box allow you to define the look and feel of the windows, documents, and panels in Photoshop.
File Handling preferences The File Handling preferences panel, shown in Figure 2.19, provides the following settings to define behavior when saving files:
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File Saving Options: This controls the following behavior when saving files: l
Image Previews: This controls whether to save the preview thumbnail data to the file when you save the image. Options are Never Save, Always Save, or Ask When Saving.
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File Extension: This specifies to save the extension with uppercase or lowercase.
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Save As to Original Folder: When enabled, Photoshop defaults to the original folder the file was opened from when using File ➪ Save As.
File Compatibility: This provides the following settings for file compatibility when saving files: l
Camera Raw Preferences: This launches a dialog box to set camera raw preferences. See Chapter 7 for more information about camera raw settings.
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Prefer Adobe Camera Raw for Supported Raw Files: This causes camera raw files to be opened by Adobe Camera Raw instead of other applications, including Photoshop.
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Ignore EXIF Profile Tag: EXIF information is data about the photo that is embedded by a digital camera when the photo is taken. Cameras typically embed color profile data with the image to help ensure color correctness. However, if the camera has faulty color data, the image may not look as good as it should.
Cross-Ref If your photos aren’t looking quite right, enable this option and see if they look better. If so, you may need to disable this option for images taken with that camera. You also may try assigning a different color profile to the image, as discussed in Chapter 29. n
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Ask Before Saving Layered TIFF Files: This prompts you before layers are saved in a TIFF file to make certain you don’t want to flatten the file. Keeping layers in TIFF files is a great way to keep the file in a very editable state. However, saving layers in the TIFF file may result in a much larger file size, and some applications that support TIFFs do not support layers. Keep this setting on, just as a reminder when saving TIFF files.
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Maximize PSD and PSB Compatibility: This controls whether Photoshop tries to maximize the PSD compatibility between older versions of Photoshop when you save an image. Options are Never, Always, or Ask. Maximizing compatibility is good, but it comes at the cost of greater file size. This preference defaults to Ask, but if you know that you will never use an older version of Photoshop, disabling it saves you an extra mouse click.
Enable Adobe Drive: This enables Adobe Version Cue through Adobe Drive that manages file versions when multiple people need to work on the same files. Version Cue can track changes to a file as different people work on it. This option should be enabled only if you are using Version Cue. Recent File List Contains: This specifies the number of files to show in the File ➪ Open Recent file list. You may want to tweak this option based on the type of project that you are working on.
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FIGURE 2.19
The File handling settings in the Preferences dialog box allow you to save compatibility settings used when saving files.
Performance preferences The Performance preferences panel, shown in Figure 2.20, provides the following settings to control some of Photoshop’s features that are performance-intensive: l
Memory Usage: This defines how much system memory Photoshop is allowed to consume. This option displays the current system memory and gives a suggested range. The slider and text box defines the maximum amount of RAM Photoshop is allowed to use. Processing images is very CPU- and RAM-intensive. The more RAM you allow Photoshop to consume the faster it performs, but then less memory is available for other applications.
Caution Allowing Photoshop to consume too much memory can lead to extremely poor system performance that affects all applications, even Photoshop. This is one case where more is not necessarily better. n l
Scratch Disks: This displays a list of devices that you can select for scratch disks. Scratch disks are used by Photoshop to cache data not currently being used when processing data that requires more memory than the system has available.
Tip You get the best performance when working with Photoshop if you use three separate disk drives to store the Photoshop application, scratch data, and image files. The reason for this is that the disks can be seeking the three types of data at the same time. n l
History & Cache: This defines settings for document caching and history retention that can improve Photoshop’s performance. You have these choices:
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Optimize buttons: The first three buttons optimize the cache for documents that are Tall and Thin, Default size, or Short and Fat. This option takes into account your computer hardware and current system settings.
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History States: This specifies the number of History States to cache. These history states are accessible from the History panel as described in Chapter 5. A higher number gives you more states that you can use to backtrack changes but results in additional memory consumption.
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Cache Levels: This specifies the cache setting used to define the behavior of the cache. Caching improves performance by caching lower-resolution versions of the image to display in the document window. This allows for much faster rendering by Photoshop. A setting of 1 essentially disables caching because the full image size is stored in the cache. This gives you a more accurate view of the image but results in slower rendering times. Increasing the cache number caches more low-resolution versions of the image, which improves performance while sacrificing rendering quality in Photoshop. You need to restart Photoshop for changes to the cache to take effect.
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Cache Tile Size: This specifies the number of bytes that Photoshop stores or processes at once. Typically, the rule is to use a larger tile size when working with larger images and a smaller one when working with smaller images or images with lots of layers. You need to restart Photoshop for changes to the Cache Tile Size to take effect.
GPU Settings: The GPU settings allow you to enable or disable OpenGL drawing by your video adapter. OpenGL drawing utilizes the processor on your graphics adapter to render images. Using the video adapter to draw can significantly improve performance in many of Photoshop’s tools such as the Zoom, 3D, and Paint tools. Enabling OpenGL also enables several advanced features in Photoshop, such as the rotate view, Birdseye zooming, pixel grid, and flick to scroll. Clicking the Advanced Settings button loads the dialog box, shown in Figure 2.20, that allows you to set the following advanced options for OpenGL: l
Basic Mode: This uses the least amount of GPU memory and has the least impact on other applications running OpenGL features on the system. However, this mode can result in slowness in some areas of Photoshop that are GPU-intensive, such as 3D.
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Normal Mode: This uses the most amount of GPU memory and enables additional OpenGL features, but may cause visual defects on some GPUs.
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Advanced Mode: This uses the same amount of memory as Normal mode but enables even more OpenGL features that can improve performance and enhance some of Photoshop’s rendering features such as zoom animation. This mode also may cause visual effects on some GPUs and interfere with other applications using the GPU.
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Vertical Sync: This synchronizes the OpenGL drawing with the vertical sync of the display which provides much smoother pixel transitions at the cost of an additional performance hit.
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Anti-alias guides and paths: This smoothes guides and path lines. Disable this option if your guides and paths appear too wide or heavy.
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Chapter 2: Understanding the Photoshop Workspace The Open GPU Utility button launches a dialog box that guides you through the process of optimizing the GPU in your video card for Photoshop. This process is very CPU-intensive so you want to run it at a time that you are not using your computer. You also should disable you screen saver while it is running so the screen saver does not taint the results.
FIGURE 2.20
The Performance settings in the Preferences dialog box allow you to limit Photoshop so it does not consume too many resources on your system.
Cursors preferences The Cursors preferences panel, shown in Figure 2.21, provides the following settings to define the appearance and size of mouse or stylus cursors: l
Painting Cursors: This defines the appearance and size of the cursor used with painting tools such as the brush. You have these options: l
Standard: This looks like the painting tool icon.
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Precise: This displays a crosshair, which is much better for seeing the exact center of the brush stroke.
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Normal Brush Tip: This creates a circle the size of the paint stroke, not taking into account any feathering caused by brush settings. This option is better for seeing the immediate area that will be affected by the brush stroke.
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Full Brush Tip: This creates a circle that is the full pixel size of the paint stroke, including any feathered edges. This option is better for seeing the full area that will be affected by the brush stroke.
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Show Crosshairs in Brush Tip: This displays a crosshair in the center of the Normal and Full Brush tips.
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Show Only Crosshairs While Painting: This changes from the Normal Brush Tip or Full Brush Stroke Tips to the Crosshair Tip when you are dragging the mouse. This allows you to see the size of the brush better before using the precision tip.
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Other Cursors: This defines the brush tip cursor used for tools other than the painting tool.
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Brush Preview: This allows you to use a color chooser to define the color that is used for the brush editing preview.
FIGURE 2.21
The Cursors settings in the Preferences dialog box allow you to set size and appearance of cursors when working with Photoshop’s tools.
Transparency & Gamut preferences The Transparency & Gamut preferences panel, shown in Figure 2.22, provides the following settings to define the appearance of the transparency grid and gamut warning: l
Transparency Settings: Allows you to set the size and colors of the grid used to denote transparent pixels in an image. The size options are None, Small, Medium, and Large. The Grid Color setting provides several predefined color sets, or you can select Custom to choose your own set of colors for the grid. Typically, you have no reason to adjust the transparency colors unless you have a pattern that is very similar in the image you are editing.
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Gamut Warning: Specifies the color used to warn you when a color is out of range for a specified color profile—for example, when you use the View ➪ Gamut Warning or are previewing inside the File ➪ Print dialog box. The Opacity setting defines how transparent or opaque the gamut warning is when displayed. Reducing the opacity allows you to more easily see the image behind the gamut warning.
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FIGURE 2.22
The Transparency & Gamut settings in the Preferences dialog box allow you to define the appearance of the transparency grid and gamut warning.
Unit & Rulers preferences The Unit & Rulers preferences panel, shown in Figure 2.23, provides the following settings to define the units, column sizes, document resolution, and point size to use in Photoshop: l
Units: The Rulers option specifies the units used for rulers and measurements in Photoshop. The Type option specifies the units used to measure all the settings used by the Type tools as well as the Character and Paragraph panels. The options are pixels, inches, cm, mm, points, picas, and percent (where percent is in relation to the size of the image). When working in a print workflow, using inches or picas is best. When working in a Web output workflow, using pixels is typically best.
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Column Size: Several Photoshop dialog boxes use column width as a unit of measurement, including the New, Image Size, and Canvas Size dialog boxes. The columns in those dialog boxes are based on the setting here. Using columns can be very useful if you are preparing an image or multiple images that can be broken up into columns.
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New Document Preset Resolutions: This specifies the default print and screen resolutions used when creating a new document with the File ➪ New command from the main menu. Keep in mind that the screen resolution is important for images that are viewed on a computer, such as Web images, but print resolution determines the print quality and size of the printed image.
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Point/Pica Size: This allows you to set the values used to define the number of points and pica in an inch. The PostScript method defines a pica as about 1/6 of an inch and a point as about 1/72 of an inch. Applications from years ago used a different system where there were 6.06 picas per inch and 72.27 points per inch. You should keep this setting on Postscript unless you have a specific need to use the traditional method.
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FIGURE 2.23
The Unit & Rulers settings in the Preferences dialog box allow you to define the units, column sizes, document resolution, and point size.
Guides, Grid & Slices preferences The Guides, Grid & Slices preferences panel, shown in Figure 2.24, provides the following settings to define the color, line style, and arrangement used when displaying guides, grids, and slice bounding boxes in the document window: l
Guides: The Guides setting allows you to set the color and line style for guides. You can choose any color from the drop-down menu or select Custom to launch a color chooser that lets you select any color Photoshop can display. You typically want to set the guide color to something that has a high contrast with the colors in the image so you can see it better. You also can select to have the guide be a dashed or solid line.
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Smart Guides: The Smart Guides setting allows you to set the color of the smart guides only. Smart guides are the lines that temporarily appear around the pixels on a layer when you move items. Smart guides are great at helping you align the content of one layer with the content of another.
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Grid: This allows you to set the color and line style used when displaying the grid. You want to select a color that contrasts with the image well and also contrasts with the color of the guides so you can easily distinguish the lines apart. You also can set the spacing between grid lines and the number of subdivisions to include between grid lines. Subdivisions show up as less apparent lines.
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Slices: This allows you to specify the color of slice bounding boxes and whether to display the slice number when displaying the slice.
Cross-Ref For more information about slices, see Chapter 30. n
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FIGURE 2.24
The Guides, Grid & Slices settings in the Preferences dialog box allow you to define color, line style, and arrangement used to display guides, gridlines, and slice bounding boxes in document windows.
Plug-ins preferences The plug-ins preferences are discussed in Appendix B, along with several of the plug-ins that are available to add functionality to Photoshop.
Type preferences The Type preferences panel, shown in Figure 2.25, provides the following settings to define behaviors such as using smart quotes and font substitutions used when adding text to images: l
Use Smart Quotes: When enabled, Photoshop scans through the text, detects the starting and ending quotation marks, and automatically converts them to quotes that curve toward the text inside the quotes. You may not want this option enabled if you are using text that has lots of single quotes in it—for example, using double quotes to signify inches and a single quote to signify feet.
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Show Asian Text Options: When enabled, additional options are displayed in the Character panel to support Asian languages. This causes additional overhead, so you should leave it disabled unless you need it.
Cross-Ref For more information about fonts, glyphs, and adding text to images, see Chapter 18. n l
Enable Missing Glyph Protection: When enabled, Photoshop automatically makes font substitutions for any missing glyphs that appear in the text, but not in the selected font. This option can be important if you are keeping text as a vector layer and transferring the file between machines. When loaded on the second machine, if the font is not present, Photoshop automatically makes a font substation. If this option is disabled, Photoshop prompts you first.
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Show Font Names in English: When enabled, the names of fonts in the font list always show up as English, even if you are working with different language fonts.
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Font Preview Size: This allows you to enable and disable adding a font preview to the font selection lists. The font preview is useful in choosing a font because you can see what the sample looks like. However, the font preview is computer processor-intensive, so you may not want to enable it unless you are working with lots of text. This option also allows you to specify the size of the font preview that is displayed in the font lists, from Small to Huge.
FIGURE 2.25
The Type settings in the Preferences dialog box allow you to define behaviors such as using smart quotes and font substitutions used when adding text to images.
3D preferences The concepts surrounding 3D preferences are tightly coupled with the 3D chapters in this book. Therefore, we included a description of the 3D preferences in Chapter 22. Please refer to that chapter for information about setting 3D preferences.
Customizing Shortcuts and Menus Photoshop provides a tremendous amount of power by including feature after feature after feature. Unfortunately, that means Photoshop also had to include menu after menu after menu. With the sheer number of menus and tools that Photoshop has to offer, you can quickly find yourself spending more time finding tools than using them. The solution to that problem is to customize your menus and to use keyboard shortcuts.
Tip You can create and name several customized shortcuts or menu sets. You may want to create different sets for the type of editing you are doing and then load the set that best matches your workflow. n
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Customizing menus Photoshop allows you to customize the menus in two ways. You can hide menu items that you do not intend to use, or you can color code menu items to make them easier to find. To customize Photoshop’s menus, select Edit ➪ Menus from the main menu to display the Menus tab of the Keyboard Shortcuts and Menus dialog box, shown in Figure 2.26.
FIGURE 2.26
The Keyboard Shortcuts and Menus dialog box allows you to create custom menus that hide unwanted items and display important items in organized colors. New Set Menu list
Save Set
Delete Set
Color Visible Hidden
From the Menus tab, you can use the following options to create and manage customized menu sets: l
Set: The Set option allows you to select the default menu set or a saved menu set from the drop-down list. The Save Set icon next to the Set list allows you to save changes to the currently selected set. The New Set icon allows you to save the current menu configuration as a new set that is displayed in the Set list. The Delete icon removes the currently selected set from the list. To create a new custom menu, make all adjustments to the menus, click the New Set icon, and name the set. You can then reload that set any time you like.
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Menu For: This allows you to select whether you want to edit the application menus or the panel menus. When you change this option, either the application or panel menus are displayed, depending on which option you choose.
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Menu list: The menu list displays a list of menus that can be adjusted. You can expand and collapse a menu in the list by clicking the triangle next to the menu name. When the menu is expanded, you can customize each menu option by doing the following: l
Change Visibility: Use the mouse to toggle the eye icon to hide or show the menu item in Photoshop. Figure 2.26 shows that the Group from Layers option is hidden while the others are visible.
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Change Color: You also can change the color used for the background of the menu item. This allows you to color code certain menu types or highlight important menu items so you can more easily find them. To change the color, select a color from the drop-down menu shown in Figure 2.26.
Customizing shortcuts One of the best features Photoshop has to offer in improving your workflow speed is the use of keyboard shortcuts. Keyboard shortcuts allow you to use a key sequence to quickly perform tasks, select tools, and open panels. Throughout this book, we describe the important keyboard shortcuts when describing various tools. If you take the time to learn and use these shortcuts, you can be much faster at using Photoshop. Photoshop also allows you to customize the keyboard shortcuts. To customize Photoshop’s keyboard shortcuts, select Edit ➪ Keyboard Shortcuts from the main menu to display the Keyboard Shortcuts tab of the Keyboard Shortcuts and Menus dialog box, shown in Figure 2.27.
FIGURE 2.27
The Keyboard Shortcuts and Menus dialog box allows you to customize the keyboard shortcuts that you use to perform common tasks in Photoshop. Item list
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Chapter 2: Understanding the Photoshop Workspace From the Keyboard Shortcuts tab, you can use the following options to create customized keyboard shortcut sets: l
Set: The Set option allows you to select the default shortcut set or a saved shortcut set from the drop-down list. As with the customizing menus, the Save Set icon next to the Set list allows you to save changes to the currently selected set. The New Set icon allows you to save the current keyboard shortcuts as a new set that is displayed in the Set list. The Delete icon removes the currently selected set from the list. To create a new custom shortcut set, make all adjustments to the shortcuts, click the New Set icon, and name the set. You can then reload that set any time you like.
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Use Legacy Channel Shortcuts: This changes the channel switching shortcuts back to the pre-CS4 form for users who are used to those options.
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Shortcuts For: This allows you to select whether to edit the shortcuts for application menus, panel menus, or tools. When you change this option, the list below changes to reflect the option you choose.
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Item list: The item list displays a list of shortcuts for the type selected in the Shortcuts For option. You can expand and collapse items in the list by clicking the triangle next to the item name. To change or add a shortcut to an item, click in the Shortcut column of that item. A text box appears with a cursor. When you type a key sequence into the text box, that key sequence is added to the text box. Figure 2.27 shows an example of the text box and key sequence for the Open menu item. To apply the key sequence as a shortcut, click the Accept button. To undo the change you made, click the Undo button. To revert to the Photoshop default, click the Use Default button.
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Add Shortcut: This adds an additional shortcut to the item so it has two. This may help if you are used to different shortcuts from another application.
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Delete Shortcut: This removes the selected shortcut from the item.
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Summarize: The Summarize button launches a file dialog box that allows you to select a location to store an HTML summary of the keyboard shortcuts. After the file is saved, the summary is automatically displayed in your default Web browser, as shown in Figure 2.28. This is a good way to review the settings that you made.
Cross-Ref Appendix A contains tables that provide a quick reference to the most commonly used keyboard shortcuts. n
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FIGURE 2.28
The Summarize option of the Keyboard Shortcuts and Menus dialog box generates a viewable HTML document that displays the current keyboard shortcuts.
Summary This chapter discussed the Photoshop workspace, including the document windows, menus, panels, tools, and preferences. Photoshop provides lots of power, and if you learn how to configure and use the workspace, you can be more efficient and have much more fun. Photoshop provides a fairly intuitive interface in most areas and some powerful features, such as grouping document windows and customizing menus that enable you to speed up your workflow. In this chapter, you learned these concepts: l
How to organize and arrange document windows
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What’s in all those menus
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How to use grids, rulers, and guidelines
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All about the tools in the Toolbox and where they are covered in this book
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How to organize panels
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How to create custom panels and keyboard shortcuts to make Photoshop easier to use
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Creating and saving tool presets so you can easily configure tools for later use.
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CHAPTER
Image Basics
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hotoshop’s purpose is editing image files that have come from a variety of sources. Photoshop supports a large number of file formats. The different file formats can be confusing, so this chapter spends a bit of time talking about each of the different file formats to help you understand some of the benefits and drawbacks of each one. In this chapter, you also learn some other important concepts about file size and resolution. Understanding the relationship among the file size, the resolution, and the ultimate destination of the file helps you know what size and resolution to use for an image. You also learn the different types of algorithms that Photoshop uses to resample images when changing the size. Understanding the algorithms helps you know which ones to use to get the best results when resizing images. This chapter also discusses how and why to crop images. You learn how to use several tools in Photoshop to quickly and accurately crop, trim, rotate, and straighten images.
IN THIS CHAPTER Understanding the file formats that Photoshop supports for images, video, and 3D objects Knowing the difference between raster and vector images Opening an image in another format Understanding the resizing algorithms Creating a border around an image Cropping and straightening images
Exploring File Types
Removing a border from an image
If you have worked with images long enough, you have probably come across a variety of file formats. Although having just one file format would be great, the fact is that numerous file formats serve a variety of purposes. You need to understand the different type of image, video, and 3D file formats to really make the most of Photoshop’s features. Understanding the different file formats helps you make better decisions about how to save and work with files.
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Part I: Getting Started with Adobe Photoshop CS5 This following sections focus on helping you understand the different types of file formats, where they came from, and why to use them. After you understand these points, you can make better decisions on importing and saving files with Photoshop.
Compressed versus uncompressed The first concept you need to understand about file formats is whether the format stores the file in a compressed or uncompressed form. Each has its advantages, which is why both exist. An uncompressed file stores the full image, video, or 3D data in the same format that it exists when the file is opened. The size of the file on disk is the same as the size of the file in memory. A compressed file stores the data by using complex algorithms that allow the file to be stored using less space on disk. When the file is reopened, the data on disk is uncompressed using an inverse algorithm and loaded into memory in its original state. The advantage of using uncompressed file formats is that you always retain the data. Also, uncompressed formats are faster to load and save because the computer does not need to compress or uncompress them. The advantage of using compressed file formats is that they take up much less room on disk. With lots of large images and especially with video, this becomes a big concern. Two types of compression algorithms are used: lossless compression and lossy compression. The lossless compression algorithm loads the image back into memory in exactly the same state that it was before compression. However, the lossy compression algorithms “cheat” and throw away data that is not very relevant to displaying the image or video.
Tip Lossy compression has a major advantage: Large images and video can be stored in a much smaller space. However, the major disadvantage is that every time you save an image using a lossy compression algorithm, you lose a bit of data. The first time you save, it probably doesn’t matter much. However, after several saves, you start seeing some artifacts in the image or video. To avoid this, use a lossless or uncompressed file type when you are editing the file; when you are finished editing it, save it in the lossy form for storage. Keep a copy of the original around if you need to edit the file again. n
Raster versus vector Another file format concept that you need to understand is the difference between raster (or bitmap) and vector images. The data for an image is stored completely differently in these two file types. The image data is stored in raster images as a set of pixels in the image. Each pixel represents one point of light in the image. The image is constructed onscreen by simply applying the pixel data in the image to a pixel on the screen. The data for a vector image is stored as a series of line data instead of individual pixels. Each line data item contains the length, direction, and color of the line. These lines make up the images. The image is constructed onscreen by using the line data to draw a series of lines.
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Chapter 3: Image Basics The advantage of using vector images is that no matter how much you increase the size of the image, the lines are always crisp because they can be redrawn each time. The disadvantage is that you cannot paint, adjust, and morph them the same way that you can raster images. The advantage of using raster images is that for photos and other smooth images, generating enough lines to make the resolution good enough to view can be difficult, if not impossible. Pixels are a much closer representation of how monitors, printers, and even the human eye work. Most of the image file formats you use in Photoshop are raster images. Raster images are much better for storing image data and allow for much more detail to be captured. For the most part, you will use vector images only when working with 3D images, text, line shapes, and paths in Photoshop.
HDR images High Dynamic Range (HDR) images are images comprised of a set of photographs taken at different exposures in a technique known as exposure bracketing. The exact same photo is taken multiple times using different ISO settings and f-stops to create a wide range of exposures for the same image. These photos can then be combined to create a HDR image with a much greater tonal range than is possible in a single photo. Photoshop provides some tools to create and adjust HDR images. In Chapter 6 we discuss using the Bridge tools to create an HDR image. In Chapter 13 we discuss some of the tools used to adjust HDR images.
Image files Photoshop supports a variety of image file types. Most people tend to work with one or two types and leave the others alone. However, having a basic understanding of all file types helps you make better choices when you have to work with them. The following sections describe some image file types and advantages/disadvantages of them.
Photoshop (*.PSD, *.PDD) Photoshop natively uses its own Photoshop PSD file format. This file format contains all the information relevant to working with the image within Photoshop. For example, all the layer data you have created when working with the image is stored in the PSD file. Use the PSD file format when working with the image in Photoshop. The work done in Photoshop to create adjustment layers and other changes usually represents lots of work. The PSD file is the only format that stores all your work so you can fine-tune your adjustments later. The Photoshop file format maintains the full image data, so you need not worry about saving it multiple times. Photoshop PSD files can store image data in 8 bits per channel, 16 bits per channel, and 32 bits per channel. One disadvantage of the Photoshop file format is that it takes up a large amount of disk space compared with some of the other file formats.
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Part I: Getting Started with Adobe Photoshop CS5 TIFF (*.TIF;*.TIFF) TIFF (Tagged Image File Format) is the next best format to PSD when saving your files. TIFF images can be stored in 8 bits per channel, 16 bits per channel, and 32 bits per channel. Advantages of the TIFF file formats are that it stores the layers that you create in Photoshop and can store transparency in the form of an alpha channel (discussed later in this book). TIFF images are also fairly large comparatively, so you may not want to use this file format for most images you will be working with. Another disadvantage is that TIFF images are typically not supported in Web browsers, so you can’t add them to Web pages.
JPEG (*.JPG;*.JPEG;*.JPE) The JPEG file format has become by far the most commonly used. The JPEG format provides very good image quality supporting 16.8 million colors, combined with one of the best compression algorithms. This makes JPEG images the best quality for the file size that you can get. Consequently, most cameras use the JPEG image format by default. JPEG images are read by almost every computer program and are easily incorporated into Web pages. They also take much less disk space than PSD and TIFF files because they are compressed.
JPEG 2000 (*.JP2;*.JPX) The JPEG 2000 file format uses a different encoding and compression system that makes the compression lossless. In addition, the JPEG 2000 file format supports 16-bit color for a greater range of colors, grayscale images, and 8-bit transparency. Although JPEG 2000 files provide a number of advancements over JPEG, they are not as widely supported and so they are still not used as often. Adobe provides a plug-in for Photoshop that will allow you to read and save files in the JPEG 2000 format.
Caution JPEG images use a lossy compression algorithm, which means the more you change and save them, the worse the quality of the image becomes. You should convert the JPEG images to either PSD or TIFF to edit them and then back to JPEG when you are finished making the changes. n
CompuServ GIF (*.GIF) The GIF (Graphics Interchange Format) has been the main graphic file used in developing Web pages since the inception of the World Wide Web. The GIF format uses an 8-bit palette that is limited to 256 colors. The 8-bit palette makes the GIF images very small and easily transferred across the Internet. This makes the GIF file format perfect for creating images such as buttons, links, icons, and so on that are displayed on Web pages. A cool advantage of the GIF file format is that it supports animation effects within the image. This allows you to create animated controls and icons for Web pages. The GIF file format is lossless, so there is no data loss when saving files.
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Chapter 3: Image Basics PNG (*.PNG) The PNG (Portable Network Graphics) file format was designed to replace the GIF file format for use on the Internet. The PNG file format has an advantage over GIF in that it supports 16.7 million colors as opposed to GIF supporting 256. However, there are still some drawbacks to the PNG file format. Some Web browsers do not support it, and while others support it, they do not handle things such as transparency and gamma correctly. As browsers become more adept at handling the PNG format, it definitely will replace the GIF file format, but for now you should consider working with GIF for Web images unless you need the additional colors available in PNG.
Bmp (*.BMP; *.RLE; *.DIB) The BMP file format was developed for graphics in the Windows operating system. It is a simple format that is widely accepted by Windows applications. BMP files are not compressed, which makes them large. Another disadvantage is that there is not as much support outside of Windows—on Macs or Linux operating systems, for example.
RAW (*.RAW; *.CR; *.CR2; *.DNG; and several others) The RAW image format was designed to capture the basic information collected by the CMOS sensors in digital cameras. Collecting the information directly without converting it to another file format makes the cameras work faster and results in less data loss.
Note The Open file dialog box in Photoshop provides options for Camera Raw and Photoshop RAW. Photoshop RAW are images that are saved in the RAW file format from Photoshop. The Camera Raw options are for files that are saved in a RAW file format by the camera. There are many different file extensions for the Camera Raw option because most camera venders have their own proprietary format. n
The biggest advantage to using the RAW file format is that you can work with the image as close as possible to the state that existed when the photo was taken. Photoshop has designed as special tool, Adobe Camera Raw, discussed in Chapter 7, specifically for editing photos in the RAW state because the results tend to be much better than in other file formats.
Tip If you are taking photographs that you really want to look good, you should set your camera to the RAW setting and use Adobe’s Camera Raw tools to adjust them. After they are adjusted, you can save them in another format, but if you may want to adjust them again, keep the Camera Raw files around. n
One downside to the RAW file formats is that they have little support outside of image editors such as Photoshop. Another downside is that it is not one single format. In addition to the original . RAW file format, other vendors have added their own file formats. Canon has .CR and .CR2. Adobe has .DNG (Digital Negative), which is designed to try to standardize on a single format.
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Part I: Getting Started with Adobe Photoshop CS5 So far, the DNG format seems to be getting the best attention and support by hardware and software manufacturers.
Portable bitmap (*.PBM;*.PGM;*.PPM;*.PNM;*.PFM;*.PAM) The PBM (Portable Bitmap), PGM (Portable Graymap), and PPM (Portable Pixmap) are basic file standards. They are so basic that they serve as one of the best common denominators for transferring files between different platforms, going from Windows to Linux, for example. The other file formats tend to change files slightly when they are transferred between two different operating systems, due to differences in how the operating systems crunch numbers. Using these formats, you can overcome those problems more easily. Another advantage of the PBM file format is that it is one of the few formats that can store image data in 8 bit/channel, 16 bit/channel, and 32 bit/channel formats. This is another major advantage when trying to make an image portable from one system to another.
Wireless bitmap (*.WBM;*.WBMPI) The WBM file format is designed for images used on wireless devices. Wireless devices are limited in the size and number of colors an image can contain. Using the Wireless bitmap format allows you to create images that can be displayed on most portable devices.
Encapsulated PostScript (*.EPS; *.AI3-*.AI8; *.PS; *.EPSP; *.EPSF) The EPS (Encapsulated PostScript) file format was developed by Adobe as a means to store images in a format the PostScript printers can understand. That way, the file could be copied directly to the printer without the need to interact with the applications. Later, Adobe realized that this was an excellent means to transfer documents between different programs. Because all Adobe programs understand how to generate and read the EPS files, it was easy for one application to read an EPS file that was generated by another program. The greatest strength of the EPS file format is that it can contain both raster and vector images. This gives you the ability to generate a vector image in another program, in Adobe Illustrator, for example, and then import it into Photoshop. The vector image can then be used by Photoshop as a vector path, for instance. A major advantage of the EPS format is that its files are readable by almost every desktop layout program in use. One disadvantage is that it is not truly a graphic format. The EPS format is definitely not the best format in which to store photos for later editing. Another disadvantage is that the EPS format results in a very large file because the storage format is not efficient.
Photoshop PDF (*.PDF;*.PDP) The PDF file format was developed by Adobe to be a standard format for files that contained both vector and raster images. It has been widely accepted as a standard file format across all operating systems.
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Chapter 3: Image Basics PDF files can be read by many applications including Photoshop. When Photoshop opens a PDF file, it allows you to import the pages and images separately, as shown in Figure 3.1.
FIGURE 3.1
Selecting to import pages and images when opening a PDF file in Photoshop
The biggest advantage to the PDF file format is how widely it has been adopted. It is the de facto standard in publishing documents on the Internet, so it can be read everywhere. You will not use the PDF file format much in Photoshop, but it’s great when you need it.
PCX (*.PCX) The PCX (Personal Computer eXchange) format was developed for use with the PC Paintbrush utility for DOS. If you don’t know what DOS is, don’t worry; it’s best forgotten. The PCX format was widely used several years ago, but it has lost pace and been replaced with the GIF, JPEG, and PNG file formats. You probably don’t need to use the PCX file format unless you are using an image that was created several years ago. Keep in mind that PCX files originally had a maximum of 256 colors, so don’t expect PCX files to contain much detail.
PICT (*.PCT;*.PICT) PICT files are sort of the Apple version of PCX files. The PICT file format was original developed for use with the QuickDraw utility. The format was one of the few at the time that allowed a file to contain both vector and raster images. However, that functionality has been replaced by the EPS and PDF file formats.
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Part I: Getting Started with Adobe Photoshop CS5 Pixar (*.PXR) The Pixar file format is a format developed in-house by the Pixar animation company. The requirements of digital animation put such as huge strain on the available applications that they had to create a custom system including their own file format. Photoshop allows you to read images that were created using Pixar’s system and to write your images out to the Pixar file format. It’s probably not useful to most people, but handy when it is necessary.
FXG (*.FXG) FXG (Flash XML Graphics) is an .XML graphics file format developed by Adobe. The specific purpose of the FXG file format is to provide a common file format for all Adobe products. The FXG file format is based on the XML language and defines a standard for raster graphics. This is still a developing file format that has lots of potential.
Google Earth 4 (*.KMZ) A KMZ file is a zipped archive used by the Google Earth application to display geographic data and images. A KMZ file contains one or more KML files and the supporting images. Google Earth uses the KML files similarly to how a Web browser uses HTML files. The Google Earth application reads the KML file and interprets how to display the information and images. Photoshop allows you to read a KMZ file and open the images it contains to edit and view. Currently, Photoshop supports KMZ files using the Google Earth 4 standard only.
PSB (*.PSB) Many applications have a basic limit of 2GB for a file size due to the nature of the 32-bit operating system. This presents a problem for many file formats. Systems have overcome this by using a special file called PSB (large document format). Using the PSB file format, Photoshop can open and create files that are larger than 2GB. An advantage of the PSB file format is support for the 8 bit/channel, 16 bit/channel, and 32 bit/channel formats. However, unless you really need a file larger than 2GB, avoid using the PSB format. Only a few applications support it, so it is not very portable. Another disadvantage of the PSB file format is that you can use only the grayscale and RGB color models, which are discussed in Chapter 4.
OpenEXR (*.EXR) The OpenEXR format was developed by Industrial Light and Magic to provide a multi-resolution and arbitrary channel format for images. This can be a major advantage if you are working with complex compositing of images where you may need several different channels that do not conform to a single color mode. Although Photoshop gives you the ability to read and even write an OpenEXR file, it does not allow you to create the additional channels. However, if you have an OpenEXR file, you can use Photoshop’s powerful tools to make adjustments to the channels.
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Chapter 3: Image Basics Cineon The Cineon file format was developed by Kodak to contain data from images scanned in from film. The Cineon format is a bit different from the standard formats such as JPEG and TIFF. Instead of RGB channels representing intensity of color, the pixel data in the Cineon format represents the printing density as seen by the print film. The purpose of using the printing density is to retain the values that originally existed on the print film.
IFF (*.IFF;*.TDI) The IFF (Interchange File Format) was developed by Electronic Arts as a method to transfer graphic data between software. It is unlikely that you will come across the need to use an IFF, but if you do, Photoshop can open it.
Scitex CT (*.SCT) The Scitex CT file format is used by Scitex Corporation Ltd. graphics processing equipment. This file format is usually used only if you are sending print jobs to a Scitex digital printer.
Targa (*.TGA; *.VDA; *.ICB; *.VST) The Targa (Truevision Advanced Raster Graphics Adapter) file format has been around since the birth of color displays in computers. Targa files support 8, 16, 24, and 32-bit colors per pixel. Targa files support alpha channel data and are fairly transportable between systems. A common use of Targa files is to store textures used in 3D imaging such as video games or animation.
Radiance (*.HDR; *.RGBE; *.XYZE) The Radiance format stores four bytes per pixel (red, green, blue, and an exponent byte). This allows pixels to have the extended range and precision similar to floating point values allowing the HDR and RBGE formats to handle very bright pixels without loss of precision for darker ones. A variant of the Radiance format, XYZE, uses the XYZ color model (discussed in Chapter 29) instead of RGB.
Video files With the addition of the Timeline palette, Photoshop adds several video file formats to the huge list of supported file formats. Not only can you import movies with the following extensions, you can import image sequences with the usual image extensions that Photoshop already supports. Photoshop allows you to import the following video file formats: l
MOV: The MOV file format is the native file format of QuickTime. A .MOV file can contain several types of tracks—video, audio, effects, and text among them. This makes them easily editable and portable because a .MOV file can be used in both the Macintosh and Windows platforms.
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AVI: AVI is the highest quality file format available because it usually isn’t compressed, although some AVI codes compress the video file. This means that it takes up much more
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MPG/MPEG: The MPG file format is the native format for DVDs and most movies that you see on the Internet. The quality can range from very good (MPEG-2) to fast and easy to post (MPEG-4).
Note To play video in Photoshop, you must have QuickTime 7 installed on your computer. You can get a free QuickTime download from apple.com/quicktime. n
3D files By adding 3D extensions, Photoshop has expanded the file formats that it supports for 3D editing. Photoshop supports these 3D file formats: l
3ds: 3ds is a file format used by 3D Studio Max, the most widely used 3D application. It has become so much the industry standard that most 3D modeling programs of whatever type export their files in this format.
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OBJ: The OBJ file format is also a widely used industry standard. The 3D models that come with the Photoshop bonus content are .obj files.
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COLLADA: This is the file format used by the video gaming industry. It was originally developed to facilitate transporting digital content from one creation tool to another. COLLADA is also a widely supported file format.
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U3D: The Universal 3D file format allows users to share 3D graphics with other users who don’t have the 3D modeling program used to design the image. Like .jpg or .tif files, these files are working toward being universally available to most image viewers.
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KMZ: The KMZ format was discussed earlier with image file formats; however, it also provides information about the 3D geography that you see when you explore Google Earth.
DICOM files A DICOM (Digital Imaging and Communications in Medicine) file is a medical image or series of images created when you have a sonogram, CT scan, MRI, or any number of procedures that take an image of the inside of your body. DICOM files are used to analyze and diagnose problem inside the body visually without doing exploratory surgery. Photoshop gives you the ability to open and work with DICOM files. Using Photoshop’s powerful level and tone adjustments, a trained technician can adjust images so they can more easily see problems. Photoshop also has the ability to animate a series of DICOM files by sequencing them. For example, if you have several images at timed intervals of a heart beating, Photoshop can turn the images into an animated movie.
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Creating and Opening Images The purpose of this section is to give you a quick overview of how to create and open images in Photoshop. These are the very basic operations that you need to understand before you can move onto editing. The following sections give a brief overview of creating new images, opening existing images, and saving images in Photoshop.
Creating a new image To create a new image in Photoshop, select File ➪ New from the main menu to bring up the New dialog box, shown in Figure 3.2. When creating a new image, you need to tell Photoshop how big the image should be, how much resolution the image should have, and what color mode to use. The following settings are configurable in the New dialog box when you are creating a new image in Photoshop: l
Name: This setting lets you specify a name for the file. Typically, you want to use a descriptive name so you can easily locate the document in the file system later.
Tip When you are copying from another document or application into a new file in Photoshop, copy the data to the clipboard first and then create the new document in Photoshop using the Clipboard preset. This creates the new document automatically to the exact size of the contents of the clipboard, avoiding the need to clip the data later. n l
Preset: This setting provides a drop-down list of preset sizes for the image. The default is Clipboard, which defaults to the size of any image data contained inside the clipboard. You also can choose the default Photoshop size (5x7 inches), U.S. and international paper sizes, standard photo sizes, film and video sizes, standard Web sizes, and mobile device sizes. You also can select other open images to create a new image that is the same size, which is helpful if you are using the new image to work as a composite with an existing image.
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Size: This setting allows you to select a size from the drop-down list based on the preset setting that you selected. For example, if you selected Photo in preset, the list contains the standard photo sizes such as 5x7 and 8x10. If you select the Clipboard, default Photoshop, or the Custom preset, this option is not active.
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Width: This setting lets you specify the width and the units to set the width of the new image. The available units are pixels, inches, cm, mm, points, picas, and columns.
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Height: This setting lets you specify the height and the units to set the height of the new image. The available units are pixels, inches, cm, mm, points, and picas.
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Resolution: This setting lets you specify resolution and the units to set the resolution of the image. The available units are pixels/inch and pixels/cm.
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Color Mode: This setting lets you specify the color mode and number of channels to use when creating the image. Color mode and bit level are discussed in more detail in Chapter 4.
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Background Contents: This setting specifies the contents of the background of the new image. The options are White, Background Color, and Transparent. If Background Color is selected, the color of the background in the Photoshop toolbox is used as the background for the image.
FIGURE 3.2
Setting the options while creating a new image in Photoshop
Opening an existing image The first thing you typically want to do in Photoshop is open a file for editing, because Photoshop isn’t worth much without an image file loaded. To open a file in Photoshop, select File ➪ Open from the main menu. Then use the Open dialog box, shown in Figure 3.3, to navigate to the location where the file is located. If you have lots of files in the location where you are trying to open the file, it may be difficult to find the one that you want to open. You can narrow the view by selecting the file type of the image you want to open using the Files of type drop-down menu. When you select a specific file type, only files of that type are displayed.
Tip In Figure 3.3 the thumbnails of the images are displayed to make selecting the desired file easier. You can view the thumbnails in Windows explorer by using Alt+V and selecting Medium icons, Large icons, or Extra large icons from the drop-down menu. n
You also can narrow the search by typing in the File name field. A drop-down list of files is displayed based on the name you are typing. As you type more characters, the list gets smaller until you can easily select the file you want. When you click the Open button, the image is opened in Photoshop, ready to edit.
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Chapter 3: Image Basics FIGURE 3.3
Opening an existing image in Photoshop
Opening an existing image as a specific file type The first section of this chapter discussed the different types of files in Photoshop. Some are better than others, and you probably have a preference. Photoshop has a useful feature if you are opening a file in a different format that you want to use when editing. The Open As feature lets you open a file in a different format than it currently exists in on disk. This saves you the trouble of opening the file and then saving it as the format that you really want to use. To open a file as a different format than it currently is, select File ➪ Open As from the main menu in Photoshop to bring up the Open As dialog box, shown in Figure 3.4. Navigate the file system to find the image, and select the file format you want to use when editing the image using the Open As drop-down menu. You cannot filter the list based on file type in the Open As dialog box; however, you can still filter based on filename. When you click the Open button, the image is opened in the format you specified, ready to edit.
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FIGURE 3.4
Opening an existing image as a specific file format in Photoshop
Saving an image When modifying images in Photoshop, any work you have done is lost if you do not save the changes to the file. Photoshop provides two options to save work you have done on a file: Save and Save As. The Save option simply saves the changes you have made to the file back to the original file format and filename. The Save As option allows you to save the changes to a new file format and filename.
Tip If you are planning to use an image more than once, you should always save a copy of the original first and then work on that copy. Each time an image is edited and saved, some of the original data is changed or lost. Working on copies instead of the original ensures that each time you start again, you have the best source data in the image to work from. n
For the most part, the Save option is used to save permanent changes while you are editing the document. The Save As option is used if you want to save a copy of the file to keep the original image contents, change the file format of the image, or specify additional data to preserve. To save the changes made to an existing document in Photoshop, select File ➪ Save from the main menu. Some file formats launch a dialog box with options for that file format; however, most often the file is saved immediately and you can continue working.
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Chapter 3: Image Basics To save a copy of the file, change the file format, change the filename, or specify other options, select File ➪ Save As from the main menu to launch the Save As dialog box, shown in Figure 3.5. From the Save As dialog box, you can specify the following options when saving files: l
File name: This option lets you set the name under which the file is stored on disk. Typically, you want to specify a descriptive name that identifies the file easily.
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Format: This option lets you set the file format to use when saving the file to disk. This option defaults to the current format of the existing file.
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As a Copy: When this option is selected, the filename is modified to include the word copy at the end.
Note Normally, when you use the Save As option, the old file is closed and the newly saved file becomes the working document. However, when the As a Copy option is selected, the copy is saved, but the current working document is still the original instead of the copy. n l
Alpha Channels: When the Alpha Channels option is selected, the alpha channel data also is saved in the image. This option is available only if the image contains alpha channel data and the selected file format supports alpha channel data—for example, PSD, TIFF, PDF, and GIF.
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Layers: When the Layers option is selected, the layers data also is saved in the image. This option is available if the image contains layer data and the selected file format supports layer data—for example, PSD, TIFF, and PDF.
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Notes: When the Notes option is selected, the notes data also is saved in the image. This option is available only if notes have been added to the image and the selected file format supports notes data.
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Spot Colors: When the Spot Colors option is selected, the spot color data also is saved in the image. This option is available only if the image contains spot colors and the selected file format supports spot color data—for example, PSD, TIFF, PDF, and EPS (DCS 2.0).
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Use Proof Setup: The Use Proof Setup option is available if you configure the current view’s proof setup using View ➪ Proof Setup from the main menu, View ➪ Proof Colors has been selected, and the selected file format supports converting to proof colors—for example, EPS files.
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ICC Profile: When this option is selected, the configured ICC profile data is embedded in the image. This option is available only if the selected file format supports embedding ICC data.
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Thumbnail: This specifies whether a thumbnail version of the image is embedded in the file’s metadata. This option is available only on files that can have a thumbnail embedded.
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Use Lower Case Extension: This specifies whether to use lowercase or uppercase letters for the file extension that defines the file format. Photoshop automatically appends the file extension onto the name you specify. This can be important if you are working with systems that are case sensitive. You can override this option by typing the extension yourself.
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FIGURE 3.5
Using the Save As dialog box to save changes made to an image in Photoshop
Resizing Files and Adjusting Resolution After you open the file in Photoshop, you are ready to begin editing it. Some of the first edits you want to perform are the resizing and resolution adjustments to make the image the size you want. This section discusses resolution and how it applies when you are resizing images.
Understanding resolution Resolution is the ability to discern details in an image. In Photoshop, resolution is measured in terms of pixels/inch or pixels/cm. In practice, an image with more pixels per inch has more detail. The biggest limitation of resolution is the medium on which the image is presented. For example, a typical computer monitor has a maximum resolution between 72 and 96 pixels/inch, which means that even if you have 1000 pixels/inch in an image, the detail cannot appear better than at 96 pixels/inch.
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Chapter 3: Image Basics Therefore, when setting the resolution of an image, you should understand resolution capabilities of the medium from which the image will be outputted. For example, an inkjet printer may be able to print 300–1200 dpi (dots/inch), so a file with a resolution of 1000 dots/inch prints more detail than an image that contains only 96 dots/inch. So why not just keep the resolution at the maximum? There are two reasons. First, the more resolution in the image, the larger the file is. If disk space is of concern, then reducing the resolution helps. Second, if you are using the image in an application or function that requires a specific resolution range such as a Web image, you need to change the resolution to match those requirements.
Tip It is a good practice to always maximize the resolution when editing an image until you are ready to output it. That way, all the editing is done with the maximum amount of detail. Also, if you plan to edit the image again, you should consider keeping a copy with the higher resolution. n
Changing the image size and resolution One of the most common editing functions applied to images is to change the size and resolution depending on the destination of the image. For example, if the image will be placed on a Web site, the size and resolution likely need to be less than an image being sent to a high-quality printer. This section discusses the relationship between size and resolution, how Photoshop creates the resized pixels, and how to make the adjustments in Photoshop.
Understanding the resolution and size relationship Ultimately, the digital size of an image is simply the number of pixels that are contained, and the dimension is simply the number of pixels wide by the number of pixels high. However, when you are outputting the image, size becomes tied directly to the resolution capability of the output device. For example, when you are viewing an image on a computer screen, the output dimensions of the image in inches is the number of pixels high/72dpi x the number of pixels wide/72dpi. However, when you are printing the image to a 1200dpi printer, the document’s output dimensions are the number of pixels high/1200dpi x the number of pixels wide/1200dpi, which is a much smaller image. Therefore, you need to know the intended output resolution and the desired dimensions on that medium to determine the output resolution and size to set in the image. Otherwise, you may end up with an image that is too large to view on a Web page or a printed image without enough resolution.
Tip You should leave the image as large as possible when you are editing until you are ready to finally output it. The more pixels Photoshop has to deal with, the better results you see when editing. If you need to downsize the image, wait until you have finished editing it. However, if you are upsizing the image, you should change the size before you edit it. n
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Part I: Getting Started with Adobe Photoshop CS5 Understanding Photoshop’s resizing algorithms An important concept that you need to understand when resizing images is what is happening with the pixels during the resize. When you reduce the size of an image by one-third, Photoshop has to take a block of 9x9 pixels and turn them into a block of 6x6 while displaying the same content. When you increase the size of an image by one-half, Photoshop has to take a block of 6x6 pixels and turn them into a block of 9x9 to display the same content. The point is that when resizing an image, Photoshop has to make an intelligent determination of how to combine pixels when reducing the image and how to represent the missing holes when increasing the size of an image. To do this, Photoshop uses complex algorithms to calculate what the resulting pixels in the new image should be. These algorithms are known as resample methods.
Note The algorithms that Photoshop uses to resize images are available as an option at the bottom of the Image Size dialog box that is opened when you select Image ➪ Image Size from the main menu. n
Photoshop provides five algorithms to resample images. Each algorithm has advantages over the others; however, each algorithm also produces slightly different results. The following list describes these algorithms and when to use them: l
Nearest Neighbor: This method is simplest and fastest for resizing an image. This option works by simply looking at the pixels surrounding the image and averaging them to create the pixel in the new image. It’s fast, but it produces the worst overall results, especially in images that have highly contrasting tones next to each other.
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Bilinear: This method uses a weighted average of the nearest pixels in the old image to determine the value of the pixel in the new image. This option is still fairly fast, but typically it provides much better results than the nearest neighbor method for both upsizing and downsizing images. The bilinear method is the best overall method to use.
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Bicubic: This method applies a convolution algorithm that uses a weighted set of numbers that are applied to the pixels in the old image to determine the value of the pixel in the new image. This option is not as fast the nearest neighbor or bilinear. However, the bicubic method typically preserves finer detail. A downside of the bicubic method is that it often results in ringing artifacts (a repeating pattern around edges where there is high contrast in the image—for example, white next to black).
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Bicubic Smoother: This is the same as the bicubic method, except that it applies a smoothing filter to the set of pixels at the same time to help smooth abrupt edges when enlarging an image. The bicubic smoother algorithm provides the best overall results when enlarging an image.
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Bicubic Sharper: This is the same as the bicubic method, except that it applies a sharpening filter to the set of pixels at the same time to help keep detail when shrinking an image. The bicubic smoother algorithm provides the best overall results when shrinking an image.
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Chapter 3: Image Basics Adjusting the image size and resolution To adjust the image size and resolution in Photoshop, select Image ➪ Image Size from the main menu to bring up the Image Size dialog box, shown in Figure 3.6. From the Image Size dialog box, you can set the following options: l
Pixel Dimension Width: When the Resample Image option is set, this option allows you to change the overall width of the image in terms of pixels. You can set the units to change the dimension based on pixel or percentage. If the Constrain Proportions option is set, when you change this value, the height dimension value also changes so the image maintains the original proportions.
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Pixel Dimension Height: When the Resample Image is set, this option allows you to change the overall height of the image in terms of pixels. You can set the units to change the dimension based on pixel or percentage. If the Constrain Proportions option is set, when you change this value, the width dimension value also changes so the image maintains the original proportions.
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Document Width: This allows you to change the actual document output width of the image in terms of percent, inches, cm, mm, points, picas, and columns. You can set the units used to define the new size by selecting it from the drop-down menu. If the Constrain Proportions option is set, when you change this value, the document height value also changes so the image maintains the original proportions.
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Document Height: This allows you to change the actual document output height of the image in terms of percent, inches, cm, mm, points, and picas. You can set the units used to define the new size by selecting it from the drop-down menu. If the Constrain Proportions option is set, when you change this value, the document width value also changes so the image maintains the original proportions.
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Resolution: This allows you to change the resolution of the image in terms of pixels/inch or pixels/cm. If the resample image option is set, the pixel dimensions change when adjusting this value. However, if the resample image is not selected, the document size changes when adjusting this value.
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Scale Styles: When the scale styles option is selected, any style effects that have been added to the image also are scaled. This is extremely useful if you want to apply effects before scaling an image.
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Constrain Proportions: When the Constrain Proportions option is selected, both the height and width value changes when changing either of them to maintain the document’s original proportions. This option applies to both the pixel dimension and document size values. When this option is unselected, you can change the height of the image without the width to apply distortion and elongation effects.
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Resample Image: When the Resample Image option is selected, Photoshop changes the actual pixels in the image to change the total size in pixels. When this option is not set, you are changing only the document size and resolution settings that are used when outputting the image.
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Resampling Method: This provides a drop-down list of resample methods to use when changing the number of pixels in the image. This option is available only when the Resample Image option is selected. You can select from the Nearest Neighbor, Bilinear, Bicubic, Bicubic Smoother, and Bicubic Sharper methods discussed earlier in this chapter.
Note The Bicubic methods are not available if you are working with a grayscale image. If you are planning on converting the final image to grayscale, you should change the size of the image first to use these options before converting the image to grayscale. n
FIGURE 3.6
Setting options to change the image size and resolution of an image
Changing the canvas size The previous section discussed how to change the size of an image. Photoshop also allows you to change the size of the canvas that contains the image. Changing the canvas size is different than changing the image size. Typically, the canvas size is the exact same size, so most people do not distinguish the two. Changing the canvas size allows you to either add pixels to an image or take pixels away from an image. Taking pixels away is basically the same as cropping, which is discussed in the next section. Adding pixels to an image file is useful for a variety of purposes. The most basic purpose is simply to add a border to the image. Increasing the size of the canvas naturally creates a border of pixels around the image.
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Chapter 3: Image Basics Another common reason for increasing the canvas size is to add crop marks for printing. Some printers require crop marks to crop your image precisely. Increasing the canvas size gives you the space to add crop marks to the image file. Increasing the size of the canvas does not alter the pixels of the existing image at all. Instead it simply adds pixels to the image file. To change the canvas size, select Image ➪ Canvas Size from the main menu in Photoshop to bring up the Canvas Size dialog box, shown in Figure 3.7. The Canvas Size dialog box allows you to set the following options when resizing the canvas: l
Width: Lets you specify the width in percent, pixels, inches, cm, mm, points, picas, and columns. If the Relative option is checked, the width is the actual border size; if the relative option is not checked, the width is the total width of the canvas.
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Height: Lets you specify the height in percent, pixels, inches, cm, mm, points, picas, and columns. If the Relative option is checked, the height is the actual border size; if the relative option is not checked, the height is the total height of the canvas.
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Relative: Lets you specify whether to set the width and height based on total canvas or relative to the image.
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Anchor: Lets you specify where to anchor the original image in the new canvas. You can select the top, bottom, one of the sides, or one of the corners. Typically, you want the image anchored in the center when adding a border to the document.
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Canvas extension color: Lets you choose the color of the new pixels added to the canvas. This defaults to the background color; however, it has presets for foreground, white, black, and gray. You also can select Custom to bring up a Color Picker to specify a different color.
FIGURE 3.7
Setting options to change the canvas size of an image
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Cropping and Straightening Images In addition to resizing images, you may want to use only a portion of an image and discard or crop the rest. Photoshop provides a great tool that allows you to quickly crop out the unwanted parts of your image. Using the same tool, you can straighten the cropping to fix problems such as a tilted camera. This section discusses some general guidelines that help when deciding how to crop images. You also learn how to use the Crop tool and the Trim utility included with Photoshop to crop and straighten images.
Guidelines for cropping a photo Photography is really an art form. A photo that is well composed is interesting to look at, leads the eye of the viewer to the subject, and doesn’t include any distracting elements. All these things can be improved by the right crop. Getting closer to your subject and cutting out background clutter are musts to a good crop, but knowing a few basic photography rules, such as the rule of thirds, helps you to crop your photo to the best advantage.
Get rid of background clutter A good reason to crop your photo is to get rid of distracting elements in the background. The subject should be the main focus of any image, and anything else in the image should complement the subject, lead your eye to the subject, and contribute to the “story” being told about the subject. Too many objects, distracting colors, or any other background that draws the eye away from the subject should be cropped out of your photo if possible.
Note Cropping is an obvious fix for a busy background, but you have other ways to reduce the impact of a background that can’t be cut out of a photo with the Crop tool. You can cut out your entire background using a Selection tool, you can blur the background, or you can convert the background to black and white. n
Preserving aspect ratio Before you pull out your Crop tool and start trimming away, you need to know what you are planning to do with your photo. If you might want to print your photo in more than one size, leave yourself plenty of workable area around the edges of your photo. Don’t create a custom crop size that’s so tight around your subject that you’ll go in later to create a 5x7 print and find that you can’t do it without cropping out part of your subject. Also be aware that standard print sizes such as 5x7 and 8x10 are different aspect ratios, so if you crop your photo to an 8x10 size, you’ll have to trim the edges to make the same photo a 5x7. If you are printing the same photo in multiple sizes, save the original photo, using it to crop each size, and then save each cropped photo individually.
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Chapter 3: Image Basics Rule of thirds The “rule of thirds” is a tried and true rule for making your photos visually pleasing, and it’s a very easy rule to follow. The essence of the rule of thirds is that the subject and the horizon in your photo should never divide your photo in half. Instead, they should divide the photo in thirds. Mentally divide your photo into thirds both horizontally and vertically. Ideally, the subject should be off-center in your photograph, directly in one of the intersections of your imaginary lines (power points), if possible. The horizon in your photo should run along the top or bottom line, rather than through the center. In Figure 3.8, for example, you can see that the boy in this photo is almost exactly centered. To improve the composition, I want to make a crop that places him over one-third and down one-third in the shot, as you can see in Figure 3.8. I managed to crop out a distracting background as well.
FIGURE 3.8
Cropping an image using the rule of thirds to improve the look
Of course, just like any good rule, this one is made to be broken. If your sky is the subject of your photo and much more interesting than the ground, go ahead and place the horizon line one-sixth the way up. The bottom line is that you are the ultimate judge of how your photos should be composed. If you like the way it looks, chances are good that others will too.
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Part I: Getting Started with Adobe Photoshop CS5 Give your subject somewhere to go If your subject is in motion or looking off the frame of the photo, make sure to leave room in your photo for them to move (or look) into. If the viewer of your photo feels like the subject may move out of view at any moment, it leaves them with a sense of unease. Everyone wants to feel like they are in on what happens next. I’ve cropped the photo in Figure 3.9 according the rule of thirds, so it should look great, right? Not at all. In fact, aren’t you just a little worried looking at him that the boy is about to lose his balance and fall down?
FIGURE 3.9
Image cropped that doesn’t give the subject somewhere to go
Closing in on your subject If you are taking portraits, a good rule of thumb is to close in as much as possible, even to the extent of trimming off the top of the head or the ears. If you want to follow the rule of thirds, use the eyes as the main subject. You can achieve a more engaging and personal photo, as you can see in Figure 3.10.
Don’t crop out the story A picture is worth a thousand words, so when you start cropping, make sure you aren’t taking out an important part of the story you want to tell. Close-ups are great, but not at the expense of an interesting environment. The cropped photo on the left of Figure 3.11 leaves the viewer wondering where these boys are and what they are doing. The wider view in the right of Figure 3.11 lets us in on the full story.
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FIGURE 3.10
Cropping an image to close in on the subject
FIGURE 3.11
Cropping an image too much takes the story element out of the photo.
Cropping an image Now that you have a good understanding about how and why to crop images, you are ready to do some cropping in Photoshop. You can crop images in Photoshop in a couple of different ways. The
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Part I: Getting Started with Adobe Photoshop CS5 most common method is using the Crop tool in the toolbox. However, you also can crop a selection, have Photoshop detect multiple scanned images, and crop them automatically. The following sections discuss using the Crop tool to crop your images as well as cropping using the Selection tools. Automatically cropping scanned images is covered in subsequent sections.
Using the Crop tool The Crop tool in Photoshop makes cropping your images easy and quick. To crop an image, simply select the Crop tool from the toolbox and drag the mouse across the area of the image that you want to keep to create a crop box, as shown in Figure 3.12. When you are finished selecting the area, double-click the mouse on the crop box to crop the image.
FIGURE 3.12
Cropping an image using the Crop tool in Photoshop Crop box
Although the Crop tool is simple and quick to use, it is actually pretty versatile. Additional options are provided in the Options menu of the Crop tool (refer to Figure 3.13). You have these options after the crop box is selected: l
Move the crop box: After you have created the crop box, you can use the mouse to adjust the position of the crop box in the image.
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Resize the crop box: You can adjust the size of the crop box by using the mouse to drag the corners of the crop box.
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Change the center point: Notice the center point icon in the middle of the crop box in Figure 3.12. You can drag that icon to set the center position in the cropped image. The
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Chapter 3: Image Basics cropped image won’t be the same size as the crop box if the center position is moved, however, because Photoshop must adjust the size to add enough pixels to adjust for the offset center. l
Crop Guide Overlay: A very useful feature of the Crop tool is to have grid lines that help you understand the balance of the area of the photo that you are keeping. The Crop Guide Overlay option in the Crop tool options menu shown in Figure 3.13 allows you to select a Grid, Rule of Thirds, or no overlay. The Grid overlay is useful to simply get a better idea of how the uncropped area of the photo will be spaced after cropping. The Rule of Thirds overlay helps you more easily crop to match the rule of thirds guideline.
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Shield Color and Opacity: Another useful feature in the Crop tool options menu is the Shield Color. The Shield Color allows you to cover the area of the image that is going to be cropped with a partially transparent color. This helps you understand what is being clipped out and what is being kept. You can set the overlay color and adjust the opacity to give you the best overall view. Typically, you want enough of the background to show through so you can see what is being removed; however, the less of the background that shows through, the easier it is to see what the results of the crop will be.
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Perspective: The Perspective option in the Crop tool options menu allows you to change the perspective of the crop. This is done by selecting the Perspective option and then dragging one or more of the corners of the crop box. The crop box is no longer resized in a uniform manner. Each of the corners moves independently. This results in a skewed box. Keep in mind that the crop still results in a rectangular image. Photoshop calculates that adjusted positioning and changes the perspective of the pixels. To understand the perspective option a bit better, look at the perspective transform discussed in Chapter 19 of this book.
Tip When changing the position of the crop box, you can use the arrow keys to move the box one pixel at a time. This allows you to make very small adjustments that are difficult to do with a mouse. n
FIGURE 3.13
The options menu of the Crop tool in Photoshop
Cropping using the Selection tools Another method of cropping images in Photoshop is to create a selection using the Selection tools and then selecting Image ➪ Crop from the main menu. This crops everything outside a rectangle around the selected area. Cropping an image using a selection has some advantages over using the Crop tool. The Crop tool is limited in shape to a simple rectangle, whereas the Selection tools can quickly select objects of any shape. You can then crop the image to fit only the selected object. Another
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Part I: Getting Started with Adobe Photoshop CS5 advantage is that you can do several different operations while a selection is highlighted that you cannot do while a crop is highlighted. You do not have the same cropping options available when cropping using a selection. Also, even though the selection is not rectangular, the crop is. Typically, the Crop tool is the best option when you are planning to crop an area of an image. The ability to crop around a selection provides an alternative option for times when you already have an area selected that fits the area that you would like to crop.
Straightening an image One of the most common editing tasks when working with images is straightening. Photos taken when the camera was slightly angled, or even on its side, do not look quite right. Photoshop provides several different methods to straighten images that are slightly off. Photoshop provides three basic methods for straightening images. One is to simply rotate the image by a specific angle, another is to rotate the image while you are cropping it, and another is to use the Crop and Straightening utility to batch straighten scanned photos.
Rotating and flipping images The easiest way to rotate an image in Photoshop is to select Image ➪ Image Rotation and then select one of the following options from the pop-up menu shown in Figure 3.14: l
180 degrees: Rotates the image around the center axis 180 degrees.
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90 degrees CW: Rotates the image around the center axis 90 degrees clockwise.
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90 degrees CCW: Rotates the image around the center axis 90 degrees counter-clockwise.
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Arbitrary: Launches the Rotate Canvas dialog box that allows you to select an angle to rotate the image as well as whether to rotate the image clockwise or counterclockwise. The image size is increased to keep the full original pixels in the rotated version, and any new space that must be added is added as the background color.
Note When you rotate an image 180 degrees, the dimensions and pixels do not change. When you rotate an image 90 degrees, the dimensions swap places but the pixels do not change. However, when you rotate an image at an arbitrary angle, the dimensions of the image increase to keep the corners of the rotated image. More importantly, the actual pixels of the original photo are altered slightly because they are no longer aligned in the same direction as they were. Therefore, some data is lost and you may end up with some residual artifacts. You should avoid rotating images several times, because each time leads to more distortion. n l
Flip Canvas Horizontal: This flips the entire canvas on its back in the horizontal direction. It results in a mirrored image of the original. This is similar to taking a transparent sheet and flipping it over from left to right.
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Flip Canvas Vertical: This flips the entire canvas on its back in the vertical direction. It results in a mirrored image of the original. This is similar to taking a transparent sheet and flipping it over from top to bottom.
FIGURE 3.14
Using the Image Rotation menu to rotate images in Photoshop
Rotating while cropping Another option is to rotate the image at the same time you are cropping it using the Crop tool. This has the advantage of not creating any additional background pixels to accommodate space that was not in the original image because the cropping will be rectangular. As discussed earlier, you can crop an image by selecting the Crop tool from the toolbox and then select an area in the image to crop. In addition to the other options that were discussed, you can rotate the crop box by moving the mouse over the crop box until the rotation curser shown in Figure 3.15 is displayed. Then click the left mouse button and drag to rotate and straighten the image. When you rotate the crop box, it rotates around the center point icon. You can adjust the center point to get a better angle when rotating the crop.
Tip When using the Crop tool to straighten an image, you should turn on the grid lines in the Crop Guide Overlay and use them to align the rotated crop box with an element of the image that should be either horizontal or vertical, such as a water line or a building. n
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FIGURE 3.15
Selecting the rotation cursor around a crop box to rotate an image in Photoshop
Rotation cursor
Using the Crop and Straighten tool One of the most common things that Photoshop is used for is retouching old photos. Often these photos are scanned in batches on a flatbed scanner. One of the biggest problems is that the photos move around a bit and so they are not aligned very well in the final scan. Another problem is that each scanned image contains several photos when what you really want are individual photos. Photoshop provides the Crop and Straighten tool to solve both of these problems. The Crop and Straighten tool analyzes the image and looks for whitespace around the images. Then it copies the individual photos in the original image into new documents. The results are a set of new files, each containing only a single photo that is correctly rotated. To use the Crop and Straighten tool, open the image that contains the scan of multiple photos, similar to the one in Figure 3.16. Then select File ➪ Automate ➪ Crop and Straighten Photos from the main menu in Photoshop. You see a progress bar while Photoshop is analyzing the data in the image, and then some documents open containing the individual cropped and straightened photos from the original, as shown in Figure 3.16.
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FIGURE 3.16
Using the Crop and Straighten tool to automatically detect, crop, and straighten a series of photos contained in a single scan
Tip The Crop and Straighten tool can also be used even if there is only one photo in an image, as long as there is enough of a border around the photo that Photoshop can detect the edges. n
Using the Ruler tool An excellent tool for straightening images is the Ruler tool. Using the Ruler tool you can draw a line on the image and then click on the Straighten button in the options menu, shown in Figure 3.17, to straighten the image based on the angle of the ruler line. The image will be straightened vertically or horizontally to match the angle of the line. If the line drawn with the Ruler tool is exactly vertical or horizontal then no change is made. The Straighten option of the Ruler tool works best on images that have a reference plane such as the side of a building or a horizon that should be exactly vertical or horizontal. Figure 3.17 shows an example of using the ruler to straighten a seascape image. Notice that the horizon in the original is crooked, making the image look odd. A line is drawn with the ruler tool and then when the Straighten button is clicked the horizon now matches the horizontal plane of the image.
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FIGURE 3.17
Using the straighten option in the Ruler tool options, you can quickly straighten an image based on the line drawn with the Ruler tool. Ruler line
Straighten button
On the Web Site The image shown in Figure 3.17 can be found on this book’s Web site as Figure 3-17.jpg. You can open it in Photoshop and use the Ruler tool to straighten the horizon. n
Trimming a border The Trim utility provided with Photoshop allows you to quickly trim off the border around an image. This can be useful tool when you are working with scans of older photos that contain borders, a screen shot of an image that contains a border, or a document that has empty space around the outside. The Trim utility detects the border based on a specific color or blank pixels and then trims the edges of the document based on that color. The Trim utility allows you to specify whether to use transparent pixels, the color of the pixel in the top-left corner, or the color of the pixel in the bottom-right corner of the image to trim the edges. You also can specify which of the top, bottom, left, and right edges of the border are removed. To use the Trim utility to trim the border around an image, select Image ➪ Trim from the main menu to launch the Trim dialog box, shown in Figure 3.18. Then specify the options and click the OK button to trim the image.
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FIGURE 3.18
Using the Trim utility to trim the border of an image
Summary This chapter discussed the basics about image and view files. Some file formats offer advantages over others depending on the purpose for which you are using them. Although you likely will use the Photoshop format for most of your editing, you probably will gravitate to one of the main file types such as TIFF or JPEG for saving the edited images. Resolution and size have a relationship based on the desired output location of the images. Using the Canvas Size tool, you can add additional area to an image without changing any of the existing pixels in the image. This chapter also discussed how to crop, straighten, rotate, and trim images. You can use the Crop tool to crop and straighten images. You also can straighten and rotate images using the options in the Rotate Image menu. In this chapter, you learned the following: l
The different file formats for images, video, and 3D objects that Photoshop is capable of supporting, what they are for, and when to use them
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Opening, resizing, and adjusting the resolution of images
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Using the Image Size tool to set the size and resolution of the image to match the destination
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Guidelines to use when cropping images
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Using the Crop and Straighten utility to detect borders, crop them, and straighten photos, all at the same time
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CHAPTER
Understanding Colors, Histograms, Levels, and Curves
C
olor is the basic element for everything that you do with images. The purpose of this chapter is to help you understand how Photoshop perceives color so you can use the tools in subsequent chapters more effectively. Photoshop provides some very powerful tools to analyze, adjust, and select colors in your images. This chapter discusses using the histogram to understand the color composition in an image. Understanding the histogram is a basic necessity to make the most out of tools such as the Levels and Curves adjustments. Another important aspect of this chapter is discussing the color modes provided in Photoshop and how to select colors based on those color modes. The color modes give you an insight into how Photoshop perceives color and consequently how to make the most out of the editing tools provided.
IN THIS CHAPTER Understanding color and how Photoshop uses it Understanding how to use histograms to analyze colors Using the Curves tool to adjust tones Selecting a color mode for an image Selecting colors in Photoshop
Color Basics Color is the basic element of all images. The purpose of this section is to discuss the nature of color in relation to the human eye to give you a good foundation to work from. Understanding color helps you make better adjustments and corrections to your images. Also, because Photoshop gives you the option of working in several different color models, understanding color helps you choose the best color model.
What is color? They human eye can detect millions of different colors, but really, what are those colors made of? Put simply, color is made of light. Light travels in a
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Part I: Getting Started with Adobe Photoshop CS5 series of waves. Visible light is made of waves traveling between a specific set of wavelengths. White light is light that contains waves of all frequencies and therefore contains all colors. The human eye can distinguish the different wavelengths of the light waves. The wavelength of each light wave determines the color that the eye detects. For example, light waves with frequencies on the low end of the visible light spectrum are interpreted as blue, and light waves with frequencies on the high end of the visible light spectrum are interpreted as red. When the eye looks at an object, it is detecting the light that is reflecting off the object. Depending on the nature of the surface of the object, some of the frequencies are absorbed by the surface of the object and some are reflected into the eye, producing the colors we see.
Color, intensity, and the human eye The eye detects color in light waves through tiny receptor cells in the retina called cones. Light stimulates these receptor cells, and they transfer the data to the brain. Of the three groups of cones, some are sensitive to the higher frequencies, some to the lower frequencies, and some to the middle frequencies of light. Therefore, no matter how complex the composition of wavelengths in the light that the eye is receiving, the color is broken down into three basic components by the eye. This is important as we discuss topics such as channels, histograms, and color management throughout the book. Another attribute of light that affects the colors we see is the intensity. Intensity is the strength of the light reaching the eye. Basically, brighter light carries more intensity than does dimmer light. Because the cones in the eye are stimulated by the light waves, less intense waves stimulate them less, resulting in a limited amount of data being collected. This limits the number of shades of a color that the eye can discern. Understanding this helps you when you are making adjustments and correcting photos. The eye overcomes dim lighting by using additional receptor cells called rods. In bright light, the rods perform almost no function; however, in dim light, the rods transfer additional data to the brain. The data from the rods is colorless, however, which is why we don’t see much color in very low lighting. This also is why indoor photos taken with a flash appear much better than those taken without a flash.
Note The cones in the eye are most sensitive to colors on the upper end of the visible light spectrum. Therefore, colors such as red, green, and yellow are affected less by reducing the intensity than colors such as blue and purple. n
Understanding Channels and Levels Photoshop applies the concepts of digital color in a way similar to the way our eyes work. Digital color is divided into channels and levels. A channel represents a specific color, and a level represents the intensity of that color. Using combinations of different levels of channels, Photoshop can represent millions of colors.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves To illustrate this better, let’s look at how some colors are represented in Photoshop using the RGB color mode (discussed later in this chapter). Using the RGB color mode, all colors are divided into three channels—red, green, and blue, hence RGB. Each channel has an intensity level range of 0 to 255, where 0 is none of the color and 255 is full intensity of the color. Using the RGB color model, the color red is represented as 255 in the red channel, 0 in the blue, and 0 in the green. Similarly, green is represented as 255 in the green channel and 0 in the other two. Yellow is represented as a combination of the red and green channels at 255 and the blue channel at 0. To get black, all channels are set to 0; to get white, all channels are set to 255. In this way, all colors can be represented as a combination of different levels of the red, blue, and green channels.
Tip Often, when working with multiple images, images on multiple computers, or in different applications, you need to make certain you use the same color in all places. If you note the level value in each channel, you can easily reproduce the same color, no matter where you are working. For example, you may be working in RGB mode and need to create specific color of blue where the red channel has a level of 26, the green channel has a level of 74, and the blue channel has a value of 158. n
Each of the different color modes utilizes different color channels. However, all color modes use the concept of varying levels of each channel to represent different colors or tones. Photoshop provides several tools that use the concept of channels and levels to adjust images and apply special effects. Understanding how channels and levels represent color helps you utilize those tools in a much broader scope.
Adjusting with Histograms One of the most useful tools Photoshop provides when adjusting colors and tones in your images is the histogram. Using histograms, you can visually see the composition levels in one or more channels. At first histograms may seem a bit daunting to understand; however, after you understand what is being represented, your Photoshop life will never be the same. In this section, we discuss what histograms are and how to use the histogram tools provided in several areas of Photoshop to quickly adjust the levels of channels.
Understanding histograms At first glance, a histogram looks like the silhouette of a mountain range, as shown in Figure 4.1. A histogram is really just a vertical bar chart. The chart is constructed by looking at each pixel in the image and counting the number of pixels that contain a value of 0 for that channel, then the value of 1, and so forth up to the value of 255. Using the bar chart, histograms show how the levels of each channel are distributed in the image. So what does this mean? It means that you have a visual representation of the color and intensity distributing in your image.
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FIGURE 4.1
A histogram of the RGB levels of an image in Photoshop
You can interpret the visual data in the histograms in many ways to understand the composition of colors and light in an image to help you make the most out of Photoshop’s adjustment tools. To illustrate this, the following sections cover how to use histograms to determine the exposure and color balance in an image.
Determining overexposure and underexposure in an image One of the most useful features of a histogram is the ability to quickly determine how overexposed or underexposed an image is. Some photos are obviously overexposed or underexposed, and others just don’t quite look good due to overexposure or underexposure, but it is difficult to tell by just looking at an image. Using histograms helps you quickly tell if an image is overexposed or underexposed.
Tip When adjusting color, contrast, levels, and tone of an image, first check to see if the image is overexposed or underexposed. You want to adjust the exposure first as discussed in Chapter 9. n
Images that are overexposed have mostly higher levels for all channels and almost no lower levels because more light was recorded in the image. Therefore, the histogram looks like a mountain on the right and not much on the left. Figure 4.2 shows an example of an image that has been overexposed. Notice that most of the data in the image falls to the higher end of the histogram.
FIGURE 4.2
A histogram of the RGB levels of an overexposed image in Photoshop
Images that are underexposed have mostly lower levels for all channels and almost no higher levels because not enough light reached the image. Therefore, the histogram looks like a mountain on the
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left side instead of the right. Figure 4.3 shows an example of an image that has been underexposed. Notice that most of the data in the image falls to the lower end of the histogram.
FIGURE 4.3
A histogram of the RGB levels of an underexposed image in Photoshop
Determining color balance in an image Histograms allow you to ascertain the color balance in an image. Understanding the color balance helps when you are trying to correct color and tonal issues in images. For example, if you look at the histograms of an image that should be balanced and see that the image has a disproportionate amount of red, you can easily adjust the red. The best way to determine color balance in an image is to look at the histograms of each color channel individually. Viewing the histograms of each channel shows how much of that color is present in the image compared to the other color channels as well as a distribution of the levels of each channel.
Note When viewing the color channel histograms of an image, keep in mind what colors should be present. For example, if you are working with an RGB image of a boat on the ocean with a blue sky background, you should see lots of blue, but not much green, and almost no red. However, if the image contains people, with green trees in the background and a blue sky, then there should be a fairly even distribution of red, green, and blue. n
Figure 4.4 shows the channel histograms of an RGB image. Notice that the red channel has almost no values, and the values that are present are in the lower levels. Conversely, the green channel contains lots of data and is fairly distributed. The blue channel contains a moderate amount of data but is definitely skewed to the lower levels. Obviously, the color levels in this image are not balanced, but what does that mean? Well, if the image is of a green plant, then it just means that the image contains much more green than any other color. However, if the image is a snapshot of a person’s face, then it means that their skin tone is severely out of whack, and you’ve got your work cut out trying to fix it because you need red to get the pink back in the cheeks.
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FIGURE 4.4
The color levels histograms of an RGB image in Photoshop
Using the Histogram panel In the previous sections, we discussed the importance of using histograms in understanding the composition of light and color in an image. Photoshop provides a Histogram panel that helps you quickly view the important histograms of an image. Using the Histogram panel, you can view the histograms of each of the channels, all channels together, colors, and luminosity. You also can use the histogram tool to view histograms of specific layers. In addition to the histograms, the Histogram panel can show you numerical statistics about the level composition of each histogram.
Tip When you are making adjustments or corrections that have to do with color, hue, tone, contrast, and so on, view the Histogram panel for the image. Look at the overall histogram to check for overexposure/underexposure. Also, look at the individual channels to verify that the color balance is what you would expect for that image. n
The Histogram panel, shown in Figure 4.5, is launched by selecting Window ➪ Histogram from the main menu in Photoshop. The following sections discuss how to configure and use the Histogram panel to view histograms and statistics.
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FIGURE 4.5
The Histogram panel in Photoshop
Setting Histogram panel options The Histogram panel provides several views that can be set by selecting the menu icon shown in Figure 4.5. The following settings in the Histogram panel menu allow you to configure what information is shown in the Histogram panel: l
Compact view: The compact view, shown on the left in Figure 4.6, shows only the histogram image of the current channel. This view is handy if you just want to dock the histogram with several other panels to view changes as you adjust the image.
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Expanded view: The expanded view, shown in the center in Figure 4.6, shows the histogram image of the current channel but also provides the option to select different channels and sources for the histogram. It also displays the statistics if the Show Statistics option is selected.
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All channels view: The all channels view, shown on the right in Figure 4.6, shows the histograms of all channels in addition to everything that the expanded view shows.
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Show statistics: The show statistics setting toggles the statistics on and off in the expanded and all channels views.
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Show channels in color: The show channels in color option toggles the color view of channels on and off. When selected, the histograms of individual channels are displayed in the channel color. This is useful if you are viewing a specific channel, because it is easy to distinguish which channel it is.
Selecting channels The Channel menu, shown in Figure 4.7, allows you to select a specific channel to view. The channel that is selected is displayed in the compact and expanded views and at the top of the all channels view. Also, the statistics are based on the channel that is selected.
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FIGURE 4.6
The compact, expanded, and all channels views of the Histogram panel in Photoshop
Note What channels are available in the Channel drop-down list depends on the color mode of the current image. For example, if the color mode is RGB, then the channels available are Red, Green, and Blue; if the color mode is CYMK, then the channels are Cyan, Magenta, Yellow, and Black. n
FIGURE 4.7
The Channel menu in the Histogram panel of Photoshop
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves The following channels are available in the Histogram panel: l
All Channels: At the top of the list in the channels menu is the option to select all the channels for the color mode. For example, if you are using RGB, the top item is RGB and it selects all channels to use for the histogram views and statistics.
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Single Channel: In addition to all channels, each individual channel is listed in the channels list.
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Luminosity: Selecting the luminosity channel calculates the histogram and statistics based on how much general light is coming from a composite of all channels. This is useful in determining the overexposure/underexposure.
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Colors: Selecting the colors channel displays a histogram that is a composite of all color channels as well as the overlapping colors they generate. This is useful in seeing the general color composition in the image.
Selecting a source The Histogram panel allows you to select different sources to calculate the histograms from. Selecting one of the following options from the Source menu gives you the ability to view a histogram from any layer or adjustment layer or for the entire image:
Note The image must have more than one layer or adjustment layer to use the Source menu to select alternate sources. n l
Entire Image: This calculates the histogram based on a composite of all layers. Basically, this is the histogram of the image if you flatten out all your changes.
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Selected Layer: This calculates the histogram based on the selected layer in the Layer panel. You use this to calculate histograms on only a single layer.
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Adjustment Composite: This calculates the histogram based on the adjustments made in the selected adjustment layer and all layers below it. This is useful to understand the adjustments you have made to an image in graphical form.
Tip When combining elements from multiple images, add the selection from one image as a layer in the second. Then you can use the selected layer option in the source menu of the Histogram panel to compare the histograms of each different layer to see how well the colors match up. Making the histograms match better helps the composite image look better. n
Understanding statistics The statistics data in the Histogram panel, shown in Figure 4.8, displays the numerical values that are represented in the histogram image as well as some additional items. Most people would never need to use the statistics because image editing is really more of an art than a science. However, having specific numerical data about the histograms can be useful if you are tightly comparing images.
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Tip Many of the statistics change to match the level under the mouse cursor as you move the mouse over the image. n
FIGURE 4.8
The statistics data in the Histogram panel Mouse cursor
Statistics data
The following statistics are available from the statistics view in the Histogram panel: l
Mean: This represents the average level for the selected channel.
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Standard Deviation: This represents the variability of the selected channel—in other words, how varied in intensity levels the color in the selected channel is.
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Median: This shows the exact middle value of the intensity levels for the channel. In other words, if you took the pixels that are more intense and placed them on one side of a scale and the pixels that are less intense on the other side of the scale, they would be evenly balanced.
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Pixels: This shows the number of pixels in the selected channel. This can be useful to see how much data is contained in a specific layer—if you create a selection mask as a layer, for example.
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Level: This shows the intensity level value directly under the mouse pointer when the mouse is over the histogram.
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Count: This shows the total number of pixels that contain a level of intensity equal to the level under the mouse cursor.
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Percentile: This displays the percentage of pixels with intensity levels that are at or below the level under the mouse cursor. The percentage is calculated based on a percentage of all pixels in the image, so the level to the farthest left is 0% and the level to the farthest right is 100%.
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Cache Level: This displays the setting for current cache level if the Use Cache for Histograms is selected in the Preferences dialog box.
Adjusting images with the histogram tools Some Photoshop tools provide histogram tools to help you better see how to adjust and correct images. Although we cover using the tools, such as the levels adjustments, in subsequent chapters, you need to know generally how they work. The tools that Photoshop provides all have the same basic components. As an example, look at the Levels tool in Figure 4.9. The input levels are represented as a histogram. Below the histogram view are three triangular control handles that allow you to easily adjust the input levels of the channel in the image. To the right of the histogram are three eyedropper tools that allow you to select dark, light, and midtone points in the image to quickly adjust the input levels of the channel. The following sections discuss briefly how to use these tools. We discuss the tools in more detail in subsequent chapters as we get into correcting and adjusting images.
FIGURE 4.9
The Levels tool showing the histogram utility that Photoshop provides in several different tools
Control handles
Using the handles to adjust the histogram The dark handle on the left controls the minimum level for the channel, the white handle on the right controls the maximum level for the channel, and the middle gray handle controls the balance of middle tones between the high and low levels.
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Part I: Getting Started with Adobe Photoshop CS5 So what do the histogram controls really do? To help clarify, notice that most of the level values in the histogram shown in Figure 4.10 are located in the center levels. That means a relatively small number of tones are represented in the image, about 75 out of 255. The result typically is a washed-out image with very little detail. Now move the left control over to the right until it is on the left side of the histogram mountain, and move the control on the right to the left until it is on the right side of the histogram mountain, as shown in Figure 4.10.
On the Web Site A file with a histogram similar to the one in the image shown in Figure 4.10 can be found on this book’s Web site as Figure 4-10.tif. You can open it in Photoshop. Try adjusting the levels and see how changing the histogram works and the results in the image. n
Notice the values of the Histogram panel are distributed more evenly between 0 and 255. This means a greater range of tones is represented in the image because it includes values ranging between 0 and 255 instead of just a range between about 100 and 175. The tonal range of the entire image has been extended, providing much more detail with the simple adjustment of the two sliders.
FIGURE 4.10
Adjusting the minimum and maximum levels on the Levels tool to match more closely with the actual data in the image
The middle slider simply adjusts the balance of the midtone levels in the histogram. When the histogram is weighted heavily to one side or the other, the middle adjustment handle can be moved toward that side to balance midtones represented in the image. For example, the Levels tool shown in Figure 4.11 is weighted heavily to the left, which means that all the data for the image is in the darker end of the levels. Move the midtone handle to the left toward the middle of the histogram mountain. Notice that the histogram mountain moves to the right to balance on the new location of the midtone slider.
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On the Web Site A file with a histogram similar to the one in the image shown in Figure 4.11 can be found on this book’s Web site as Figure 4-11.tif. You can open it in Photoshop. Try adjusting the levels and see how changing the histogram works and the results in the image. n
FIGURE 4.11
Adjusting the midtone levels on the Levels tool to change the midtone levels balance in an image
Using the eyedroppers to adjust the histogram The Eyedropper tools allow you to adjust the levels of a channel by selecting three points in the image. The eyedropper on the left sets the minimum level for the channel, the eyedropper handle on the right sets the maximum level for the channel, and the middle eyedropper controls the balance of middle tones for the channel between the high and low levels. The eyedroppers work similarly to the control handles except that instead of selecting a specific level for the dark, light, and midtones, you can select pixels directly in the image. To use the eyedroppers, simply click the left Eyedropper tool and select a pixel that should appear black in the image. Then click the right Eyedropper tool, and select a pixel that should appear white in the image. Finally click the middle Eyedropper tool, and select a pixel that should match the midtone for the color channel selected. In the case of all channels, select a pixel that should appear gray in the image.
Tip The eyedroppers are fast and extremely accurate if there are items in the image that should appear black, white, and gray in the image. If you are not certain of the colors of the pixels, use the control handles instead of the eyedroppers. n
Adjusting levels with the Curves tool Another tool that Photoshop provides to help you better see how to adjust and correct images is the Curves tool, available by selecting Image ➪ Adjustments ➪ Curves from the main menu in Photoshop. The Curves tool is one of the most difficult tools to quickly grasp, so it has become one of the most avoided tools in Photoshop. However, after you learn how to use it, a whole new world of color correction opens up.
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Part I: Getting Started with Adobe Photoshop CS5 While the Histogram tool allows you to change the light, dark, and midtone values for the histogram, the Curves tool allows you to apply a complex curve equation to the histogram, giving you unlimited control of the range of levels in the image. Using the Curves tool, you can control completely the tonal properties of an image. In this section, we discuss what the curve is and how to use the Curves tool to adjust the levels in the image. Using the different Curves tools in Photoshop for specific purposes is covered in later chapters of this book.
Understanding curves To understand how the Curves tool works, you need to understand the curve itself. The curve starts as a diagonal line with the value of 0 on the left and 255 on the right, as shown in Figure 4.12. This means that the pixels currently with an intensity level of 0 for that channel have a value of 0 in the histogram, the pixels at level 1 have a value of 1, and so on up to 255.
Note The grid lines in the curve window allow you to more easily tell what the values are for points on the line. The bottom/left line has a value of 0, the middle line has a value of 127, and the top/right line has a value of 255. The middle left/bottom line has a value of 64, and the middle right/top line has a value of 192. n
FIGURE 4.12
A simple linear curve in Photoshop
The Curve tool works by applying new level values in the histogram for each of the current levels. Think of the Selection tool just as you would a graph with the existing level values specified along the bottom axis from 0 to 255. The new values are equal to the value of the point on the line corresponding to each of the old levels.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves To help you understand the curve better, look at the following example. Figure 4.13 shows a modified curve. Notice that the points on the left (0), right (255), and the middle (127) all are on the original line, which means that pixels with those level values will not change. However, the curve goes above the original line before level 127 so those pixels for each of those levels increase to match the value of the line. Using only two points may be a bit of a problem with the tonal correction. Notice that the levels close to 0, 127, and 255 do not change as much as the levels around 64 and 192. To overcome this problem, Photoshop allows you to apply additional points to the line to adjust the curve in several ways.
FIGURE 4.13
A curve that maps pixels with levels between 0 and 127 to higher levels and pixels with values between 127 and 255 to lower values
Points
Using the Curves tool Now that you understand how the curve works, we discuss the features of the Curve tool that enable you to create dynamic curves that can really have an impact on the tones of your images. These tools can be found whether you are adjusting images using the Curves tool, with an adjustment layer, or in Camera Raw.
Selecting the channel The first thing you want to do is to select that channel you want to adjust. The Channel dropdown menu, shown in Figure 4.14, allows you to select any channel or all the channels.
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FIGURE 4.14
The Curves tool in Photoshop
Point Curve button Freehand Curve button
Click and Drag button
Control handles
Adding points Points can be added to the curve by clicking the points curve button and then clicking the curve in the curve window. When the points curve button is selected, you can use the mouse to add points by clicking on the curve. You can add up to 14 points to the curve, making a total of 16 points including the ends, because the end points also are adjustable. Points can be removed from the line by dragging them with the mouse to the bottom-left corner or to the top-right corner of the curve window.
Tip The more points you add to the line, the finer your adjustments to the tonal correction are. However, adding more points makes it more difficult to make adjustments because you may need to adjust all points when you adjust one. Make the bigger adjustments first, and then add more points as needed to speed things up. n
Adjusting the input levels You can adjust the input levels using the control handles along the bottom axis of the levels windows. This is the same thing as adjusting the minimum dark and maximum light levels in the histogram. This limits the curved lined to operate between those ranges. To adjust the input levels, simply grab one of the control handles with the mouse and drag it to the appropriate value.
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Tip You should adjust the input levels before you create your curve because adjusting the input levels afterward results in changes to the curve. n
Adjusting specific levels from the image A useful feature of the Curves tool is the ability to select a level directly from the image. This allows you to simply select a particular area of the image based on what colors/tones you see. To adjust the levels from the image, click the click-and-drag button in the Curves tool (refer to Figure 4.14). Then use the mouse to select a pixel in the image containing the tone you want to adjust. A new point is created on the curve. While holding down the mouse button, you can move the mouse up and down to adjust the level of that point.
Creating a freehand line If 16 points on the curve line is not enough, you can create your own line by clicking on the Freehand Curve button (refer to Figure 4.14). The Freehand Curve button allows you to draw a freehand line directly on the curve window instead of using points to create the curve. The freehand curve can be used by itself to create the curve. You can use the Freehand Curve tool to make slight, nonsmooth adjustments to the curve after you have created it with points. Only the areas of the curve that you draw with the Freehand tool are corrected.
Tip You can convert a freehand line into a points curve by clicking the points curve button. This is helpful if you need to make some additional adjustments to the points curve after you change it using the Freehand tool. n
Using the eyedroppers The eyedroppers work the same way for the Curves tool as discussed earlier in the Histogram tools section. Adjusting the image first with the eyedroppers sometimes gives you a better base to start from when making the tonal corrections with the curve.
Working in Different Color Modes Photoshop provides several color modes that help when working with images. Ultimately, as we discussed earlier in this chapter, color is just different intensities of light at different frequencies. However, that data needs to be translated into a quantifiable form that can be understood by Photoshop, the monitor, printers, and ultimately you. This section gives you an overview of the different color modes available for use in Photoshop and why to use them. It also helps you understand the bits/channel settings for the image modes.
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Understanding the different color modes A color model is simply a method to translate the light captured in an image into a digital form that the computer and other devices can understand. Each color model breaks the light into one or more channels and then assigns an intensity level of each channel for each pixel in the image. Photoshop provides several color modes that match the most common color models. Depending on what you are doing with an image, you want to use a specific color mode that provides the best management of the color. To set the color mode of an image, select Image ➪ Mode and then select the mode you want to use from the main menu in Photoshop. The following sections discuss each of the color modes and what they are for.
Bitmap The bitmap color mode contains only one channel with only two possible levels, 0 and 255. The translation is that a bitmap is a black and white image without color and even without shades of gray. In essence, the image becomes a series of black dots on a white background. This may not sound very useful. However, there are several good uses for these types of images. The most common use of the bitmap mode is outputting the image to a black and white laser printer. Laser printers create images as a series of black dots on the page. So working with the image as a bitmap lets you make changes to a version that appears exactly how it will when it is printed by the laser printer.
Tip Bitmap images that are printed on low-resolution laser printers often end up darker than you would expect. Be sure to lighten the image before printing it to a low-resolution laser printer. n
The bitmap dialog box shown in Figure 4.15 lets you set the resolution and method to use when creating the bitmap from the image. You should set the resolution to the same resolution that you will be using to output the image to the printer. The following methods can be selected from the drop-down list in the dialog box: l
50% Threshold: This sets every pixel in the image that is more that 50% gray to black and every pixel that is 50% gray or lighter to white. This is by far the simplest pattern; however, the end effect is very choppy, and the image typically doesn’t look very good unless you are trying for a special effect, for which it would be better to use the Threshold tool in the Image ➪ Adjustment menu.
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Pattern Dither: The pattern dither uses a pattern to mix black and white pixels together, which results in the appearance of different shades of gray. The problem with this method is that the pattern shows up in the image, so the effect is not very smooth.
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Diffusion Dither: This uses an error-diffusion method of converting an image into a series of dithered pixels that are less structured than the pattern dither. The diffusion dither method produces an image similar to a mezzotint, which often is the best option for printing on low-resolution laser printers.
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Halftone Screen: This uses a series of dots of varying sizes and spacing that trick the eye into believing it is seeing a continuous tone. When you select the halftone screen option, an additional dialog box pops up that enables you to select the frequency, angle, and shape of the halftone dots. Typically, the best shape to use is the round shape because it is closest to what the printer generates. The frequency depends on the resolution of the printer. The higher the frequency, the better resolution you get in the image; however, if you set the frequency too high, the patterns overlap when printed and the results do not look good.
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Custom Pattern: This allows you to select a custom pattern, either one of those included with Photoshop or one of your own. The custom pattern can be used with similar results to the pattern dither. Typically, this option is used only if you have a specific pattern that you want to show up in the image.
FIGURE 4.15
The options for the bitmap mode in Photoshop
Grayscale The grayscale mode contains only one channel, but unlike the bitmap mode it can have intensity levels from 0 to 255. The grayscale mode is useful if you are outputting the image to a noncolor printer.
Tip You can create a grayscale image from a single RGB channel by selecting that channel in the Channels panel and converting the image to grayscale. Only the selected channel is converted to grayscale. This can be useful for special effects as well as utilizing the detail of a specific channel. n
Another advantage of grayscale is that viewing and adjusting the image in grayscale reduces the overhead of dealing with three color channels. Photoshop is much faster at performing complex operations on grayscale images than on multichannel images. Having a single channel also makes it easier to make adjustments to an image because you only need to worry about adjusting that channel.
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Caution To change an image from color to grayscale, Photoshop takes a composite intensity for all three channels and reduces it to the single grayscale channel. This results in a loss of the original color channels. Therefore, make sure you have a backup copy of the file before you save it again. n
Duotone The duotone mode uses on contrasting color of ink over another to produce highlights and middle tones in a black and white image. Duotones typically are used to prepare images for printing. Using the Duotones Options dialog box, you can add one, two, three, or four inks to create a monotone, duotone, tritone, or quadtone image in Photoshop. Use the following steps to configure the monotone, duotone, tritone, or quadtone options from the Duotone Options dialog box shown in Figure 4.16:
Note The Duotone color mode option is available only for grayscale images. If you are using a color image you need to convert it to grayscale before changing to duotone. n
1. Select the type of tone from the Type menu. 2. Click the blank swatch for each ink you need to specify. 3. Select the color to use for that tone.
Typically, you should use black for the first ink in the list. 4. Click the curve for each ink you need to configure to launch the Duotone Curve tool.
FIGURE 4.16
The options for the Duotone color mode and the Overprint Colors dialog box in Photoshop
5. Use the Duotone Curve tool to adjust the tone curve for that color of ink.
Typically, you do not need to adjust the curve unless you want a specific effect from that tone of ink.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves 6. Click the Overprint Colors button, shown in Figure 4.16, to bring up the Overprint Colors dialog box. 7. Adjust the colors used when one ink is printed over another ink by selecting the colors for each of the overlapping options.
Indexed color The indexed color mode contains a single channel with a single set of indexed colors. Converting an image to indexed color reduces the image to a set of most important colors. The remaining colors are given an index between 3 and 256 in a color lookup table. Instead of using the level value of the pixel to define the intensity of the channel, it points to an index value in the lookup table for the indexed image. To change the color mode of an image to indexed color, select Image ➪ Mode ➪ Indexed Color from the main menu. To view the table of indexed colors, select Image ➪ Mode ➪ Color Table from the main menu to bring up the Color Table dialog box shown in Figure 4.17. The following are settings that can be modified in the Indexed Color dialog box: l
Palette: This lets you select which palette to use when choosing the color to be placed in the index. You can choose a palette based on Exact, System, Web, Uniform, Local, Master, or Custom colors. The Local option selects colors local to the image. If you are working with multiple images, the Master option selects colors from a master of all images. When selecting local or master palettes, you can use a Selective, Adaptive, or Perceptual method of choosing the colors. The Selective method tries to preserve the key colors in the image. The Adaptive method simply preserves the most common colors. The Perceptual method intelligently selects colors that will provide the best transitions, rather than just the most popular ones. You also have the option to select System colors for images that will be viewed only on a computer. The Web option selects only Web-safe colors for images that will be used on Web pages.
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Colors: This specifies the number of colors to use in the color lookup table. The minimum is 3 colors and the maximum is 256.
Tip When creating Web images with file formats such as .gif and .png, using fewer colors results in smaller images. n l
Forced: This lets you force the conversion to keep certain colors in the image. The default is to force only black and white to be kept. The Primaries option protects eight colors: white, black, red, green, blue, cyan, yellow, and magenta. The Web option protects the 216 colors in the Web-safe colors. The Custom option allows you to preserve a specific palette of colors that you create. When you select the Custom option, a dialog box launches that allows you to specify the colors that you want to preserve.
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Transparency: This specifies whether to preserve the transparency in the image.
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Matte: The matte option allows you to specify a matte to use when working with transparency in the image. If there is no transparency in the image, this option is inactive. If the transparency option is selected, the translucent areas in the image are filled with the matte
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Part I: Getting Started with Adobe Photoshop CS5 color. If the transparency option is deselected, the translucent and transparent areas are filled with the matte color. l
Dither: This specifies the method Photoshop uses to calculate replacement colors for colors being discarded from the image. The None option simply selects the closest color in the lookup table, which can sometimes result in harder edges but is typically the best option to use. The Diffusion option dithers the color randomly, creating a more naturalistic effect. The Pattern option dithers in geometric patterns, which is usually the least desirable because the patterns show up in the image. The Noise option mixes pixels throughout the image instead of just the areas of transition.
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Amount: This specifies the percentage of diffusion to use when dithering. This option is available only when you select the Diffusion dithering option. Lower values decrease the size of the file but result in harsher color transitions.
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Preserve Exact Colors: This turns dithering off for areas of solid color when the Diffusion dithering option is selected. This option is not available unless the Diffusion dithering option is selected. Using this option helps your images look better even if you have to use dithering.
FIGURE 4.17
The options for the Indexed color mode and the Color Table dialog box in Photoshop
RGB color You likely will use the RGB color model most often. The RGB color model is used by computer monitors and the human eye. Photoshop processes its wide range of vivid colors quickly. RGB is the model that most closely matches the human eye for two reasons. First, RGB uses three colors similar to the receptors in the human eye. Second, RGB is additive, meaning that as you add more color, you get more light, in the same way that more color results in the eye seeing white.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves In the RGB model, colors are divided into three channels of red, green, and blue. Each channel has an intensity level range between 0 and 255. Each color is made up of a combination of intensity levels from these three channels, resulting in the possibility of over 16.7 million different colors. RGB provides by far the most vibrant use of colors of all the color models and is supported by most file formats. The one downside to RGB is that it contains more colors, especially the brighter ones, than can be printed. This can result in loss of detail in areas of your images when they are printed. The solution is to use the CYMK color model if you are going to have your images professionally printed.
CYMK color The CYMK color model is completely different from the RGB model in that it uses a subtractive method, meaning that the more color is added, the less light is seen. This is one of the reasons the CYMK model works so well for printing. Think about adding ink to a page; if you add all the colors, you get black, or rather a really deep brown. Another difference between the CYMK model and the RGB model is that it is made up of four channels: cyan, yellow, magenta, and black. The black channel is necessary because adding the ink all together makes a dark brown not black, so if you want the printer to print true black, you must have a separate channel to specify black. Which model should you use for general color image editing? The answer is RGB. The RGB model provides the widest range for tonal adjustment and correction. The scanner, monitor, and most other devices (except printers) work in the RGB model. Also, editing images in Photoshop in the RGB mode is much faster than in CYMK.
Tip Even if you are using the RGB model, you can select View ➪ Proof Colors from the main menu to toggle the view to a simulated CYMK model. This way you can periodically check to see how the image will look when printed. Just remember to turn it off. n
Lab color The Lab color model is very different from RGB and CYMK. The Lab model does have three channels, but instead of all three dedicated to colors, only two—a and b—are dedicated to color; the third—Lightness—is dedicated to luminosity. The a channel maps colors ranging from deep green at level 0 to gray at level 127 to a rich pink at 255. The b channel maps colors ranging from bright blue at level 0 to gray at level 127 to a dim yellow at 255. The Luminosity channel maps the brightness of each pixel from dark at 0 to white at 255. The Lab channel is additive like the RGB model, but it has only two channels of color mixing, and the levels of those channels are not mapping to intensity but rather tones of color. The tones add together to form brighter colors, and only the luminosity channel provides data to darken the tone that is created by the other two channels.
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Part I: Getting Started with Adobe Photoshop CS5 Editing images in Lab color is about the same speed as RGB and much faster than CYMK, so it is a fun alternative if you want to adjust your thinking of mixing colors.
Multichannel The Multichannel mode separates out the channels in the current color model into spot channels. Spot channels can be used to store parts of an image that you want to print in specific inks or spot colors. For example, you can print specific inks from a Pantone library. When you convert an image to the Multichannel model, the current channels are changed to spot channels. The channels created in Multichannel mode depend on the original color mode of the image. For example, the RGB mode gets converted to cyan, magenta, and yellow spot channels, the CYMK model gets converted into cyan, magenta, yellow, and black spot channels, and the Lab model gets converted into three Alpha channels.
Note The spot channels overlap, so if you do not want ink from one channel to be printed on ink from another channel, the data in those areas of the channel cannot overlap. n
Bits per channel How many bits should you use per channel? The quick answer is 8 bits per channel, but let’s look a bit closer. What does bits per channel mean? A bit is a single item of information for a computer with a value of 0 or 1. That doesn’t mean much in terms of an image, but if you string millions of bits together, it can mean a lot. Using 8 bits of information, we can define an intensity level of 0 to 255. For three channels, we can define about 16.7 million different colors for each channel. If we use 16 bits per channel, that goes up to over 281.4 trillion colors; if we go to 32 bits per channel, well, you get the idea. So why not just use 32 bits per channel and maximize our information? The answer is disk space and speed. An image with 32 bits per channel takes up much more disk space and much more effort to edit on Photoshop’s part. Plus, the human eye can’t even detect all the colors in the 8 bits per channel. And that leads to the question of why not just use 8 bits per channel, because it is more than enough for the human eye? The answer lies in what happens during adjustments, corrections, and conversions. Each time you make a correction to an image, change the levels, add a filter, and so on, you lose a little bit of the distinguishing detail. If you do enough corrections on an image with 8 bits per channel, you may lose noticeable detail in the image. However, if you are using an image with 16 bits per channel, the data lost is in levels that cannot be detected by the human eye, so when you convert the image back to 8 bits per channel, there is no data loss. An image must be in the RGB or Lab color modes to convert it to 16 bits per channel. To change your image to 16 bits per channel, select Image ➪ Mode ➪ 16 Bits/Channel. After you have changed your image to 16 bits per channel, you can change it to 32 bits per channel by selecting Image ➪ Mode ➪ 32 Bits/Channel.
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Note An image with 32 bit per channel is considered an HDR (High Dynamic Range) image. Typically, these images are used in 3D rendering and advanced CGI animation effects. n
Choosing Colors Now that you understand about color and how it relates to different modes in Photoshop, the last thing you need to know is how to actually select a color in Photoshop. You will be working with many different tools in Photoshop that require you to select colors to use. Remember that even in 8 bits per channel, you can choose from more than 16 million colors. The following sections discuss the main methods that you will use to set and select colors.
Using the Color Picker tool The most common method of choosing a color is using the Color Picker tool shown in Figure 4.18. The Color Picker tool is launched by clicking the foreground or background tool in the Photoshop toolbox. The Color Picker tool allows you to select any color possible in Photoshop and gives you a wealth of information. The main areas of the Color Picker tool are the color chooser pane, the range slider, the new/current color view, and the color settings. The Color Picker lets you use the mouse to select the color of any pixel displayed in the pane. The range slider lets you use the mouse to adjust the range of colors displayed in the Color Picker pane. The new/current color view simply shows the current color on the bottom and the newly selected color on top for comparison purposes.
FIGURE 4.18
Selecting colors using the Color Picker tool
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Part I: Getting Started with Adobe Photoshop CS5 The color settings allow you to change each individual aspect of color that Photoshop uses to define a color. Selecting one of the color settings changes the types of color that can be displayed in the color chooser pane. Changing the value of one of the settings changes the selected color. This list describes the available settings in the Color Picker tool: l
H: Changes the hue of the color. The hue values are based on a range of 0 degrees to 360 degrees. Think of a color wheel where red is at 0/360 degrees, green is at 120 degrees, and blue is at 240 degrees. The hue setting is one of the best to use when selecting colors because it allows you to quickly move to a specific color using the range slider.
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S: Changes the saturation of the color. The values are based on 0% to 100%. A higher saturation means more of the color, and a lower saturation means gray. If you have the color you want but you want a little bit different tone, this is the best option to select for the range view.
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B: Changes the brightness of the color. The values are based on 0% to 100%. Higher values mean the colors are brighter, and lower values mean darker. This is also useful when you have the color you want but you want to adjust the tone just a bit.
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R: Changes the intensity of the red channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less red, and higher values mean more intense red.
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G: Changes the intensity of the green channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less green, and higher values mean more intense green.
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B: Changes the intensity of the blue channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less blue, and higher values mean more intense blue.
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#: Specifies the hexadecimal code associated with the color. This is useful for colors that are specified in Web pages and for specifying a particular color without having to memorize multiple values.
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L: Changes the lightness of the color. The values are based on a luminosity of 0 to 100. Higher values mean white, lower values mean black, and middle values specify the tone of the color. This is useful when you have the color you want but want to adjust the tone just a bit.
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a: Changes the value of the a channel in the Lab color mode. The values are based on tones between −128 and 127, where −128 is green, 127 is pink, and 0 is gray.
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b: Changes the value of the b channel in the Lab color mode. The values are based on tones between −128 and 127, where −128 is blue, 127 is yellow, and 0 is gray.
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C: Specifies the percentage of cyan in the color. The values are based on a range of 0% to 100%, where 0% is no cyan and 100% is full intensity cyan.
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M: Specifies the percentage of magenta in the color. The values are based on a range of 0% to 100%, where 0% is no magenta and 100% is full intensity magenta.
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Y: Specifies the percentage of yellow in the color. The values are based on a range of 0% to 100%, where 0% is no yellow and 100% is full intensity yellow.
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K: Specifies the percentage of black in the color. The values are based on a range of 0% to 100%, where 0% is no black and 100% is full intensity black.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves Another nice feature of the Color Picker tool is the ability to add the color you have chosen to the Swatches panel. This is especially nice if you have taken a long time to find just the right color. To add the color to the swatch, click the Add to Swatches button and specify the swatch name to add the color to. The Color Picker tool also allows you to select colors from a color library such as a Pantone color. To select a color from a color library, click the Color Libraries button to bring up the Color Library dialog box shown in Figure 4.19. Select the library book, and choose the color. To change back to the Color Picker, click the Picker button.
FIGURE 4.19
Selecting a color from the Color Libraries tool in Photoshop
Using the Color panel Another method of choosing a color is using the Color panel shown in Figure 4.20. The Color panel provides the option of quickly selecting a color based on one of the color models or using sliders to adjust the levels of the color channels. To launch the Color panel, select Window ➪ Color from the main menu in Photoshop. The working components of the Color panel are the before/after view, the Slider tools, the color ramp, and the menu. The before/after view allows you to see the original color as well as the newly selected color. The color ramp at the bottom allows you to select a color from the ramp using the Eyedropper tool that becomes visible when the mouse is over it. The Slider tools allow you to use the mouse to drag handles to quickly select the level for each available channel or to type in a specific value. The menu of the Color panel provides the following options to change the color mode used to select colors:
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FIGURE 4.20
Selecting colors from the Color panel tool in Photoshop
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Grayscale Slider: Sets the slider control to a single slider that adjusts the level of grayscale colors. This tool is useful if you need to add gray without any other tone to the image.
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RGB Sliders: Sets the slider control to three sliders that allow you to adjust the intensity levels of the red, blue, and green channels.
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HSB Sliders: Sets the slider control to three sliders that allow you to adjust the hue, saturation, and brightness of the color.
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CYMK Sliders: Sets the slider control to four sliders that allow you to adjust the intensity levels of the cyan, yellow, magenta, and black channels.
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Lab Sliders: Sets the slider control to three sliders that allow you to adjust the values of the a, b, and luminosity levels in the Lab channels.
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Web Color Sliders: Sets the slider control to three sliders that allow you to adjust the hex code values of the red, green, and blue channels for Web images.
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Copy Color as HTML: Copies the current color as the HTML code that gets inserted into an HTML tag when building Web pages—for example, color=”#9999cc”.
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Copy Color’s Hex Code: Copies the current color as the hexadecimal code that represents the red, green, and blue values—for example, 9999cc.
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RGB Spectrum: Changes the color ramp to use the RGB spectrum for selecting colors using the eyedropper.
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CYMK Spectrum: Changes the color ramp to use the CYMK spectrum for selecting colors using the eyedropper.
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Grayscale Ramp: Changes the color ramp to use the grayscale ramp for selecting a shade of gray using the eyedropper.
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Current Colors: Changes the color ramp to use only the tonal values of the current color when selecting a color using the eyedropper.
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Tip The Current Colors ramp is useful when you have the color you want, but you want to change the tone a little bit or when you want to use multiple tones of the same color in the image. n l
Make Ramp Web Safe: Changes the color ramp to provide only the Web-safe palette for selecting colors using the eyedropper.
Using the Swatches panel One of the simplest methods of choosing a color is using the Swatches panel shown in Figure 4.21. A swatch is just a set of colors combined together. The Swatches panel displays the available colors in the swatch either as thumbnails or a list. To choose a color, simply click the one you want. To launch the Swatches panel, select Window ➪ Swatches from the main menu in Photoshop.
FIGURE 4.21
Selecting colors from the Swatches panel tool in Photoshop
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Part I: Getting Started with Adobe Photoshop CS5 Using the Swatches panel menu, you can select one of the following views to display the colors available in the swatch: l
Small Thumbnail: Displays the colors as tiny squares in the Swatch panel. This view is the most commonly used. Typically, the colors are big enough to see and yet the panel doesn’t take up much room.
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Large Thumbnail: Displays the colors as larger squares in the Swatch panel. This view is useful if you have colors that are very close to each other in the swatch. Viewing larger squares makes it easier to distinguish between the colors.
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Small List: Displays the colors as a list with tiny squares next to the color names in the Swatch panel. This view typically is used when you want to know the name of the color when selecting it. Navigating large swatches from the list form is difficult.
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Large List: Displays the colors as a list with large squares next to the color names in the Swatch panel. This view is almost never used because of the difficulty in scrolling through to find a color.
Using the menu in the Swatch panel, you also can save the colors in the current swatch as a custom swatch as well as load and replace swatches. You also can select from a list of swatches built into Photoshop.
Tip When you open a new swatch, it allows you to append it to the existing swatch. This enables you to combine swatches you commonly use into a single custom swatch that you can load later, allowing you to avoid constantly switching between swatches. n
Using the Eyedropper tool Another way to select a color is to use the Eyedropper tool in the Toolbox. This is by far the simplest method of selecting a color. The Eyedropper tool works by selecting the color that the mouse is currently over in the image when the left button is clicked. The downside to using the Eyedropper tool is that the color must appear in the image. The upside to using the Eyedropper tool is that the color appears in the image. These two statements may appear to conflict; however, it depends on what you are trying to do. If the colors in the image are limited or you want to add a color that doesn’t exist in the image, the Eyedropper tool will not work for you. However, if you are trying to use a color that matches the surrounding image, selecting a color from the image guarantees that it matches somewhere in the image. When using the Eyedropper tool, the options menu shown in Figure 4.22 will allow you to set the following options:
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Sample Size: Allows you to specify the size of the area of pixels beneath the Eyedropper tool that are sampled to determine color when the mouse is clicked. The default is 11 by 11, but you can specify ranges from a single pixel to 101 by 101. The total area of pixels is sampled and the average color is selected. For images with a lot of variance, you will likely want to use a smaller sample size.
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Sample: Specifies whether to sample pixels from all layers or only the current layer.
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Show Sampling Ring: When this option is selected a large ring, shown in Figure 4.22, is displayed as long as you hold the mouse button down. The color ring shows the current color on the bottom and the sampled color on top as you drag the mouse around the image. Notice that the current color is black and the sample color is from the small patch of blue in the image.
Note The Show Sampling Ring option is available only if you enable OpenGL drawing as described in Chapter 2. n
FIGURE 4.22
The Sampling Ring allows you to see the previous color on top as well as the current color under the cursor on bottom
Using the Color Sampler tool A subtool of the Eyedropper tool in the Photoshop Toolbox is the Color Sampler. It looks like the Eyedropper, but has a crosshair in the icon. The Color Sampler tool allows you to view channel settings for up to four channels. As shown in the Info panel in Figure 4.23, the Color Sampler tool launches when a pixel is selected. To use the Color Sampler tool, select it from the Toolbox and use the mouse to select pixels in the image. After a pixel is selected by left-clicking in the image, the Info panel is loaded. As the mouse moves, the data at the top of the Info panel changes, telling you the values of the RGB and CYMK channels of the pixel that the mouse is over. You can add up to four samples to the Info panel using the Color Sampler tool. To delete a sample, right-click the sample using Color Sampler tool and select Delete from the pop-up menu. To change the color mode information listed in the Info panel, right-click the sample and select the color mode.
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FIGURE 4.23
Viewing color channel data in the Info panel in Photoshop
Using the HUD Color Picker One of the best ways to quickly select a color while using another tool such as a brush is to use the HUD Color Picker shown in Figure 4.24. The HUD color picker provides a hue strip or wheel that sets the base tone for a color block. An Eyedropper cursor in the color block allows you to select a specific color from the color block or a hue from the hue strip or wheel. The HUD Color Picker is launched by pressing Alt(Option)+Shift while right-clicking with the mouse. Figure 4.24 shows both the wheel and strip versions of the HUD Color Picker. Which version is displayed is defined in the General settings of the Preferences dialog as discussed in Chapter 2.
FIGURE 4.24
The HUD Color Picker is a very useful method to change the color while using other tools Eyedropper
Hue wheel
Hue strip
Color block
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Note The HUD Color Picker is available only if you enable OpenGL drawing as described in Chapter 2 and in 8-bit and 16-bit images. n
Summary This chapter covered everything about color, from how the human eye perceives it to how to select a color in Photoshop. The histogram shows you the basic composition of one or more color channels, and modifying the histogram modifies the color composition in the image. The purpose this chapter was to familiarize you with the relationship between light, color, the human eye, digital files, and Photoshop. You have learned the following: l
Color is simply light reflected off surfaces at different frequencies and intensities.
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Photoshop sees colors in terms of channels and levels.
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How to understand the information contained in a histogram and how it applies to the level and channels contained in the different color modes of Photoshop.
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The purpose and how to best use each of the color modes such as RGB, CYMK, and grayscale.
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Utilizing the color tools in Photoshop to give you the maximum information when editing your images.
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CHAPTER
History and Actions
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diting images in Photoshop is done by applying a series of adjustments to modify the original pixels in the image. Each adjustment builds on the others until you achieve the desired results. Photoshop provides two powerful features that allow you to be more productive by utilizing and manipulating the sets of adjustments made to images. The history feature tracks each change to the individual image. This allows you to have a record of each state of the image during editing. Photoshop provides several highly useful tools that allow you to make dynamic adjustments to the image by manipulating the history states. These tools also allow you to play around with different techniques because you can quickly revert back to previous states or remove adjustments that do not work well. The actions feature allows you to bundle a set of adjustments as an individual action. You can save actions to a file and then use them in other images. This feature saves lots of time when you are performing similar adjustments to images.
IN THIS CHAPTER Understanding the nondestructive nature of Photoshop Using the History panel to manipulate past adjustments Using the history of edits to paint out changes Using Photoshop’s built-in action to save time Creating custom actions
Photoshop: The Non-Destructive Application One of the most powerful features of Photoshop is the ability to make numerous edits to images and see the effects of those edits without destroying the underlying pixel data or previous edits. Many of the edits done to images in Photoshop are the result of a series of adjustments using a variety of tools. Each adjustment builds on another until the end result is reached.
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Part I: Getting Started with Adobe Photoshop CS5 Unfortunately, it is not an exact science, and you have to try different adjustments until you find a combination that culminates in the desired outcome. The non-destructive nature of Photoshop allows you to freely play around with the edits, tweaking them until they are just right without the fear of ruining previous edits or the original pixels in the image. In fact, you can even remove a single adjustment that was made early on without affecting the original pixels or the subsequent adjustments. To help understand the value of non-destructive editing, think about editing an image for hours and realizing that one of the first edits you had made was a bad decision. If you could not undo that edit, the hours of work would be wasted. The following is a list of the major non-destructive features/tools available in Photoshop: l
History: The History panel, discussed later in this chapter, provides a means of quickly viewing each of the adjustment that have been made to the image. The History panel also provides a means of creating snapshots that you can easily revert back to and removing individual edits from the history.
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Dialog boxes: Most of the dialog boxes in Photoshop allow you to use the key sequence Ctrl/Ô+Z sequence to undo the last adjustment you made to a field. This feature is very useful if you make a change to a value that you do not like but cannot remember what the original value was. This feature undoes only the last change made. To undo other changes, hold down the Alt key and the Cancel button turns into a Reset button. When you click the Reset button, the values of all fields in the dialog box revert to the original values from when the dialog box was last opened.
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Layers: Using adjustment layers, discussed in Chapter 10, you can make adjustments to the image without affecting the actual image itself. The adjustment layers contain adjustment data that affects how the image looks when they are applied. Layers are very useful because they can be removed, reordered, and even moved from one document to another in Photoshop.
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Layer Comps: The Layer Comps panel is similar to the History panel, but it contains the changes made to each layer. Using the Layers Comp panel, you can easily create multiple versions of the edited image, each with its own set of changes. This makes tracking multiple changes to the image easy.
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Masks: Creating masks, discussed in Chapter 10, allows you to create a protective shield for an area in the document that protects it from adjustments made. One of the major advantages to masks is that they can be altered at any time, and the alterations are automatically updated in the results because they actually sit between the adjustment layer and the layers below.
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Alpha channels: The alpha channel, discussed in Chapter11, allows you to add information that can be applied to areas of the image without actually affecting the other channels. For example, you can add transparency information to an RGB image without affecting the normal pixels in the image.
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Smart objects: Smart objects are a useful feature of Photoshop that provide powerful, yet non-destructive adjustments to images. Using smart objects, you can combine a series of one or more layers, documents, and so on into a single combined object. Then you can apply filters and make other adjustments to the object without actually changing the contents. You can change the contents of the original object at any time, and the adjustments apply only to the updated object. This allows you to create a base source image and quickly try different edits without the worry of damaging the work done to make the source image or the original pixels.
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Crops: Photoshop allows you to crop images in a non-destructive manner. When you start to crop an image, as discussed in Chapter 3, two options appear in the Options menu: Hide and Delete. If you select Delete, the pixels outside the crop box are thrown away and you work only with the remaining pixels. If you select Hide, the pixels outside the crop box are masked, and although you see the pixel inside the crop box, only the pixels outside the crop box are still present in the image. To restore the cropped pixels, select Image ➪ Reveal all. The canvas expands to the origin size, and any of the layer adjustment applied to the image is applied to the restored pixels.
Note The Hide and Delete options in the crop tool menu are available only if you are cropping a layer that does not have the pixels locked. For more information about layers and layer locking, see Chapter 10. n l
Revert: At any point while you are editing an image, you can revert to the original state of the file when it was opened or last saved by selecting File ➪ Revert or pressing the F12 key. This should be used only as a last resort. All the changes you have made to the image are lost. However, this option saves you the time of closing the image without saving the changes and reopening it.
Using the History Panel The History panel can be one of your best friends in Photoshop because it has the ability to save you hours of lost work. When you are editing images in Photoshop, you are really working from one change to another. These changes are tied together and build on one another. The purpose of the History panel is to track and manage each adjustment you make to the image. The History panel is designed to give you much more flexibility and control than that traditional undo/redo functionality. Using the History panel, you can go undo and even modify one, some, or all of the changes you have made to an image.
Note Photoshop allows you to log some of the history information as either metadata in the file or as a separate file. The history logging feature is set from the General panel in the Preferences dialog box as discussed in Chapter 2. n
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Part I: Getting Started with Adobe Photoshop CS5 The following sections discuss the History panel and how to get the most out of it. They also cover using the Eraser, History Brush, Art History Brush, and selections to roll back and modify individual edits.
Understanding the History panel You load the History panel by selecting Window ➪ History from the main menu in Photoshop. The History panel, shown in Figure 5.1, keeps track of a list of the states of the image after each edit is applied. This allows you to quickly go back in time to the state of your document after any of the edits were made. The following sections discuss configuring and using the History panel to make adjustments to your images.
FIGURE 5.1
The History panel keeps track of the state of the image after each change is made.
Configuring the History panel The History panel can be configured by setting the options in the History panel menu and by setting the preferences for history in the general Photoshop Preferences. To configure options from the History panel, select History Options from the History panel menu (refer to Figure 5.1) to bring up the History Options dialog box, shown in Figure 5.2. Using the History Options dialog box, you can configure the following options: l
Automatically Create First Snapshot: This automatically creates a snapshot of the original document when it is loaded into Photoshop. This is a useful feature that allows you to always have an original snapshot to use with the history tools; however, if you know that you do not need to use the history, then turning off this option reduces some processing overhead and memory.
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Automatically Create New Snapshot when Saving: This automatically creates a snapshot every time you save the file in Photoshop. This can be a useful feature; however, it also can be a problem if you have the tendency to save after every little change you make. You may end up with a huge list that really isn’t meaningful. If you use this feature, make sure you are careful about when you save.
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Allow Non-Linear History: Typically, the edits to a document are built on top of each other in a linear fashion. The problem with the linear method is that if you delete one state in the history list, then all the subsequent states also are deleted. When the Allow Non-Linear History option is selected, the history states become disconnected and you can delete one of the states in the middle without deleting the subsequent changes.
Note Some of the changes you make to a document are very tightly connected. You should be very careful when using the Allow Non-Linear History option so you do not delete a state on which another state is depending. n l
Show New Snapshot Dialog Box by Default: This specifies whether to show the New Snapshot dialog box when creating snapshots. If this option is disabled, the New Snapshot dialog box is not displayed unless you select New Snapshot from the History panel menu. Disabling this option can speed up creating snapshots using the button on the History panel if you do not need to specify a name or source.
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Make Layer Visibility Changes Undoable: If this option is not selected, which is the default, then turning layer visibility on and off is not recorded in the history. When this option is selected, turning a layer visibility on or off is recorded in the history and you can undo it using the history tools.
FIGURE 5.2
Setting options for the History panel
By default, Photoshop keeps a record of at most 20 history states. Each history state takes up memory and requires extra computer processing by Photoshop. For the most part, 20 history states is enough to work from; however, if you are working on an image that requires lots of different edits, you may need to increase the number of history states that are recorded so you can revert or adjust some of the corrections that you are performing. The maximum number of history states is specified in the general preferences of Photoshop. To increase the number of history states that Photoshop keeps available, select Edit ➪ Preferences ➪ General from the main menu in Photoshop (or use the Ctrl/Ô+K shortcut) to launch the preferences. Then select the Performance option and change the value of the History States field in the History & Cache pane.
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Part I: Getting Started with Adobe Photoshop CS5 Navigating through history states Navigating through the different history states can be done either directly using the History panel or by using keyboard shortcuts. The most common method is to open the History panel, scroll through the history, and select the history state you want to view. When you select a history state, the image window changes back to that state. A sometimes faster option is to use the Ctrl/Ô+Alt/%+Z keyboard shortcut to navigate backward through history and Ctrl/Ô+Shift/%+Z keyboard shortcut to navigate forward through history. If you need to go back only a few adjustments to see how the image looked, then this option is by far the fastest and easiest; however, you cannot undo any of the history edits.
Tip If you select a snapshot in the History pane, then you can use the Ctrl/Ô+Alt/%+Z keyboard shortcut to navigate backward through the snapshots and the Ctrl/Ô+Shift/%+Z keyboard shortcut to navigate forward through the snapshots. n
Using snapshots A very useful feature of the History panel is the ability to create snapshots of the image based on a specific state. The snapshot data remains, even if the history data is deleted. This feature provides a very versatile way to make different adjustments to an image and quickly compare between the adjustments. To create a snapshot, click the Create Snapshot button at the bottom of the History panel or select New Snapshot from the History panel menu to bring up the New Snapshot dialog box, as shown in Figure 5.3. Name the snapshot, and select the snapshot source. The snapshot can be taken from the full document, the current layer, or all layers merged. When you click OK, the snapshot appears in the snapshots list at the top of the History.
FIGURE 5.3
Creating a snapshot of a history state adds a state that you can go back to at any time.
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Chapter 5: History and Actions The snapshots can be treated very much like the history states. You can delete them and even use the History Brush tool on them.
Creating documents Another useful feature of the History panel is the ability to quickly turn a history state into a separate document. This feature is useful if you are editing an image and want to send someone multiple versions for her approval. You can make the full edit of the document and then use the History panel to create documents based on the states that you think might meet expectations. To create a document using the History panel, select the state or snapshot to create a document from and then click the Create New Document from Current State button or select New Document from the History panel menu. A new document with the image data from the selected state or snapshot is loaded in Photoshop. The name of the new document is the name of the state or snapshot.
Deleting history Clearing the history can be done in a couple of ways. You can select a history state and click the trash can in the History panel or select Delete from the History panel menu.
Caution If the Allow Non-Linear History option is selected for the History panel, only the state that was selected is deleted. However, if the Allow Non-Linear History option is not selected, which is the default, then all subsequent history states are deleted as well. Make sure you know which option is selected before you delete a large amount of history that you need. n
You also can clear out all the history in the History panel by selecting Clear History from the History panel menu. This removes all history states. The Clear History option works only on history states; snapshots remain after clearing the history.
Painting from history A powerful feature of the History panel is the ability to select a history state and paint or erase directly from that history state or snapshot. This allows you to paint through the changes that have been made until you get down to the selected history state. If you consider the number of brush styles and transparency options available when painting, painting from history opens a variety of possibilities. To enable painting from the History feature, you need to click the box beside the desired state or snapshot in the History panel. The box changes to the History Brush icon, as shown in Figure 5.4. Photoshop uses that state as the base level when painting from history.
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FIGURE 5.4
Selecting the History Brush option for a history state enables the History Brush, the Art History Brush, and the Eraser to utilize the history data.
Using the Eraser tool in the History panel One of the best features of Photoshop’s History panel is that it allows you to erase part of the history without having to remove all the history. To help you understand how this works, consider the following example. We start with the image shown on the left in Figure 5.5. Notice that the boy’s shirt is very light, and the light coming through the trees is so bright that it really washes out his face in the photo. We fix this problem with a simple contrast adjustment, the History Panel, and the Eraser tool using the following steps: 1. Select Image ➪ Adjustments ➪ Brightness/Contrast from the main menu. 2. Adjust the brightness and contrast down until you have reduced the brightness of the overall image, as shown in the middle image in Figure 5.5. 3. Open the History panel by selecting Windows ➪ History from the main menu. 4. Click the Enable History Brush icon for the Open history state, as shown in Figure 5.6. 5. Select the Brightness/Contrast history state, as shown in Figure 5.6. 6. Select the Eraser tool from the Toolbox. 7. Change the Mode to Brush in the Eraser Options bar, as shown in Figure 5.6. 8. Change the Brush Style to a dissipating brush with a very large size in the Eraser Options menu, as shown in Figure 5.6. 9. Set the Opacity of the brush to about 75% to allow the adjustment to be a bit gradual. 10. Select the Erase to History option in the Eraser Options bar, as shown in Figure 5.6. 11. Click the boy’s face in the image several times using the Eraser tool until most of the original brightness in the face comes back.
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Chapter 5: History and Actions The more you click, the more the change of brightness is erased from around the face. The end result is shown on the right in Figure 5.5; the face pops out a bit better than in the original.
FIGURE 5.5
Using the Erase to History option on the Eraser allows you to make an adjustment to an entire image and then erase a portion of that change.
FIGURE 5.6
Using the History Brush settings and configuring the Eraser tool to erase part of the history from an image Enable history brush
Brush style
Brush mode
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Tip Even if the Erase to History option is not checked, you can still erase to the history by holding down the Alt key while using the Eraser. n
Using the History Brush The History Brush tool actually works in the same way to erase part of the history of changes as using the Eraser tool with the Erase to History option checked—except backward. Instead of erasing the changes made since the history state was set in the history panel, you use that history state to draw on the currently selected history state. Either way, the end result is the same.
Cross-Ref Using the History Brush gives you a major advantage over using the Eraser in that you can utilize the brush modes to provide more effects when painting on the history. For more information about using the brush and brush modes, see Chapter 16.
Using the Art History Brush The Art History Brush tool also works the exact same way to erase part of the history of changes as using the Eraser tool with the Erase to History option checked. Once again, you have to think about it in reverse terms. Instead of erasing the changes made since the history state that was set in the history panel, you are using that history state to draw on the currently selected history state.
Tip Using the Art History Brush has a major advantage over using the History Brush tool: In addition to utilizing the brush modes, you also can choose a style to apply to the brush, giving an impressionistic appearance. For more information about using the brush and brush modes, see Chapter 16. n
Using selections when painting history Sometimes, you want to limit the area of an image on which history is being painted. You can use selections to limit the area of the image that will be affected by the Eraser, History Brush, and Art History Brush tools. Follow these steps to use a selection to limit the area painted on while using the history painting options: 1. Click the Enable History Brush icon for the history state you want to paint from. 2. Select the history state you want to change. 3. Use the selection tools to select the area of the image you want to paint history into.
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Chapter 5: History and Actions 4. Use the Eraser, Art History Brush, or History Brush to paint into the image.
Only the area inside the selection is painted on.
Creating and Using Automated Actions Photoshop does an excellent job of providing simple keyboard shortcuts (hotkeys) for most common tasks. The more you use Photoshop, the more you will rely on these shortcuts. They save lots of time, allowing you to create at a much faster rate. However, even performing shortcuts over and over can become tedious. That is where actions come into play. Actions are a list of operations to perform from the current window. Actions can include most of the tasks that you can perform using the shortcuts, menus, and panels in Photoshop. Actions can range from something as simple as adding a special effect to the active document to a long series of operations that include creating several new documents and layers with numerous effects, filters, and masks. There really is no limit to what you can do with custom actions. Actions save so much time because you can perform an action, whether it involves 2 steps or 50 steps, with just the click of a button or a hotkey. Photoshop comes with several predefined action sets for various common tasks. The predefined Photoshop action sets do everything from creating frames to applying a sepia toning effect to an image. As you work more with Photoshop, you likely will find tasks that you repeat over and over that get tedious. Then you will want to create custom actions. Recording a custom action is as simple as recording the steps you take as you perform those tedious tasks.
Note After you play an action, you can click the History tab to view the History panel and see each step that was taken by the action. n
Understanding the Actions panel The first step in helping you implement actions to speed up your work is to help you understand the organization of the Actions panel. The Actions panel can be accessed by selecting Window ➪ Actions from the main menu. By default, the Actions panel is shown with the History panel. The Actions panel is made up of four main sections, as shown in Figure 5.7; the action list, the Actions panel menu, the toggle boxes, and the Quick Buttons.
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FIGURE 5.7
Using the Actions panel to manage a set of actions to perform on an image Toggle item on/off Action set Action list
Menu
Quick buttons
Actions Toggle dialog on/off
Play New set New action Delete Stop Record
Action list Located in the main portion of the panel, the action list is made up of three components: action sets, actions, and recorded commands. l
Action sets: An action set is simply a way to file a list of actions into a category. An action set is distinguished by the folder shown next to the name of any given set. You can see
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Chapter 5: History and Actions two sets in Figure 5.7: Default and Video. You can load any one of seven predefined action sets from the Actions panel menu, or you can create your own. Click the triangle next to the action set name to see a list of actions contained in the set. l
Actions: An action is a preset list of operations that can be preformed quickly and automatically by selecting an action and clicking the play button in the Actions panel. Click the triangle next to the action name to see a list of recorded commands contained in the action.
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Recorded commands: A recorded command is a list of commands that have been recorded in a set order to perform the same series of operations every time the action is played. These commands may also contain submenus. For example, clicking the triangle next to the Stop command in Figure 5.7 shows the message displayed by the command.
Actions panel menu Available by clicking on the menu button located in the upper-right corner of the panel, the Actions panel menu contains menu items that allow you to set the panel mode, add new actions, load action sets, save action sets, and set other options for the Actions panel.
Toggle boxes Located along the left side of the panel are two toggle boxes available for each action set, action, and operation in the action list. The left toggle box enables or disables the set, action, or operation. If the toggle box is not checked, the operation is not applied when the action is run. The right toggle box enables or disables any dialog boxes contained in the set, action, or operation. If a dialog box is displayed in the toggle box, Photoshop displays the dialog box associated with the operation when running the action. For example, if an operation adjusts the levels of an image, having the dialog box toggled on displays the Levels dialog box and waits for you to adjust the levels manually every time the action is run.
Quick Buttons Located on the bottom right of the panel, the Quick Buttons are icons that provide quick access to the Stop, Record, Play, Create New Action Set, Create New Action, and Delete tasks for actions. These options are available in the panel menu as well.
Changing the view of the Actions panel Just when you thought you had a handle on the Actions panel, you can dramatically change the way it looks by choosing Button Mode from the Actions panel menu. Figure 5.8 shows that the actions list has converted to buttons. This allows you to simply click the action you want to perform without the dual steps of highlighting it and pushing Play. You can see that the action sets are delineated by color.
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FIGURE 5.8
Using the Button mode of the Actions panel
Loading existing action sets When you initially open the Actions panel, it is populated with the default action set. At this point, you can use one of the available default actions, load an existing action set, or create a custom action set. Loading an existing action set can be accomplished in one of two ways. Photoshop’s predefined action sets are listed at the bottom of the panel menu. These action sets are predefined for specific purposes such as frames, image effects, and textures. They can be loaded by simply clicking them. You also can load action sets that you have created previously or downloaded by clicking the Load Action option in the panel menu and then navigating to the location of the action set.
Note Action sets have an .atn file extension. n
When you load an action set, it is added to the action list. Photoshop automatically expands the action set to show all actions contained inside.
Creating custom actions Custom actions are created by recording operations you want to add to the action as you apply them. After you begin recording the action, all steps that affect the current document are recorded, including creating new documents. Be prepared to perform the steps in order without any extra steps. Follow these steps to create a custom action: 1. Select New Set from the Actions panel menu.
If you want to add the action to an existing set, skip to Step 3. 2. Type the name of the new action set, and click OK. 3. Select the action set to add a new action to or create a new one. 4. Create a new action by selecting New Action from the Actions panel menu to bring up the New Action dialog box, as shown in Figure 5.9.
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FIGURE 5.9
Using the New Action dialog box
5. Type the name of the new action.
You also can select a function key that automatically runs the application after it is recorded. And you can select a color to be used when displaying the action in Button Mode.
Note You will want to group like actions with like colors to make the Button Mode easier to use. n
6. Start recording the action by clicking the Record button in the New Action dialog box.
As soon as you click Record, Photoshop begins recording operations, so be ready. 7. Perform the desired operations in order.
Perform the operations as you normally would, including modifying settings in dialog boxes and so forth.
Note Don’t worry if you mess up a little bit when performing the operations. You can go back and insert forgotten operations, delete unwanted operations, and even modify operations that weren’t performed quite right. n
8. Stop recording and save the action by clicking the Stop button in the Actions panel shown in Figure 5.7.
The new action appears in the action list.
Editing actions You can edit an existing action in several different ways. For example, you may realize after recording an action that you need to add additional steps. You may also realize that you need to add menu items, stops, or paths to fine-tune the behavior. The following sections discuss the different ways that you can fine-tune your actions.
Adding a stop A stop is an operation that pauses the running action and displays a message. The user can read the message and decide whether to continue running the action. You may want to insert a stop into
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Part I: Getting Started with Adobe Photoshop CS5 actions prior to performing complex or>.html: The HTML file based on the Base Name setting that is used to display the Zoomify Flash Player utility. The appropriate code in this file can be cut and pasted into your Web page code to include the image on your Web site.
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: A folder based on the Base Name setting that contains the following items: l
ImageProperties.xml: Specifies data necessary for the Zoomify Flash Player.
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zoomifyViewer.swf: Zoomify Flash Player utility that renders the images and provides the controls in the browser to zoom in and out on the image.
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TileGroup#: A series of folders that contain the JPEG tiles of the image. Each tile is named using the #-#-#.jpg filename format. Each number represents a location in the image and zoom scale, and the numbers are used to display the zoomed portions of the image.
Figure 30.23 shows how a Zoomified image appears in a Web browser. Using the utility, we are able to easily zoom in and pan to an individual balloon.
Note When you click the OK button in Zoomify, a Web browser launches to display the Zoomified image. You may need to enable the Zoomify activeX application when the browser launches. n
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FIGURE 30.23
You can easily zoom in on and pan around a high-resolution image that has been Zoomified.
Summary Photoshop provides several powerful features that can aid graphic designers in creating and preparing images for Web applications. Photoshop provides the tools necessary to convert image formats to formats supported by Web browsers, set the size of images to reduce the bandwidth they require for download, and apply color profiles to ensure that the image colors are consistent across multiple Web browsers. Photoshop also provides features that allow you to quickly add animation and transparency to give your images a much better look and feel. This chapter discussed the Save for Web & Devices utility that allows you to quickly configure image file formats, preview output, convert images, and generate the HTML output necessary to support them. In this chapter, you learned these things: l
How to convert images to file formats that are supported by Web browsers.
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Using color profiles ensures that image colors remain consistent between Web browsers.
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How to add transparency to Web images so they flow better with the Web page.
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Using Zoomify is a simple way to add high-resolution images than can be zoomed and panned to Web pages.
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The Save for Web & Devices utility allows you to control what image metadata is included in Web images so you can show copyright information but hide camera settings.
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How to preview images in Web browsers and Device Central before outputting them to the new file format.
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Digital Workflow and Automation
P
hotoshop is a powerful application with many tools and utilities that provide limitless ways to create and edit images. Photoshop’s power comes with one big drawback: It has so many tools, menu options, and panels that navigating through them can be difficult, especially if you need to perform the repetitive tasks on several files. To solve that problem, Photoshop has provided several tools that make it possible to automate much of your workflow using batch processing and scripting. Batch processing involves performing the same set of commands on a set of files. Scripting involves applying a script as either a one-time command or each time a workflow event occurs. The following sections discuss utilizing Photoshop’s automation and scripting tools to make things easier and speed up image editing.
IN THIS CHAPTER Batch processing image files Creating droplets to easily apply actions to files from the file system Using scripts to simplify workflow tasks Assigning actions and scripts to Photoshop events to automate tasks
Automating Workflow in Photoshop One of the best ways to save time and increase your productivity when editing images is to automate some of the repetitive tasks. Often tasks such as lens correction and color correction need to be done on a series of photos. For example, a set of photos taken with the same lens at a wedding dinner may all need a lens correction filter applied as well as a color correction to adjust for the lighting at the event. It takes lots of time to make those adjustments to each image individually.
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Part IX: Advanced Output Techniques Photoshop has a couple of great utilities that help you automate the workflow necessary to make the same adjustments to a series of photos with one simple command. Batch and Droplets allow you to quickly apply custom actions to files to save time when editing.
Cross-Ref Creating custom actions is covered in Chapter 5. You can refer to that chapter for information necessary to build the actions and action sets that can be utilized by the Batch and Droplet processing tools. n
Batch processing multiple images The Batch processing utility allows you to apply a customizable action to a set of images and control how the images are processed. The way batch processing works is you define a location for a set of files, then select one of the customized actions defined in the Actions panel, and then define how you want the processed photos to be outputted. When the batch is processed each image is opened by Photoshop, the steps in the selected action are performed on the image, and the adjusted image is saved to disk where you can then perform individualized adjustments later. Batch processes can be started in a couple of different ways: You can select the files in Bridge and then select Tools ➪ Photoshop ➪ Batch from the main menu, or you can select File ➪ Automate ➪ Batch from the main menu in Photoshop. Each option launches the dialog box shown in Figure 31.1.
Cross-Ref Bridge is discussed in more detail in Chapter 6. Bridge is a great way to organize and manage your images. Using Photoshop’s Batch utility is usually the best way to perform batch editing on images. n
These options are available in the Batch processing utility: l
Play: This allows you to define what action to perform on each of the files specified by the sources settings by selecting from the following options: l
Set: This provides a drop-down list of the defined sets in Photoshop. The default set provides some standard edition actions such as Vignette and Custom RGB to Grayscale. However, you likely will be creating your own action sets with customizable actions. For example, you may want to create an action set with lens correction filter actions for each of your lenses.
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Action: This defines the action to be performed on each image when the files are processed. Actions can perform anything from a simple one-step edit to a series of several complex edits. The options available from the Action menu represent the list of actions that are contained in the selected Set in the Actions panel.
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FIGURE 31.1
Using the Batch dialog box, you can define a custom action that is applied to a set of source files and define a location and file-naming format to save the edited image.
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Source: This allows you to define where Photoshop gets the source images to be edited. You can select files from four different sources: Folder, Import, Opened Files, and Bridge. When you select Folder, you can use the Choose button to launch a dialog box that allows you to select a folder that contains files to be included in the batch edit. Selecting Import allows you to process images from a digital camera, scanner, or PDF. The Import option is available only if you specify that you want to batch process folders when you are importing them into Photoshop or Bridge. Selecting Opened Files batch processes all images currently open in Photoshop. Selecting the Bridge option batch processes the files currently selected in Bridge. The Bridge option is available only when you are using the Bridge interface to launch the Batch processing utility.
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Part IX: Advanced Output Techniques The Source option also allows you to use the following settings to control the behavior of handling image files from the source location: l
Override Action “Open” Commands: When this option is selected, batch processing overrides the choice of files specified for an “Open” command in the action. This does not override the settings in the Open command, just the choice of files. This option is necessary for actions that include open commands for most recent or current files because the most recent file is always the first image in the set of source files. You should not enable this option for actions that do not contain an Open command. You can leave this option disabled if the action does not include an Open command or if the Open command is on another file that is required for the action but not the actual file that is being edited.
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Include All Subfolders: When this option is selected, images in all subfolders in the selected folder also are batch processed. This allows you to process images in multiple folders so you can keep your files well organized.
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Suppress File Open Options Dialogs: When selected, this option hides the File Open dialog boxes. Instead of requiring you to specify the open options, the default values are used. This option is especially useful if you are batch processing the camera raw images because you can preset how to treat the images and bypass the dialog box when batch editing.
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Suppress Color Profile Warnings: When selected, the color policy messages, such as color mismatch or missing color profiles, are not displayed.
Destination: This allows you to control how and where the edited images are saved to disk. You can specify one of three different destinations: None, Save and Close, and Folder. If you select None, the images are edited but left open in Photoshop unless the action includes a Save or Save As command. If you select Save and Close, the original image is overwritten by the edited image on disk. If you select Folder, you can use the Choose button to select a destination folder to save the edited images. The edited images are saved in that location using the name formatting specified in the File Naming setting. The following options allow you to override the Save As command and define the file naming convention:
Caution You should select the Save and Close option only if you are confident that the action will result in the best look. After the original file is overwritten, you cannot go back and undo the edits. n
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Override Action “Save As” Commands: When this option is selected, batch processing overrides the destination folder and name of files specified by a Save or Save As command in the action. This does not override the settings in the Save commands, just the destination and name of the files. You do not need to enable this option for actions that do not contain a Save or Save As command.
Note Lots of options are available in the Save As command in Photoshop that are not available from the Batch dialog box—for example, compression, saving layers, and so on. Typically, you want to record a Save As command into the editing that sets these options. Also, you can use a Save As command in the action to change the file type of the images during the batch process. n l
File Naming: The file-naming option allows you to set the naming convention that is used to save the edited file. The file convention is defined by selecting the appropriate components from the drop-down menu shown in Figure 31.2. You also can type into one of the field components static text that is included in the filename. When the edited file is saved, these components are used in the order specified to create the filename. When you use the components, include the document name and extension in different casing formats, serial letters, multi-digit numbers, and different date formats.
Note When using Digit Serial Numbers, the numbers start with the number specified in the Starting serial# field and are prefixed by enough zeros to force them to the number of specified digits. When using serial letters, the first image starts with a/A. n l
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Compatibility: The Windows, Mac OS, and Unix options allow you to limit the naming conventions to support Windows, Apple, and Linux/Unix systems. This is useful if you plan on sharing your images with others who may be using different systems.
Errors: This allows you to control how errors in the batch processing are handled. You have two options: l
Stop For Errors: When this option is selected and an error occurs when editing one of the files in the batch, an error message is displayed and the processing stops there. No additional files are processed.
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Log Errors To File: When this option is selected and an error occurs when editing one of the files in the batch, the error message is logged to a file and the processing continues. The location of the log file is set by clicking the Save As button. The log file is in text and can be read with any text editor to determine which files failed and why.
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FIGURE 31.2
The File Naming options in the Batch dialog box allow you to select filename components based on date, document name, extension, and serialized letters or numbers.
Creating droplets to process images Droplets are very similar to Batch operations with the exception that instead of selecting a source for files, you specify a location of where to save the processing info in the file system. The processing data is converted to an executable that processes any files or folders that are dragged and dropped onto it. Droplets can be created by selecting File ➪ Automate ➪ Create Droplet from the main menu in Photoshop. Notice that the options in the Create Droplet dialog box, shown in Figure 31.3, are similar to the Batch options. The only difference is that instead of a Source option, you have a Save Droplet In option that allows you to select a location to save the droplet.
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FIGURE 31.3
Using the Create Droplet dialog box, you can create an executable file that applies an action to any image files that are dragged and dropped onto it.
To create the droplet, fill in the Save Droplet In, Play, Destination, and Errors settings and click OK. An executable file is created in the location specified. To use a droplet, simply use the file system interface to drag and drop files or folders onto the droplet. The droplet uses Photoshop to perform the specified action and save the adjusted files.
Tip Droplets are compatible to move between Windows and Mac systems. When moving a droplet from Windows to Mac or vice versa, drag and drop it onto the Photoshop executable on the new system. Photoshop converts the droplet to be used on that system. If you are planning to move a droplet from Mac to Windows, make sure to name it with the “.exe” extension so it can be executed on the Windows system. You should be aware, however, that file references in actions do not work across Windows and Mac systems. If an action refers to a file, such as in an “Open” or “Save As” command, the droplet prompts for the location of the file if it is used on a different system. n
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Using Scripting to Speed Up Workflow Another great way to save time and increase your productivity when editing images is to utilize the scripting capabilities in Photoshop. Two main types of scripts are available in Photoshop: the predefined scripts and the event-driven scripts. Predefined scripts are run once by selecting them from the File ➪ Scripts menu shown in Figure 31.4. Event-driven scripts are triggered and executed by events in your normal editing workflow. The following sections discuss utilization of each of these types of scripts.
FIGURE 31.4
The File ➪ Scripts menu in Photoshop provides several predefined scripts that perform tasks that speed up your workflow.
Using Photoshop’s scripts Predefined scripts are similar to other commands in Photoshop with the exception that they typically perform more than just one task on a single item. The predefined scripts are JavaScript or AppleScript scripts that perform a series of Photoshop tasks to reduce the number of keystrokes and mouse clicks you need to make. The following is a list that describes the predefined scripts available from the File ➪ Scripts menu:
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Image Processor: Launches a dialog box that allows you to process a set of files including converting format, changing names, and running actions.
Cross-Ref The best place to use the Image Processor is from Bridge while you are managing your files. Using the Image Processor utility from Bridge is covered in Chapter 6. You can refer to that chapter for information necessary to use the Image Processor utility to convert and process images. n l
Delete All Empty Layers: Removes empty layers from the image. This can be a useful tool to clean up an image when you have used lots of layers when editing.
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Flatten All Layer Effects: Flattens all the effects that apply to the currently selected layer in the Layer panel. This rasterizes all the layer effects so you can apply additional filters or other tools that require the layer to be flattened.
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Flatten All Masks: Applies the layer masks in all layers. The layer masks affect only the layer to which they are linked.
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Simplify Layers for FXG: Simplifies layer settings so that they are compatible with Adobe’s FXG file format. FXG is an XML-based file format that is used in graphics for Web applications which are created by applications such as Adobe Flash or Flex 4.
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Layer Comps to Files: Opens a dialog box, similar to the one in Figure 31.5, that allows you to specify a file type and location using the following options:
FIGURE 31.5
The Layer Comps to Files script utility can be used to convert the Layer Comps in the current document into individual files.
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Destination: Specifies the location on disk to create the files.
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File Name Prefix: Specifies the name prefix that is applied to the saved files. The rest of the filename includes a numerical index and the file extension specified in the File Type option.
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Selected Layer Comps Only: Allows only the currently selected Layer Comps in the image to be saved as individual image files in the specified location. Otherwise, all Layer Comps are saved as individual files.
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File Type: Specifies the file format to use when saving the image. You can select BMP, JPEG, PDF, PSD, Targa, TIFF, PNG-8, or PNG-24.
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Include ICC Profile: Specifies whether to include the current ICC color profile with the saved images. It is always a good idea to include a color profile when saving images.
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Layer Comps to WPG: Converts the Layer Comps in the image into individual WPG files.
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Export Layers to Files: Opens a dialog box, similar to the one in Figure 31.5, except that instead of only saving Layer Comps, all layers are saved to files.
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Script Events Manager: Allows you to attach specific actions to workflow events in Photoshop. The Script Events Manager is discussed in much more detail in the next section.
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Load Files into Stack: Opens the Load Layers dialog box, shown in Figure 31.6, that allows you to combine a set of files into a stack. A stack is a set of image files taken of the same subject from the same camera position. Image stacks loaded as layers can be converted to Smart object and then processed using the options located in the Layers ➪ Smart Objects ➪ Stack Mode options discussed later in this section.
FIGURE 31.6
The Load Files into Stack script utility provides a simple dialog box that allows you to select files and define how the individual files are added to a newly created stacked document.
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Chapter 31: Digital Workflow and Automation From the Load Layers dialog box, you can configure the following options: l
Use: This allows you to specify whether to use files or a folder as the source for the set of files. The Browse, Remove, and Add Open Files buttons allow you to add files and remove files and folders from the Use list.
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Attempt to Automatically Align Source Images: When this option is selected, Photoshop tries to find common edges in the images and automatically adjusts the rotation and position so the images are as closely aligned as possible. Aligning the images is important for the stack mode algorithms to work well.
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Create Smart Object after Loading Layers: The stack mode algorithms are based on processing a smart object. Selecting this option automatically creates a smart object from all the images. If this option is not selected, the images are loaded as individual layers that you can edit before combining them into a smart object.
Cross-Ref Another great place to create image stacks is from Bridge while you are managing your files. Using the Bridge application to stack images is covered in Chapter 6. You can refer to that chapter for information necessary to stack and unstack images. n l
Load Multiple DICOM Files: This opens a dialog box that allows you to select a folder containing a set of DICOM image files. The DICOM files in the folder are added as individual layers to a new document in Photoshop.
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Statistics: This opens the Image Statistics dialog box, shown in Figure 31.7. This dialog box is similar to the Load Files into Stack option, except that it automatically converts the images into a single smart object and then applies the stack mode specified in the Choose Stack Mode option. Statistics is a better option than Load Files into Stack if you do not want to align the images manually, or if you don’t want to edit any of the layers before applying the stack mode to the set.
Using stack modes on multiple images to analyze images and reduce noise Photoshop provides several options for processing images that have been stacked into a smart object using the Load Files into Stack script described in the previous section. These stack modes options can analyze the differences between images and combine images to reduce noise. The following stack mode options can be found in the Layers ➪ Smart Objects ➪ Stack Mode menu: l
Entropy: Calculated based on the number of bits that would be necessary to encode the data from all images in a set. Areas of the image that are different show up white in the resulting image, and areas with little difference show up as black. This is a great option for locating missing items between one image and another or embedding hidden copyright notices. Figure 31.8 shows an example of using the Entropy stack mode to analyze two digital images. Notice that they both look exactly the same, but when the Entropy mode is employed a clear copyright notice is shown. The copyright notice was added by creating text selection mask, as discussed in Chapter 18, copying it to a new layer and then slightly adjusting the position. You can’t see the change because it is in a busy area of the image.
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FIGURE 31.7
The Image Statistics dialog box allows you to set the stack mode that is applied after some files are automatically converted into a single smart object.
FIGURE 31.8
Using the Entropy mode, you can quickly compare a digital image with the original to reveal an embedded copyright message. Original
Entropy stack mode
Copyrighted
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Kurtosis: Calculates the stacked image based on peakedness or flatness of the levels in the image. Areas that match a normal distribution of levels appear lighter while areas that are flat or overpeaked appear as darker.
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Maximum: Uses the maximum channel value for all non-transparent pixels in the stacked image. This is good for stacks of images where you want to lighten the overall image.
Tip For the best results, images that you intend to edit using the stack mode options should be taken from a fixed position such as a tripod with a stationary subject. At the very least, the images must be similar enough that you can align them together in the set. n l
Mean: Averages the pixels for all images in the stack and uses the average value for the stacked image. This is usually the best option for noise reduction if the images are very similar.
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Median: Takes the middle value for all images in the stack and uses that value for the stacked image. This option works better than mean for noise reduction if there is a lot of variance in the lighting and color of the images, such as scratches or dark areas. Figure 31.9 shows an example of how the median mode can be used to remove unwanted items. Notice that the three images of the moon have a silhouette of a bird in front, so none of them are a clean shot. The bird can be removed by stacking the three images and applying the median mode as shown in the results.
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Minimum: Uses the minimum channel value for all non-transparent pixels in the stacked image. This is good for stacks of images where you want to darken the overall image.
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Range: Calculates the pixel value in the stacked image based on the maximum pixel value minus the minimum pixel value. This shows the range of variance in the stacked images.
FIGURE 31.9
Using the Median mode, three images of the moon with a silhouette in front can be processed into a single clean image.
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Skewness: Calculates the pixel value based on the variance of the pixels away from the average. This shows how close the pixel values are to each other.
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Standard Deviation: Calculates the stacked image values based on the standard deviation from the mean or square root of the variance. This can help you analyze areas of the images that are different because the areas that are different show up as a lighter value based on the amount of variance while areas that are the same across all stacked images are black.
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Summation: Calculates the pixel values in the stacked image by adding values from all images in the stack. This increases the resolution in fainter areas of the images, but the brighter areas just become white.
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Variance: Similar to the Standard deviation. Areas that match are black, and areas that do not match are gray to white based on the variance in the stacked image.
Use the following steps to apply a stack mode to a series of photographs: 1. Select File ➪ Scripts ➪ Load Files into Stack from the main menu. 2. Add the files you want to apply to the stack as described earlier. 3. Select the Attempt to Automatically Align Source Images option.
This option tries to align the images so that they match up correctly.
Note You may need to manually align the images in the smart object if the auto alignment option fails to align them completely. To align the images manually, double-click the smart object layer to open the smart object. The images are in separate layers, and you can use the Move tool to move the image in each layer until they are aligned. n
4. Select the Create Smart Layer after Loading Layers option. This converts the image layers into a single smart object. 5. Click the OK button and the images are processed into a single document in Photoshop with a smart object layer. 6. Select the newly created smart object layer. 7. Use the Layers ➪ Smart Objects ➪ Stack Mode menu and select the stack mode that you want to apply to the image.
The resulting image in the document window is changed to the results of the stack mode.
Scripting workflow events Photoshop provides the Script Events Manager, shown in Figure 31.10, that gives you access to certain program events that occur during normal editing workflow. The Script Events Manager lets you attach scripts or actions to these events so that each time an event occurs during your editing workflow, the action/script is run. Scripting workflow events can be a big timesaver by automatically performing actions you want to happen without needing to remember them. For example, you can configure the open file event to automatically save a JPEG copy so that each time you start editing a file, you have a JPEG backup. The Script Events Manager utility is loaded by selecting File ➪ Script ➪ Script Events Manager from the main menu in Photoshop. The Script Events Manager allows you to use the following options to assign actions/scripts to workflow events: l
Enable Events to Run Scripts/Actions: When this option is selected, the associations in the scripted events list are active when you are working in Photoshop. When this option is deselected, the events are ignored and no action or script is run.
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Scripted Events List: This lists the current associations between events and actions/ scripts. The Add button adds the association defined by the Photoshop Event, Script, and Action settings to this list. The Remove and Remove All buttons are used to remove associations from the list.
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Photoshop Event: This displays a set of Photoshop events that you will encounter during the normal workflow including Start Application, New Document, Open Document, Save Document, Close Document, Print Document, Export Document, and Everything (all available events).
l
Script: This specifies a script that should be associated with an event and should be run each time the event occurs. The drop-down list displays the available scripts. The default script options are fairly limited; however, the drop-down list also provides a browse option so you can select a JavaScript or AppleScript from the file system.
l
Action: This specifies an action that should be associated with an event and should be run each time the event occurs. The first drop-down list allows you to select the action set from the available action sets defined in the Actions panel. The second drop-down list allows you to select the action from the available actions defined in the Actions panel. Because you can easily create custom actions using the Actions panel, you have lots of options when associating actions with events.
Cross-Ref Creating custom actions is covered in Chapter 5. You can refer to that chapter for information necessary to build the actions and action sets that can be associated with workflow events. n
FIGURE 31.10
The Script Events Manager allows you to associate an action or a script to normal workflow events so that each time an event occurs, the action is performed or the script is run.
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Part IX: Advanced Output Techniques
Tip For the best results, images that you intend to edit using the Stack Mode options should be taken from a fixed position such as a tripod with a stationary subject. At the very least, the images need to be similar enough that you can align them together in the set. n
Summary This chapter discussed utilizing Photoshop’s automation and scripting tools to make things easier and speed up image editing. Photoshop provides the Batch and Droplet tools that allow you to perform the same set of commands on a set of files without opening each file individually. Photoshop also provides several scripts that apply a set of repetitive operations, such as flattening layer masks using a single menu option. In addition to the scripts, Photoshop provides the Script Events Manager that allows you to associate actions and scripts to normal workflow events. Each time an event occurs during your workflow, the associated action is performed. In this chapter, you learned the following: l
How to use custom actions to process a set of image files all at once.
l
When you create a droplet, Photoshop performs a predefined action on each file that is dragged and dropped onto it.
l
Photoshop provides several scripts that allow you to perform repetitive actions.
l
Using the Statistics scripts, you can load a series of photos into a stack and then automatically process the set of files to clean up noise in a way that is not possible with a single file.
l
Normal workflow events such as opening or saving a file can be tied to actions such that the action is automatically applied when the event occurs.
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APPENDIX
Keyboard Shortcuts
L
earning keyboard shortcuts is one of the best ways to improve your performance and experience with Photoshop. With hundreds of tools and menus, navigating using the mouse can take time. Knowing the keyboard shortcuts for actions you frequently perform makes editing faster and less cumbersome. The purpose of this appendix is to give you a sample of the most common shortcuts you will encounter in Photoshop. Table A.1 lists the shortcuts for the tools in the Toolbox in the standard edition of Photoshop CS5. Table A.2 lists some of the most commonly used menu options, such as opening files and levels adjustments. Table A.3 lists the shortcuts for the tools in the Toolbox that are provided with Photoshop CS5 Extended.
IN THIS APPENDIX Standard toolbar shortcuts Common menu command shortcuts Extended toolbar shortcuts
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TABLE A.1
Standard Toolbar Shortcuts Photoshop CS5 Standard Toolbar
PC Shortcut
Mac Shortcut
Move tool
V
V
Rectangular Marquee tool
M
M
Cycle Marquee tools
Shift+M
Shift+M
Lasso tool
L
L
Cycle Lasso tools
Shift+L
Shift+L
Cycle Quick Selection, Magic Wand tools
Shift+W
Shift+W
Crop tool
C
C
Cycle Crop, Slice tools
Shift+C
Shift+C
Eyedropper tool
I
I
Cycle Eyedropper, Color Sampler, Ruler, Note, and Count tools
Shift+I
Shift+I
Spot Healing Brush
J
J
Cycle Spot Healing Brush, Healing Brush, Patch and Red Eye tools
Shift+J
Shift+J
Brush tool
B
B
Cycle Brush, Pencil, Color Replacement, and Mixer Brush tools
Shift+B
Shift+B
Clone Stamp tool
S
S
Cycle Clone Stamp, Pattern Stamp tools
Shift+S
Shift+S
History Brush tool
Y
Y
Cycle History Brush, Art History Brush tools
Shift+Y
Shift+Y
Eraser tool
E
E
Cycle Eraser, Background Eraser, and Magic Eraser tools
Shift+E
Shift+E
Gradient tool
G
G
Cycle Gradient, Paint Bucket tools
Shift+G
Shift+G
Blur, Smudge, Sharpen tools
None
None
Dodge tool
O
O
Cycle Dodge, Burn, Sponge tools
Shift+O
Shift+O
Pen tool
P
P
Cycle Pen, Freeform Pen tools
Shift+P
Shift+P
Add, Delete, Convert Anchor Point tools
None
None
Horizontal Type tool
T
T
Cycle Horizontal Type, Vertical Type, Horizontal Type Mask, and Vertical Type Mask tools
Shift+T
Shift+T
Path Selection tool
A
A
Cycle Path Selection, Direct Selection tools
Shift+A
Shift+A
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Appendix A: Keyboard Shortcuts
Photoshop CS5 Standard Toolbar
PC Shortcut
Mac Shortcut
Rectangle tool
U
U
Cycle Rectangle, Rounded Rectangle, Ellipse, Polygon, Line, and Custom Shape tools
Shift +U
Shift +U
Hand tool
H
H+spacebar
Rotate view tool
R
R
Zoom tool
Z
Z
Swap Foreground, Background Color
X
X
Default Foreground and Background Colors
D
D
Edit in Quick Mask Mode
Q
Q
TABLE A.2
Common Menu Command Shortcuts Popular Menu Commands
PC Shortcut
Mac Shortcut
New Document
Ctrl+N
Ô+N
Open Document
Ctrl+O
Ô+O
Browse in Bridge
Ctrl+Alt+O
Ô+Option+O
Close Document
Ctrl+W
Ô+W
Print Document
Ctrl+P
Ô+P
Undo
Ctrl+Z
Ô+Z
History Step Forward
Ctrl+Shift+Z
Ô+Shift+Z
History Step Backward
Ctrl+Alt+Z
Ô+Option+F
Fade
Ctrl+Shift+F
Ô+Shift+F
Fill
Shift+F5
Shift+F5
Free Transform
Ctrl+T
Ô+T
Color Settings
Ctrl+Shift+K
Ô+Shift+K
Image Size
Ctrl+Alt+I
Ô+Option+I
Canvas Size
Ctrl+Alt+C
Ô+Option+C
Levels
Ctrl+L
Ô+L
Curves
Ctrl+M
Ô+M
Hue/Saturation
Ctrl+U
Ô+U
Color Balance
Ctrl+B
Ô+B
New Layer
Ctrl+Shift+N
Ô+Shift+N continued
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TABLE A.2
(continued)
Popular Menu Commands
PC Shortcut
Mac Shortcut
New Layer via Copy
Ctrl+J
Ô+J
Group Layers
Ctrl+G
Ô+G
Select All
Ctrl+A
Ô+A
Deselect All
Ctrl+D
Ô+D
Inverse Selection
Ctrl+Shift+I
Ô+Shift+I
Refine Edge
Ctrl+Alt+R
Ô+Option+R
Proof Colors
Ctrl+Y
Ô+Y
Gamut Warning
Ctrl+Shift+Y
Ô+Shift+Y
Zoom In
Ctrl+plus(+)
Ô+plus(+)
Zoom Out
Ctrl+minus(-)
Ô+minus(−)
Fit on Screen
Ctrl+0
Ô+0
Show Actual Pixels
Ctrl+1
Ô+1
Show/Hide Extras
Ctrl+H
Ô+H
Rulers
Ctrl+R
Ô+R
Brush panel
F5
F5
Layers panel
F7
F7
Info panel
F8
F8
Photoshop Help
F1
Ô+/
Increase Brush Diameter
]
]
Decrease Brush Diameter
[
[
Increase Brush Hardness
Shift+[
Shift+[
Decrease Brush Hardness
Shift+]
Shift+]
TABLE A.3
Extended Toolbar Shortcuts Photoshop CS5 Extended Tools
PC Shortcut
Mac Shortcut
3D Object Rotate tool
K
K
Cycle 3D Object Rotate, 3D Object Roll, 3D Object Pan, 3D Object Slide, and 3D Object Scale tools
Shift+K
Shift+K
3D Rotate Camera tool
N
N
Cycle 3D Rotate Camera, 3D Roll Camera View, 3D Pan Camera View, 3D Walk Camera View, and 3D Zoom Camera tools
Shift+N
Shift+N
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APPENDIX
Extending Photoshop’s Capabilities Through Plug-Ins
P
hotoshop is extremely powerful and excellent at what it does. One of the best features of Photoshop is the ability to extend any features that don’t already exist by adding more plug-ins. Lots of plug-ins are available from Adobe as well as other sources that provide specialized functionality for a variety of purposes. Plug-ins can be installed in Photoshop using two methods. The simplest method is to copy the plug-in file into the Adobe Photoshop CS5/Plug-ins folder where Photoshop is installed.
IN THIS APPENDIX Installing plug-ins to extend Photoshop Optional plug-ins from Adobe’s Web site
Note You need to restart Photoshop after installing a plug-in. Also some plug-ins require some additional steps, so make sure you read the readme file that comes with the plug-in. Also, you can disable a plug-in from being loaded by putting a ~ (tilde) character in front of the filename or the folder that contains the plug-in file. If you put a ~ in front of a folder name, all plug-ins in that folder and any subfolder are ignored. n
The other way that plug-ins can be installed is to add another plug-in folder for the added plug-ins. This allows you to keep third-party plug-ins in a separate location and keep your plug-ins out of the Adobe application folder where they might get removed if you uninstall. To add another plug-in folder, use Ctrl/Ô+K to open the Preferences dialog box and select the Plug-Ins option, as shown in Figure B.1. From the Plug-In Preferences panel, you also can control the following features of plug-ins:
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l
Allow Extensions to Connect to the Internet: When this option is selected, the optional plug-ins are allowed to access the Internet from your computer when Photoshop is running. This allows them to update or provide functionality from Web services. However, you should be careful that you trust the plug-in provider before enabling this option.
l
Load Extension Panels: When this option is selected, the extension panels are loaded in addition to the normal Photoshop panels. These panels typically provide important functionality for using the plug-in.
FIGURE B.1
Adding another plug-in source using Photoshop preferences
Caution Do not move plug-ins from previous versions of Photoshop, or third-party plug-ins that have not been updated, into the Photoshop CS5 Plug-Ins folder or add a plug-ins folder from a previous version of Photoshop as an additional plug-ins folder in the Photoshop preferences. Also, if you are running the 64-bit edition of your operating system, all third-party plug-ins must be updated for 64-bit operating systems before you install them into the 64-bit version of Photoshop. n
You can get plug-ins from the following locations: l
Adobe download site/CS5 installation disk: Provides optional plug-ins that can be downloaded and installed at no cost.
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Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins l
Adobe Marketplace for Photoshop: Provides lots of great plug-ins that are available for purchase. The plug-ins here are certified. The Adobe Marketplace can be found at http://www.adobe.com/cfusion/marketplace/index. cfm?event=marketplace.home&marketplaceid=2.
l
Third-party Web sites: If you do a quick browser search for Adobe CS5 Photoshop plug-ins, you find several Web sites that offer to sell you plug-ins. The downside is that these plug-ins may not be Adobe certified like the ones on Adobe Marketplace.
The following sections discuss this list of optional plug-ins available from download from the Adobe download site: l
Bigger Tiles
l
Alias
l
JPEG2000
l
RLA
l
SGIRGB
l
SoftImage
l
PatternMaker
l
PhotomergeUI
l
Web Photo Gallery (ContactSheetII)
Tip You can view information about an installed plug-in by selecting Help ➪ About Plug-in from the main menu in Photoshop and then selecting the installed plug-in from the list. n
Bigger Tiles On computers with greater than 1GB RAM, you can optimize Photoshop to take advantage of the RAM in your system and manage memory more efficiently. This plug-in is useful only if you are working with documents of large pixel dimensions (thousands of pixels in each direction) and is not recommended if you work with documents containing many layers (more than 50 pixel layers).
Note Using the Bigger Tiles plug-in can reduce the total time needed for most operations, but this is at the cost of slower painting and non-smooth drawing of previews while updating. n
Alias The Alias file format plug-in allows you to read and write files in the Alias .pix format. This format is commonly used for 3D rendering software from Alias/Wavefront and in some image-editing software on Unix systems.
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Photoshop CS5 Bible JPEG2000 The JPEG2000 format plug-in allows you to read and write files in this format.
RLA The RLA file format plug-in allows you to read and write files in the Wavefront .rla format. This format is commonly used for high-end 3D rendering software from Alias/Wavefront and in some image-editing software on Unix systems.
SGIRGB The SGIRGB format plug-in allows you to read and write files in the SGI image format. This format is commonly used by software on the Silicon Graphics platform. The SGI image format plug-in recognizes the file extensions .sgi, .rgb, .rgba, and .bw.
SoftImage The SoftImage format plug-in allows you to read and write files in the SoftImage picture format. This format is commonly used by 3D rendering software from SoftImage.
PatternMaker The PatternMaker plug-in provides a user interface in Photoshop that allows you to create patterns by slicing up an image and reassembling it. The pattern can be made of one large tile or multiple duplication tiles. The patterns can be saved and used in other images.
PhotomergeUI PhotomergeUI provides a step-by-step UI interface that operates in conjunction with Photoshop’s PhotoMerge utility. This gives you greater control and provides better results when combining two or more images into panorama.
Digimarc The Digimarc plug-in provides a panel and tools that allow you to quickly define and embed watermarks in your photos to protect them from unauthorized use.
Web Photo Gallery This is a common plug-in that allows you to output images into a Web gallery. The ability to create a Web Photo Gallery is now available in the Adobe Bridge CS5 Output workspace. We highly recommend creating your Web Photo Galleries using Bridge as described in Chapter 6.
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APPENDIX
Resources
A
lthough this book covers most of the information you need to utilize Photoshop for professional and fantastic results, you should check out what other resources are available to increase your Photoshop skill set. This appendix provides some stepping-off points to find additional resources. The following sections cover where to go to find help, get general information about Photoshop, download resources from the Web, find professional resources, and get professionally trained.
IN THIS APPENDIX Help General Information Downloadable resources Professional resources Training and conferences Certification
Help An important part of learning Photoshop is recognizing when you need help. Another important part is being able to find the help you need. Help comes in lots of forms; these Web sites are just the beginning of help you’ll find from Photoshop experts and other users: l
www.adobe.com/support/photoshop
Adobe’s official help site has the latest information on Photoshop. l
www.adobe.com/designcenter/video_workshop
This site contains several video tutorials on Adobe products including Photoshop. l
www.photoshoptips.net
This site publishes articles, tutorials, and tips. l
www.photoshopuser.com
This site is run by National Association of Photoshop Professionals (NAPP) and contains video tutorials, articles, and a help desk.
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General Information Photoshop is by far the most popular photo-editing application on the market. Consequently, many Web sites provide good information on Photoshop. These Web sites are great places for general information about using Photoshop and learning about digital image editing: l
www.photoshopnews.com
This site publishes the latest news and rumors about Photoshop and contains a great list of links to sites that provide resources on Photoshop. l
www.creativepro.com
This site publishes articles on Photoshop and provides community blogs and forums. l
www.macworld.com
This site publishes articles on Photoshop and digital editing and provides community blogs and forums. l
www.retouchpro.com
This membership community provides blogs and chats about digital retouching. l
morris-photographics.com/photoshop/shortcuts
This site provides PDF files that contain condensed yet inclusive lists of the Photoshop keyboard shortcuts. l
www.digitaldog.net
This site publishes articles, tutorials, and tips on Photoshop and digital editing.
Downloadable Resources A great part of using Photoshop is being able to share some of your creations and tools with others. These sites provide downloadable tools and also some links to places where you can get brushes, patterns, and much more. l
www.adobe.com/cfusion/exchange
This site provides a central resource for finding tools, services, and innovations that supplement and extend your Adobe products. l
www.photoshopuser.com
This site allows members of NAPP to download numerous free items, such as shapes and custom brushes. l
www.brushes.obsidiandawn.com
This site allows you to download free brushes, images, patterns, and shapes.
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Appendix C: Resources
Professional Resources If you’re serious about working with Photoshop professionally and want to mingle with other Photoshop professionals, these resources can help you find the best information available: l
www.photoshopuser.com
Operated by the NAPP, the site of the largest organization for Photoshop professionals offers tons of information, articles, tutorials, downloads, and a professional help desk. l
www.istockphoto.com
This site provides a service to buy and sell stock photos.
Training and Conferences Adobe has some great training opportunities, and the Photoshop community at large offers even more training. Taking advantage of these opportunities can increase you skill set and also help you connect with other professionals: l
www.adobe.com/training
This site provides information about Adobe Certified instructors and training centers in your area. l
www.photoshopworld.com
The largest Photoshop conference is held twice a year; this site has all the info you need. l
www.lynda.com
This site provides online training resources for several products, including Photoshop. l
www.photoshopcafe.com
This site provides several tutorials on Photoshop.
Certification Getting certified on Adobe products can improve your productivity, increase your employment options, and greatly enhance your career. You’ll find no place better than the source: l
www.adobe.com/support/certification
Adobe’s official Web site contains information about getting certified as an Adobe Certified Associate, Expert, or Instructor.
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SYMBOLS
duplicating actions and operations, 146 modifying action name and function key, 147–148 modifying operations, 146–147 moving operations, 146 saving actions, 148 loading existing action sets, 144 managing action list, 148 overview, 131, 143 scripting, 962, 963 Actions panel Action list, 142–143 batch processing, 950 changing views, 143–144 menu, 143 overview, 35 Quick Buttons, 143 scripting, 963 toggle boxes, 143, 148 Active option (3D objects), 711 Actual Pixels option, 19 Adaptive option, 117, 937 Add a Pixel Mask option, 334, 931 Add Anchor Point tool, 553 Add Layer Mask button, 686 Add Mask icon, 328–329 Add Noise dialog box, 462 Add Shortcut option, 61 Add Space After Paragraph option, 603 Add Space Before Paragraph option, 603 Add to palette option, 942 Add to path area option, 555, 556 Add to sample option, 269 Add to selection option Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 overview, 646 Quick Selection tool, 264 Add tool, 966 Add Vector Mask button, 334, 615 Adjust Edge settings, 289
# settings, 122
A A settings, 122 absolute colorimetric option, 912 Accented Edges filter, 656, 668 accuracy (color management) device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 ACE, 911 action list Actions panel, 142–143 managing, 148 action name, 147–148 Action option, 950 Action Options dialog box, 147–148 action sets file extensions, 144 loading, 144 overview, 142–143 actions Actions panel, 141–144 actions list, 142–143, 148 batch processing, 950 changing views, 143–144 menu, 143 Quick Buttons, 143 scripting, 963 toggle boxes, 143, 148 batch processing, 950 correcting video files, 875 creating custom actions, 144–145 editing actions, 145–148 adding a stop, 145–146 adjusting settings, 148 deleting operations, 147
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Index
Adjustment Brush overview, 216, 241 setting Adjustment options, 244–246 setting Brush options, 243–244 setting Mask options, 242 using pins, 242–243 Adjustment Composite option, 105 Adjustment layer adding, 418 Adjustment panel, 376–377 choosing, 314 Clone Stamp tool, 482 creating, 682 editing moving layer, 318 properties, 318–319 fading out, 847 New Adjustment Layer option, 299 overview, 313, 315–318 video files adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864 Adjustment slider, 407 adjustment workflow Adjustments panel, 373–378 icons, 374–377 overview, 373–374 presets, 377–378 making auto adjustments, 371–373 steps, 369–371 adjustments blur automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 color and lighting Brightness/Contrast tool, 382–383 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves, 420–430
Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 levels, 411–419 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 video layers, 863–864 noise adding, 462 Lens Blur filters, 458 reducing, 458–461 sharpness basic filters, 438–443 Smart Sharpen, 445–448 Unsharp Mask, 443–445 3D objects, 765–766 Adjustments panel accessing, 373 Edit Adjustment option, 302 editing layer properties, 318, 319 icons, 374–377 overview, 35 presets, 377–378 Adobe Camera Raw. See Camera Raw Adobe Illustrator. See Illustrator Adobe InDesign. See InDesign Adobe Marketplace, 971 Adobe Photoshop. See Photoshop Adobe RGB color profile, 908 Advanced Character Formats option, 605 Advanced Controls, 912–913 advanced mode GPU settings, 52 reducing noise, 460 Advanced Rename option, 159 AI3 files, 68 AI8 files, 68 Airbrush option brush settings, 527 Clone Stamp tool, 482 Eraser tool, 513 painting tools, 509
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Index
Alias, 971 Align Center option, 602 Align Left option, 602 Align option, 300, 929 Align Right option, 602 Aligned option, 482 alignment Clone Stamp tool, 482, 511 guides, 31 objects on layers, 300 Path Selection tool, 561 slicing images, 929 source images, 959 text, 587, 588, 602 All Channels option, 103, 105 All Layers option Paint Bucket tool, 535 selection, 260 Allow Frame Skipping option, 803, 849 Allow Non-Linear History option deleting history, 137 History panel, 135 alpha channels changing options, 359–360 Content-Aware Scale, 629–630 creating, 356–357 creating depth map, 456–457 creating transparency, 930–932 layer masks versus, 358–359 loading selections, 357 mask options, 645 modifying, 358 non-destructive editing, 132 rendering video, 899–900 saving images, 77 sharing, 353 Alpha value, 935 Altered Video property, 855, 856, 870–872, 874–876 ambient setting, 749 amount settings creating vignette, 251 dithering, 118 fade, 447 fixing highlights, 401 fixing shadows, 400 grain, 249 Lens Blur filter, 458 output settings, 290
Radial Blur filter, 453 sharpening, 255 Smart Sharpen filter, 446 Unsharp Mask, 443 Analysis menu Count tool, 27 placing scale marker, 29–30 Record Measurements, 28 Ruler tool, 27 setting data points, 29 setting measurement scale, 28–29 Anamorphic 2:1 ratio, 792 anchor points Add Anchor Point tool, 553 Convert Point tool, 553–554 Delete Anchor Point tool, 553 Direct Selection tool, 280 Magnetic Lasso tool, 276 Path Selection tool, 558 using paths, 279, 548–549, 552 anchors adding text, 607 resizing canvas, 83 angle bristle brush shapes, 525 flat brush shapes, 523 Motion Blur filter, 452 paths, 548 Smart Sharpen filter, 446 3D objects, 708 tilt option, 737 Angle Jitter setting, 527 Angled Strokes filter, 656 Animated Zoom, 47 animating DICOM files, 860–862 GIF files, 66 global lighting, 850–851 images, 5, 931–932 keyframe placement, 841–843 layer styles, 847–850 masks, 852, 853 multiple layers, 843–845 opacity setting, 845–847 options, 302 text, 851–854 animation controls, 943–944
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Index
Animation (Frames) panel features convert to animation, 885 disposal method, 883 duplicating selected frames, 885 frame delay time, 882 looping options, 883 tweens animation frames icon, 883–885 frame-by-frame animation building animation, 896–899 creating animation from layered image, 893–896 Layers panel, 888 menu, 885–887 overview, 881–882 rendering video, 899–900 tweened frame animations creating keyframes, 890–891 opening images, 889–890 tweening keyframes, 892–893 Animation (Timeline) panel accessing Video Layers menu, 805–806 animating DICOM files, 860–862 global lighting, 850–851 layer styles, 847–850 masks, 852, 853 opacity setting, 845–847 position of layer, 841–845 text, 851–854 creating comments, 839–841 defining options, 802–805 icons, 801 keyframes creating, 832–836 editing, 836–838 placement, 841–843 overview, 35, 831 rotoscoping, 853–860 creating modified frames, 855–857 creating new video layer, 855 overview, 853, 854 restoring frames, 860 using onion skins, 857–859 setting interpolation hold interpolation, 838–839 linear interpolation, 838 setting layer favorites, 807
time adjustment, 798–799 work area, 800–801 Animation panel menu icon, 801 anti-alias options Brush and Pencil tools, 507 Color Replacement tool, 510 guides, 52 Lasso tools, 273 layer styles, 321 Magic Eraser tool, 514 Magic Wand tool, 267 Marquee tools, 271 Paint Bucket tool, 535 paths, 52 text, 587, 593, 600 anti-piracy feature, 32 Appearance panel creating Web gallery, 182 setting up Mini-Bridge, 184 AppleScript, 956 application bar, 22–24 Apply Mask option, 335 Apply Metadata feature, 161 Apply Preset option, 207 Apply Sharpening setting, 204 Apply Snapshot option, 207 Approved label, 164 arbitrary flip, 90 Arc tool, 723 architectural renderings, 735–736 arcs, 594 Arrange Documents icon drop-down menu, 24 View menu, 23 Arrange option, 300 Art History Brush tool keyboard shortcut, 966 painting from history, 138 artistic effects adding grain, 249, 250 adding vignette, 251 blending modes, 683 filters, 654–655 overview, 4 Asian text options, 57, 584 Ask Before Saving Layered TIFF Files option, 50 Ask when Opening option, 910
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Index
Ask when Pasting option, 910 aspect ratios correcting, 487 pixel aspect ratio, 30, 790–792 preserving, 84 ratios of images, 793–796 video aspect ratios, 791–793 ATN files, 144 Attempt to Automatically Align Source Images option, 959 audio files, 162 Auto Add/Delete option, 553, 555 auto adjustments adjustment workflow, 371–373 default image settings, 204 auto button, 415, 422 Auto-Collapse Iconic Panels option, 49 Auto Collection script, 177, 178 Auto Color Corrections Options dialog box, 371, 372, 416 Auto Curves Adjustment, 425 Auto-enhance option, 264 Auto erase, 509 Auto grayscale mix, 204–205 Auto hide option, 486 Auto layout option, 695 Auto Levels Adjustment, 415–416 Auto Mask option, 244 auto-merging, 177–179 Auto Rotate option, 637 auto settings, 235, 236 Auto-Show Hidden Panels option, 49 Auto slice, 925, 926 Auto Tone adjustments, 204 Auto-Update Open Documents option, 47 automated actions Actions panel, 141–144 auto-merging, 177–179 auto tone adjustments, 204 batch processing, 174 creating custom actions, 144–145 editing actions, 145–148 loading existing action sets, 144 managing action list, 148 overview, 131 automatic blur filters, 448–449 automatic disposal, 883 Automatically Create First Snapshot option, 134 Automatically Create New Snapshot when Saving option, 134
automating workflow batch processing multiple images, 950–954 creating droplets, 954–955 overview, 949 Average blur filter, 449 AVI files, 71–72 Axis option, 737
B B settings, 122 backdrop, 647 background, 40, 689–690, 929, 930, 941 background color Clouds filter, 660 Color Dynamics option, 531 keyboard shortcut, 967 printing settings, 920 setting, 363 background contents, 74 Background Eraser tool keyboard shortcut, 966 options, 514, 515 background layers changing, 897 multiple layers, 294–295 sharpening images, 439–441 Smart Object layers, 668–669 background mattes, 899–900 background sampling Background Eraser tool, 514 Color Replacement tool, 509 Bas Relief filter, 661 folder, 947 .html files, 947 baseline, 424 baseline shift, 599 basic blending modes, 503 Basic Character Formats option, 605 basic mode GPU settings, 52 reducing noise, 460 Batch dialog box, 950, 951, 953, 954 batch processing multiple images, 950–954 overview, 174–175, 949 raw images, 194 Batch Rename utility, 166–167
981
47_584743-bindex.indd 981
5/3/10 10:58 AM
Index
batch saving options, 211–212 Beep When Done option, 47 begin text anchor, 607 Behind blending mode, 503 bells, 594 bend, 594, 707 bevel, 709–710 Bevel and Emboss option edge effects, 321 layer styles, 596 bi-linear interpolation, 45, 46, 80 bicubic interpolation, 45, 46, 80, 82 bicubic sharper interpolation, 45, 46, 80 bicubic smoother interpolation, 45, 46, 80 Bigger Tiles, 971 bit depth, 200–201 Bitmap color mode, 114–115 bitmap (BMP) files overview, 67 wireless, 68 bits per channel, 120–121 black adjusting lighting, 225 background matte, 900 Color Picker tool, 122 Black and White adjustment layer, 845, 847, 868 Black and White adjustment tool, 316, 317, 348, 403, 404 black and white images Adjustment panel, 374 bitmap color mode, 114 Black and White adjustment, 316–318, 348 creating, 403–404 black clip, 402 black eyedropper, 384, 414, 420 Black Point Compensation option, 912, 915, 916 black slider, 413, 414, 418 Black-white option, 937 Blacks slider, 225 blade curvature, 457 blank canvas, 539–542, 796 blank layers adding, 826, 828 creating, 313 video layers animation, 855, 856 cloning and healing, 872–874 overview, 805–806 bleed, 921 blemishes, 466–471
Blend RGB Colors Using Gamma option, 913 blending composite files changing blending mode, 682, 683 changing fill settings, 681–682 changing opacity settings, 681–682 creating Adjustment layer, 682 creating drop shadow, 680–681 creating Fill layer, 682 refining edges, 680 using masks, 683–687 options, 302, 325–326 panoramas, 693–696 blending modes changing, 682, 683 Clone Stamp tool, 482 Fill and Adjustment layers, 313 Layers panel adding contrast, 308 color blending, 309 darkening, 307 Dissolve, 307 lightening, 307–308 menu, 305–306 Normal, 306–307 steps for using, 309–312 using difference, 308–309 onion skins, 859 overlay blending mode, 486 painting, 502–506 basic, 503 color, 505–506 contrast, 504–505 darkening, 503–504 difference, 505 divide, 505 exclusion, 505 lightening, 504 subtract, 505 painting tools, 508 Smart Filters, 437 Blending Options dialog box, 325, 326 Bloat tool, 641 Block mode, 513 blue, 404 blue channel Channel Mixer, 344 Color Picker tool, 122 overview, 342
982
47_584743-bindex.indd 982
5/3/10 10:58 AM
Index
selecting channels, 354, 355 swapping colors, 345–346 blur custom filters, 673 file output settings, 939 blur center, 454 blur filters automatic, 448–449 Direction Blur Motion Blur, 451–453 Radial Blur, 453–454 Lens Blur, 455–458 Depth Map, 456–457 Iris, 457 noise, 458 overview, 455 preview, 456 Specular Highlights, 457–458 Shape Blur Box Blur, 449–450 Gaussian Blur, 448, 449 Shape Blur, 450–451 Smart Blur, 451–455 Surface Blur, 454 Blur More filter, 449 Blur tools keyboard shortcut, 966 overview, 39 painting, 516–517 BMP (bitmap) files overview, 67 wireless, 68 Border Selection option selection, 261 borders Border Selection option, 261 creating knockouts, 364 creating pattern fill, 315 printing settings, 920 straightening images, 93 trimming, 94–95 vignettes, 251 Both Axes option, 530 bounding box combining images, 678 distorting images, 622–625, 628 paths, 562 printing, 918 slicing images, 925, 926
text, 588–589 3D objects, 732, 733, 738 Box Blur filter, 449–450 Bridge application bar, 22 batch processing, 951 finding files, 8 Mini-Bridge tool browsing, 184–186 setting up, 183–184 opening JPEGs and TIFFs, 205 organizing files assigning keywords, 164–166 assigning ratings and labels, 163–164 creating stacks, 171–172 deleting versus rejecting files, 172–173 finding files, 167–170 importing images, 157–161 renaming files, 166–167 using collections, 170–171 working with metadata, 161–163 processing images batch processing, 174–175 creating PDFs, 179–181 creating web galleries, 181–183 merging photos, 176–179 opening images in Photoshop, 173–174 using Image Processor, 175–176 Web galleries, 972 workspaces Bridge utility, 151–156 types, 156–157 Bridge button, 184 Bridge utility content view controls, 155–156 main menu, 152–153 toolbar, 153–154 window panes, 154–155 brightness adjusting, 382–383, 402 Adjustment options, 244 color calibrating, 906 Color Picker tool, 122 creating 3D mesh, 711 fixing highlights, 401 Lens Blur filter, 458 lightening blending modes, 307 lighting, 225
983
47_584743-bindex.indd 983
5/3/10 10:58 AM
Index
Brightness/Contrast tool, 382–383 Brightness slider adjusting lighting, 225 Adjustment panel, 374 Bristle Brush, 6, 7, 524–526 Bristle Brush preview overview, 8 toggling, 525 bristle brush shapes, 524–526 Browse in Bridge command, 967 browser file formats, 66, 67 preparing images for Web, 923 previewing, 944, 945 Zoomify utility, 947 browsing images, 185 Mini-Bridge tool, 184–186 bruising, 369 brush behavior, 531–532 brush density, 643 Brush mode, 513, 521 Brush panel Brush Presets panel, 533–534 keyboard shortcut, 522, 968 overview, 33, 508 setting brush behavior, 526–534 Color Dynamics, 531–532 Dual Brush option, 531 overview, 526 Scattering, 528–530 Shape Dynamics, 527–528 Texture, 530–531 Transfer option, 532–533 setting brush tip shape bristle brush shapes, 524–526 flat brush shapes, 522–523 brush picker, 264 Brush Preset Picker, 507, 508 brush presets, 33, 482, 533–534 Brush Presets panel, 33, 533–534 brush pressure, 643 brush preview, 54 brush rate, 643 brush size Clone Stamp tool, 482 Liquify effects, 643 Brush Strokes filters, 656
brush tip shape bristle brush shapes, 524–526 flat brush shapes, 522–523 painting cursor preferences, 53–54 Brush tool editing masks, 332 keyboard shortcut, 966 overview, 38 painting, 507 Quick Mask mode, 284–285 brushes. See also specific brushes adding and subtracting, 14 Erase Refinements brush, 14 Refine Radius brush, 14 bump map, 748 Burn tool keyboard shortcut, 518 overview, 39 painting, 517–519 business graphics, 6 button (3D panel), 728 Button Mode, 143–145, 148
C C settings (Color Picker tool), 122 cache level, 52, 107 cache settings Camera Raw preferences, 205 overview, 51–52 cache tile size, 52 cached frames indicator, 800–801 calibration bars, 920, 921 calorimeter, 906 camera calibration, 252–253 file formats, 66, 67 importing images, 153, 157–161 positioning on 3D objects, 724–725 sensors, 190 serial number, 205 setting preferences, 50 stacks, 171 Camera Calibration tab, 251–252 camera data, 162 camera profiles, 253 Camera Raw adjusting color and clarity clarity, 226, 227 creating grayscale photo, 235–237
984
47_584743-bindex.indd 984
5/3/10 10:58 AM
Index
HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 adjusting lighting, 222–225 adjusting sharpness, 253–255 adjusting white balance lighting settings, 221 overview, 218–219 using Temperature slider, 221–222 using Tint slider, 221–222 White Balance tool, 220 adjustment workflow, 370 CMOS information, 190–191 correcting and retouching creating artistic effects, 249–251 creating graduated filter, 246–249 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 correcting camera quirks camera calibration, 252–253 lens correction, 252 creating snapshots, 207–209 exporting files, 210–212 file formats, 193–196 DNG, 67–68, 195–196, 203, 204 overview, 67 saving files, 212 XMP files, 195, 196, 203–205 importing, 153 memory card and disk space, 189, 194 metadata, 189–193 non-destructive editing, 191–193 opening images, 174, 196–197 overview, 13, 189 panel menu, 206–207 reducing noise, 253–254 saving presets, 209–210 setting preferences, 50, 202–206 cache settings, 205 default, 204–205 DNG file handling, 205 general, 203–204 JPG and TIFF handling, 205–206 synchronizing adjustments in multiple raw images, 217–218
time needed for processing, 194 tools, 197, 213–216 workflow options, 199–202 workspace, 197–199 Camera Raw 6, 192 Camera Raw dialog box, 197, 217 Camera tool, 753 Canon, 195 canvas extension color, 83 canvas size, 82–83 Canvas size command, 967 card reader, 157–161 Cascade option, 21 cast shadow setting, 739 catch shadows setting, 739 center crop marks, 920 Center Image option, 918 center point, 88–89 central point, 716 certification, 975 Chalk & Charcoal filer, 661 Change Layer Properties option, 574 Change Text Orientation option, 600 Channel menu, 103 Channel Mixer Adjustment panel, 374 color mixing, 344–345 converting color to grayscale, 346–349 overview, 343 swapping colors, 345–346 channel overlays, 424 channels adjusting levels, 411 alpha changing options, 359–360 Content-Aware Scale, 629–630 creating, 356–357 creating depth map, 456–457 creating transparency, 930–932 layer masks versus, 358–359 loading selections, 357 mask options, 645 modifying, 358 non-destructive editing, 132 rendering video, 899–900 saving images, 77 sharing, 353
985
47_584743-bindex.indd 985
5/3/10 10:58 AM
Index
channels (continued) Channel Mixer color mixing, 344–345 converting color to grayscale, 346–349 overview, 343 swapping colors, 345–346 Channels panel deleting channels, 350 duplicating channels, 350–351 merging channels, 351–353 opening, 349 selecting channels, 350 sharing channels, 353 splitting channels, 351, 352 creating black and white photos, 403 Curves Adjustment tool, 420, 421 Enhance Monochromatic Contrast option, 372 Histogram panel, 105 Hue/Saturation tool, 406 Levels Adjustment tool, 413 making selections, 262, 353–356 overview, 98–99, 341–343 selecting Curves tool, 111 Histogram panel, 103–105 Show Channels in Color option, 48 spot color creating, 361–363 merging, 363 removing ink overlap, 363–364 uses, 360 turning off visibility, 333 Channels panel deleting channels, 350 duplicating channels, 350–351 layer masks, 332–334 merging channels, 351–353 opening, 349 overview, 35 selecting channels, 350, 354, 356 sharing channels, 353 splitting channels, 351, 352 Character panel Asian text options, 57 editing type, 590 Fractal Width option, 587 overview, 35 text, 596–601, 604–609
Toggle Paragraph/Character Panels option, 587 Type Mask tools, 615 Character Style Options dialog box, 606, 607 Character Styles panel options, 604–605 overview, 13, 35 Charcoal filter, 661 Check All Layers option, 591 Check Spelling option, 591 chroma noise, 458, 461 Chrome filter, 661 CIE LAB color spaces, 905 CIE XYZ color spaces, 905 Cineon files, 71 clarity Adjustment options, 244 Camera Raw creating grayscale photo, 235–237 HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 Clarity slider, 226 Clean Brush After Stroke option, 520, 521 Clear All Actions option, 148 Clear blending mode, 503 Clear Guide option, 31 Clear History option, 137 Clear Imported Settings option, 207 Clear Override/Clear Modification option, 604, 605 Clear Slices option, 31 Clip to Layer button, 865, 866 clipart, 7 clipboard, 47, 452 Clipped option, 486 clipping, 865–866 clipping masks Create Clipping Mask option, 300 overview, 330–332 paths, 568–570 photo collages, 692 clipping path, 551, 564 clipping warnings, 223, 224 clone sample icons, 485 clone source, 486, 878 Clone Source panel, 34, 473, 485–490, 877, 879
986
47_584743-bindex.indd 986
5/3/10 10:58 AM
Index
Clone Stamp tool adjustment workflow, 370 blending pixels, 473 correcting video files, 877, 879 keyboard shortcut, 966 options, 481–482 overview, 480–481 painting, 511–512 removing dust and scratches, 460 steps in, 482–484 cloning Camera Raw, 238–240 Clone Source panel, 34, 473, 485–490 Clone Stamp options, 481–482 face swapping with multiple images, 493–497 fixing damaged photos, 490–493 overview, 480 steps in, 482–484 vanishing point, 647–652 video files, 876–879 video layers, 872–874 Close Document command, 967 Close option, 302 Close Tab Group option, 302 closed path, 550 Clouds filter, 660 CMMs (Color Management Modules), 903, 911 CMOS (Complementary Metal Oxide Semiconductor) information, 67, 190–191 CMYK color mode, 119, 343, 905, 907–909 CMYK slider, 124 CMYK spectrum, 124 COLLADA files, 72, 700, 704 collage, 688–692 Collage Layout option, 695 Collapse button, 32, 33 collections creating collections, 170–171 creating smart collections, 171 overview, 155 Collections panel New Smart Collection option, 171 overview, 170 color adjustments Brightness/Contrast tool, 382–383 Camera Raw clarity, 226, 227 creating grayscale photo, 235–237
HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 Camera Raw, 226, 234 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 levels configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 411–415 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 video layers, 863–864 color balance color and lighting adjustments, 386–389 determining, 101–102 Color Balance Adjustment layer, 388, 875 Color Balance Adjustment tool, 386 Color Balance panel Adjustment panel, 374 keyboard shortcut, 967 color blending modes layers, 307, 309 painting, 505–506 Color Blindness options, 916 Color Burn blending mode, 307, 503 color calibrating monitors, 906–907 printers, 906–907
987
47_584743-bindex.indd 987
5/3/10 10:58 AM
Index
color card, 222 color casts, 311, 312, 416, 419 color channels. See channels color clusters, 395 color decontamination Layer menu, 300 Refine Edge feature, 14 Color Dodge blending mode, 307, 504 Color Dynamics option, 531–532 Color Halftone filter, 659 Color Handling option, 919 color lens filters, 393, 394 Color Libraries, 123 Color light setting, 754 color management accuracy and consistency device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 assigning color profiles to images, 913–914 color calibrating monitors and printers, 906–907 configuring settings advanced controls, 912–913 conversion options, 910–912 policies, 909–910 Settings menu option, 907–908 working spaces, 908–909 converting images to other color profiles, 914–915 preparing images for Web, 940 proofing images, 915–916 Color Management Modules (CMMs), 903, 911 Color Match Tool, 430–433 color mixing Channel Mixer, 344–345 converting to grayscale, 204–205 Lab color mode, 119 color modes Bitmap, 114–115 bits per channel, 120–121 CMYK, 119, 343, 905, 907–909 Duotone, 116–117 Grayscale, 115–116 Indexed color, 117–118 Lab color, 119–120 multichannel, 120 overview, 113
RGB channels, 342, 343 color management, 905, 906, 908–909, 913 images, 71, 99 overview, 118–120 preparing images for Web, 71 settings, 73 color noise, 458, 461 color overlay, 321 color palette, 937, 947–948 Color Palette panel, 182 Color panel choosing colors, 123–125 overview, 33 Color Picker tool choosing colors, 121–123 Quick Mask mode, 283 setting preferences, 45 color profiles assigning, 913–914 camera calibration, 253 Camera Raw, 199, 200 converting images, 914–915 embed color profile option, 939 embedding, 904–905 overview, 903 preparing images for Web, 925 Suppress Color Profile Warnings option, 951 Color Range refining, 335 selection, 261, 268–270 color reduction algorithm, 937 Color Replacement tool keyboard shortcut, 966 overview, 509–510 Color Sampler tool Camera Raw, 214, 215 choosing colors, 127–128 keyboard shortcut, 966 color settings dialog box, 907–911 keyboard shortcut, 907, 967 options, 907–908 color sliders changing color balance, 386 Selective Color Adjustment tool, 390 color stops, 538 Color Table dialog box, 117, 118
988
47_584743-bindex.indd 988
5/3/10 10:58 AM
Index
Color Table pane, 942, 943 color temperature, 393 Color tool, 935 Colored Pencil filter, 653 Colorize option, 407 ColorMatch RGB, 202 color(s) Adjustment options, 244 adjustment workflow, 370, 371 alpha channels, 360 animating changes, 875 camera calibration, 252–253 Camera Raw options, 199 canvas extension, 83 changing, 430–433 choosing Color panel, 123–125 Color Picker tool, 121–123 Color Sampler tool, 127–128 Eyedropper tool, 126–127 HUD Color Picker, 128–129 Swatches panel, 125–126 Color blending mode, 309 converting to grayscale, 346–349 decontaminate colors option, 290 guides, 56 intensity, 431 menu list, 60 Mixer Brush, 520 overview, 97–98 reducing noise, 254 replacing, 394–398 Shape tools, 574 swapping, 345–346, 967 text, 587, 599 column size, 55 Combine button, 561 combining images adjustment workflow, 370 channels, 351–353 creating composites, 677–687 adjusting and transforming layers, 679–680 blending composite files, 680–687 combining files, 678–679 overview, 677 creating panorama, 693–696 creating photo collage, 688–692 layers, 338–339
PhotoMergeUI plug-in, 972 photos auto-merging, 177–179 Merge to HDR utility, 177 overview, 4, 176 Photomerge, 177 spot color channels, 363 using Photomerge, 693–696 video layers, 867–868 commands, recorded, 143 comments Animation (Timeline) panel, 839–841 Edit Timeline Comment option, 804, 840 comments track, 800 compact view, 103 compatibility settings, 50, 51 Compensate for Scene-referred Profiles option, 912 Complementary Metal Oxide Semiconductor (CMOS) information, 67, 190–191 composites blending files changing blending mode, 682, 683 changing fill settings, 681–682 changing opacity settings, 681–682 creating drop shadow, 680–681 creating Fill or Adjustment layer, 682 refining edges, 680 using masks, 683–687 3D objects, 769–785 composition, 606 compressed files Bridge utility, 160 Camera Raw, 190 uncompressed versus, 64 compression, 433 compression algorithms, 64 Compuserv GIF files, 66 concavity, 576 Cone tool, 723 conferences, 975 consistency device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 Consolidate All to Tabs option, 21 Constant option, 344 constrain proportions, 81
989
47_584743-bindex.indd 989
5/3/10 10:58 AM
Index
constraining text, 609–611 Conté filter, 661 Content-Aware Fill, 10, 11, 478–479 Content-Aware option, 467–471, 478–479 Content-Aware Scale, 629–634 Content-Aware Spot Healing, 10, 11 Content panel Bridge utility, 155, 164, 167 collections, 171 Mini-Bridge, 185 Content View controls, 155–156 Content View settings, 186 content window pane, 154 contextual alternates, 600 Contiguous option erasing limits, 509 Magic Eraser tool, 514 Magic Wand tool, 267 Paint Bucket tool, 535, 536 continuous sampling Background Eraser tool, 514 Color Replacement tool, 509 contour layer styles, 321 presets, 709 Contract/Expand option, 289 Contract option, 262 contrast Adjust Edge settings, 289 adjusting, 244, 382–383 auto adjustments, 372 color calibrating, 906 curves, 425–430 custom filters, 674 lighting, 225 Magnetic Lasso tool, 276 contrast blending modes layers, 308 painting, 504–505 Contrast slider adjusting lighting, 225 Adjustment panel, 374 control setting, 527, 529, 531–532 Control to Fade setting, 527, 529, 532 Convert Anchor Point tool, 966 Convert Point tool, 553–554, 566 Convert to Animation (Timeline) icon, 885 Convert to DNG option, 159–161, 195, 196
Convert to Frame Animation option, 801, 804, 889 Convert to Grayscale option, 204, 235 Convert to Linear Image option, 161 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Convert to Smart Object option, 301 Convert to sRGB option, 940 Convert to Timeline option, 887 convert to working profile option, 910 converting animation, 885 color management settings, 919 color profiles, 910–912, 914–915 Convert to DNG option, 159–161 file output settings, 936 grayscale, 116 Image Processor utility, 175 layers, 323–324 options, 915 paths, 561 Smart Objects, 867 sRGB color profile, 940 cooling filters, 393 copies, 918 copy and paste commands adding document as layer, 296 combining files, 678 frames, 886–887 image files, 827 keyframes, 802, 836, 837 selections, 297 Copy Color as HTML slider, 124 Copy Color’s Hex Code slider, 124 Copy Frame options, 886–887 copyright metadata, 161, 960 corner anchor points, 548, 549, 552, 554 corner crop marks, 920 correcting creating artistic effects, 249–251 creating graduated filter, 246–249 overview, 4 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 count (Histogram panel), 106 Count Jitter option, 530 Count option, 530
990
47_584743-bindex.indd 990
5/3/10 10:58 AM
Index
Count tool keyboard shortcut, 966 overview, 27, 38 CR files, 67 CR2 files, 67 Craquelure filter, 663 crease threshold, 734 Create a Path option, 564 Create Clipping Mask option, 300 Create Droplet dialog box, 954, 955 Create Gallery panel, 183 Create Layers option, 322 Create New Document from Current State button, 137 Create New Layer for Each New Frame option, 887 Create New Shape Layer option, 574 Create New Subfolder options, 899 Create option, 25 Create Shadows light setting, 754 Create Smart Object after Loading Layers option, 959 Create Snapshot button, 136 Create Work Path option, 592 Creating Texture option, 467 creator metadata, 161 crisp anti-aliasing, 587, 600 Crop and Straighten tool, 92–93 Crop Guide Overlay, 13, 91 Crop Guide Overlay option, 89 crop marks, 83, 920–921 Crop tool Camera Raw, 215, 216 keyboard shortcut, 966 overview, 13, 38, 88–89 presets, 40 rotating images, 91 cropping crop marks, 83, 920–921 images, 84–90, 370 non-destructive editing, 133, 215 cross sections, 735–737 crosshairs, 54, 622 Crosshatch filter, 656 Crystallize filter, 659 Cube tool, 723 Current Colors ramp, 124–125 current frame rate, 799 Current Selection option, 703 current time indicator, 799, 816, 835 Cursors preferences panel, 53–54 curved path, 550
curves Adjustment panel, 374 color adjustments adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Curves tool, 109–113 keyboard shortcut, 967 paths, 548 Curves Adjustment tool, 420–424 Curves Display Options dialog box, 424 Curves Display tool, 424–425 Curves tool, 109–113 Custom dialog box, 672, 673 Custom option, 117 custom pattern, 115 custom settings, 205 Custom Shape tool keyboard shortcut, 967 options, 576 selecting custom shapes, 580 custom shapes, 610 Custom Shapes list, 568 Customize Proof Condition dialog box, 915, 916 customizing actions, 144–145 color palette, 937 exposure, 384 filename options, 166 filters, 664, 672–674 gradients, 538 menus, 58–60 pixel aspect ratios, 793 presets, 43 proofing images, 915 setting preferences, 44 shortcuts, 58, 60–62, 856 Strength and Preserve details, 461 Tween dialog box, 892 values in Channel Mixer, 348 vector shapes, 579–581 Cutout effect, 654 cyan, 122, 404 cyanotype Hue/Saturation tool, 406 cylinder anamorphosis, 657–658 Cylinder option, 712 Cylindrical Layout option, 695
991
47_584743-bindex.indd 991
5/3/10 10:58 AM
Index
D DAE files, 700, 704, 705 damaged photos, 490–493 Dark Strokes filter, 656 Darken blending mode, 307, 503, 845 Darken Color blending mode, 307, 504 Darken slider, 240 darkening blending modes layers, 307 painting, 503–504 darkness, 223 data camera, 162 metadata Bridge utility, 155, 161–163, 167 Camera Raw, 189–193 categories, 167 creating stacks, 172 file output settings, 940 logging history information, 133 Metadata workspace, 156 storing history, 48 XMP files, 195, 196 selection, 357 data points, 29 De-Interlace dialog box, 797, 798 de-interlacing, 797 deactivating Photoshop, 32 Decontaminate Colors option, 290 Decrease Brush Diameter command, 968 Decrease Brush Hardness command, 968 default preferences Camera Raw auto grayscale mix, 204–205 auto tone adjustments, 204 defaults specific to camera ISO setting, 205 defaults specific to camera serial number, 205 Reset Camera Raw Defaults option, 207 Hue/Saturation tool, 406 OpenType options, 601 restoring, 44 Define Custom Shape option, 568 Defringe option, 301 Delete all Empty Layers command, 14, 957 Delete Anchor Point tool, 553 Delete Animation option, 886 Delete button, 276, 728 Delete Current Path option, 564
Delete Frame option, 806, 886 Delete Hidden Layers option, 298 Delete Keyframes icon, 801, 837 Delete Layer option, 298 Delete option cropping images, 133 custom vector shapes, 579 deleting history, 137 overview, 25 video editing, 802 Delete Original Files option, 161 Delete Shortcut option, 61 Delete Style option, 604, 606 Delete tool, 966 deleting channels, 350 collections, 170 cropping images, 133 files, 161, 172–173 frames, 806 history, 137 keyframes, 801, 802, 837 keywords, 166 layers, 298, 313 operations, 147 original files, 161 Pen tool, 553 shapes, 579 shortcuts, 61 views, 721 density Brush options, 243 editing masks, 335 photo filters, 393. 394 depth brush stroke texture settings, 531 Repoussé tool, 707 depth jitter, 531 depth map Lens Blur filters, 456–457 3D objects, 711–713 depth setting, 200–201 Desaturate Monitor Colors By option, 913 Description option, 920 Deselect option keyboard shortcut, 260, 968 overview, 260, 261 Design preset, 24 Despeckle filter, 458
992
47_584743-bindex.indd 992
5/3/10 10:58 AM
Index
destination batch processing, 951 Camera Raw, 211 Layer Comps to Files option, 957 Destination and Errors settings, 175 destination folder, 167 Destination option, 477 destination space, 914 detail enhancing, 245 HDR Toning tool, 434 increasing, 416–420 sharpening, 255 Details tab, 204, 253, 254 Device Central, 944–946 Device Central button, 944, 946 device-independent color profiles, 905 device to stimulate option, 915 DIB files, 67 DICOM (Digital Imaging and Communications in Medicine) files animating, 860–862 Load Multiple DICOM Files option, 959 Metadata panel, 162 overview, 72 3D objects, 713 3D panels, 734 Difference blending mode, 309, 505 difference blending modes layers, 308–309 painting, 505 Difference Clouds filter, 660 Diffuse filter, 662 Diffuse Glow filter, 657 Diffuse Texture icon, 747 diffusion dither, 114, 938 Diffusion option, 118 Digimarc, 972 Digit Serial Numbers, 953 digital color, 98 Digital Imaging and Communications in Medicine (DICOM) files animating, 860–862 Load Multiple DICOM Files option, 959 Metadata panel, 162 overview, 72 3D objects, 713 3D panels, 734
Digital Negative (DNG) files Camera Raw ignore sidecar XMP files, 205 overview, 193–196 saving files, 203, 204 Update DNG Previews option, 207 update embedded JPEG previews, 205 converting images, 159–161 overview, 67–68 dim lighting, 98 Direct Selection tool Convert to Shape option, 593 keyboard shortcut, 966 overview, 558 selecting anchor points, 280 direction, 527 Direction Blur filters Motion Blur, 451–453 Radial Blur, 453–454 directional blur, 674 Disable JPEG/TIFF support, 205 Discontiguous option, 509 discretionary ligatures, 600 disk space bits per channel, 120 Camera Raw, 194 file formats, 65, 66, 72 resolution size, 79 Displace filter, 657 disposal method, 883 Dispose option, 883 Dissolve blending mode layers, 307 overview, 503 Distort filters, 657–658 Distort option, 629 distorting transformation, 625–626 Distribute Horizontal Center option, 561, 562 Distribute option, 300 Distribution tools, 561–562 dither file output settings, 937–938 indexed color mode, 118 Use Dither option, 912, 915 dither algorithm, 937 Dither option, 537 Divide blending mode, 309, 505 Divide button, 928, 929
993
47_584743-bindex.indd 993
5/3/10 10:58 AM
Index
Divide Slice dialog box, 928 DNG Conversion Settings dialog box, 160 DNG (Digital Negative) files Camera Raw ignore sidecar XMP files, 205 overview, 193–196 saving files, 203, 204 Update DNG Previews option, 207 update embedded JPEG previews, 205 converting images, 159–161 overview, 67–68 do not dispose setting, 883 document adding, as layer, 296–297 creating, 137 Drag-and-Drop, 13 duplicating channels, 351 document height, 81 document information, 20 Document option, 919 Document panel, 180–181 Document Settings, 804 document width, 81 Document window, 49, 197 document workspace, 18–21 Dodge tool keyboard shortcut, 518 overview, 39 painting, 517–519 D1/DV NTSC ratio, 792 D1/DV PAL ratio, 792 D1/DV PAL Widescreen ratio, 792 Don’t Color Manage this Document option, 913 downloadable tools, 974 Drag-and-Drop document, 13, 296, 297 Drag tool, 718–719 Draw Freehand Curve option, 423, 424 drawing, 423 drop shadow creating, 680–681 layer styles, 320, 321, 327 realism, 686 droplets, 954–955 Dry Brush filter, 544, 654 Dual Brush option, 531 Duotone color mode, 116–117 Duotone Curve tool, 116 duotone models, 908
Duotones Options dialog box, 116 Duplicate Channel option, 350 Duplicate Frame option, 806 Duplicate Layer option Layer menu, 298 Smart Objects, 668 Duplicate Path option, 564 Duplicates Selected Frames icon, 885, 891 duplicating actions, 146 channels, 350–351 duplicate path option, 564 frames, 806, 856 layers, 298 operations, 146 selected frames, 885 duration, 866–867 Dust and Scratches filter, 460 DVCPRO HD 1080 ratio, 792 Dynamic Color Sliders option, 47
E edge detail, 254 Edge Detection refining edges, 14, 288–289 Show Radius option, 287 edge options, 734 edges custom filters, 674 filters, 663 interpolation, 921 refining, 285–291 Adjust Edge settings, 289 combining images, 680 Edge Detection, 14, 287–289 Output Settings, 289–291 overview, 285 View Mode, 286–288 Sharpen More filter, 439 Surface Blur filter, 454 tracing, 543–544 Edit Adjustment option, 302 Edit Contents option, 302 Edit heading, 152 Edit in Quick Mask Mode keyboard shortcut, 967 overview, 40
994
47_584743-bindex.indd 994
5/3/10 10:58 AM
Index
Edit in Quick Selection Mask Mode option, 262 Edit Log Items option, 48 Edit menu overview, 26 setting preferences, 44 Edit Timeline Comment option, 804, 840 Edit Type option, 590–591 editing actions, 145–148 adding a stop, 145–146 adjusting settings, 148 deleting operations, 147 duplicating actions and operations, 146 modifying action name and function key, 147–148 modifying operations, 146–147 moving operations, 146 saving actions, 148 Adjustment layer, 318–319 Fill layer, 318–319 keyframes, 836–838 layer masks Channels panel, 332–334 Masks panel, 334–335 painting on image, 332 materials, 745–749 non-destructive Camera Raw, 191–193, 215 Fill and Adjustment layers, 314 filter adjustments, 668–672 layers, 299 overview, 131–133 Smart Filters, 437 Output Settings, 941 painting Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 History tools, 512 overview, 502, 510 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 render settings, 733–734 textures, 742–745
vector shape, 581 vector text layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595 Effects panel, 249, 250 8 bits per channel setting Camera Raw, 190, 200–201 colors, 120, 121, 129 converting HDR images, 433–435 Ellipse tool keyboard shortcut, 967 options, 575 Elliptical Marquee tool red eye removal, 480 selecting by shape, 272 transforming selections, 278 em units, 599 Embed Color Profile option, 939 Embed Original Raw File option, 161 embedded JPEG previews, 205 embedded video files, 870, 871 embedding color profiles, 904–905 Embed Original Raw File option, 161 watermarks, 972 Emboss filter, 662 embossing edge effects, 321 layer styles, 596 emulsion down option, 920 Enable Adobe Drive option, 50 Enable Airbrush option, 482 Enable/Disable Mask option, 335 Enable Events to Run Scripts/Actions option, 962 Enable Flick Panning option, 48 Enable Floating Document Window Docking option, 49 Enable Missing Glyph Protection option, 584 Enable Onion Skins option, 805
995
47_584743-bindex.indd 995
5/3/10 10:58 AM
Index
Enable Timeline Shortcut Keys option, 805 Encapsulated PostScript (EPS) files, 68 encrypted information, 195 End option, 576 end text anchor, 607 Engine option, 911, 915 Enhance Edges option, 674 Enhance Monochromatic Contrast option, 372, 415 Enhance Per Channel Contrast option, 372, 415 enhancement, 4 enlargement, 45 Entire Image option, 105 Entropy mode, 959, 960 Environment map, 748 EPS (Encapsulated PostScript) files, 68 EPSF files, 68 EPSP files, 68 Equalize Histogram option, 433 Erase Refinements brush, 14 Erase to History option, 139, 140, 513 Eraser tools blending changes, 495 editing masks, 332 keyboard shortcut, 966 overview, 38 painting, 512–515 painting from history, 138–140 errors, 953 Essentials preset, 24 Essentials workspace, 156 event-driven scripts, 956 Exclude Overlapping Path Areas option, 557, 566 Exclude Overlapping Shape Areas option, 560, 578–579 exclusion blending modes, 309, 505 EXIF information, 50 Expand option, 262 expanded view, 103 expanding images, 18 Export Layers to Files option, 958 Export Timeline Comment option, 804 exporting Bridge toolbar, 153 Bridge utility, 155 Camera Raw files, 210–212 clipboard, 47 Export Layers to Files option, 958 measurements, 28 Quick Time Export options, 899
Exporting Settings to XMP option, 207 exposure Adjustment options, 244 Adjustment panel, 374 Burn tool, 518 Camera Raw files, 193, 223 Dodge tool, 518 HDR Toning tool, 433, 434 panoramas, 693 exposure bracketing, 65 Exposure option, 316 Exposure slider, 223 Exposure tool, 382–386 exposure values, 384 EXR files, 70 extended version of Photoshop, 4 extension panels, 970 Extract Work Area option, 804, 822 extracting video layer section, 822, 824 Extras option, 30 Extrude filter, 662–663 extrude settings, 707–708 Eyedropper tool adjusting lighting, 384 choosing colors, 126–127 Color Range dialog box, 269 color table, 942 Curves Adjustment tool, 113, 420–422 Histogram panel, 107, 109 Hue/Saturation tool, 407 keyboard shortcut, 966 Levels Adjustment tool, 414–415 overview, 38 preview panes, 935 Replace Color Adjustment tool, 395, 397 sampling ring, 13
F face options, 734 face swapping, 493–497 Facet filter, 659 fade amount, 447 Color Match tool, 431 Fade command, 967 Falloff light setting, 754 faux bold, 593
996
47_584743-bindex.indd 996
5/3/10 10:58 AM
Index
faux italics, 593 faux options, 593 favorites window pane, 154 Feather option Adjust Edge settings, 289 editing masks, 335 Lasso tools, 273 refining edges, 329 selection, 262, 271, 272 feathering Adjust Edge settings, 289 Brush options, 243 creating vignette, 251 editing masks, 335 Hue/Saturation tool, 407 Lasso tools, 273 Marquee tools, 271, 272 refining edges, 329 selection, 262 Fibers filter, 660 50% threshold option, 114 file compatibility, 50 File Extension option, 50 file formats Camera Raw, 193–196 DNG, 67–68, 195–196, 203, 204 overview, 67 saving files, 212 XMP files, 195, 196, 203–205 compressed versus uncompressed, 64 DICOM files, 72 extensions, 212 File Extension option, 50 file output settings, 936 HDR files, 65 image, 65–71 BMP, 67 Cineon, 71 Compuserv GIF, 66 Encapsulated PostScript, 68 FXG, 70 Google Earth 4, 70 IFF, 71 JPEG, 66 JPEG 2000, 66 OpenEXR, 70 PCX, 69 PDF, 68–69
Photoshop, 65, 68–69 PICT, 69 Pixar, 70 PNG, 67 Portable bitmap, 68 PSB, 70 Radiance, 71 RAW, 67–68 Scitex CT, 71 Targa, 71 TIFF, 66 Wireless bitmap, 68 Layer Comps to Files option, 957 opening exist images, 75–76 overview, 63 plug-ins, 971 preparing images, 924 raster versus vector, 64–65 saving images, 77 3D files, 72 3D objects, 699–701 video, 71–72, 899 file handling, 49–51 File Handling preferences panel, 49–51 File heading adding document as layer, 296 Bridge main menu, 152 File Info utility, 161, 163 File menu, 26 file name prefix, 957 file naming, 43, 953, 954 File option, 703 file properties, 162 file saving options, 50 Fill command, 967 Fill dialog box, 479 Fill layer choosing, 314 creating, 682 editing moving layer, 318 properties, 318–319 overview, 314–315 video files adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864
997
47_584743-bindex.indd 997
5/3/10 10:58 AM
Index
Fill Light slider, 223, 224 fill path with foreground color option, 563 fill pixels mode Pen tool, 555 vector shapes, 572–573, 581 fill settings changing, 681 Layers Panel, 303–304 Film Grain filter, 654 filmstrip, 197, 217 Filmstrip workspace, 156 Filter button, 185, 727 Filter Gallery adding Smart Filters, 324–326 filter thumbnail pane, 667 options pane, 667–668 overview, 653 preview pane, 665–666 Filter menu creating Smart Objects, 323 overview, 27 Filter panel, 167, 168 Filter Settings dialog box, 325 filter thumbnail pane, 667 filters Adjustment panel, 374 adjustment workflow, 371 animating, 840 artistic, 654–655 blur automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 Bridge utility, 155 Brush Strokes, 656 creating custom, 664, 672–674 Distort, 657–658 Filter Gallery filter thumbnail pane, 667 options pane, 667–668 overview, 653 preview pane, 665–666 graduated, 246–249 Liquify mask options, 645–646 mesh options, 643
reconstruct options, 643–645 tools, 639–643 view options, 646–647 noise Despeckle filter, 458 Dust and Scratches filter, 460 Median filter, 459 Reduce Noise filter, 460–461 overview, 653 Pixelate, 658–659 Render, 660 sharpening basic filters, 438–443 Smart Sharpen, 445–448 Unsharp Mask, 443–445 Sketch, 661–662, 664 Smart Filters adding, 324–325, 653 adjusting filters, 669–670 applying, 870–872 applying to video files, 870–872 Convert to Smart Object option, 301 Layer menu, 298 layers, 323 making changes, 325–327 non-destructive editing, 437 Stylize, 662–663 Texture, 663–664 3D objects, 713, 767–768 using Smart Objects, 668–672 video files, 796–798 Find and Replace Text option, 592 Find Dark and Light Colors option, 372, 415 Find Edges filter, 663 Find Edges option, 509 Find tool, 167–169 fine/coarse options, 400 finger painting, 516 First Frame option, 884 Fit-to-Screen option Camera Raw, 197 keyboard shortcut, 968 overview, 19 Fixed Aspect Ratio style (slicing), 926 Fixed Size option, 574 Fixed Size style (slicing), 926 Flash browser utility, 946
998
47_584743-bindex.indd 998
5/3/10 10:58 AM
Index
Flash XML Graphics (FXG) files overview, 70 Simplify Layers for FXG option, 957 flat brush shapes, 522–523 flatness, 569, 570 Flatten All Layer Effects option, 957 Flatten All Masks option, 957 Flatten Frames into Layers, 804, 815, 887 Flatten Image option, 300, 339, 766, 915 Flatten Image to Preserve Appearance option, 915 flattening Flatten Frames into Layers, 804, 815, 887 Flatten Image to Preserve Appearance option, 915 image, 300, 339, 766, 915 layer masks, 358 3D objects, 701 Flip Canvas Horizontal option, 90 Flip Canvas Vertical option, 91 Flip option, 737 Flip the Clone Source option, 486 Flip X Jitter option, 527 Flip X option, 523 Flip Y Jitter option, 527 Flip Y option, 523 flipping images, 90–91 text, 609 Float All in Window option, 21 Float in Window option, 21 flow Brush options, 243 Clone Stamp tool, 482 painting tools, 509 Flow Jitter, 532 Flow option, 513 focal length, 693 folder batch processing, 951 destination, 167 Zoomify utility, 947 folder control, 154 folders window pane, 154 Folders workspace, 157 font menus, 49 setting preferences, 57–58 typeface versus, 583 font family, 586, 597 font preview size, 58, 585
font size Character panel, 597 options, 586 preview, 58, 585 font style, 597 Footer panel, 181 Forced option, 117 Foreground/Background Jitter setting, 531 foreground colors Background Eraser tool, 514 Clouds filter, 660 Color Dynamics option, 531 Eyedropper tool, 967 fill path with foreground color option, 563 keyboard shortcut, 967 Neon Glow filter, 654 Paint Bucket tool, 536 Forward Warp tool, 639 4-Up option, 934 Fractal Width option, 587 fractional widths, 601 fractions (OpenType), 601 Fragment filter, 659 Frame Animation mode, 889 frame aspect ratio, 790 frame-based animation, 801 frame-by-frame animation building animation, 896–899 creating animation from layered image, 893–896 making changes, 870 overview, 831 frame-by-frame correction adding adjustment to single frame, 875–876 cloning, 876–879 healing, 876–879 locking source frame, 879 frame delay time, 882 Frame Offset option, 486 frame rate, 900 frame ruler, 799 frame spacing, 859 frames duplicating, 885 restoring, 860 Frames to Add option, 884 Free Transform option keyboard shortcut, 628, 967 overview, 628–629
999
47_584743-bindex.indd 999
5/3/10 10:58 AM
Index
Freeform Pen tool keyboard shortcut, 552, 966 overview, 553 Pen tool options, 555 Freehand Curve tool, 113 freehand line, 113 Freeze Mask tool, 642, 643, 645, 646 frequency, 276 Fresco filter, 654 From Center option, 574 full brush tip painting cursors, 53 full screen mode with menu bar, 24 function key, 147–148 fuzziness slider Color Range dialog box, 269 Replace Color Adjustment tool, 395 FXG (Flash XML Graphics) files overview, 70 Simplify Layers for FXG option, 957
G G settings (Color Picker tool), 122 gamma correction, 383, 433, 434, 906, 913 gamut, 54–55, 912 Gamut Warning command keyboard shortcut, 968 options, 919 setting preferences, 54, 55 Gaussian Blur filter, 448, 449 Gaussian noise, 458 General panel (preferences), 45–48, 133 general purpose setting (color management), 907 geometric distortion correction, 695 Get Photos From option, 157, 158 GIF (Graphic Interchange Format) files animated, 881, 896 overview, 66 PNG files versus, 67 preparing images for Web, 924, 929, 930, 936 Glass filter, 657 Global Ambient Color, 735 global lighting animating, 850–851 Global Lighting track, 800 layer styles, 321 Global Lighting track, 800
gloss setting, 749 glow, 320 Glowing Edges filter, 663 glyph protection, 57, 584 Go to option, 803, 887 Go to Recent Folder button, 153 Google Earth 4 files, 70, 72, 700 GPU memory (VRAM) options, 730 GPU settings, 52–53 gradient customizing, 538 pattern, 537 presets, 539 radial, 711, 712 satin option, 321 solid, 538 Gradient Editor, 538–539 gradient map, 375 gradient overlay, 321, 596 gradient pattern, 537 gradient style, 537 Gradient tool keyboard shortcut, 966 overview, 39 painting, 537 gradient type, 538 Graduated Filter tool Camera Raw, 216 creating, 246–249 grain adding, 249, 250 adding noise, 462 Grain filter, 663 Graphic Interchange Format (GIF) files animated, 881, 896 overview, 66 PNG files versus, 67 preparing images for Web, 924, 929, 930, 936 Graphic Pen filter, 662 graphics, 6 grass brush style, 540, 541 gray color profiles, 908 gray eyedropper, 415, 422 gray value, 308 grayscale auto grayscale mix, 204–205 bump map, 748
1000
47_584743-bindex.indd 1000
5/3/10 10:58 AM
Index
color channels, 342, 344, 346–349 color mode, 115–116 color palette, 937 color settings, 908 creating 3D objects, 711–713 creating photos, 235–237 Grayscale slider, 124 merging images, 352 resizing images, 82 split toning, 237 grayscale mix, 204–205 grayscale profiles, 199, 200 Grayscale Ramp, 124 Grayscale slider, 124 green, 404 green channel adjusting midtone range, 418 Channel Mixer, 344 Color Picker tool, 122 overview, 342 selecting channels, 354 grid lines, 110 Grid options, 13 grid size, 425 grids application bar, 22, 23 preferences, 56–57 Ground Plane option, 731 Group Layers command keyboard shortcut, 968 Layer menu, 300 menu list, 60 grouping images as stacks, 172 layers, 313 Grow option, 262 guidelines selection, 590 slicing, 926–928 guides anti-alias, 52 application bar, 22, 23 preferences, 56–57 Guides, Grid, & Slices preferences panel, 56–57
H H settings (Color Picker tool), 122 half-toning, 458 Halftone Pattern filter, 662 Halftone Screen option, 115 halos, 301 Hand tool Camera Raw, 214 keyboard shortcut, 967 overview, 39 preview panes, 935 refining edges, 286 handles adjusting histogram, 107–109 adjusting layers, 679 scale, 623 Skew transformation, 625 Hard Light blending mode, 308, 504–505 Hard Mix blending mode, 308, 505 hard proof, 919 hardness, 523 HD video, 795 HDR (High Dynamic Range) files bits per channel, 121 converting, 433–435 Merge to HDR utility, 177 merging, 177 overview, 65 Radiance file format, 71 HDR toning, 13, 433–435 HDR Toning tool, 433–435 HDV 1080/DVCPRO HD 720 ratio, 792 Header panel, 181 healing video files, 876–879 video layers, 872–874 Healing Brush tools adjustment workflow, 370 Content-Aware fill, 478–479 face swapping with multiple images, 493–497 fixing damaged photos, 490–493 Healing Brush, 471–475 overview, 465–466 Patch tool, 475–478 Red Eye tool, 480
1001
47_584743-bindex.indd 1001
5/3/10 10:58 AM
Index
Healing Brush tools (continued) Spot Healing Brush Content-Aware option, 467–471, 478–479 Creating Texture option, 467 Proximity Match option, 466–467 healing modes, 468 Healing tools overview, 38 removing dust and scratches, 460 height bounding box, 588 canvas, 83 document, 81 horizontal distortion, 595 Marquee tools, 271 printing, 918 scale, 623 settings, 73 video files, 790 Help heading, 153 Help menu deactivating Photoshop, 32 overview, 31–32 Photoshop Help, 31 Hex value, 935 hexadecimal code Color Picker tool, 122 Copy Color’s Hex Code slider, 124 Hide Altered Video option, 806 Hide Auto Slices option, 929 Hide Layers option, 300 Hide option, 133 hiding cropping images, 133 full screen mode, 24 layers, 300 panels, 32 3D objects, 758–759 High Contrast option, 674 High Dynamic Range (HDR) files bits per channel, 121 converting, 433–435 Merge to HDR utility, 177 merging, 177 overview, 65 Radiance file format, 71 High Pass filter, 664, 665
Highlight clipping warning icon, 223, 224 highlights adjusting, 400–402 Auto Levels Adjustment, 416 creating vignette, 251 edges, 674 HDR Toning tool, 433, 434 split toning, 237 tonal range, 518 Histogram panel overview, 35, 102 selecting channels, 103–105 selecting source, 105 setting options, 103, 104 statistics, 105–107 histograms adjusting images, 107–109 adjusting levels, 109–113 Camera Raw workspace, 197, 214 Curves Display tool, 424 determining color balance, 101–102 equalizing, 433 HDR Toning tool, 435 Histogram panel, 102–107 Levels Adjustment tool, 415 overview, 99–102 Parametric panel, 228 history filter adjustments, 668 History panel configuring, 134–135 creating documents, 137 navigating through history states, 136 overview, 132–134 using snapshots, 136–137 overview, 131, 132 painting from using Eraser tool, 138–140 using History Brush, 137–140 using selections, 140–141 settings, 51–52 History & Cache pane, 135 History Brush tools blending changes, 495 keyboard shortcut, 966 overview, 39 painting from history, 137–140
1002
47_584743-bindex.indd 1002
5/3/10 10:59 AM
Index
History Log options, 48 History panel configuring, 134–135 creating documents, 137 navigating through history states, 136 overview, 35, 132–134 painting from history using Eraser tool, 138–140 using History Brush, 140 using selections, 140–141 using snapshots, 136–137 history states Allow Non-Linear History option, 135 deleting history, 137 navigating, 136 setting preferences, 52 History Step Backward command, 967 History Step Forward command, 967 History tools, 512 hold interpolation, 838–839 Hole option (3D objects), 711 Home button, 716, 725 horizontal distortion, 595 Horizontal options vector text layers, 593 warping text, 594 Horizontal Type Mask tool keyboard shortcut, 966 overview, 614 Horizontal Type tool adding text, 588, 589 keyboard shortcut, 966 hotkeys automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Hotspot light setting, 754 HSB slider, 124 HSL (hue, saturation, and luminance) adjustments adjusting lighting, 226 hue, 234 luminance, 235 overview, 233 saturation, 234 HSL/Grayscale panel, 204, 226, 233–236
HTML Copy Color as HTML slider, 124 output settings, 941, 944 slicing images, 926, 928–930 HUD Color Picker choosing colors, 128–129 setting preferences, 45 hue adjusting Adjustment panel, 374 Camera Raw, 234, 237 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 overview, 404–405 Replace Color Adjustment tool, 396, 398 Animation (Frames) panel, 899 Color Picker tool, 122 Hue blending mode, 309 Hue/Saturation Adjustment tool, 374, 405–411, 967 red eye removal, 480 Hue blending mode, 309, 505 hue range area, 408 Hue/Saturation Adjustment tool Adjustment panel, 374 keyboard shortcut, 967 making colors pop, 408–411 overview, 405–408 hyphenation, 603, 604, 606 Hyphenation dialog box, 603, 604
I ICB files, 71 ICC (International Color Consortium) color profiles assigning, 913–914 camera calibration, 253 Camera Raw, 199, 200 converting images, 914–915 embedding, 904–905 Layer Comps to Files option, 958 overview, 77–78, 903 preparing images, 925 IFF (Interchange File Format) files, 71 Ignore Adjustment Layers option, 482 Ignore EXIF Profile Tag option, 50 Ignore Selection when Applying Adjustment option, 431 Illumination map, 748–749 Illustrator, 6, 147
1003
47_584743-bindex.indd 1003
5/3/10 10:59 AM
Index
Image adjustment panel, 199 image adjustment tabs, 199 image-based light, 752–753 image file formats BMP, 67 Cineon, 71 Compuserv GIF, 66 Encapsulated PostScript, 68 FXG, 70 Google Earth 4, 70 IFF, 71 JPEG, 66 JPEG 2000, 66 OpenEXR, 70 PCX, 69 PDF, 68–69 Photoshop, 65, 68–69 PICT, 69 Pixar, 70 PNG, 67 Portable bitmap, 68 PSB, 70 Radiance, 71 RAW, 67–68 Scitex CT, 71 Targa, 71 TIFF, 66 Wireless bitmap, 68 Image info panel, 182 image layer, 294 Image light setting, 754 Image menu, 26–27 Image Previews option, 50 Image Processor, 175–176, 957 Image Rotation menu, 90, 91 image sequences, 810–815, 899 image settings, 205 Image Size command, 967 Image Size pane, 942, 943 Image Statistics dialog box, 959, 960 Image Tile Option settings, 946 ImageProperties.xml, 947 images animating, 5, 931–932 applying text adding text on path, 607–609 adding to Smart Object, 611–614
applying as mask, 614–616 constraining text, 609–611 aspect ratios, 793–796 combining adjustment workflow, 370 channels, 351–353 creating composites, 677–687 creating panorama, 693–696 creating photo collage, 688–692 layers, 338–339 PhotoMergeUI plug-in, 972 photos, 4, 176, 177–179 spot color channels, 363 using Photomerge, 693–696 video layers, 867–868 converting, 914–915 creating, 73–74 cropping, 84–90 file types, 63–72 compressed versus uncompressed, 64 DICOM files, 72 embedding color profiles, 904 HDR files, 65 image files, 65–71 overview, 63 raster versus vector, 64–65 histograms, 107–109 opening, 74–76, 889–890 adjustment workflow, 370 loading files as layers, 174 opening in Camera Raw, 174 placing images, 173 tweened frame animations, 889–890 outputting to Web animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933 previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 preparing for Web, 923–933 adding transparency, 930–931 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930
1004
47_584743-bindex.indd 1004
5/3/10 10:59 AM
Index
proofing, 915–916 ratios, 793–796 resizing, 78–84 adjustment workflow, 370 canvas, 82–83 changing resolution, 79–82 resolution, 78–81 saving, 76–78 straightening flipping images, 90–91 rotating images, 90–93 Ruler tool, 93–94 trimming borders, 94–95 import/export tools, 153 importing batch processing, 951 Bridge toolbar, 153 file formats, 68–69 image sequences, 810–815 images applying metadata, 161 converting to DNG, 159–161 creating subfolders, 158 deleting original files, 161 Get Photos From option, 158 Location area, 158 opening Bridge, 159 overview, 157 renaming files, 158–159 Save Copies To option, 161 video files, 808, 809 Impressionist option, 511 in-between frames, 832 Inactive option (3D objects), 711 Include All Subfolders option, 951 Increase Brush Diameter command, 968 Increase Brush Hardness command, 968 Increase Saturation More option, 406 Indent First Line option, 602 Indent Left Margin option, 602 Indent Right Margin option, 602 indentation, 602, 606 InDesign, 6 Index value, 935 Indexed color mode, 117–118, 924 infinite light, 750, 752 Infinite Light 1, 754 inflating 3D objects, 708–709
Info panel Color Sampler tool, 127 keyboard shortcut, 968 overview, 35 initial direction, 527 ink color management, 907, 916 Curves Display tool, 424 Ink Outlines filter, 656 ink overlap, 363–364 inner glow, 320, 596 Inner light setting, 754 inner shadow, 320, 596 input levels, 112–113 input range sliders, 422 input tonal range, 422 Insert Blank Frame option, 806 installing plug-ins, 969–971 intensity color, 98 Color Match tool, 431 Color Picker tool, 122 grayscale images, 116 HDR Toning tool, 435 Intensity light setting, 754 Intent option, 912, 915, 916 interactive (painting) mode, 735 interactive rendering options, 730 Interchange File Format (IFF) files, 71 interface Curves Adjustment tool, 420 preferences, 48–49 Interface panel, 48–49 Interlaced option, 939 interlaced video, 797 Internal Constraint options, 710 internal constraints, 710 Internet, 970 Internet setting, 908 interpolation hold, 838–839 image size settings, 942 keyframe, 803 linear, 838, 853 printing settings, 920 setting preferences, 45–47 tweening, 832 Interpret Footage option, 806
1005
47_584743-bindex.indd 1005
5/3/10 10:59 AM
Index
Intersect Path Areas option, 556 Intersect Shape Areas option, 559, 560 Intersect with Selection option distorting images, 646 Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 intersection line, 425 Intersection option, 737 Inverse Selection command keyboard shortcut, 968 overview, 260 Invert all option, 645 Invert option Adjustment panel, 375 brush stroke texture settings, 530 Clone Stamp tool, 486 Color Range dialog box, 269 duplicating channels, 351 editing masks, 335 Lens Blur filter, 457 Invert Selection option, 646 invisible setting, 739 IPTC core, 162 Iris settings, 457 ISO setting Camera Raw preferences, 205 noise reduction, 254 item list, 61
J JavaScript, 956 Jitter option layer styles, 321 soft brush style, 542 JPEG 2000 files JPEG2000 plug-in, 972 overview, 66 JPEG/JPG/JPE files Camera Raw preferences, 205–206 Camera Raw versus, 190, 191 opening, 196 overview, 66 preparing images for Web, 924, 936 remove JPEG artifact option, 461 thumbnails, 160
JPEG2000 plug-in, 972 JPEG previews, 205 JP2 files, 66 JPX files, 66 justification, 602, 603, 606 Justify All option, 602 Justify Center option, 602 Justify Left option, 602
K K settings (Color Picker tool), 122 kerning, 598–599 keyboard shortcuts automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Keyboard Shortcuts and Menus dialog box, 59, 60, 62 keyframe interpolation, 803 keyframe navigator, 835–837 keyframes copying and pasting, 802 creating, 832–836, 890–891 deleting, 801, 802 editing, 836–838 interpolation, 803 placement, 841–843 tweening, 892–893 keywords assigning adding existing keywords, 164 adding new keywords, 164–165 adding new sub-keywords, 165 deleting keywords, 166 finding keywords in list, 165 renaming keywords, 166 Bridge utility, 155 Keywords workspace, 156 Keywords tab, 164 Keywords workspace, 156 KML files, 70 KMZ (Google Earth) files, 70, 72, 700 knockout, 363–364 Kurtosis mode, 961
1006
47_584743-bindex.indd 1006
5/3/10 10:59 AM
Index
L L settings (Color Picker tool), 122 Lab color mode, 119–120, 122 Lab sliders, 124 Label heading, 153 labels assigning, 163–164 filtering files, 154 printing, 920 language, 49, 599 Large List option, 126 Large Thumbnail option, 126 Lasso Selection tools, 38 Lasso tools keyboard shortcut, 966 selection Magnetic Lasso tool, 272, 275–277 options, 272–273 Polygonal Lasso tool, 272, 274–275 Last Frame option, 884 Layer Based slice, 925, 926 Layer Comps panel non-destructive editing, 132 overview, 35, 337–338 Layer Comps to Files option, 957–958 Layer Comps to WPG option, 958 Layer Content Options, 299 layer duration bar dragging layers, 819 overview, 801 trimming video layers, 815–816, 818 layer favorites, 807 layer groups, 13 layer knocks out drop shadow option, 321 Layer Mask from Transparency command, 14 Layer Mask option, 299 layer masks alpha channels versus, 358–359 creating, 328–332 editing, 332–335 Fill and Adjustment layers, 313 moving, 335–337 New Document with Layer Mask option, 291 New Layer with Layer Mask option, 290 overview, 313, 327 slicing images, 931 unlinking, 335–337 video layers, 864
Layer Menu, 298–301 Layer Properties option, 298 Layer Style dialog box, 596, 848 layer styles adjusting options, 321–322 adjustment workflow, 371 animating, 847–850 creating separate layer, 322–323 keyboard shortcut, 692 menu, 319 overview, 298 photo collages, 689, 692 3D objects, 766–767 types, 320–321 vector text layers, 595–596 Layer Styles dialog box opening, 320 Sticky Layer Style settings, 14 layering (collages), 689 layers adding new, 296–297 Adjustment, 313–319 adding, 418 Adjustment panel, 376–377 choosing, 314 Clone Stamp tool, 482 creating, 682 editing, 318–319 fading out, 847 New Adjustment Layer option, 299 overview, 313, 315–318 video files, 863–870 Color Match tool, 431 Drag-and-Drop document, 13 editing vector text Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595
1007
47_584743-bindex.indd 1007
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Index
layers (continued) Fill choosing, 314 creating, 682 editing, 318–319 overview, 314–315 video files, 863–870 filtering, 729 Layer Comps panel, 337–338 Layer Menu, 298–301 Layer Styles adjusting options, 321–322 creating separate layer, 322–323 menu, 319 types, 320–321 Layers panel blending modes, 305–312 creating blank layers, 313 Fill and Adjustment layers, 313 grouping layers, 313 Layer masks, 313 Layer styles, 313 linking layers, 312 Lock settings, 304–305 menu, 301–303 Opacity and Fill settings, 303–304 throwing layers away, 313 loading files, 174 masks creating, 328–332 editing, 332–335 moving, 335–337 overview, 327 unlinking, 335–337 merging, 338–339 multiple animating, 843–845 importing image sequences, 813–815 modifying opacity, 14 overview, 294–295 non-destructive editing, 132 overview, 293 painting, 502 position of, 841–845 saving images, 77 selection option, 260–261 slicing images, 927 Smart Objects, 323–327 3D files, 701–702
3D scene, 731–732 TIFF files, 66 tracing edges, 543 tweening, 884 vector, 314, 502, 590–596 vector shape, 572–573 video blank, 826, 828 creating, 855 moving, 818–819 splitting, 820–822 text, 826, 827 trimming, 815–818 visibility, 135 Layers panel adding text, 588, 590 Adjustment panel icons, 376–377 Animation (Frames) panel, 888 Animation (Timeline) panel, 833–835 blending modes adding contrast, 308 color blending, 309 darkening, 307 Dissolve, 307 lightening, 307–308 menu, 305–306 Normal, 306–307 steps for using, 309–312 using difference, 308–309 creating blank layers, 313 creating 3D objects, 713–714 Fill and Adjustment layers, 313 filters, 671 grouping layers, 313 keyboard shortcut, 968 Layer masks, 313 Layer styles, 313 linking layers, 312 Lock settings, 304–305 Materials panel, 742–743 merging layers, 338 Opacity and Fill settings, 303–304 order of layers, 691 overview, 35 selecting vector text layer, 599 3D objects, 699, 713–714 throwing layers away, 313 video files, 819
1008
47_584743-bindex.indd 1008
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Index
layout page, 6 photo collages, 689 previewing, 934–936 Layout panel, 181 Leading option, 598 left falloff handle, 408 left fallout area, 408 left range handle, 408 length bristle brush shapes, 524 Line tool, 576 Lens Blur dialog box, 455, 456 Lens Blur filters Depth Map, 456–457 Iris, 457 noise, 458 overview, 455 preview, 456 Specular Highlights, 457–458 Lens Correction tab, 252 lens filters, 393, 394 Lens Flare filter, 660 level data, 344, 350 levels adjusting, 109–113 configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 412–415 overview, 411 Adjustment panel, 374 channels, 98–99 Histogram panel, 106, 107 Levels Adjustment tool, 411–415, 418, 419 Levels command, 967 Levels tool, 107–109, 418 Lift Work Area option, 804 light, 424 light guides, 750–751 Light Rotate tool, 753 Light Table workspace, 156 Light Type setting, 754 Lighten blending mode, 307, 504 lightening Dodge tool, 516 noise, 254 shadows, 223
lightening blending modes layers, 307–308 painting, 504 Lighter Color blending mode, 308, 504 lighting adjusting, 221–225 adjustment workflow, 370–371 color, 97–98 global, 850–851 overexposure, 100 panoramas, 693 rotating 3D objects, 716 lighting adjustments Brightness/Contrast tool, 382–383 Camera Raw, 222–225 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves, 420–430 adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 levels, 411–419 configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 411–415 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 white balance, 221 Lighting Effects filter, 660, 686 Lighting Preset setting, 754 lightness adjusting exposure, 223 Color Picker tool, 122 Replace Color Adjustment tool, 396, 398 Variations Adjustment tool, 400
1009
47_584743-bindex.indd 1009
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Index
Lights panel adding new lights, 751–753 overview, 750 positioning lights, 753 settings, 754 limits Background Eraser tool, 514 Color Replacement tool, 509 line illustration rendering, 733 line segments, 548 Line tool keyboard shortcut, 967 options, 576 Linear Burn blending mode, 307, 503 Linear Dodge blending mode, 307, 310, 504 linear interpolation, 838, 853 Linear Light blending mode, 308, 505 linear path, 550 lines creating freehand, 113 intersecting, 425 vector graphics, 64–65 link added layers option, 887 Link Layers option, 300 linking layers, 312 link added layers option, 887 Liquify filter mask options, 645–646 mesh options, 643 reconstruct options, 643–645 tools, 639–643 view options, 646–647 list options presets, 42 view as list option, 155 Load Brush after Stroke option, 520 Load Brushes option, 533 Load button, 916 Load Control option, 520 Load Files Onto Stack option, 958, 959 Load Layers dialog box, 814, 958, 959 Load Multiple DICOM Files option, 959 Load option Color Range dialog box, 269 Mixer Brush, 521 Load Path as a Selection option, 564 Load Selected button, 750 Load Selection from Mask option, 335
Load Selection option, 262 Load Settings option, 207 Load Shapes option, 580 Load Solid Colors only option, 520 Load Statistics option, 431 loading brush settings, 533 Color Range dialog box, 269 custom vector shapes, 580 load path as selection option, 564 selections from alpha channels, 357 Local Adaptation option, 433 Local option, 117 localized color clusters, 269, 395 Location area, 158 Lock All Layers in Group option, 300 Lock All option, 304 Lock Frame box, 879 Lock Frame option, 486 Lock Guides option, 31 Lock Image Pixels option, 304 Lock Position option, 304 Lock settings, 304–305 Lock Slice option, 31 Lock Thumbnail Grid option, 155 Lock Transparent pixels option, 304 locking background layers, 622 brush settings, 526 colors, 942 source frame, 879 Log Errors to File option, 953 Looping options, 883, 943 loose mode, 645 loose tracking, 599 Lorem Ipsum text, 610 lossless compression, 64, 924 lossy compression, 64, 66, 939 lowercase extension, 77 luminance Camera Raw, 235 Color Match tool, 431 reducing noise, 254 luminance noise, 458 Luminance tab, 235 luminosity Lab color mode, 119 Luminosity blending mode, 309, 506 preserve luminosity option, 386, 394
1010
47_584743-bindex.indd 1010
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Index
Luminosity blending mode, 309, 506 luminosity channel, 105
M M settings (Color Picker tool), 122 Mac OS color palette, 937 magenta, 122, 404 Magic Eraser tool keyboard shortcut, 966 options, 514–515 Magic Wand tool adjusting selections, 277–278 keyboard shortcut, 966 selection options, 266–267 steps for using, 267–268 Magnetic Lasso tool options, 272, 275–276 selection, 275–277 Magnetic option, 553 Magnify box, 20 main menu (Bridge), 152–153 Make Frames from Layers option, 804, 887 Make Layer Visibility Changes Undoable option, 135 Make Ramp Web Safe option, 125 Make Selection option, 564 Make Work Path option, 564 Make Working Path from Selection option, 564 Manage Modules panel, 184 manipulation tools, 728 manual kerning, 598 manual slicing, 926 Map to Transparent option, 942 maps, 747–749 Marquee options, 270–271 Mask All option, 645 Mask Edge, 335 Mask Enable, 852, 853 Mask Position, 852 Mask Thumbnail option, 334 Mask tools, 642 masked areas, 359 masks Adjustment Brush, 241–243 animating, 852, 853 applying text, 614–616 composite files, 683–687
layer alpha channels versus, 358–359 creating, 328–332 editing, 332–335 Fill and Adjustment layers, 313 moving, 335–337 New Document with Layer Mask option, 291 New Layer with Layer Mask option, 290 overview, 327 unlinking, 335–337 non-destructive editing, 132 options, 242, 645–646 sharpening, 255 Unsharp Mask filter, 439 vector add vector mask button, 334 creating, 329 Layer Menu, 300 paths, 551, 570–572 Masks panel, 35, 328, 334–335 Master option, 117 Match All option, 21 Match Color Tool, 430–433 Match Layer Across Frames option, 887 Match Location option, 21, 23 Match Print Colors option, 919 Match Rotation option, 21 Match Zoom option, 21, 23 Material Drop tool, 749–750 materials, 745–749 materials drop button, 728 Materials panel editing materials, 745–749 editing textures, 742–745 Material Drop tool, 749–750 matte indexed color mode, 117–118 Layer menu, 300–301 slicing images, 929 Maximize PSD and PSDB Compatibility option, 50 Maximum filter, 664 maximum mode, 961 maximum opacity, 859 mean Histogram panel, 106 stack modes, 961 Measurement Log panel, 28, 29, 35 measurement scale, 28–29
1011
47_584743-bindex.indd 1011
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Index
Measurement Scale dialog box, 28 median Histogram panel, 106 stack modes, 961 Median filter, 459 medical images, 860–862 megapixel size, 201 memory card, 186, 194 memory usage, 51 menu bar, 24 menu command keyboard shortcuts, 967–968 Menu For option, 59 menu item, 147 menu list, 60 Menu option, 816–817 menu(s) Actions panel, 143 Analysis menu Count tool, 27 placing scale marker, 29–30 Record Measurements, 28 Ruler tool, 27 setting data points, 29 setting measurement scale, 28–29 customizing, 58–60 Edit menu, 26 File menu, 26 Filter menu, 27 Help menu deactivating Photoshop, 32 Photoshop Help, 31 Image menu, 26–27 Layer Styles, 319 Layers panel, 305–306 Select menu, 27 3D menu, 29–30 View menu Clear Guide option, 31 Clear Slices option, 31 Extras option, 30 Lock Guides option, 31 Lock Slice option, 31 New Guide option, 31 Ruler option, 30 Show menu option, 30 Snap and Snap To options, 31 Window menu, 31 Merge Channels dialog box, 351
Merge Down option, 300 Merge Layers option, 339 Merge mode dialog box, 351 Merge to HDR utility, 177, 178 Merge Visible option, 300, 339 merging channels, 351–353 documents, 296 images adjustment workflow, 370 creating composites, 677–687 creating panorama, 693–696 creating photo collage, 688–692 PhotoMergeUI plug-in, 972 photos, 176–179 spot color channels, 363 using Photomerge, 693–696 layers overview, 338–339 video, 867–868 Mesh Move tools, 707 Mesh tool, 740–741 meshes Liquify filter, 639 options, 643 Puppet Warp tool, 635, 636 show mesh option, 646 texture maps, 742 3D, 711–713 Meshes panel, 739–741 metadata Bridge utility, 155, 161–163, 167 Camera Raw, 189–193 categories, 167 creating stacks, 172 file output settings, 940 logging history information, 133 Metadata workspace, 156 storing history, 48 XMP files, 195, 196 Metadata panel, 161, 162 Metadata workspace, 156 method options, 433 metric kerning, 598 Mezzotint filter, 659 midpoint, 251 midtone contrast, 402 midtone eyedropper, 384
1012
47_584743-bindex.indd 1012
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Index
midtone slider, 413, 414 midtones Auto Levels Adjustment, 415, 416 creating 3D mesh, 711 Surface Blur filter, 454 tonal range, 518 Variations Adjustment tool, 398 Mini-Bridge adding document as layer, 296 application bar, 22 browsing, 184–186 combining files, 679, 690 setting up, 183–184 Mini-Bridge panel application bar, 22 overview, 8, 35 minimum depth, 531 Minimum filter, 664 minimum mode, 961 minimum opacity, 859 Mirror tool, 642 missing glyph protection, 57 Mix option, 521 Mixer Brush keyboard shortcut, 966 overview, 6, 7, 510 painting, 519–521 transfer option, 532 wet paint on existing image, 544 mixing tools, 502, 519–521 mobile devices, 944 mobile SWF files, 162 mode brush stroke texture settings, 531 Clone Stamp tool, 482 Eraser tool, 513 Gradient tool, 537 Mixer Brush, 521 Paint Bucket tool, 535 painting tools, 508 Sharpen and Blur tools, 516 Smart Blur filter, 455 Sponge tool, 518 modified frames, 855–857 Modify option, 261 modules, 184 monitor color setting, 907 Monitor RGB color profile, 908
monitors color calibrating, 906–907 pixel aspect ratio, 790, 791 RGB color mode, 118 monochromatic noise, 458, 462 Monochrome option, 344, 347, 372, 415 More Accurate option, 446 More Options button, 910, 911 Mosaic filter, 659 Mosaic Tiles filter, 663 Motion Blur filter, 451–453 Motion preset, 25 MOV files, 71 Move Layer End Point to Current Time option, 803, 819 Move Layer In Point to Current Time option, 803 Move to Current View option, 753 Move tool adding text, 588 keyboard shortcut, 966 overview, 38 moving Adjustment layer, 318 channels, 353 crop box, 88 layer masks, 335–337 layers, 295, 296 operations, 146 video layers, 818–819 MPG/MPEG files, 72 multichannel color mode, 120 multiple images batch processing, 950–954 color, 99 creating photo collage, 688–692 face swapping, 493–497 merging auto-merging images, 177–179 channels, 351–353 creating composites, 677–687 creating panorama, 177, 693–696 creating photo collage, 688–692 layers, 338–339 Merge to HDR utility, 177 overview, 4, 176 PhotoMergeUI plug-in, 972 photos, 176–179 spot color channels, 363 using Photomerge, 177, 693–696 video layers, 867–868
1013
47_584743-bindex.indd 1013
5/3/10 10:59 AM
Index
multiple images (continued) selecting source, 105 stack modes, 959–962 synchronizing adjustments, 217–218 multiple layers animating, 843–845 importing image sequences, 813–815 modifying opacity, 14 overview, 294–295 Multiply blending mode, 307, 503
N Name option alpha channels, 359 Gradient Editor, 538 naming Camera Raw files, 211 duplicating channels, 351 files, 73, 77, 953 positions, 721 renaming collections, 170 files, 158–159, 166–167 importing, 153 keywords, 166 shapes, 579 video layers, 808 snapshots, 136 video files, 808, 827, 899 video layers, 855 National Association of Photoshop Professionals (NAPP), 973–975 navigating history states, 136 keyboard shortcut, 136 navigation bar, 184 navigation buttons, 184 navigation panel, 184 navigation tools, 153 Navigator panel, 35, 36 nearest neighbor interpolation, 45, 46, 80 Negative option, 920 Neon Glow filter, 654 nest layer groups, 13 neutral color card, 222 Neutralizes option, 431 New Action dialog box, 145
New Adjustment Layer option, 299 New Background From Layer option, 298 New Blank Video Layer option, 805–806 New Character Style option, 604 New dialog box, 73 New Document option keyboard shortcut, 967 output settings, 291 New Document with Layer Mask option, 291 New Filenames, 167 New Fill Layer option, 298 New Frame option, 886 New Group from Layers option, 298 New Group option, 298, 867 New Guide option, 31 New in CS5 presets, 24 New Keyword button, 164, 165 New Layer Based Slice option, 300 New Layer option keyboard shortcut, 967 Layer menu, 298 Layers panel, 828 output settings, 290 New Layer via Copy option keyboard shortcut, 968 Layer menu, 298 New Layer via Cut option, 298 New Layer with Layer Mask option, 290 New Layers Visible in All Frames option, 887, 897 New Paragraph Style option, 606 New Path option, 564 New Selection option Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 270 Quick Selection tool, 264 New Synchronized Window option, 153 New Video Layer from File option, 805 newspaper setting, 908 Next Frame option, 884 Nikon, 195 90 degrees CCW flip, 90 90 degrees CW flip, 90 No Break option, 601 No Dither option, 938 No Filter option, 673 No Image slice, 925, 926
1014
47_584743-bindex.indd 1014
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Index
noise adding, 462 adjusting lighting, 222 gradient type, 538 Lens Blur filters, 458 reducing, 253–254 adjustment workflow, 371 Despeckle filter, 458 Dust and Scratches filter, 460 Median filter, 459 Reduce Noise filter, 460–461 stack modes, 959–962 setting brush behavior, 526 noise dither, 938 Noise option, 118 non-brush painting tools Gradient Editor, 538–539 Gradient tool, 537 overview, 534 Paint Bucket tool, 535–536 non-destructive editing Camera Raw, 191–193, 215 Fill and Adjustment layers, 314 filter adjustments, 668–672 layers, 299 overview, 131–133 Smart Filters, 437 non-linear history, 135 Normal blending mode, 306, 503 normal brush tip painting cursors, 53 Normal healing mode, 468 Normal map, 748 normal mode, 52 Normal style (slicing), 926 Note Paper filter, 662, 665 Note tool keyboard shortcut, 966 overview, 38 notes, 77 Notes panel, 36 NTSC colors, 797–798 Number of Colors option, 942
O OBJ files, 72, 700 Ocean Rippler filter, 657 off mode (color management), 909 offset, 673
Offset filter, 665 Offset option, 737 offset printing, 360 offset values adjusting, 383 Clone Source panel, 485 Old style option, 406, 601 On-image Adjustment tool Curves Adjustment tool, 422–423 Hue/Saturation tool, 407 On Layers view, 14 once sampling Background Eraser tool, 514 Color Replacement tool, 509 180 degrees flip, 90 Onion Skin Count, 859 Onion Skin Options dialog box, 804 onion skins rotoscoping, 857–859 settings, 804–805 toggle onion skins icon, 801 opacity alpha channels, 360 Animation (Frames) panel, 890, 891 changing settings, 681 Clone Stamp tool, 482 Crop tool, 89 editing masks, 332 Eraser tool, 513 Gradient tool, 537 maximum, 859 minimum, 859 modifying, 14 Normal blending mode, 306 overlay opacity option, 486 Paint Bucket tool, 535 painting tools, 508 settings animating, 845–847 changing, 681–682, 747 Layers panel, 303–304 overview, 54 spot removal, 240 Opacity Jitter, 532 Opacity map, 747–748 Opacity slider, 240 Open As dialog box, 75 Open Bridge option, 183
1015
47_584743-bindex.indd 1015
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Index
Open dialog box batch processing, 952 opening existing images, 74 Open Document command, 967 Open Documents as Tab option, 49 Open File dialog box, 67, 184 Open GL drawing, 730–731 Open GPU Utility button, 53 open path, 550 Open Preferences icon, 202 opened files, 951 OpenEXR files, 70 OpenGL drawing, 129, 525 opening Camera Raw images, 196–197, 202 Channels panel, 349 images, 74–76 adjustment workflow, 370 loading files as layers, 174 opening in Camera Raw, 174 placing images, 173 tweened frame animations, 889–890 3D objects file, 701–702 video files, 808–809 OpenType fonts enabling features, 605 options, 600–601 overview, 583, 584 operations adding, 146 duplicating, 146 modifying, 146–147 moving, 146 optical kerning, 598 Optimize Animation option, 887 optimize buttons, 52 Optimize option, 939 Optimize to File Size dialog box, 940 options bar overview, 25–26 3D panel, 728 options pane, 667–668 orbiting with camera, 725 Order option, 928 ordinals, 601 organizing files assigning keywords adding existing keywords, 164 adding new keywords, 164–165
adding new sub-keywords, 165 deleting keywords, 166 finding keywords in list, 165 renaming keywords, 166 assigning ratings and labels, 163–164 creating stacks, 171–172 deleting versus rejecting files, 172–173 finding files, 167–170 importing images applying metadata, 161 converting to DNG, 159–161 creating subfolders, 158 deleting original files, 161 Get Photos From option, 158 Location area, 158 opening Bridge, 159 overview, 157 renaming files, 158–159 Save Copies To option, 161 renaming files, 166–167 using collections, 170–171 working with metadata, 161–163 orientation printing, 918 text, 586 3D objects, 716 Original/Current Pick option, 398 ornaments, 601 outer glow, 320 Outer light setting, 754 outline, 322 Output button, 179 output channel, 344 output levels, 414 Output Preview window, 182 Output Settings editing, 941 refining edges, 289–291 Output Settings dialog box, 941 Output settings panel, 182 Output to option, 290 output tonal range, 422 Output workspace, 156 outputting images animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933
1016
47_584743-bindex.indd 1016
5/3/10 10:59 AM
Index
previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 overexposure adjusting brightness/contrast, 382, 383 Curves Adjustment tool, 426 determining, 100–101 overlap ink, 363–364 panoramas, 693 Overlay blending mode, 308, 504 Overlay Blending Mode option, 486 Overlay Opacity option, 486 overlays channel, 424 Clone Stamp tool, 486 color, 360 creating PDFs, 181 Override Action “Open” commands option, 951 Override Action “Save As” commands option, 953 overspray technique, 577
P page layout, 6 Paint Bucket tool keyboard shortcut, 966 overview, 39, 535–536 Paint Daubs filter, 654 paint mask rendering, 733 paint mode hiding areas, 758–759 overview, 757 steps for using, 759–765 Paint on option, 735 painting blending modes basic, 503 color, 505–506 contrast, 504–505 darkening, 503–504 difference, 505 divide, 505 exclusion, 505 lightening, 504 subtract, 505
Brush panel Brush Presets panel, 533–534 setting brush behavior, 526–534 setting brush tip shape, 522–526 editing tools Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 History tools, 512 overview, 502, 510 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 from history using Eraser tool, 138–140 using History Brush, 137–138, 140 using selections, 140–141 on image, 332 mixing tools, 502, 519–521 modifying alpha channels, 358 non-brush painting tools Gradient Editor, 538–539 Gradient tool, 537 overview, 534 Paint Bucket tool, 535–536 overview, 4, 501–502 painting tools, 506–510, 840 techniques painting from blank canvas, 539–542 tracing edges from existing image, 543–544 wet paint on existing image, 544 painting cursors, 53–54 Painting preset, 24 palette, 117, 937, 947–948 Palette Knife filter, 654, 655 PAM files, 68 panel buttons, 33 panel groups collapsing, 32 overview, 33 panel menu Animation (Frames) panel, 885–887 Camera Raw, 206–207 overview, 33 3D panel, 727
1017
47_584743-bindex.indd 1017
5/3/10 10:59 AM
Index
panel options, 302, 564, 805 panel tabs, 33 Panel View settings, 184 panels overview, 32 panel groups, 32, 33 presets, 24 setting preferences, 49 types, 34–36 panning, 725 panorama, 177–179, 693–696 paper quality, 907 Paragraph panel overview, 35 text, 590, 602–609 Paragraph Style Options dialog box, 606 Paragraph Styles panel options, 606–607 overview, 13, 35 paragraph type adding text, 588–589 overview, 587 parameters setting, 885, 892 Parametric panel, 227–230 parent folder name, 159 password, 180 Paste After Selection option, 887 Paste Before Selection option, 887 Paste Frame options, 886–887 Paste in Place option, 15 Paste Over Selection option, 887 pastels, 655 pasting adding document as layer, 296 combining files, 678 image files, 827 keyframes, 802, 836, 837 overview, 47 selections, 297 Patch tool healing, 475–478 keyboard shortcut, 966 Patchwork filter, 664 Path Creation tools, 39 Path Selection tools keyboard shortcut, 558, 966 options, 558–562
overview, 39, 557 types, 558 paths adding custom vector shapes, 579–581 adding text, 607–609 adding vector shape layers, 577–579 adjusting selection, 279–281 anti-alias, 52 components, 548–549 creating, 565–567 creating clipping masks, 568–570 creating masks, 328 creating vector masks, 570–572 creating vector shapes, 567–568 distorting images, 625 editing vector shapes, 581 inserting, 147 overview, 547–548 Repoussé tool, 11 TrueType fonts, 584 types, 549–551 vector path tools, 551–565 Path Selection tools, 557–562 Paths panel, 562–565 Pen tools, 551–557, 552–557 vector shape layers, 572–573 vector shape tools, 573–576 Paths panel inserting paths, 147 overview, 35 selections, 280 vector path tools, 562–565 pattern custom, 115 gradient, 537 Paint Bucket tool, 535 pattern dither, 114, 938 Pattern option, 118 pattern overlay, 321 Pattern Picker option, 511 Pattern Stamp tool keyboard shortcut, 966 painting, 511–512 PatternMaker, 972 PBM (Portable bitmap) files, 68 PCT files, 69 PCX (Personal Computer eXchange) files, 69
1018
47_584743-bindex.indd 1018
5/3/10 10:59 AM
Index
PDD files, 205 PDF files creating, 179–181 exporting files, 153 overview, 68–69 PDP files, 68–69 Pen tools keyboard shortcut, 552, 966 vector paths clipping masks, 569 options, 554–557 overview, 551 types, 552–554 pen width, 276 Pencil mode, 513 Pencil tool keyboard shortcut, 966 painting, 507 tracing edges, 543 Per Channel option, 461 percentile (Histogram panel), 107 Perceptual option, 117, 912, 919, 937 performance preferences, 51–53 Performance preferences panel, 51–53 Personal Computer eXchange (PCX) files, 69 perspective Crop tool, 89 Free Transform option, 629 Puppet Warp tool, 637 tracing edges, 543 vanishing point, 647–652 Perspective Layout option, 695 Perspective option, 89 Perspective transformation, 626–627 PFM files, 68 PGM (Portable Graymap) files, 68 photo collage, 688–692 photo compositions, 4 photo corrections, 4 Photo Downloader, 157–159 photo enhancements, 4 Photo Filter, 374, 393–394 Photo Filter Adjustment tool, 393–394 Photocopy filter, 662 Photography preset, 25 Photomerge creating panorama, 693–696 overview, 177
PhotomergeUI, 972 photometer, 907 Photoshop. See also specific headings applications, 4–5 overview, 3 versions, 4 Photoshop CS3, 695, 699 Photoshop CS4, 695, 699 Photoshop CS5, 263, 285, 467, 604, 699, 753 Photoshop events, 963 Photoshop files, 65, 68–69 Photoshop Help keyboard shortcut, 968 overview, 31 Photoshop Manages Color option, 919 Photoshop workspace. See workspace(s) pica size, 55 PICT files, 69 Pigment/Ink option, 424 Pin Light blending mode, 308, 505 Pinch filter, 657 pins Camera Raw, 242–243 Puppet Warp tool, 635–638 PIX file format, 971 Pixar (PXR) files, 70 Pixel Aspect Ratio Correction, 790–791, 796 pixel aspect ratios video editing, 790–796 View menu, 30 pixel dimension height, 81 pixel dimension width, 81 pixel masks Add a Pixel Mask option, 334, 931 overview, 328 Pixelate filters, 658–659 pixelization, 458, 548 pixels alpha channel, 356, 358–359 blur filters, 449 Camera Raw workflow, 201 distortion, 369 Histogram panel, 106 histograms, 99 Lock Image Pixels option, 304 Lock Transparent pixels option, 304 pixel aspect ratios, 790–796 raster versus vector graphics, 64–65
1019
47_584743-bindex.indd 1019
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Index
pixels (continued) resizing canvas, 82–83 resolution, 78 Ruler tool, 27 setting measurement scale, 28 Place command, 678, 679, 829 Place or Drag Raster Images as Smart Objects option, 48 Plane option, 712, 737 Plaster filter, 662 Plastic Wrap filter, 654 Play option, 950 playback controls, 799, 849 Playback panel, 181 Plug-In Preferences panel, 969 plug-ins Alias, 971 Bigger Tiles, 971 Digimarc, 972 installing, 969–971 JPEG2000, 972 Manage Modules panel, 184 PatternMaker, 972 PhotomergeUI, 972 preferences, 57 RLA, 972 SGIRGB, 972 SoftImage, 972 Web Photo Gallery, 972 PNG (Portable Network Graphics) files overview, 67 preparing images for Web, 924, 929, 930 PNM files, 68 point light, 752 Point Light at Origin option, 753 point size, 55 Point tab, 231–233 point type adding text, 588 overview, 587 Pointillize filter, 659 points, 112, 427–429 Points Curve option, 112, 422 Polar Coordinates filter, 657, 658 policies, 909–910 Polygon tool adding layers, 577–578 keyboard shortcut, 967 options, 575
Polygonal Lasso tool options, 272 selection, 274–275 Portable bitmap (PBM) files, 68 Portable Graymap (PGM) files, 68 positions changing, 721–722 printing, 918 positive horizontal distortion, 595 positive vertical distortion, 595 postcard, 703 Poster Edges filter, 655 Posterize option, 375 PostScript fonts, 583 PPM (Portable Pixmap) files, 68 precise painting cursors, 53 preconfigured presets, 42 predefined filters, 393 predefined scripts, 956–960 Prefer Adobe Camera Raw for Supported Raw Files option, 50 preferences Camera Raw, 202–206 cache settings, 205 default, 204–205 DNG file handling, 205 general, 203–204 JPG and TIFF handling, 205–206 Scene panel, 729–731 3D, 729–731 type, 584–585 workspace cursors, 53–54 3D, 58 file handling, 49–51 general, 45–48 guides, grid, and slices, 56–57 interface, 48–49 overview, 44 performance, 51–53 plug-ins, 57 transparency and gamut, 54–55 type, 57–58 unit and rulers, 55–56 Preferences dialog box adding plug-in folders, 969 Camera Raw preferences, 202–203 history logging feature, 133
1020
47_584743-bindex.indd 1020
5/3/10 10:59 AM
Index
HUD Color Picker, 128 setting preferences, 44, 53 3D, 730 Premultipled with Black option, 900 Premultipled with Color option, 900 Premultipled with White option, 900 preparing images adding transparency, 930–931 adjustment workflow, 371 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930 prepress setting, 908 Preserve Details option, 461 Preserve Embedded Profiles option, 909 Preserve Exact Colors option, 118 Preserve Luminosity option, 386, 394 Preserve Raw Image option, 160 Preserve RGB/CMYK Numbers option, 916 Preset Lists option, 580 Preset Manager, 41–42, 580 Preset panel, 209, 210 presets Adjustments panel, 377–378 Batch Rename utility, 167 Brush Presets panel, 33, 533–534 brush stroke texture settings, 530 Camera Raw Apply Preset option, 207 overview, 205 saving presets, 209–210 Channel Mixer, 344 Clone Stamp tool, 482 color settings, 907 contour, 709 creating, 42–43 Curves Adjustment tool, 420 custom vector shapes, 580 exposure values, 384 file output settings, 936 Film & Video, 796 gradient, 539 HDR Toning tool, 433 Hue/Saturation tool, 406 images, 73 Lasso tool, 272
Levels Adjustment tool, 413 Magic Wand tool, 266 managing, 41–42 Marquee tools, 270 painting tools, 507 Quick Selection tool, 263 reducing noise, 460 Render filters, 660 render settings, 732–733 resolution, 55 restoring, 44 selecting tool, 40–41 3D objects, 704–706 Tool presets panel, 36 video aspect ratios, 791–793 warps, 625, 626 workspace, 24–25 preview blur filters, 449, 450 Bridge utility, 155, 160, 167 browser, 944 brush, 54 Color Range dialog box, 269 devices, 944–946 file output settings, 940 Filmstrip workspace, 156 Filter Gallery, 665–666 font size, 58, 585 Image Previews option, 50 Lens Blur filters, 456 Mini-Bridge settings, 186 Output Preview window, 182 Patch tool, 476 Preview in Browser button, 182 Preview workspace, 156 printing, 918 Refresh Preview button, 180, 182 Save for Web & Devices utility, 933–936 Update embedded JPEG previews option, 205 video files, 790 Preview in Browser button, 182 preview pane animation, 944 Bridge utility, 155 Filter Gallery, 665–666 Save for Web & Devices utility, 935, 936 Preview panel, 185
1021
47_584743-bindex.indd 1021
5/3/10 10:59 AM
Index
preview size Smart Sharpen filter, 445 Unsharp Mask, 443 Preview workspace, 156 previous conversion, 205 Previous Frame option, 884 Primaries option, 117 Print dialog box, 917, 919–921 Print Document command, 967 print settings, 918 Print Size option, 19 Print Vector Data option, 920 Printer Manages Color option, 919 Printer Profile option, 919 printers, 906–907, 918 printing accurate colors, 918–920 adding crop marks, 920–921 bitmap color mode, 114 clipping path, 564 color calibrating printers, 906–907 configuring options, 918 crop marks, 83 file formats, 68 preparation, 5 preset resolution, 55 Print dialog box, 917 Print Size option, 19 resolution, 79, 201–202 spot color channels, 360 processing images batch processing, 174–175 creating droplets, 954–955 creating PDFs, 179–181 creating web galleries, 181–183 merging photos, 176–179 opening images in Photoshop, 173–174 using Image Processor, 175–176 Profile option, 913 Progressive option, 939 Project Foreground Color option, 514 Promote button, 928 Proof Colors command, 968 Proof option, 919 Proof Settings menu, 916 Proof Setup option, 919 proofing images, 915–916 propagate frame 1 icon, 888 properties, 318–319
ProPhoto RGB profile, 199 Proportional option, 574 Protect Skin Tones button, 631–633 Protect Texture option, 527 Protect Tones option Burn tool, 518 Dodge tool, 518 protecting detail Sharpen and Blur tools, 516 Sharpen tool, 13 Proximity Match option, 466–467 PS files, 68 PSB files compatibility preferences, 50 overview, 70 PSD files compatibility preferences, 50 overview, 65 Pucker tool, 641 punctuation, 603 pupil size, 480 Pupil Size slider, 240 Puppet Warp tool overview, 9, 10, 622 transformations, 634–638 Push left tool, 641 PXR (Pixar) files, 70
Q quality file output settings, 939, 942 Radial Blur filter, 454 render settings, 735 Smart Blur filter, 455 Quick Buttons, 143 Quick Mask mode activating, 40 adjusting selection, 281–285 Rectangle Marquee tool, 271–272 Quick Mask Options dialog box, 283 Quick Selection tools options, 263–264 overview, 38 Polygonal Lasso tool versus, 274 steps for using, 264–266 Quick Time Export options, 899 Quicktime, 71–72, 808, 899
1022
47_584743-bindex.indd 1022
5/3/10 10:59 AM
Index
R R settings, 122 Radial Blur filter, 453–454 radial gradient, 711, 712 Radiance files, 71 radius blur filters, 449–451, 454 edge detection, 288, 289 fixing highlights, 401 fixing shadows, 401 HDR Toning tool, 433 Lens Blur filter, 457 Median filter, 459 Polygon tool, 575 refining edges, 287, 288 sharpening, 255 Smart Sharpen filter, 446, 447 Unsharp Mask, 443, 444 RAM Bigger Tiles plug-in, 971 Content-Aware algorithm, 479 setting preferences, 51 range rendering video, 899 stack modes, 961 tonal, 422, 518 Range slider, 269 raster files EPS file format, 68 Layer menu, 300 vector versus, 64–65 Rasterize Type option, 592 rasterizing adding text in Smart Object, 610 Layer menu, 300 Rasterize Type option, 592 3D objects, 701 vector shapes, 572 video layers, 806 ratings assigning, 163–164 filtering files, 154 RAW files Bridge utility, 160–161 overview, 67–68 Ray Traced Final Draft, 735
Ray Tracer Create Shadows light setting, 754 option, 731 refraction setting, 749 rendering, 730–731 Recent File List Contains option, 50 reconstruct options, 643–645 Reconstruct tool, 639 Record button, 146 Record Measurements, 28 Record Stop dialog box, 146 recorded commands, 143 recording actions, 141, 144–146 recovery, 223 Recovery slider, 223 Rectangle Marquee tool keyboard shortcut, 966 Polygonal Lasso tool versus, 274 selecting by shape, 271–272 Rectangle tool keyboard shortcut, 967 options, 574–575 red, 404, 410 Red Boost option, 406 red channel Channel Mixer, 344 Color Picker tool, 122 overview, 341–342 selecting channels, 354, 355 swapping colors, 345–346 red-eye removal Camera Raw, 216, 240–241 Healing tools, 511 Red Eye tool Camera Raw images, 240–241 healing, 466, 480 keyboard shortcut, 966 overview, 480, 966 red slider, 234 Redefine Style option, 604, 606 reduce color noise, 461 Reduce Noise dialog box, 460–461 Reduce Noise filter, 460–461 reduction, 45, 47 reference points, 622–623 Refine Edge algorithm, 14 Refine Edge dialog box, 285–287, 290, 291, 329, 680
1023
47_584743-bindex.indd 1023
5/3/10 10:59 AM
Index
Refine Edge option Magic Wand tool, 267 Marquee tools, 271 Quick Selection tool, 264 Refine Edge tool adding and subtracting brushes, 14 color decontamination, 14 edge detection, 14 keyboard shortcut, 968 selection, 261 Refine Mask views On Layers view, 14 Reveal Layer view, 14 selection, 261 Refine Radius brush, 14 Refine Radius tool, 288 refining adjusting selection, 277–285 Color Range, 335 edges Adjust Edge settings, 289 combining files, 680 Edge Detection, 288–289 Output Settings, 289–291 overview, 285 View Mode, 286–288 Mask Edge, 335 Reflection map, 748 reflective surfaces, 735, 748, 749 refraction setting, 749 Refresh Preview button creating PDFs, 180 creating Web gallery, 182 registration marks, 920, 921 rejecting files, 172–173 Relative Colorimetric option, 912, 919 Release Clipping Mask option, 331 Reload Frame option, 806 Remove Black or White matte option, 301 Remove from Palette option, 942 Remove JPEG Artifact option, 461 remove option (Smart Sharpen filter), 446 removing ink overlap, 363–364 Rename file option, 158 Rename option, 579 renaming collections, 170 files, 158–159, 166–167 importing, 153
keywords, 166 shapes, 579 video layers, 808 Render filters, 660 render settings editing, 733–734 Global Ambient Color, 735 overview, 731 Paint on option, 735 presets, 732–733 quality, 735 3D preferences, 729 Render Video dialog box, 899, 900 rendering, video, 899–900 Rendering Intent option, 916, 919 Replace Actions option, 148 Replace Brushes option, 533 Replace Color Adjustment dialog box, 394 Replace Color Adjustment tool, 395–398 Replace Footage option, 806 Replace Frames option, 886 Replace Selection option, 645, 646 replace shapes option, 580 Reposition Layout option, 695 Repoussé tool creating 3D objects, 705–711 overview, 11, 12 resample methods, 80–82, 201 Reselect option, 260 Reset Actions option, 148 Reset All Warning Dialog Boxes option, 48 Reset Brushes option, 533 Reset button, 132 Reset Camera Raw Defaults option, 207 Reset Character option, 601 Reset Paragraph option, 603 Reset Presets option, 42 Reset Shapes option, 580 Reset Transform option, 486 Resize Image during Paste/Place option, 47 resizing crop box, 88 file output settings, 943 images, 78–84 adjustment workflow, 370 canvas, 82–83 changing resolution, 79–82 paths, 548
1024
47_584743-bindex.indd 1024
5/3/10 10:59 AM
Index
resolution bitmap color mode, 114 Camera Raw workflow, 201–202 changing size, 79–82 defined, 78 overview, 78 pixel aspect ratios, 795 presets, 55 screen, 19 settings, 73 Restore All Frames option, 806 Restore Default Workspaces option, 49 Restore Frame option, 806 restoring frames, 860 presets, 44 Restrictive option, 937 result color swatch, 396 Reticulation filter, 662 retouching Camera Raw creating artistic effects, 249–251 creating graduated filter, 246–249 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 Crop and Straighten tool, 92–93 Reveal Layer view, 14 Reveal Recent File option, 153 Reverse Frames option, 887 Reverse option, 537 revert mode, 644 reverting, 133 Review label, 164 Review Mode, 168–170 RGB color mode channels, 342, 343 color management, 905, 906, 908–909, 913 images, 71, 99 overview, 118–120 preparing images for Web, 71 RGB slider, 124 RGB spectrum, 124 RGB values Color Sampler tool, 214, 215 Hard Mix blending mode, 308 normal map, 748 RGBE files, 71
right falloff handle (Hue/Saturation tool), 408 right fallout area (Hue/Saturation tool), 408 right range handle (Hue/Saturation tool), 408 rigid mode, 644 Ripple filter, 658 RLA, 972 RLE files, 67 Roll tool, 716–718 rolling camera, 725 3D objects, 716–718 Roman Hanging Punctuation option, 603 Rotate the Clone Source option, 486 Rotate tool, 716–717, 723 Rotate View tool keyboard shortcut, 967 overview, 39 rotating Angle Jitter setting, 527 Auto Rotate option, 637 Bridge toolbar, 154 Free Transform option, 629 images, 90–93, 624 Lens Blur filter, 457 paths, 562 reference points, 622 rotate the clone source option, 486 text, 588 3D objects, 716–717, 723 rotational positioning, 693 rotoscoping creating modified frames, 855–857 creating new video layer, 855 frame-by-frame correction, 874 overview, 853, 854 restoring frames, 860 using onion skins, 857–859 Rough Pastels filter, 655 roughness, grain, 249 round brushes, 523 Rounded Rectangle tool keyboard shortcut, 967 options, 575 roundness creating vignette, 251 flat brush shapes, 523 Roundness Jitter setting, 528 Roundness Jitter setting, 527
1025
47_584743-bindex.indd 1025
5/3/10 10:59 AM
Index
Rubber Band option, 555 rule of thirds, 85, 86 Ruler tool application bar, 23 keyboard shortcut, 966, 968 overview, 27, 38 setting measurement scale, 28 straightening images, 93–94 rulers application bar, 22, 23 preferences, 55–56 Ruler option, 30 Unit & Rulers preferences panel, 55–56 Rulers option setting preferences, 55 View menu, 30
S S settings (Color Picker tool), 122 Sample All Layers option Magic Eraser tool, 514 Magic Wand tool, 267 Mixer Brush, 521 Quick Selection tool, 264 Sharpen and Blur tools, 516 Spot Healing Brush, 469 Sample option Clone Stamp tool, 482 Eyedropper tool, 127 sample point, 473 sample size (Eyedropper tool), 127 sampling ring (Eyedropper tool) overview, 13 show sampling ring option, 127 Satin option, 321 saturation adjusting Camera Raw, 226, 234 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 overview, 404–405 Variations Adjustment tool, 400 Adjustment options, 244 Adjustment panel, 374 Animation (Frames) panel, 899 color correction, 401 color decontamination, 300 Color Picker tool, 122
color settings, 912 Desaturate Monitor Colors By option, 913 HDR Toning tool, 435 red eye removal, 480 Replace Color Adjustment tool, 396, 398 Saturation blending mode, 309 Sponge tool, 517, 518 Saturation blending mode, 506 Saturation slider, 226 Save As a Copy option, 77 Save As Defaults option, 416 Save As dialog box, 78 Save As option Override Action “Save As” commands option, 953 saving images, 76, 77 Save As to Original Folder option, 50 Save Brushes option, 533 Save button, 916 Save Copies To option, 161 Save Droplet In option, 954, 955 Save Exposure Preset option, 384 Save for Web & Devices utility animation controls, 943–944 Color Table pane, 942, 943 file output settings, 936 Image Size pane, 942, 943 keyboard shortcut, 933 previewing in browser, 944 previewing layout and toolbar, 934–936, 940 previewing on devices, 944–946 Save Image settings, 203–204 Save Lights Preset option, 754 Save Logs To option, 48 Save New Camera Raw Defaults option, 207 Save option Color Range dialog box, 269 saving images, 76 Save Options dialog box, 211 Save Path dialog box, 570 Save Selection option, 262 Save Settings option, 207 Save Shapes option, 580 save statistics option, 433 saving actions, 148 Automatically Create New Snapshot when Saving option, 134 brush settings, 533
1026
47_584743-bindex.indd 1026
5/3/10 10:59 AM
Index
Color Range dialog box, 269 custom vector shapes, 580 files, 50, 51, 941 files with layer masks, 358 images, 76–78 preset lists, 43 presets, 209–210 selections, 290 scale brush stroke texture settings, 531 custom filters, 672 Free transform option, 628 horizontal, 599 printing, 918 Repoussé tool, 707 3D objects, 720–721, 723–724 transformations, 623–624, 629–634 vertical, 599 scale marker, 29–30 scale styles, 81 Scale tool, 720–721, 723–724 scaling, 720–721, 723–724 scattering effect, 542 Scattering option, 528–530 scene layer, 731–732 scene mode, 728 Scene panel changing preferences, 729–731 creating cross sections, 735–737 overview, 728 render settings editing, 733–734 Global Ambient Color, 735 overview, 731 Paint on option, 735 presets, 732–733 quality, 735 scene settings, 710 Scitex CT files, 71 scratch disks, 51 scratches, 460, 490, 511 Screen blending mode, 307, 504 Screen mode full, 24 full, with menu bar, 23 standard, 23, 24 screen resolution, 19 Script Events Manager, 958, 962–964 scripted events list, 963
scripting predefined scripts, 956–960 Script Events Manager, 962–964 stack modes, 959–962 Scrubby Zoom option, 13, 39 SCT files, 71 seams, 496 Search tool Bridge toolbar, 153 finding keywords, 165 Mini-Bridge, 184 Second label, 164 Select All Frames option, 887 Select All option keyboard shortcut, 260, 968 overview, 260 video editing, 803 Select Folder option, 899 Select label, 164 Select Light Color dialog box, 754 Select Linked Layers option, 300 Select menu Color Range dialog box, 269 overview, 27 selection, 259–262 Select No Keyframes option, 803 Select Text Color dialog box, 587, 599 selected areas (alpha channels), 360 selected layer comps only option, 957 Selected Layer option, 105, 703 selection applying text as mask, 614–616 channels, 350, 353–357 creating, 297 guidelines, 590 painting from history, 140–141 refining adjusting selection, 277–285 edges, 285–291 Select menu, 259–262 tools Color Range, 261, 268–270 Lasso tools, 272–277 Magic Wand tool, 266–268 overview, 262 Quick Selection tool, 263–266 selecting by shape, 270–272 tweening, 884
1027
47_584743-bindex.indd 1027
5/3/10 10:59 AM
Index
selection data, 357 Selection/Image option Color Range dialog box, 269 Replace Color Adjustment tool, 396 Selection Preview option, 269 Selection tools Content-Aware tool, 478 cropping, 89–90 selection view, 396 selective color adjustment, 375, 389–393 Selective Color Adjustment layer, 392 Selective Color Adjustment tool, 389–393 Selective option, 117, 937 sepia effect, 404, 406 serial number (camera), 205 Set End of Work Area option, 803 Set option customizing menus, 59 customizing shortcuts, 61 overview, 950 Set Start option, 803 Set the Scale of the Clone Source option, 486 settings Adjust Edge, 289 adjusting actions, 148 cache, 205 Clone Stamp tool, 481–482 color management advanced controls, 912–913 conversion options, 910–912 policies, 909–910 Settings menu option, 907–908 working spaces, 908–909 Fill, 303–304 lighting, 221 Lights panel, 754 Lock, 304–305 opacity, 845–847 output, 289–291 outputting images, 936–941 panel groups, 33 Smart Sharpen filter, 446 Sticky Layer Style, 14 3D panel, 728 Toolbox, 36 Settings menu option, 907–908 Settings option, 183 SGI files, 972
SGIRGB, 972 Shadow clipping warning icon, 223, 224 shadow opacity setting, 739 shadow(s) adjusting, 400–402 Auto Levels Adjustment, 415 drop, 320, 321, 327, 680–681, 686 HDR Toning tool, 434 inner, 320 lightening, 223 split toning, 237 tonal range, 518 Variations Adjustment tool, 398 Shadows/Highlights Adjustment tool, 400–402 Shape Blur filters Box Blur, 449–450 Gaussian Blur, 448, 449 Shape Blur, 450–451 Shape Dynamics option, 527–528 Shape Layers Pen tool, 555 vector shape layers, 572 shape modes (Pen tool), 555 Shape Selection tools, 38 Shape tools keyboard shortcut, 573 overview, 39 vector shapes, 573–576 shape(s) adding, as layer, 297 bristle brush shapes, 524 flat brush shapes, 523 Lens Blur filter, 457 photo collages, 689, 691 selecting by, 270–272 sharing channels, between images, 353 sharp anti-aliasing, 587, 600 Sharpen Details option, 461 Sharpen Edges filter, 439, 442 Sharpen filter, 439, 442 sharpen for/amount, 202 Sharpen More filter, 439, 442 Sharpen tool(s) keyboard shortcut, 966 overview, 39 painting, 516–517 protecting detail, 13
1028
47_584743-bindex.indd 1028
5/3/10 10:59 AM
Index
sharpening adjustment workflow, 371 Apply Sharpening setting, 204 basic filters, 438–443 custom filters, 673 reducing noise, 461 sharpen for/amount, 202 Smart Sharpen, 445–448 Unsharp Mask, 443–445 video files, 864 sharpness adjusting, 253–255 Adjustment options, 244 shear (Repoussé tool), 707 Shear filter, 658 Shield Color option, 89 Shift Edge option, 289 Shift to Web Palette option, 942 shine setting, 749 shortcuts automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Shortcuts For option, 61 Show Actual Pixels command, 968 Show Asian Text Options, 584 Show Backdrop option, 647 Show Bounding Box option, 562 Show Channels in Color option, 48, 103 Show Clipping option, 400 Show Font Names in English option, 584 Show/Hide Extras command, 968 Show Image option, 646 Show Mask option, 244, 647 Show Menu Colors option, 48 Show Menu option, 30 Show Mesh option, 646 Show New Snapshot Dialog Box by Default option, 135 Show option, 805 Show Original option, 287 Show Overlay option, 486 Show Paper White option, 920 Show Radius option, 287 Show Sampling Ring option, 127 show statistics setting, 103
Show Tool Tips option, 49 sidecar XMP files ignoring, 205 metadata, 195, 196 saving, 203, 204 silhouette, 472, 609 Silicon Graphics platform, 972 Similar Layers option, 261 Similar option, 262 Simplify Layers for FXG option, 957 Simulate Black Ink option, 916, 919 Simulate Paper Color option, 916, 919 Single Channel option, 105 Site Info panel, 182 16 bits per channel setting, 120, 129, 200–201 size bounding box, 588 Brush options, 243 Camera Raw workflow, 201 column, 55 flat brush shapes, 523 grain, 249 photo collages, 689 print, 917 printing, 918 rendering video, 899 resolution, 79 settings, 73 slices, 928 Size Jitter settings, 527 Sketch filters, 661–662, 664 skewing Free Transform option, 629 transformations, 625 skewness, 961 skin tones, 630–633 Slice Background Type option, 929 Slice Options button, 929 Slice Options dialog box, 929, 930 Slice Select tool, 928, 935 Slice tool keyboard shortcut, 966 overview, 38 Slice Visibility tool, 935 slices New Layer Based Slice option, 300 output settings, 941 preferences, 56–57
1029
47_584743-bindex.indd 1029
5/3/10 10:59 AM
Index
slicing Clear Slices option, 31 configuring slices, 928–930 creating slices, 926–928 Lock Slices option, 31 overview, 925 PatternMaker plug-in, 972 Slide tool, 719–720 Slider tools, 123 slip edits, 823–827 Small List option, 126 Small Thumbnail option, 126 Smart Blur filter, 451–455 Smart Collection dialog box, 171 smart collections, 171 Smart Filters adding, 324–325, 653 adjusting filters, 669–670 applying to video files, 870–872 Convert to Smart Object option, 301 Layer menu, 298 layers, 323 making changes, 325–327 non-destructive editing, 437 Smart Guides, 56 Smart Objects adding text, 611–614 Camera Raw workflow, 202 Convert to Smart Object option, 301 converting vector layers, 502 Create Smart Object after Loading Layers option, 959 duplicating layers, 441 filter adjustments, 668–672 grouping stacks, 172 layers adding Smart Filters, 324–325 converting layers, 323–324 Layer Menu, 300 making changes to Smart Filters, 325–327 non-destructive editing, 133 setting preferences, 48 3D objects, 768–769 video files, 864, 868–872 smart quotes, 57, 584 Smart Radius, 288 Smart Sharpen dialog box, 445, 447 Smart Sharpen filter, 439, 445–448 smooth anchor points, 548, 549, 552, 554, 566
smooth anti-aliasing, 587, 600 smooth corners (Polygon tool), 575 Smooth Curve option, 423 smooth gradients, 45 smooth indents (Polygon tool), 575 smooth mode, 645 Smooth option Adjust Edge settings, 289 selection, 262 smoothing brush settings, 527 smoothness (Gradient Editor), 538 Smudge Stick filter, 655 Smudge tools keyboard shortcut, 966 overview, 39 painting, 516–517 Snap Neutral Midtones option, 415 Snap option, 31 Snap To option grids, 23 View menu, 31 Snap to Pixels option, 574 snapshots Apply Snapshot option, 207 Automatically Create First Snapshot option, 134 Automatically Create New Snapshot when Saving option, 134 Create Snapshot button, 136 creating, 207–209 navigating, 136 Show New Snapshot Dialog Box by Default option, 135 steps in use, 136–137 Snapshots panel, 207–209 soft brush style, 542 Soft Light blending mode, 308, 504 soft proofing, 915 softening (blur filters) automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 SoftImage, 972 Softness light setting, 754 Solarize filter, 663 solid gradient, 538 solidity (spot color channel), 360
1030
47_584743-bindex.indd 1030
5/3/10 10:59 AM
Index
Sony, 195 sort and filter (Bridge toolbar), 154 Sort button, 185 sound, 808 source batch processing, 951–952 Paint Bucket tool, 535 selecting, 105, 703 snapshot, 136 source frame, locking, 879 Source menu (Histogram panel), 105 Source option (Color Match tool), 431 source space, 914 source view, 433 space Camera Raw workflow, 199–200 settings, 199 3D, 718–721 spacing flat brush shapes, 523 frame, 859 leading option, 598 Paragraph Styles panel, 606 Spatter filter, 656 special effects Camera Raw, 194 Layer Styles, 319–323 swapping colors, 345 spectrophotometer, 907 Specular Highlights filter, 457–458 specular setting, 749 speed (bits per channel), 120 Sphere option, 712 Spherical Layout option, 695 Spherize filter, 658 spin (Radial Blur filter), 453 Split Layers option, 804, 820 Split Toning panel, 237 splitting channels, 351, 352 video layers, 820–822, 864 Sponge filter, 655 Sponge tool keyboard shortcut, 518 overview, 39 painting, 517–519 spot color channels alpha channels, 360 color management, 908
creating, 361–363 merging, 363 Multichannel mode, 120 overview, 360 removing ink overlap, 363–364 spot colors (saving images), 77 Spot Healing Brush Content-Aware option, 467–471, 478–479 Creating Texture option, 467 keyboard shortcut, 966 options, 466 overview, 10, 11 Proximity Match option, 466–467 spot light, 752, 754 Spot Removal tool, 238–240 Sprayed Strokes filter, 656 Square option (Rectangle tool), 574 square ratio, 791 sRGB color profile, 905, 907, 908, 925, 940 stack modes options, 964 scripting, 959–962 stacks Bridge main menu, 152 creating, 171–172 importing image sequences, 811 Stacks heading, 152 Stained Glass filter, 664 Stamp filter, 662 Stamp tools overview, 38 vanishing point, 651 standard deviation Histogram panel, 106 stack modes, 961 standard ligatures, 600 standard painting cursors, 53 standard screen mode, 24 standard version of Photoshop, 4 standardization, 196 Star option (Polygon tool), 575 Start option, 576 states, history. See history states static coordinates, 715 statistics Histogram panel, 105–107 load statistics option, 431 save statistics option, 433 scripts, 959, 960
1031
47_584743-bindex.indd 1031
5/3/10 10:59 AM
Index
Stereo options, 734 Sticky Layer Style, 14 sticky workspaces, 6 stiff mode, 644 stiffness, 525 still shots (video editing) adding blank layer, 826, 828 adding text layer, 826–827 placing 3D model, 828–829 placing image file, 827, 828 Stop for Errors option, 953 stops (actions), 145–146 Straight Unmatted option, 899 Straighten option (Ruler tool), 93–94 Straighten tool, 215 straightening images adjustment workflow, 370 flipping, 90–91 rotating, 90–93, 624 Ruler tool, 93–94 strength customizing, 461 reducing noise, 460 Sharpen and Blur tools, 516 stroke Brush tool, 507 layer styles, 321, 596 Pencil tool, 507 Stroke Path with Brush/Stroke Path option, 563 strong anti-aliasing, 587, 600 Strong Saturation option, 406 style Type tool options, 586 warping text, 594 style options creating vignette, 251 creating Web gallery, 182 Marquee tools, 271 Shape tools, 574 text, 604–606 Styles panel, 33 stylistic alternates, 601 Stylize filters, 662–663 stylus pen, 526 sub-keywords, 165 subfolders creating, 158 Include All Subfolders option, 951
sublayers Layer Style, 319 Smart Filters adding, 324–325 applying, 870–872 Convert to Smart Object option, 301 Layer menu, 298 making changes, 325–327 overview, 323 3D objects, 714 Subtract blending mode, 309, 505 Subtract From Path Area option, 555, 556 subtract from sample tool, 269 Subtract From Selection option Freeze Mask tool, 646 Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 Quick Selection tool, 264 Subtract From Shape Area option, 559, 560 Sumi-e effect, 656 Summarize option, 61, 62 summation, 962 Suppress Color Profile Warnings option, 951 Suppress File Open Options Dialogs option, 951 Surface Blur filter, 454 swapping colors Channel Mixer, 345–346 keyboard shortcut, 967 layers, 295 swash glyphs, 601 Swatches panel choosing colors, 123, 125–126 overview, 33 SWF (Small Web Format) files, 162 SWOP v2 color profile, 907, 908 Synchronize dialog box, 218 synchronizing adjustments, 217–218 system layout, 601
T tab group, 302 tablet pressure Clone Stamp tool, 482 Magnetic Lasso tool, 276 painting tools, 508
1032
47_584743-bindex.indd 1032
5/3/10 10:59 AM
Index
Tablet Pressure Controls Brush Size option, 482 Tablet Pressure Controls Opacity option Eraser tool, 513 painting tools, 508 Tablet Pressure Controls Size option Eraser tool, 514 painting tools, 509 tabs, 21, 33, 199, 204 Tagged Image File Format (TIFF/TIF) files Ask Before Saving Layered TIFF Files option, 50 Camera Raw preferences, 205–206 opening, 196 overview, 66 Targa (Truevision Advanced Raster Graphics Adapter) files, 71 target image, 431, 432 Targeted Adjustment tool, 214 TDI files, 71 Temperature slider, 221–222 Template field creating PDFs, 180 creating Web gallery, 181 text adding layers, 297 overview, 5 paragraph type, 587–589 point type, 587, 588 tools, 585–587 animating, 851–854 applying to images adding text on path, 607–609 adding to Smart Object, 611–614 applying as mask, 614–616 constraining text, 609–611 Character panel, 596–601, 604–609 editing vector layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596
Rasterize Type option, 592 Warp Text option, 594–595 overview, 583–584 Paragraph panel, 602–609 setting type preferences, 584–585 video layers, 826, 827 Text Edit mode adding text, 588 editing text, 590 Text Edit pop-up menu, 590, 591 text formatting options, 599 text layer, 826–827 Text tools, 39 texture adding grain, 249, 250 adding noise, 462 adding to 3D objects, 5 brush settings, 527 crosshatch, 656 editing, 742–745 face options, 734 Healing Brush, 474 painting, 735 Repoussé tool, 707 3D objects, 699, 704, 709 unlit, 734 Texture Each Tip option, 531 Texture filters, 663–664 texture maps, 742 Texture settings, 530–531 Texturizer filter, 664 TGA files, 71 Thaw Mask tool, 642 thickness (bristle brush shapes), 524 third-party plug-ins, 969, 970 32 bits per channel setting, 120, 121, 433, 753 3D Axis option, 738 3D Axis Widget creating 3D objects, 722–724 overview, 12, 738, 741 rotating objects, 717 3D buildings, 735–736 3D Camera tools, 39 3D Constraint tools, 710 3D extras, 737–738 3D File Loading option, 731 3D files, 72 3D glasses, 734 3D Ground Plane option, 738
1033
47_584743-bindex.indd 1033
5/3/10 10:59 AM
Index
3D layers, 728 3D Light option, 738 3D menu creating new objects, 702 overview, 29–30 3D mesh, 711–713 3D model, 735, 828–829 3D Object Roll tool, 968 3D Object Rotate tool, 968 3D Object Scale tool, 968 3D Object Slide tool, 968 3D objects adding textures, 5 adjustments, 765–766 applying filters, 767–768 applying layer styles, 766–767 creating composites, 769–785 Layers panel, 713–714 overview, 5, 702 postcard, 703 presets, 704–705 Repoussé tool, 705–711 selecting source, 703 Smart Objects, 768–769 3D mesh from grayscale, 711–713 volume option, 713 file formats, 699–701 layer styles, 321 manipulating changing positions, 721–722 Home button, 716 moving through 3D space, 718–721 overview, 714 static coordinates, 715 turning objects around central point, 716–718 opening files, 701–702 paint mode hiding areas, 758–759 overview, 757 steps for using, 759–765 placing files in Photoshop, 701–702 positioning camera, 724–725 Repoussé tool, 11, 12 3D Axis Widget, 722–724 tools, 39 3D Overlays option, 731 3D paint mode, 735 3D Pan Camera View tool, 968
3D panel creating new objects, 702 Lights panel adding new lights, 751–753 overview, 750 positioning lights, 753 settings, 754 Materials panel editing materials, 745–749 editing textures, 742–745 Material Drop tool, 749–750 Meshes panel, 739–741 overview, 35, 727–729 Scene panel changing preferences, 729–731 creating cross sections, 735–737 overview, 728 render settings, 731–735 toggling 3D extras, 737–738 3D postcard, 703 3D preferences, 58 3D preset, 25 3D Render Settings dialog box, 733–734 3D Roll Camera View tool, 968 3D Rotate Camera tool, 968 3D scene, 731–732 3D Selection option, 738 3D space, 718–721 3D Studio Max, 72 3D tools overview, 12 3D Axis Widget, 12, 722–724 3D volume, 713 3D Walk Camera View tool, 968 3D Zoom Camera tool, 968 3ds files, 72, 700 3ds Max, 700 Threshold option Adjustment panel, 375 Dust and Scratches filter, 460 HDR Toning tool, 433 Lens Blur filter, 458 Smart Blur filter, 454 Unsharp Mask, 443 Thumbnail size slider, 155 Thumbnail slider, 186 thumbnails Animation (Frames) panel, 882 Bridge toolbar option, 153
1034
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Index
Filter Gallery, 667 finding files, 167 JPEG files, 160 layers, 294 mask thumbnail option, 334 Repoussé preset, 705 saving images, 77 Smart Objects, 323, 324, 871 Swatches panel, 125, 126 Variations Adjustment tool, 399, 400 TIFF/TIF (Tagged Image File Format) files Ask Before Saving Layered TIFF Files option, 50 Camera Raw preferences, 205–206 opening, 196 overview, 66 tight tracking, 599 Tile option, 21 TileGroup#, 947 Tiles filter, 663 Tilt option, 737 time adjustment, 798–799 time ruler, 799 Time-Vary Stopwatch, 800, 835, 839, 844, 845 timestamps, 178 Tint option, 404 Tint slider, 221–222 titling alternatives, 601 To Do label, 164 toggle boxes, 143, 148 Toggle Brush panel, 482 toggle button, 485 Toggle Clone Source panel, 482 Toggle Misc 3D Extras button, 722 Toggle Misc 3D Extras icon, 750 toggle onion skins icon, 801 Toggle Paragraph/Character Panels option, 587 toggling anchor points, 554 Bristle Brush preview, 525 channels, 103 filters, 667 Pen tool, 553 text, 594 3D extras, 737–738 tools, 38 tolerance Background Eraser tool, 514 Color Replacement tool, 510
Magic Eraser tool, 514 Magic Wand tool, 266, 277 Paint Bucket tool, 535 tonal range Burn tool, 518 Curves Adjustment tool, 422 Dodge tool, 518 tonal width fixing highlights, 401 fixing shadows, 401 Smart Sharpen filter, 447 tone Camera Raw preferences, 204 changing color balance, 386 Selective Color Adjustment tool, 389 tone curve (Camera Raw) Parametric panel, 227–230 Point tab, 231–233 toning, split, 237 toning curve, 435 tool options bar, 25–26 Tool Presets panel, 36, 41 toolbar Bridge utility, 153–154 previewing, 934–936 shortcuts, 966–967 Toolbox, 25–26, 36–40 tools Camera Raw, 197, 213–216 creating 3D objects, 715–722 downloadable, 974 overview, 36–40 painting, 506–521 Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 Gradient Editor, 538–539 Gradient tool, 537 History tools, 512 overview, 510, 534 Paint Bucket tool, 535–536 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 presets, 40–41
1035
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Index
tools (continued) selection Color Range, 268–270 Lasso tools, 272–277 Magic Wand tool, 266–268 overview, 262 Quick Selection tool, 263–266 selecting by shape, 270–272 tool sets, 37 types, 38–40 vector path Path Selection tools, 557–562 Paths panel, 562–565 Pen tools, 551–557 Tools button, 186 Tools heading (Bridge main menu), 153 Torn Edges filter, 662 Trace Contour filter, 663 tracing edges, 543–544 tracking, 599 training, 975 Transfer option (brush), 532–533 Transform menu, 679 Transform Selection option, 262 Transform tools, 278, 279 transformations animating, 840 Content-Aware scale, 629–634 distorting, 625–626 free transform, 628–629 overview, 621 perspective, 626–627 Puppet Warp tool, 634–638 reference points, 622–623 rotating images, 624 scale, 623–624, 629–634 selections, 278–279 skewing, 625 warping, 627–628 translucency, 747 transparency alpha channels, 132, 930–932 aspect ratios, 793, 794 Clear blending mode, 503 file output settings, 939 Gradient tool, 537 Illumination map, 748
indexed color mode, 117 onion skins rotoscoping, 857–859 settings, 804–805 toggle onion skins icon, 801 preferences, 54–55 Web image formats, 924 Transparency & Gamut preferences panel, 54–55 transparency stops, 538 trapping, 364 Trim Document Duration to Work Area option, 804, 817, 818 Trim Layer End to Current Time option, 803 Trim Layer Start to Current Time option, 803, 818, 867 Trim utility, 94–95 trimming borders, 94–95 video layers document duration to work area, 817 layer duration bar, 815–816, 818 looking at layers, 817–818 menu option, 816–817 overview, 815 TrueType fonts, 584 Turbulence tool, 642, 643 Turbulent Jitter setting, 643 turning objects, around central point, 716–718 Tween dialog box, 883, 884, 892 Tween with drop-down menu, 884 tweening creating keyframes, 890–891 keyframes, 892–893 opening images, 889–890 options, 883–885, 887 overview, 832 setting interpolation, 838 tweening keyframes, 892–893 tweens animation frames icon, 883–885 Twirl Clockwise tool, 639 Twirl filter, 658 twist (Repoussé tool), 707 Two-sided Plane option, 712 2-Up option, 934 2D images, 647 2D text, 11, 12 type Layer menu, 300 setting preferences, 584–585
1036
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Index
type layer menu, 295 multiple layers, 294 Type Mask tools, 614–616 type masks overview, 329–330 Vertical Type Mask tool, 966 Type 1 fonts, 583 Type preferences panel, 57–58 Type tools adding text as paragraph type, 588–589 adding text as point type, 588 creating selections, 586 editing vector text layers, 590–591 options bar, 586–588, 590 overview, 585 typeface, font versus, 583
U UI text options, 49 uncompressed files, 64 Unconstrained option, 574 underexposure adjusting brightness/contrast, 382, 383 determining, 100–101 Underpainting filter, 655 Undo command, 967 undoing, 135 Ungroup Layers option, 300 uniform noise, 458 unify layer position icon, 888 unify layer style icon, 888 unify layer visibility icon, 888 Unit & Rulers preferences panel, 55–56 unit preferences, 55–56 units printing, 918 setting preferences, 45 universal changes, 318 Universal 3D (U3D) files, 72 unlinking, 335–337 unlit texture, 734 Unsharp Mask filter, 439, 443–445 Unsharp Mask filter dialog box, 443 Update DNG Previews option, 207 updating, 205
Upload button, 183 U.S. Web Coated (SWOP) v2 color profile, 907, 908 Use Attenuation light setting, 754 Use Black Point Compensation option, 912, 915, 916 Use Dither option, 912, 915 Use Legacy Channel Shortcuts option, 61 Use Proof Setup option, 77 Use Selection in Source to Calculate Colors option, 431 Use Selection in Target to Calculate Adjustment option, 431 Use Shift Key for Tool Switch option, 47 Use Smart Quotes option, 584 User slice, 925, 926 U3D (Universal 3D) files, 72, 700
V Vanishing Point filter, 647–652 variance, 962 Variations Adjustment tool, 398–400 VDA files, 71 vector artwork EPS file format, 68 files, 700–701 overview, 5 raster versus, 64–65 using Illustrator, 6 vector layers Fill and Adjustment layers, 314 painting, 502 text layers, 590–596 vector masks add vector mask button, 334 creating, 329 Layer Menu, 300 paths, 551, 570–572 vector path tools Path Selection tools options, 558–562 overview, 557 types, 558 Paths panel, 562–565 Pen tools options, 554–557 overview, 551 types, 552–554 vector paths. See paths vector shape layers, 572–573, 593, 692
1037
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Index
vector shapes adding custom, 579–581 adding layers, 577–579 constraining text, 609–611 creating, 567–568 editing, 581 inserting paths, 147 tools, 573–576 vector text layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595 vertex options, 734 vertical distortion, 595 Vertical options vector text layers, 593 warping text, 594 vertical scale, 599 vertical sync, 52 Vertical Type Mask tool keyboard shortcut, 966 overview, 614 Vertical Type tool adding text, 588, 589 keyboard shortcut, 966 vibrance Adjustment panel, 374 Camera Raw, 226 HDR Toning tool, 435 Sponge tool, 518 Vibrance slider, 226 video adapter, 52 video aspect ratios, 791–793 video card, 731 video editing adding still shots, 825–829 adding blank layer, 826, 828 adding text layer, 826–827
placing image file, 827, 828 placing 3D model, 828–829 Animation (Timeline) panel accessing Video Layers menu, 805–806 defining options, 802–805 icons, 801 setting layer favorites, 807 time adjustment, 798–799 work area, 800–801 layers blank, 826, 828 extracting section, 822–823 lifting section, 822 moving, 818–819 splitting, 820–822 text, 826, 827 trimming, 815–818 moving layers, 818–819 performing slip edits, 823–827 video files, 789–798 adding, 809–810 aspect ratios, 790–796 filters, 796–798 importing image sequences, 810–815 opening, 808–809 overview, 789 video files adding, 809–810 applying Smart Filters, 870–872 aspect ratios, 790–796 pixel aspect ratio, 790–792 ratios of images, 793–796 video aspect ratios, 791–793 Clone Stamp tool, 486–489 Convert to Frame Animation icon, 801 filters, 796–798 de-interlacing, 797 NTSC colors, 797–798 Smart Filters, 870–872 frame-by-frame correction, 874–879 adding adjustment to single frame, 875–876 cloning, 876–879 healing, 876–879 locking source frame, 879 importing image sequences, 810–815 Metadata panel, 162 opening, 808–809 overview, 71–72, 789
1038
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Index
video layers Animation (Timeline) panel work area, 800 blank, 826, 828 cloning, 872–874 creating new, 855 Fill or Adjustment layers, 863–870 adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864 healing, 872–874 importing image sequences, 810–815 Layer menu, 300 moving, 818–819 changing layer hierarchy, 819 changing position of layers, 819 dragging layers, 819 overview, 818 renaming, 808 setting layer favorites, 807 splitting, 820–822, 864 text, 826, 827 trimming, 815–818 document duration to work area, 817 layer duration bar, 815–816, 818 looking at layers, 817–818 menu option, 816–817 overview, 815 Video Layers menu, 805–806 video memory (VRAM), 730 View as Details option, 155 View as List option, 155 View as Thumbnails option, 155 View button, 728 View heading, 152 View menu Clear Guide option, 31 Clear Slices option, 31 Extras option, 30 Lock Guides option, 31 Lock Slice option, 31 New Guide option, 31 overview, 30–31 refining edges, 286–287 Ruler option, 30 Show menu option, 30 Snap and Snap To options, 31 view options, 19–23
View Mode, 286–288 view options Actions panel, 143–144 camera, 725 custom vector shapes, 580 Liquify filter, 646–647 multiple documents, 21 View PDF After Save option, 181 vignette adding, 251 Elliptical Marquee tool, 272 lens correction, 252 removal, 695 visibility background, 897 layers, 135, 895 menu list, 60 mesh, 739 unify layer visibility icon, 888 video files, 818 visible light, 98 Vivid Light blending mode, 308, 505 Volume options, 713, 734 VRAM (video memory), 730 VST files, 71
W Walking the Camera option, 725 warming filters, 393 warning messages converting layers to Smart Objects, 323 creating, 146 Warp Text dialog box, 595, 852 Warp Text option animating text, 849–850 vector text layers, 594–595 warping animating, 851–852 Forward Warp tool, 639 overview, 627–628 text, 587, 594–595, 611–614, 629 Water Paper filter, 662 Watercolor filter, 655 Watermark panel, 181 watermarks embedding, 972 Watermark panel, 181
1039
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Index
Wave filter, 658 waves, 594 WBMP (wireless bitmap) files overview, 68 preparing images for Web, 924 WBMPI files, 68 Web adding zoomable images, 946–948 creating images, 5 file formats, 66 indexed color mode, 117 outputting images animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933 previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 preparing images, 923–933 adding transparency, 930–931 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930 web color Make Ramp Web Safe option, 125 Web Color Sliders, 124 Web Color Sliders, 124 web galleries, 181–183 Web option, 117 Web Photo Gallery, 972 Web setting, 908 Web snap option, 939 wet edges, 527 wet paint on existing image, 544 flat brush shapes, 523 overview, 7 wetness options, 521 white, 900 white balance lighting settings, 221 overview, 214, 218–219 using Temperature slider, 221–222
using Tint slider, 221–222 White Balance tool, 220 White Balance tool adjusting white balance, 220 overview, 214 white clip, 402 white eyedropper, 384, 414, 421 white light, 98 white slider, 413, 414, 418, 427 Whole Scene filter, 729, 731 width bounding box, 588 canvas, 83 document, 81 Line tool, 576 Magnetic Lasso tool, 276 Marquee tools, 271 pen, 276 pixel dimension, 81 printing, 918 scale, 623 settings, 73 tonal, 401, 447 vertical distortion, 595 video files, 790 Wind filter, 663 Window heading, 153 Window menu, 31 window panes, 154–155 Windows color palette, 937 wireframe mode, 700, 734 wireless bitmap (WBMP) files, 68, 924 wireless devices, 68 word processing, 5 work area, 800–801 work area indicators, 800, 817 Work Path option, 703 workflow adjustment Adjustments panel, 373–378 making auto adjustments, 371–373 steps, 369–371 automating batch processing multiple images, 950–954 creating droplets, 954–955 overview, 949 customizing shortcuts, 58
1040
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Index
scripting predefined scripts, 956–960 Script Events Manager, 962–964 stack modes, 959–962 workflow options bit depth, 200–201 opening images as Smart Objects, 202 resolution, 201–202 sharpen for/amount, 202 size, 201 space, 199–200 Workflow Options dialog box, 199, 200 working path Create Work Path option, 592 overview, 550 working spaces settings, 908–909 workspace selection area, 153 workspace switcher, 6 workspace(s) application bar, 22–24 Bridge Bridge utility, 151–156 types, 156–157 Camera Raw, 197–199 customizing menus, 58–60 customizing shortcuts, 58, 60–62 document workspace, 18–21 menus Analysis menu, 27–30 customizing, 58–60 Edit menu, 26 File menu, 26 Filter menu, 27 Help menu, 31–32 Image menu, 26–27 Select menu, 27 3D menu, 29–30 View menu, 30–31 Window menu, 31 overview, 17 panels overview, 32 panel groups, 33 types, 34–36 preferences cursors, 53–54 file handling, 49–51
general, 45–48 guides, grid, and slices, 56–57 interface, 48–49 overview, 44 performance, 51–53 plug-ins, 57 3D, 58 transparency and gamut, 54–55 type, 57–58 unit and rulers, 55–56 presets, 24–25 creating, 42–43 managing, 41–42 selecting tool, 40–41 3D, 702 tool options bar, 25–26 Toolbox, 25–26, 36–40 tools, 36–40 WPG files, 958 wrapping text, 588
X XML, 70 XMP files Exporting Settings to XMP option, 207 sidecar, 195, 196, 203–205 XYZ color model, 71 XYZE files, 71
Y Y settings (Color Picker tool), 122 yellow, 122, 404, 410 Yellow Boost option, 406
Z ZigZag filter, 658 Zoom in command, 968 Zoom menu, 213 Zoom out command, 968 zoom percentage, 197 Zoom Point Clicked to Center option, 48 Zoom Resizes Windows option, 47 Zoom Settings Level tool, 935 zoom slider, 799
1041
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Index
Zoom tool Camera Raw, 213 keyboard shortcut, 967 overview, 39 preview panes, 935 refining edges, 286 scrubby zoom, 13 View menu, 20 Zoom Value, 23 Zoom with Scroll Wheel option, 47–48
Zoomify, 946–948 zoomifyViewer.swf, 947 zooming Animated Zoom, 47 camera, 725 Filter Gallery, 666 Radial Blur filter, 453 video editing, 799 View menu, 20, 21 Zoom Settings Level tool, 935
1042
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Companion Web Site
16-Page, Full-Color Insert
• Find project files for the book’s tutorials
• Beautiful, full-color examples
Companion Web Site
• Make your image a canvas, and “paint” with new tools • Create, edit, and manipulate 3D objects, scenes, and settings • Create compelling images for the Web, print, and mobile devices • Batch process multiple images or use scripts to speed workflow
Edit and paint with brushes
www.wiley.com/compbooks
Create special effects
owns and operates a media creation business. She teaches Photoshop classes, is the author of Photoshop CS3 Extended Video and 3D Bible, and is coauthor of several books with her husband, Brad Dayley.
Brad Dayley is a senior software engineer with almost 20 years of experience creating computer applications as well as working with Photoshop. He is the author of the Silverlight 2 Bible, and other books.
$44.99 USA $53.99 Canada
Adobe
®
Photoshop CS5 ®
Get the very most out of Photoshop CS5 Correct, enhance, or composite your photos
Design 3D projects
Shelving Category: COMPUTERS / Computer Graphics Reader Level: Beginning to Advanced
Lisa DaNae Dayley and Brad Dayley
®
• Work with video files, add cool effects, and master the Animation Panel
Lisa DaNae Dayley
®
• Explore all the features of Photoshop CS5
The book’s Web site includes project files for the book’s tutorials: www.wiley.com/go/photoshopcs5bible
Adobe
Every previous edition of the Photoshop Bible has been a top-seller, and once you open this in-depth guide, you’ll understand why. Whether you’re a casual user or Photoshop professional, the 1000+ pages in this hefty book cover everything you need, from the very latest features and tools in Photoshop CS5 to the basics of Camera Raw—to techniques for creating 3D objects, producing images for mobile devices, and much more.
Companion Web Site
Photoshop CS5
If you want to learn Photoshop, this is the book!
Dayley Dayley
Design for the Web, video, or mobile devices
The book you need to succeed!
16-Page, Full-Color Insert
• Find project files for the book’s tutorials
• Beautiful, full-color examples
Companion Web Site
• Make your image a canvas, and “paint” with new tools • Create, edit, and manipulate 3D objects, scenes, and settings • Create compelling images for the Web, print, and mobile devices • Batch process multiple images or use scripts to speed workflow
Edit and paint with brushes
www.wiley.com/compbooks
Create special effects
owns and operates a media creation business. She teaches Photoshop classes, is the author of Photoshop CS3 Extended Video and 3D Bible, and is coauthor of several books with her husband, Brad Dayley.
Brad Dayley is a senior software engineer with almost 20 years of experience creating computer applications as well as working with Photoshop. He is the author of the Silverlight 2 Bible, and other books.
$44.99 USA $53.99 Canada
Adobe
®
Photoshop CS5 ®
Get the very most out of Photoshop CS5 Correct, enhance, or composite your photos
Design 3D projects
Shelving Category: COMPUTERS / Computer Graphics Reader Level: Beginning to Advanced
Lisa DaNae Dayley and Brad Dayley
®
• Work with video files, add cool effects, and master the Animation Panel
Lisa DaNae Dayley
®
• Explore all the features of Photoshop CS5
The book’s Web site includes project files for the book’s tutorials: www.wiley.com/go/photoshopcs5bible
Adobe
Every previous edition of the Photoshop Bible has been a top-seller, and once you open this in-depth guide, you’ll understand why. Whether you’re a casual user or Photoshop professional, the 1000+ pages in this hefty book cover everything you need, from the very latest features and tools in Photoshop CS5 to the basics of Camera Raw—to techniques for creating 3D objects, producing images for mobile devices, and much more.
Companion Web Site
Photoshop CS5
If you want to learn Photoshop, this is the book!
Dayley Dayley
Design for the Web, video, or mobile devices
The book you need to succeed!
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Photoshop CS5 Bible ®
01_584743-ffirs.indd i
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Photoshop CS5 Bible ®
Lisa DaNae Dayley and Brad Dayley
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Photoshop® CS5 Bible Published by Wiley Publishing, Inc. 10475 Crosspoint Boulevard Indianapolis, IN 46256 www.wiley.com
Copyright © 2010 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada ISBN: 978-0-470-58474-3 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-7486008, or online at http://www.wiley.com/go/permissions. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at (877) 762-2974, outside the U.S. at (317) 572-3993 or fax (317) 572-4002. Library of Congress Control Number: 2010926835 Trademarks: Wiley and the Wiley logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written permission. Photoshop is a registered trademark of Adobe Systems, 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. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.
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Brad For D, A & F! DaNae As always, to Brad, my hero, my biggest fan, by best friend. Always and Forever. To my fantastic boys, may you always have as much energy as you do now. To all those who have been my cheerleaders and supporters, thank you!
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About the Authors Brad Dayley is a senior software engineer with almost 20 years of experience creating computer software. He has been working with Photoshop for 19 years, enjoying the transition of Photoshop from a simple image editor to the powerhouse it is today. He is the author of several books. He is an avid amateur photographer and spends most of his free time in the remote areas of the Pacific northwest with his wife DaNae and four sons (wherever a Jeep can get them). DaNae Dayley has been working with Photoshop for 16 years and is still constantly amazed at the cool stuff it can do! With a degree in Advertising from Brigham Young University, DaNae has owned and operated a media creation business for 15 years, incorporating writing, graphic design, and video editing over the years. She also enjoys teaching Photoshop classes locally. She has coauthored several books with her husband Brad Dayley and is the author of Photoshop CS3 Extended Video and 3D Bible and Roxio Easy Media Creator 8 in a Snap. DaNae lives in Utah with her husband Brad and their four sons. When she is not at her computer, she can be found in the great outdoors (with a camera), preferably in a Jeep!
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Credits Senior Acquisitions Editor Stephanie McComb
Project Coordinator Lynsey Stanford
Executive Editor Jody Lefevere
Graphics and Production Specialists Ana Carrillo Joyce Haughey Clint Lahnen Jennifer Mayberry Christin Swinford Ronald G. Terry
Project Editor Martin V. Minner Technical Editor Jon McFarland Copy Editor Gwenette Gaddis Editorial Director Robyn Siesky Business Manager Amy Knies Senior Marketing Manager Sandy Smith Vice President and Executive Group Publisher Richard Swadley Vice President and Executive Publisher Barry Pruett
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Quality Control Technicians Laura Albert John Greenough Proofreading and Indexing Christine Sabooni WordCo Indexing Services Media Development Project Manager Laura Moss Media Development Assistant Project Manager Jenny Swisher Media Development Associate Producers Josh Frank Shawn Patrick Doug Kuhn Marilyn Hummel
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Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxi Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxxiii
Part I: Getting Started with Adobe Photoshop CS5
1
Chapter 1: Introducing Adobe Photoshop CS5 . . . . . . . . . . . . . . . . . . . . .3 The Versatile World of Photoshop ............................................3 When to use Photoshop ...............................................4 When not to use Photoshop ............................................5 What’s New in Photoshop CS5 ...............................................6 Summary ..............................................................15
Chapter 2: Understanding the Photoshop Workspace . . . . . . . . . . . . . . . 17 Workspace Overview .....................................................17 The document workspace .............................................18 The application bar ..................................................22 Workspace presets ..................................................24 The Toolbox and tool options bar .......................................25 Cruising the Main Menus ..................................................26 The File menu ......................................................26 The Edit menu .....................................................26 The Image menu ....................................................26 The Layer menu ....................................................27 The Select menu ....................................................27 The Filter menu ....................................................27 The Analysis menu ..................................................27 Ruler tool ....................................................27 Count tool ....................................................27 Record Measurements ...........................................28 Set Measurement Scale ..........................................28 Set Data Points ................................................29 Place Scale Marker ..............................................29 The 3D menu ......................................................30 The View menu .....................................................30 Extras and Show ...............................................30 Ruler ........................................................30
ix
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Contents
Snap and Snap To ..............................................31 New Guide, Lock Guides, and Clear Guide ...........................31 Lock Slice and Clear Slices .......................................31 The Window menu ..................................................31 The Help menu .....................................................31 Photoshop Help................................................31 Deactivate ....................................................32 Understanding Panels .....................................................32 Understanding the Tools in the Toolbox .......................................36 Using Presets............................................................40 Selecting tool presets .................................................40 Managing presets....................................................41 Creating presets.....................................................42 Setting Preferences .......................................................44 General preferences ..................................................45 Interface preferences .................................................48 File Handling preferences.............................................49 Performance preferences ..............................................51 Cursors preferences ..................................................53 Transparency & Gamut preferences .....................................54 Unit & Rulers preferences .............................................55 Guides, Grid & Slices preferences .......................................56 Plug-ins preferences .................................................57 Type preferences ....................................................57 3D preferences .....................................................58 Customizing Shortcuts and Menus ...........................................58 Customizing menus .................................................59 Customizing shortcuts................................................60 Summary ..............................................................62
Chapter 3: Image Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Exploring File Types ......................................................63 Compressed versus uncompressed ......................................64 Raster versus vector ..................................................64 HDR images .......................................................65 Image files .........................................................65 Photoshop (*.PSD, *.PDD) .......................................65 TIFF (*.TIF;*.TIFF).............................................66 JPEG (*.JPG;*.JPEG;*.JPE) .......................................66 JPEG 2000 (*.JP2;*.JPX) .........................................66 CompuServ GIF (*.GIF) .........................................66 PNG (*.PNG) .................................................67 Bmp (*.BMP; *.RLE; *.DIB).......................................67 RAW (*.RAW; *.CR; *.CR2; *.DNG; and several others).................67 Portable bitmap (*.PBM;*.PGM;*.PPM;*.PNM;*.PFM;*.PAM) ............68
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Wireless bitmap (*.WBM;*.WBMPI) ................................68 Encapsulated PostScript (*.EPS; *.AI3-*.AI8; *.PS; *.EPSP; *.EPSF) ........68 Photoshop PDF (*.PDF;*.PDP)....................................68 PCX (*.PCX) ..................................................69 PICT (*.PCT;*.PICT)............................................69 Pixar (*.PXR) ..................................................70 FXG (*.FXG) ..................................................70 Google Earth 4 (*.KMZ) .........................................70 PSB (*.PSB) ...................................................70 OpenEXR (*.EXR) ..............................................70 Cineon ......................................................71 IFF (*.IFF;*.TDI) ..............................................71 Scitex CT (*.SCT) ..............................................71 Targa (*.TGA; *.VDA; *.ICB; *.VST) ................................71 Radiance (*.HDR; *.RGBE; *.XYZE) ................................71 Video files .........................................................71 3D files...........................................................72 DICOM files .......................................................72 Creating and Opening Images ...............................................73 Creating a new image ................................................73 Opening an existing image ............................................74 Opening an existing image as a specific file type ............................75 Saving an image ....................................................76 Resizing Files and Adjusting Resolution .......................................78 Understanding resolution .............................................78 Changing the image size and resolution ..................................79 Understanding the resolution and size relationship .....................79 Understanding Photoshop’s resizing algorithms........................80 Adjusting the image size and resolution..............................81 Changing the canvas size..............................................82 Cropping and Straightening Images ..........................................84 Guidelines for cropping a photo ........................................84 Get rid of background clutter .....................................84 Preserving aspect ratio ...........................................84 Rule of thirds..................................................85 Give your subject somewhere to go .................................86 Closing in on your subject ........................................86 Don’t crop out the story .........................................86 Cropping an image ..................................................87 Using the Crop tool .............................................88 Cropping using the Selection tools .................................89 Straightening an image ...............................................90 Rotating and flipping images ......................................90 Rotating while cropping .........................................91
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Using the Crop and Straighten tool .................................92 Using the Ruler tool.............................................93 Trimming a border ..................................................94 Summary ..............................................................95
Chapter 4: Understanding Colors, Histograms, Levels, and Curves . . . . . 97 Color Basics ............................................................97 What is color? ......................................................97 Color, intensity, and the human eye .....................................98 Understanding Channels and Levels ..........................................98 Adjusting with Histograms .................................................99 Understanding histograms.............................................99 Determining overexposure and underexposure in an image .............100 Determining color balance in an image .............................101 Using the Histogram panel ...........................................102 Setting Histogram panel options ..................................103 Selecting channels .............................................103 Selecting a source .............................................105 Understanding statistics.........................................105 Adjusting images with the histogram tools ...............................107 Using the handles to adjust the histogram ...........................107 Using the eyedroppers to adjust the histogram .......................109 Adjusting levels with the Curves tool ...................................109 Understanding curves ..........................................110 Using the Curves tool ..........................................111 Working in Different Color Modes ..........................................113 Understanding the different color modes ................................114 Bitmap......................................................114 Grayscale ....................................................115 Duotone ....................................................116 Indexed color ................................................117 RGB color ...................................................118 CYMK color..................................................119 Lab color ....................................................119 Multichannel .................................................120 Bits per channel....................................................120 Choosing Colors ........................................................121 Using the Color Picker tool ...........................................121 Using the Color panel ...............................................123 Using the Swatches panel ............................................125 Using the Eyedropper tool............................................126 Using the Color Sampler tool .........................................127 Using the HUD Color Picker ..........................................128 Summary .............................................................129
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Chapter 5: History and Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Photoshop: The Non-Destructive Application ..................................131 Using the History Panel...................................................133 Understanding the History panel.......................................134 Configuring the History panel ....................................134 Navigating through history states .................................136 Using snapshots ..............................................136 Creating documents ...........................................137 Deleting history ...............................................137 Painting from history................................................137 Using the Eraser tool in the History panel ...........................138 Using the History Brush ........................................140 Using the Art History Brush......................................140 Using selections when painting history .............................140 Creating and Using Automated Actions.......................................141 Understanding the Actions panel.......................................141 Action list ...................................................142 Actions panel menu ............................................143 Toggle boxes .................................................143 Quick Buttons ................................................143 Changing the view of the Actions panel .............................143 Loading existing action sets ...........................................144 Creating custom actions .............................................144 Editing actions ....................................................145 Adding a stop ................................................145 Adding operations .............................................146 Moving operations .............................................146 Duplicating actions and operations ................................146 Modifying operations...........................................146 Deleting an operation ..........................................147 Modifying the action name and function key .........................147 Saving actions................................................148 Temporarily adjusting action settings by using the toggle boxes ..........148 Playing actions ....................................................148 Managing the action list .............................................148 Summary .............................................................149
Chapter 6: Using Bridge to Organize and Process Photos . . . . . . . . . . . 151 Working in the Bridge Workspaces ..........................................151 Understanding the Bridge utility .......................................151 Main menu ..................................................152 Toolbar.....................................................153 Window panes ...............................................154 Content view controls ..........................................155 Using the Bridge workspaces ..........................................156
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Organizing Files in Bridge .................................................157 Importing images from cameras and card readers..........................157 Get Photos From ..............................................158 Location ....................................................158 Create Subfolder(s) ............................................158 Rename Files .................................................158 Open Adobe Bridge ............................................159 Convert to DNG ..............................................159 Delete Original Files ...........................................161 Save Copies To ...............................................161 Apply Metadata ...............................................161 Working with image metadata.........................................161 Assigning ratings and labels to files .....................................163 Assigning keywords to files ...........................................164 Adding an existing keyword to a file ...............................164 Adding a new keyword .........................................164 Adding a new sub-keyword ......................................165 Finding a keyword in the list .....................................165 Deleting and renaming keywords .................................166 Renaming files .....................................................166 Finding files ......................................................167 Using the Filter panel ..........................................167 Using the Find tool............................................167 Using the review mode .........................................168 Using collections ...................................................170 Creating collections ............................................170 Creating smart collections .......................................171 Creating stacks ....................................................171 Deleting versus rejecting files .........................................172 Processing Images Using Bridge and Photoshop ................................173 Opening images in Photoshop.........................................173 Opening image in Photoshop ....................................173 Placing images in Photoshop .....................................173 Loading files as Photoshop layers .................................174 Opening in Camera Raw........................................174 Batch processing ...................................................174 Using the Image Processor............................................175 Merging photos ....................................................176 Using Photoshop Photomerge....................................177 Using Photoshop Merge to HDR ..................................177 Auto-merging images into HDR and panoramic images .................177 Creating PDFs and Web galleries ......................................179 Creating a PDF ...............................................179 Creating a Web gallery .........................................181
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Using the Mini-Bridge Tool in Photoshop .....................................183 Setting up Mini-Bridge ..............................................183 Browsing in Mini-Bridge.............................................184 Summary .............................................................186
Part II: Working with Camera Raw Images
187
Chapter 7: Camera Raw Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Benefits of Camera Raw—More Is Better ......................................189 Original CMOS information—more bits.................................190 Non-destructive editing—more metadata ................................191 Drawbacks of Camera Raw—Size Matters .....................................193 Camera raw is not universal ..........................................193 Memory card and disk space ..........................................194 Time ............................................................194 Camera Raw File Types ...................................................195 XMP ............................................................195 DNG ............................................................195 Standardization ...............................................196 No XMP files .................................................196 Those pesky proprietary vendors ..................................196 Opening Images in Camera Raw ............................................196 The Camera Raw Workspace and Workflow Options ............................197 Workflow options ..................................................199 Space .......................................................199 Choose a bit depth ............................................200 Size ........................................................201 Resolution ...................................................201 Sharpen For/Amount ...........................................202 Open in Photoshop as Smart Objects ..............................202 Setting Preferences ......................................................202 General ..........................................................203 Save Image settings in..........................................203 Apply Sharpening to ...........................................204 Default image settings ...............................................204 Apply auto tone adjustments .....................................204 Apply Auto grayscale mix when converting to grayscale ................204 Make defaults specific to camera serial number .......................205 Make defaults specific to camera ISO setting .........................205 Camera Raw cache .................................................205 DNG file handling ..................................................205 Ignore sidecar “.xmp” files .......................................205 Update embedded JPEG previews.................................205 JPEG and TIFF handling .............................................205
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The Camera Raw Panel Menu ..............................................206 Creating Snapshots ......................................................207 Saving Presets ..........................................................209 Exporting Camera Raw Files ...............................................210 Summary .............................................................212
Chapter 8: Processing Photos in the Camera Raw Workspace . . . . . . . . 213 The Camera Raw Tools ...................................................213 Synchronizing Adjustments in Multiple Raw Images .............................217 Adjusting the White Balance ...............................................218 Using the White Balance tool .........................................220 Changing the lighting settings .........................................221 Using the Temperature and Tint sliders..................................221 Adjusting Lighting ......................................................222 Adjusting Color and Clarity ...............................................226 Clarity, vibrance, and saturation.......................................226 Tone Curve .......................................................227 The Parametric panel ...........................................227 The Point tab .................................................231 HSL adjustments ...................................................233 Hue adjustments ..............................................234 Saturation adjustments .........................................234 Luminance adjustments .........................................235 Creating a grayscale photo............................................235 Split Toning ......................................................237 Correcting and Retouching ................................................238 Spot removal and cloning............................................238 Red-eye removal ...................................................240 Using the Adjustment Brush..........................................241 Setting the Mask options ........................................242 Using the pins ................................................242 Setting the Brush options........................................243 Setting the Adjustment options...................................244 Creating a Graduated Filter ...........................................246 Creating Artistic Effects ...................................................249 Adding grain ......................................................249 Adding a vignette ..................................................251 Correcting Camera Quirks ................................................252 Lens corrections ...................................................252 Camera calibration .................................................252 Adjusting Sharpness and Reducing Noise.....................................253 Noise reduction ....................................................254 Sharpening .......................................................254 Summary .............................................................255
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Part III: Selections, Layers, and Channels
257
Chapter 9: Creating Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 The Select Menu ........................................................259 Using the Selection Tools .................................................262 Quick Selection tool ................................................263 Quick Selection tool options.....................................263 Using the Quick Selection tool ...................................264 Magic Wand tool ...................................................266 Magic Wand tool options .......................................266 Using the Magic Wand .........................................267 Color Range ......................................................268 Selecting by shape ..................................................270 The Marquee options...........................................270 The Rectangle Marquee tool .....................................271 The Elliptical Marquee tool......................................272 Using the Lasso tools ................................................272 Lasso tool options.............................................272 Lasso tool ...................................................273 The Polygonal Lasso tool ........................................274 The Magnetic Lasso tool ........................................275 Refining Your Selection ...................................................277 Adjusting a selection ................................................277 Using the selection tools ........................................277 By transforming a selection ......................................278 Using paths ..................................................279 Using the Quick Mask mode .....................................281 Refining the edges ..................................................285 View Mode ..................................................286 Edge Detection ...............................................288 Adjust Edge ..................................................289 Output .....................................................289 Summary .............................................................291
Chapter 10: All about Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Working with Layers.....................................................294 Understanding multiple layers.........................................294 Adding new layers ..................................................296 Adding another document as a new layer ...........................296 Adding text or shapes as a new layer ...............................297 Creating selections to make a new layer.............................297 The Layer Menu and the Layers Panel Menu ...................................298 The Layer menu ...................................................298 The Layers panel menu ..............................................301
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The Layers Panel ........................................................303 Opacity and Fill settings .............................................303 Lock settings ......................................................304 Blending modes....................................................305 Normal and dissolve blending modes ..............................306 Darkening blending modes......................................307 Lightening blending modes ......................................307 Adding contrast blending modes ..................................308 Using difference blending modes ..................................308 Color blending modes ..........................................309 Using blending modes ..........................................309 Linking layers.....................................................312 Layer styles, Layer masks, and Fill and Adjustment layers ....................313 Grouping layers....................................................313 Creating a blank layer ...............................................313 Throwing layers (or their components) away .............................313 Applying Worry-Free Fill and Adjustment Layers ...............................313 Choosing a Fill or Adjustment layer ....................................314 Fill layers ........................................................314 Adjustment layers..................................................315 Editing a Fill or Adjustment layer ......................................318 Moving a Fill or Adjustment layer .................................318 Editing the properties of a Fill or Adjustment layer ....................318 Layer Style Special Effects .................................................319 Choosing a Layer Style ..............................................320 Adjusting Layer Style options .........................................321 Creating a separate layer from a Layer Style...............................322 Creating Smart Objects ...................................................323 Converting a layer to a Smart Object ....................................323 Adding Smart Filters ................................................324 Making changes to the Smart Filters ....................................325 Layer Masks ...........................................................327 Creating masks ....................................................328 Using the Add Mask icon .......................................328 Using the Refine Edge dialog box .................................329 Type masks ..................................................329 Clipping masks...............................................330 Editing masks.....................................................332 Edit a mask by painting on the image ..............................332 Edit masks using the Channels panel...............................332 Editing masks using the Masks panel...............................334 Unlinking and moving masks .........................................335 The Layer Comps Panel ..................................................337 Merging Layers .........................................................338 Summary .............................................................339
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Chapter 11: Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Understanding Color Channels .............................................341 Using the Channel Mixer .................................................343 Color mixing ......................................................344 Swapping colors ...................................................345 Converting color to grayscale .........................................346 Using the Channels Panel.................................................349 Selecting channels ..................................................350 Deleting channels ..................................................350 Duplicating channels ................................................350 Splitting/Merging channels ...........................................351 Sharing channels between images......................................353 Making Channel Selections ................................................353 The Alpha Channel ......................................................356 Creating alpha channels .............................................356 Loading selections from alpha channels .................................357 Modifying alpha channels............................................358 Alpha channels versus layer masks .....................................358 Changing the channel options for alpha channels ..........................359 Spot Color Channels .....................................................360 Creating a spot color channel .........................................361 Merging spot color channels..........................................363 Removing ink overlap using spot color channels ...........................363 Summary .............................................................364
Part IV: Enhancing, Correcting, and Retouching
367
Chapter 12: Adjustment Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 Understanding Workflow .................................................369 Making Auto Adjustments.................................................371 Using the Adjustments Panel...............................................373 Adjustment icons ..................................................374 Adjustment panel icons ..............................................376 Adjustment presets .................................................377 Summary .............................................................379
Chapter 13: Lighting and Color Adjustments . . . . . . . . . . . . . . . . . . . . . 381 Applying Quick Adjustments to Light and Color ...............................381 Brightness and contrast versus exposure .................................382 Using the Brightness/ Contrast tool to adjust lighting ..................382 Using the Exposure tool to adjust lighting ...........................383 Changing the color balance ...........................................386 Making selective color adjustments .....................................389 Applying photo filter to images ........................................393
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Replacing specific colors.............................................394 Using the Variations tool .............................................398 Changing the shadows and highlights in images ...........................400 Fixing shadows...............................................400 Fixing highlights ..............................................401 Adjusting after shadows or highlights are corrected ....................401 Creating customized black and white photos .............................403 Hue and Saturation ......................................................404 Using the Hue/Saturation tool .........................................405 Adjusting the hue and saturation to make colors pop .......................408 Levels................................................................411 Using the Levels Adjustment tool ......................................412 Configuring the Auto Levels Adjustment .................................415 Adjusting levels to increase detail in images ..............................416 Curves ...............................................................420 Using the Curves Adjustment tool ......................................420 Configuring the Curves Display tool ....................................424 Configuring the Auto Curves Adjustment................................425 Adjusting the curve to correct color and contrast in images...................425 Using the Match Color Tool to Change Colors .................................430 Converting HDR Images to 8 Bits Per Channel .................................433 Summary .............................................................435
Chapter 14: Sharpness, Blur, and Noise Adjustments. . . . . . . . . . . . . . . 437 Using Sharpen Filters to Sharpen Images .....................................438 Applying basic sharpening filters .......................................438 Unsharp Mask .....................................................443 Smart Sharpen.....................................................445 Using Blur Filters to Soften Images ..........................................448 Automatic Blur filters ...............................................448 Shape Blur filters ...................................................449 Gaussian Blur ................................................449 Box Blur ....................................................449 Shape Blur ...................................................450 Direction Blur filters ................................................451 Adding a Motion Blur to an image .................................451 Radial Blur...................................................453 Surface Blur.......................................................454 Smart Blur ........................................................454 Lens Blur .........................................................455 Preview .....................................................456 Depth Map ..................................................456 Iris.........................................................457 Specular Highlights ............................................457 Noise .......................................................458
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Reducing Noise in an Image ...............................................458 Despeckle ........................................................458 Median ..........................................................459 Dust & Scratches...................................................460 Reducing noise ....................................................460 Add noise ........................................................462 Summary .............................................................462
Chapter 15: Using Cloning and Healing to Restore Digital Images . . . . . 465 The Healing Brush Tools ..................................................465 The Spot Healing Brush..............................................466 Proximity Match ..............................................466 Create Texture ................................................467 Content-Aware ...............................................467 The Healing Brush..................................................471 The Patch tool .....................................................475 Content-Aware fill ..................................................478 Fixing red-eye .....................................................480 The Clone Stamp Tool and Clone Source Panel ................................480 Setting the Clone Stamp options .......................................481 Cloning basics .....................................................482 Utilizing the Clone Source panel .......................................485 Using the Clone and Healing Brushes Together for Optimal Effect ..................490 Fixing damaged photos ..............................................490 Face swapping with multiple images ....................................493 Summary .............................................................497
Part V: Painting, Paths, Shapes, and Text
499
Chapter 16: Painting and Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501 Painting in Photoshop ....................................................501 Understanding the Painting Tools ...........................................502 Painting tools and blending modes.....................................502 Basic blending modes ..........................................503 Darkening blending modes......................................503 Lightening blending modes ......................................504 Adding contrast blending modes ..................................504 Difference, Exclusion, Subtract and Divide blending modes .............505 Color blending modes ..........................................505 Painting with painting tools...........................................506 Painting with editing tools............................................510 Healing tools .................................................511 Clone Stamp and Pattern Stamp tool ...............................511 History tools .................................................512
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Eraser tools..................................................512 Sharpen/Blur/Smudge tools ......................................516 Dodge/Burn/Sponge tools .......................................517 Painting with mixing tools............................................519 Using the Brush Panel ....................................................522 Selecting the brush tip shape ..........................................522 Selecting flat brush shapes .......................................522 Selecting bristle brush shapes ....................................524 Setting the brush behavior............................................526 Shape Dynamics ..............................................527 Scattering ...................................................528 Texture .....................................................530 Dual Brush ..................................................531 Color Dynamics...............................................531 Transfer .....................................................532 Brush Presets panel .................................................533 Painting with Non-Brush Painting Tools ......................................534 Paint Bucket tool ...................................................535 Gradient tool ......................................................537 Gradient Editor ....................................................538 Example Painting Techniques ..............................................539 Painting from a blank canvas..........................................539 Tracing edges from an existing image ...................................543 Wet paint on an existing image ........................................544 Summary .............................................................545
Chapter 17: Working with Paths and Vector Shapes . . . . . . . . . . . . . . . . 547 Understanding Paths .....................................................547 Path components...................................................548 Types of paths ....................................................549 Using Vector Path Tools to Create Paths ......................................551 Using the Pen tools .................................................551 Pen tools ....................................................552 Using the Pen tool options.......................................554 Using the Path Selection tools .........................................557 Path Selection tools ............................................558 Using the Path Selection tool options ..............................558 Paths panel .......................................................562 Using Paths ............................................................565 Creating a path ....................................................565 Creating vector shapes from paths......................................567 Creating a clipping mask .............................................568
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Creating vector masks ...............................................570 Vector Shape Layers ................................................572 Using vector shape tools .............................................573 Adding vector shape layers ...........................................577 Adding custom vector shapes .........................................579 Editing vector shape ................................................581 Summary .............................................................582
Chapter 18: Working with Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583 A Little Bit about Text ....................................................583 Using the Text Tools to Add Text to Images ...................................584 Setting type preferences..............................................584 Using the text tools to add text ........................................585 Adding text as point type........................................588 Adding text as a paragraph type ..................................588 Editing vector text layers .............................................590 Edit Type....................................................590 Check Spelling ...............................................591 Find and Replace Text ..........................................592 Rasterize Type ................................................592 Create Work Path .............................................592 Convert to Shape ..............................................593 Horizontal/Vertical ............................................593 Anti-Alias adjustment ..........................................593 Faux options .................................................593 Convert to Point Text/Paragraph Text..............................594 Warp Text ...................................................594 Layer Style ...................................................595 Using the Character panel ............................................596 Using the Paragraph panel............................................602 Using the Character and Paragraph Styles panels ..........................604 Character Styles ...............................................604 Paragraph Styles ..............................................605 Applying Text to Images ..................................................607 Adding text on a path ...............................................607 Applying text to a path .........................................607 Editing text on a path ..........................................608 Constraining text using a vector shape ..................................609 Adding text in a Smart Object .........................................611 Applying text as a mask..............................................614 Summary .............................................................617
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Part VI: Artistic Effects
619
Chapter 19: Distorting Images Using Transformation Effects, Liquify, and Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 Using Transformations ...................................................621 The importance of the reference point ...................................622 Scale............................................................623 Rotate ...........................................................624 Skew ............................................................625 Distort ...........................................................625 Perspective .......................................................626 Warp ............................................................627 Free transform.....................................................628 Content-Aware Scale ................................................629 Using the all-new Puppet Warp........................................634 The Liquify Filter .......................................................639 The Liquify tools ...................................................639 Tool options ......................................................643 Mesh options......................................................643 Reconstruct options.................................................643 Mask options......................................................645 View options ......................................................646 Vanishing Point.........................................................647 Summary .............................................................652
Chapter 20: Applying Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653 A Comprehensive Look at Artistic Effects Filters ................................654 Artistic ..........................................................654 Brush Strokes .....................................................656 Distort ...........................................................657 Pixelate ..........................................................658 Render ..........................................................660 Sketch ...........................................................661 Stylize ...........................................................662 Texture ..........................................................663 Other ...........................................................664 Using the Filter Gallery ...................................................665 The preview pane ..................................................665 The filter thumbnail pane ............................................667 The options pane ..................................................667 Using Smart Objects to Make Non-Destructive Filter Adjustments..................668 Creating a Custom Filter ..................................................672 Summary .............................................................675
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Chapter 21: Combining Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 677 Creating Seamless Composites .............................................677 Combining files ....................................................678 Adjusting and transforming new layers ..................................679 Blending composite files .............................................680 Refining edges ................................................680 Creating a drop shadow.........................................680 Changing Fill or Opacity settings..................................681 Changing the Blending mode ....................................682 Creating a Fill or Adjustment layer ................................682 Using masks to “tuck in” a composite file ...........................683 Using Multiple Images to Create a Photo Collage ...............................688 Using Photomerge to Create a Panorama......................................693 Summary .............................................................696
Part VII: Working with 3D Images
697
Chapter 22: Creating and Manipulating 3D Objects . . . . . . . . . . . . . . . . 699 Understanding 3D File Formats ............................................699 Opening and Placing 3D Files in Photoshop ...................................701 Creating 3D Files in Photoshop.............................................702 Selecting a source for a 3D object ......................................703 Creating a 3D postcard..............................................703 Creating a 3D shape from a preset ......................................704 Using Repoussé to create a 3D object ...................................705 Creating a 3D mesh from grayscale .....................................711 Creating a 3D volume ...............................................713 Creating 3D Objects in the Layers Panel ......................................713 Manipulating 3D Objects .................................................714 Understanding static coordinates.......................................715 Using the 3D object tools ............................................715 The Home button .............................................716 Turning 3D objects around a central point ..........................716 Moving a 3D object through 3D space ..............................718 Changing positions and saving a view ..............................721 Using the 3D Axis Widget .................................................722 Positioning the Camera on a 3D Object ......................................724 Summary .............................................................726
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Chapter 23: Using the 3D Panel to Edit 3D Scenes and Settings . . . . . . . 727 3D Panel Overview ......................................................727 3D {Scene} Panel ........................................................729 Changing the 3D preferences .........................................729 Render settings ....................................................731 Render presets ................................................732 Edit render settings ............................................733 Quality .....................................................735 Paint On ....................................................735 Global Ambient Color ..........................................735 Creating cross sections ..............................................735 Toggle the 3D extras ................................................737 3D {Mesh} Panel ........................................................739 3D {Materials} Panel.....................................................742 Editing textures ....................................................742 Editing materials ...................................................745 Material Drop tool ..................................................749 3D {Lights} Panel .......................................................750 Adding new lights ..................................................751 Positioning lights...................................................753 Light settings ......................................................754 Summary .............................................................755
Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 3D Paint Mode .........................................................757 Hiding areas on a 3D object ..........................................758 Painting on 3D objects ..............................................759 Adjustments, Layer Styles, and Filters ........................................765 Applying an adjustment to a 3D layer ...................................765 Applying a layer style to a 3D layer .....................................766 Applying a filter to a 3D layer.........................................767 3D layers as Smart Objects ...........................................768 Creating Composites .....................................................769 Flying a carpet over a lake ............................................769 Creating a 3D rug .............................................769 Placing the flying carpet into an image .............................772 Adding details to complete the flying carpet composite .................775 Giving the moon away ..............................................777 Create a gift box ..............................................777 Creating the moon.............................................780 Creating a present of the moon...................................781 Summary .............................................................785
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Part VIII: Working with Video and Animation
787
Chapter 25: Video Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 789 Working with Video Files .................................................789 Setting aspect ratios .................................................790 Correcting the pixel aspect ratio ..................................790 Changing video aspect ratios .....................................791 Correcting the aspect ratio of an image .............................793 Video filters .......................................................796 De-Interlace ..................................................797 NTSC Colors .................................................797 Features of the Animation (Timeline) Panel ...................................798 Time adjustment ...................................................798 Work area ........................................................800 Icons ............................................................801 Defining the options found in the Animation (Timeline) panel menu ...........802 Accessing the Video Layers menu ......................................805 Setting layer favorites ...............................................807 Opening and Placing Video Files............................................808 Opening a video file ................................................808 Adding additional video files ..........................................809 Importing image sequences ...........................................810 Importing an image sequence into one layer .........................811 Importing an image sequence into multiple layers .....................813 Trimming Video Layers ...................................................815 Dragging the layer duration bar ........................................816 Trimming layers using the menu option .................................816 Trimming the document duration to the work area .........................817 Looking at trimmed layers in the Animation (Timeline) panel .................817 Moving Video Layers.....................................................818 Changing the layer hierarchy..........................................819 Dragging layers inside the layer duration bar..............................819 Changing the position of the layer in and layer end points ...................819 Splitting Video Layers ....................................................820 Lifting and Extracting Unwanted Sections of Video ..............................822 Lifting a section of a video layer .......................................822 Extracting a section of a video layer.....................................822 Performing Slip Edits ....................................................823 Adding Still Shots or Other Elements to a Video Project ..........................825 Adding a blank layer ................................................826 Adding a text layer .................................................826 Adding or placing an image file ........................................827 Adding or placing a 3D model.........................................828 Summary .............................................................829
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Chapter 26: Animating in the Animation (Timeline) Panel . . . . . . . . . . . 831 Creating and Editing Keyframes ............................................832 Creating keyframes.................................................832 Editing keyframes..................................................836 Setting interpolation ................................................838 Linear interpolation ............................................838 Hold interpolation .............................................838 Creating comments .................................................839 Animating the Position of a Layer...........................................841 Keyframe placement ................................................841 Animating positions in multiple layers ..................................843 Animating the Opacity Setting .............................................845 Animating Layer Styles ...................................................847 Animating the Global Lighting .............................................850 Animating Text .........................................................851 Animating Masks .......................................................852 Rotoscoping Basics ......................................................853 Creating a new video layer ...........................................855 Creating modified frames ............................................855 Utilizing onion skins ................................................857 Onion Skin settings ............................................858 Restoring frames...................................................860 Animating DICOM Files ..................................................860 Summary .............................................................862
Chapter 27: Correcting Video Files and Adding Artistic Effects . . . . . . . 863 Adding Fill or Adjustment Layers to Correct Tone and Color of Video Layers..........863 Clipping an Adjustment layer to the layer below it .........................865 Adjusting the duration of a Fill or Adjustment layer ........................866 Merging layers .....................................................867 Adding a Fill or Adjustment layer to a Smart Object ........................868 Applying Smart Filters to Video Files ........................................870 Cloning and Healing Over an Entire Video Layer ...............................872 Frame-by-Frame Correction and Artistic Effects................................874 Adding an adjustment to a single frame..................................875 Adding a filter to a single frame ........................................876 Cloning and healing video files ........................................876 Locking the source frame ............................................879 Summary .............................................................880
Chapter 28: Animating Using the Animation (Frames) Panel . . . . . . . . . 881 Working in the Animation (Frames) Panel ....................................882 Panel features .....................................................882 Frame delay time ..............................................882 Disposal method..............................................883
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Looping options ..............................................883 Tweens animation frames icon ...................................883 Duplicating selected frames ......................................885 Convert to Animation (Timeline)..................................885 The Animation (Frames) panel menu ..............................885 Animation (Frames) panel menu .......................................886 Layers panel features ................................................888 Creating Tweened Frame Animations ........................................889 Opening an image to animate .........................................889 Creating keyframes.................................................890 Tweening keyframes................................................892 Creating a Frame-by-Frame Animation .......................................893 Creating an animation from a layered image..............................893 Building an animation in the Animation (Frames) panel.....................896 Rendering Video ........................................................899 Summary .............................................................900
Part IX: Advanced Output Techniques
901
Chapter 29: Printing and Color Management . . . . . . . . . . . . . . . . . . . . . 903 Importance of Color Accuracy and Consistency ................................903 Understanding ICC color profiles ......................................904 Embedding color profiles in image files ..................................904 Device-independent color profiles ......................................905 Color Calibrating Monitors and Printers ......................................906 Using Color Management in Photoshop ......................................907 Configuring color settings in Photoshop.................................907 Settings.....................................................907 Working Spaces...............................................908 Color Management Policies ......................................909 Conversion Options ...........................................910 Advanced Controls ............................................912 Assigning color profiles to images ......................................913 Converting images to other color profiles ................................914 Proofing images using color management................................915 Printing Images from Photoshop ............................................917 Configuring general printing options ...................................918 Using color management to print accurate colors ..........................918 Adding crop marks and additional output to printed images ..................920 Summary .............................................................922
Chapter 30: Creating Images for the Web and Mobile Devices . . . . . . . 923 Preparing Images for the Web ..............................................923 Understanding Web image formats .....................................924 Selecting the right color profile ........................................925
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Slicing images for Web use...........................................925 Understanding slices ...........................................925 Creating slices ................................................926 Configuring slices .............................................928 Adding transparency to images........................................930 Animating images ..................................................931 Outputting Images Using the Save for Web & Devices Utility ......................933 Preview layout and toolbar ...........................................934 File output settings.................................................936 Color Table .......................................................942 Image Size settings .................................................942 Animation controls.................................................943 Previewing output in a browser ........................................944 Using Adobe Device Central to preview images on devices...................944 Using Zoomify to Add Zoomable Images to Web Sites ...........................946 Summary .............................................................948
Chapter 31: Digital Workflow and Automation . . . . . . . . . . . . . . . . . . . . 949 Automating Workflow in Photoshop.........................................949 Batch processing multiple images ......................................950 Creating droplets to process images ....................................954 Using Scripting to Speed Up Workflow.......................................956 Using Photoshop’s scripts ............................................956 Using stack modes on multiple images to analyze images and reduce noise ......959 Scripting workflow events ............................................962 Summary .............................................................964
Appendix A: Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 965 Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins . . . . 969 Appendix C: Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 973
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 977
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O
ur sincere gratitude goes out to the following persons, without whom this book could not have happened:
Our friends and family who force us to be more intelligent and creative than we necessarily would like to be. To our editors who made the book readable and technically accurate and kept us on track, you really rock. Thanks to Stephanie McComb for her positive attitude in keeping us on track and getting the project moving in the right direction. Thanks to Marty Minner for all your hard work and dedication. It was a pleasure working with you. Thanks for making sure that the end result was the highest standard. Thanks to Gwenette Gaddis for interpreting the ramblings of our minds and making us sound much better than we can actually write. And thanks to Jon McFarland for using your technical expertise to watch our back and improve the quality of the book. Also, thanks to the entire staff at Wiley who were very professional in helping get this project out the door. And last, but not least, our thanks go out to the talented photographers who have so generously contributed their fantastic photos to this work: Rachel Echols of Echols Photography, her ability to take stunning photos of animal life is unparalleled; Becky Diamond for her phenomenal wedding photos; and Janece Winder of Orange Works photography and design, who contributed wonderful photos of all kinds.
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W
elcome to the Photoshop CS5 Bible, the latest edition of the bestselling reference guides on Photoshop in publishing history. Now in its 16th year, the Photoshop Bible is the longest continuously published title on Adobe Photoshop. With numerous U.S. editions, dozens of localized translations around the globe, and hundreds of thousands of copies in print worldwide, the Photoshop Bible has become a must-have for Photoshop users worldwide. We have done our very best to accurately and directly address the vast majority of functionality, features, tools, and techniques wrapped up in your Photoshop package. As you may notice throughout the book, we love Photoshop and like to tell you about the great features. You also may notice that when something doesn’t work well or is awkward, we don’t hesitate to let you know. Our intent is to give you the best experience using Photoshop.
Who this book is for Photoshop tends to collect users from a variety of backgrounds. From casual users just playing around to professional graphics designers creating professional materials to digital artists creating fantastic artwork to medical technicians analyzing patient images, Photoshop has something for everyone. In fact, there really isn’t one specific group of users that you could call the average Photoshop user. So, with that in mind, the Photoshop CS5 Bible is designed to provide enough information so experienced Photoshop users can get more out of Photoshop, but also so someone who has little or no experience with Photoshop can quickly pick up on Photoshop’s interface and become an expert in no time. We discuss advanced techniques and add step-by-step examples to the more complex editing concepts. Although the book is large, most sections in the book are self-contained, so experienced users can simply look up tools they need help with. This book is really designed to be a desktop reference, but it’s much more than the Photoshop online help. We’ve incorporated examples designed to guide you through various techniques, provide our experience in tips and suggestions, and try to give you a jumpstart on how to leverage Photoshop’s features. The specific purpose of this book is to provide you with the understanding you need to get the very best results. So sit back, load up Photoshop, and enjoy the ride!
How this book is organized To suit the most common needs of readers, we have organized this book into the following parts:
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Introduction
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Part I: Getting Started with Adobe Photoshop CS5
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Part II: Working with Camera Raw Images
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Part III: Selections, Layers, and Channels
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Part IV: Enhancing, Correcting, and Retouching
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Part V: Painting, Paths, Shapes, and Text
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Part VI: Artistic Effects
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Part VII: Working with 3D Images
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Part VIII: Working with Video and Animation
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Part IX: Advanced Output Techniques
Each part is subdivided into the following chapters. Part I: Getting Started with Adobe Photoshop CS5 In Part I, we introduce Photoshop and the basic workspace in Chapters 1 and 2 to familiarize you with Photoshop. Chapter 3 takes you through the basics of file formats as wells as opening, saving, and resizing image images in Photoshop. Chapter 4 discusses the basics of color as it relates to images and how to use Photoshop’s tools to understand and modify the color composition of an image. Chapter 5 discusses utilizing the History and Actions panels in your workflow as you begin editing images. Chapter 6 discusses using the Adobe Bridge application to organize and process your images. l
Chapter 1: Introducing Adobe Photoshop CS5
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Chapter 2: Understanding the Photoshop Workspace
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Chapter 3: Image Basics
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves
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Chapter 5: History and Actions
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Chapter 6: Using Bridge to Organize and Process Photos
Part II: Working with Camera Raw Images In Part II, we discuss the basics of camera raw images and how to use the Adobe Camera Raw interface to edit images before opening them in Photoshop. The purpose of this part is to familiarize you with camera raw image editing so you can incorporate it into your editing workflow. l
Chapter 7: Camera Raw Basics
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Chapter 8: Processing Photos in the Camera Raw Workspace
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Part III: Selections, Layers, and Channels In Part III, we discuss the various ways to create selections in Photoshop. We also cover the Layers panel and how to utilize it for non-destructive editing. Then we cover using the Channels panel to edit and utilize individual color channels in an image. Selections, layers, and channels are basic functionality you need in most of your editing workflow. l
Chapter 9: Creating Selections
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Chapter 10: All about Layers
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Chapter 11: Channels
Part IV: Enhancing, Correcting, and Retouching In Part IV, we discuss the workflow, tools, and techniques that you can use to enhance, correct, and retouch your images. Use this part to get to know the features of Photoshop that you need to make color and lighting adjustments to photos as well as restore damaged images. l
Chapter 12: Adjustment Workflow
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Chapter 13: Lighting and Color Adjustments
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Chapter 14: Sharpness, Blur, and Noise Adjustments
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Chapter 15: Using Cloning and Healing to Restore Digital Images
Part V: Painting, Paths, Shapes, and Text In Part V, we discuss the tools used to create images. Specifically, we discuss using the Paint tools to use brushstrokes to add color, textures, and adjustments to images. Then we discuss using the path tools to create vector shapes. And finally, we discuss adding textual elements to images. l
Chapter 16: Painting and Brushes
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Chapter 17: Working with Paths and Vector Shapes
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Chapter 18: Working with Text
Part VI: Artistic Effects In Part VI, we cover using some of Photoshop’s tools to apply artistic effects to images. You can use these chapters to learn how to distort and warp portions of an image, apply a variety of filters, and combine elements from multiple images. l
Chapter 19: Distorting Images Using Transformation Effects, Liquify, and Vanishing Point
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Chapter 20: Applying Filters
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Chapter 21: Combining Images
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Part VII: Working with 3D Images Part VII covers utilizing the 3D capabilities in Photoshop CS5 Extended to create, modify, and enhance 3D objects. l
Chapter 22: Creating and Manipulating 3D Objects
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Chapter 23: Using the 3D Panel to Edit 3D Scenes and Settings
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Chapter 24: Using Photoshop Tools to Change the Appearance of a 3D Layer
Part VIII: Working with Video and Animation In Part VIII, we cover using the Animation panel and several other tools and techniques to make enhancements and corrections to video with Photoshop CS5 Extended. These chapters discuss various editing concepts and techniques that allow you to make use of Photoshop’s editing features when video editing. You also learn how to use the Animation panel to animate images. l
Chapter 25: Video Editing Basics
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Chapter 26: Animating in the Animation (Timeline) Panel
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Chapter 27: Correcting Video Files and Adding Artistic Effects
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Chapter 28: Animating Using the Animation (Frames) Panel
Part IX: Advanced Output Techniques In Part IX, we cover the tools and techniques you use to output images using Photoshop, from printing and color management to preparing images for the Web. We also discuss utilizing Photoshop’s batch processing and scripting capabilities to save lots of time in your editing workflow. l
Chapter 29: Printing and Color Management
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Chapter 30: Creating Images for the Web and Mobile Devices
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Chapter 31: Digital Workflow and Automation
Appendixes We provide appendixes for the things that don’t fit into the book but that we wanted to share with you. Appendix A contains some tables with the most commonly used keyboard shortcuts. Appendix B discusses how to use plug-ins to add functionality to Photoshop. Appendix C lists some Web resources that you can use to get more information about Photoshop and download cool stuff. l
Appendix A: Keyboard Shortcuts
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Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins
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Appendix C: Resources
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How to use this book This book was not designed for a cover-to-cover read. For the most part, each section is self-contained. If you are new to Photoshop, take some time to look at Chapters 1 through 6 to familiarize yourself with the environment and digital editing concepts. If a chapter relies on information about another chapter, we note that in the chapter introduction or using a Cross-Ref note. If you want to know more about a particular workflow in Photoshop, such as color correction or adding text, use the list from the previous section to find the chapter number and read that chapter thoroughly to learn all about the different tools and features you can use. The book is really designed as a reference source. We have tried to pack in as much of Photoshop’s functionality and features as possible so you can look up items in the index and read the sections in which we discuss them. You should download the example projects from the book’s Web site and use them when available. The images in this book are in grayscale except for the color insert (and yes, we really, really wish it was in full color). So it may be difficult at times to see the full effect from the figure in the book. The examples on the Web site let you see what the images look like in full color as well as practice the tasks described in the book. Look at the next section, “Utilizing the book’s Web site,” to learn what projects are available.
Utilizing the book’s Web site One of the most important aspects of digital images is color. Unfortunately, the book was printed without color. So we have included several of the figures and projects used to generate the figures on the Web site. Some of the items on the Web site are JPEG images, some are PSD projects, and some are AVI files. The great feature of the projects is that many of them have the layers and objects available for you to play around with. The book’s Web site can be accessed at: www.wiley.com/go/photoshopcs5bible
Throughout the book, you see icons labeled “On the Web Site,” noting which figures are available on the Web site. Each note includes a filename that you can use to download the item and try the concepts out for yourself.
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Part I Getting Started with Adobe Photoshop CS5 IN THIS PART Chapter 1 Introducing Adobe Photoshop CS5 Chapter 2 Understanding the Photoshop Workspace Chapter 3 Image Basics Chapter 4 Understanding Colors, Histograms, Levels, and Curves Chapter 5 History and Actions Chapter 6 Using Bridge to Organize and Process Photos
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CHAPTER
Introducing Adobe Photoshop CS5
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f you are reading this book, you likely have access to one of the most complicated and complex software applications available. Don’t let that discourage you though. Photoshop is also a powerful and extremely fun application to use. Photoshop has throngs of fans all over the globe. Over the years, Photoshop has become the pinnacle software application for image editing. In fact, if you look up Photoshop at wiktionary.org, you find the term photoshop is actually a verb meaning “to digitally alter a picture or photograph.”
IN THIS CHAPTER Brief introduction to Photoshop CS5 Reasons to use Photoshop CS5 New features introduced in Photoshop CS5
Photoshop draws such a big crowd because it provides amazing results when you are editing images and yet is fairly intuitive to use such that even casual users can get pretty good results without much effort. Also, as digital imaging has advanced over the years, Photoshop has kept pace and even led the advancements in many areas. The purpose of this chapter is to give you a brief introduction to Adobe Photoshop CS5, when to use it, and what new features have been added since CS4. Chapter 2 dives into the nuts and bolts of Photoshop’s application workspace.
The Versatile World of Photoshop The simplest description of Photoshop is “a digital image-editing application.” That description doesn’t come close to Photoshop’s capabilities. Photoshop provides the standard color and lighting correction capabilities historically associated with photo editing, but it also provides filtering, painting, masking, layering, and many more tools that allow you to take image editing to the next level.
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Part I: Getting Started with Adobe Photoshop CS5 Photoshop comes in two versions. The standard Photoshop edition provides all the functionality you need to create, enhance, and correct digital images. The extended edition, which costs more, provides additional functionality to work with 3D objects, video, and digital animation. The extended edition is worth the money if you are working with 3D objects or need to add color/ lighting corrections and artistic effects to video. If you are not working with 3D objects or video, the standard edition is all you need. The following sections discuss the uses of Photoshop as well as a few times where you need to use additional applications with Photoshop. The purpose of the section is to give you a glimpse of what Photoshop is for before diving into using it. Of course, the only real way to understand Photoshop’s capabilities is to delve into them as you follow along with the next 30 chapters in this book.
When to use Photoshop Photoshop has so many tools and so much power that it can do an almost unlimited number of things. The following list describes the most common tasks that Photoshop is used for to help you get an idea of when to use it: l
Photo corrections: Photoshop’s strength lies in the ability to correct digital images to restore the original color and lighting as well as to correct problems introduced by camera lenses. These features of Photoshop are covered in Chapter 13.
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Photo enhancements: Photoshop also provides tools that allow you to enhance photos. For example, you can add a blur to soften a portrait or use a sharpening filter to remove motion blur. Photoshop also is great at fixing scratches and dust marks on older images. These concepts are discussed in Chapters 14 and 15.
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Photo compositions: One of Photoshop’s strengths is the ability to combine multiple images to create a single image or composition. A common use of Photoshop is to take a headshot from one image and place it into another. Photoshop also allows you to merge several photos that were taken at different horizontal angles from the same spot and turn them into a single panoramic image. Photo compositions are discussed in Chapter 21.
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Artistic effects: One of the most fun features of Photoshop is the ability to use different filters and warping tools to apply artistic effects to images. The combination of numerous tools and filters in Photoshop means that the only limitation you have with adding artistic effects is your own creativity. The tools used for artistic effects are covered in Chapters 19 and 20.
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Painting: Photoshop has always been a fairly good painting application, but with the addition of the wet brush capability in CS5, Photoshop is now one of the best applications available to create digital painting. What puts Photoshop ahead of the competition is that many of the powerful features, such as the layers and masks, also are available for use with the painting tools. Also, the painting brushes are integrated into many of the other tools in Photoshop. Chapter 16 discusses the painting tools.
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Chapter 1: Introducing Adobe Photoshop CS5
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Creating vector artwork: Photoshop also is an excellent application to use when creating vector artwork. The path tools allow you to quickly create and manipulate vector artwork. You also can add vector artwork to raster images. Vector artwork, including vector text, is discussed in Chapters 17 and 18.
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Adding text to images: Photoshop provides tools that allow you to add text to images. The text can be resized, warped, and adjusted to provide some stunning visual effects to images. Chapter 18 discusses adding textual elements to images.
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Creating Web images: Another area where Photoshop excels is preparing images for the Web. Photoshop provides utilities that allow you to quickly format images with the appropriate size, file format, and colors for use in Web pages. Photoshop also provides some tools you can use to slice an image into clickable sections and provides the HTML code necessary to utilize the slices in a Web page. Outputting to the Web is discussed in Chapter 30.
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Print preparation: Photoshop often is used to prepare images for printing by converting the color mode to CYMK, adding spot colors, and creating color separations. These topics are covered in Chapters 11 and 29.
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Creating 3D objects: Photoshop has the capability to create and manipulate 3D objects. Although it is not the best utility for creating 3D objects, it is very good at manipulating them and then applying them to 2D images. The 3D capabilities of Photoshop are covered in Chapters 22, 23, and 24.
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Adding textures to 3D objects: Photoshop has a big advantage over other 3D applications at applying textures to 3D objects. With Photoshop’s filter and painting capabilities, you can edit the textures of your 3D objects in ways that you may not have thought possible. Chapter 23 discusses creating and enhancing 3D textures.
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Video corrections: Just as with 3D modeling, Photoshop should not be your choice for creating video projects; however, using Photoshop’s color, lighting, and filter effects, you can quickly apply corrections to video and even add some artistic effects. Chapter 27 discusses applying corrections and effects to video files.
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Animating images: Another fun feature of Photoshop is the ability to add animation to your images. Animated images can give life to Web pages and allow you to create short animated movies. Chapter 28 discusses animating images.
When not to use Photoshop Believe it or not, Photoshop is not designed to do everything, and you should use a different application for those tasks after you have created/adjusted the image in Photoshop. For example, use another program for the following: l
Word processing: Most word processing applications allow you to add images to documents created with those programs, and although Photoshop supports adding text to images, it doesn’t support text editing all that well and can’t handle text flowing from one page to another. You should use Photoshop to work with the images and then import them into the word processor.
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Business graphics: Photoshop doesn’t do charts and presentations very well, but you can create great images in Photoshop and then use them in business applications.
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Page layout: Applications such as Adobe InDesign are much better adept at laying out most brochures, flyers, and documents that are mostly textual. You should create the images in Photoshop and then import them into the layout application.
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Vector art: Although Photoshop has a lot of capability when it comes to creating vector paths, Illustrator is much better application for working with clipart and designing advertisements, flyers, and one-page layouts that have multiple vector objects.
What’s New in Photoshop CS5 Adobe has added several great new features to Photoshop CS5 that make tools easier to use, extend capabilities, and add lots of justification for upgrading. These new changes are discussed throughout the book. The purpose of this section is to describe the biggest changes and let you know where in the book you can find more information about them: l
Sticky Workspaces: The workspaces in Photoshop now save themselves when you switch between them. That way, your panels and other settings stay the same way you left them when you come back. Photoshop also provides a reset option to reset the workspace to the default. See Chapter 2.
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Workspace Switcher: Adobe has modified the method to switch between workspaces with a new option in the application bar that allows you to access workspaces more easily. See Chapter 2.
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Mixer Brush: One of the coolest features in Photoshop CS5 is the addition of the Mixer Brush to the painting tools. The Mixer Brush mixes colors in the brush and on the canvas as you apply strokes to the document, allowing you to create realistic painting effects. This one new feature makes Photoshop CS5 worth the upgrade. Chapter 16 covers the Mixer Brush in detail. Figure 1.1 shows an example of using the Mixer Brush to add brush strokes to a photograph to create a paint effect. Notice that by using the Mixer Brush, the colors in the image have been spread like brush strokes.
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Bristle Brushes: Another feature that adds to the painting functionality in Photoshop is the addition of realistic paint brushes. The new Bristle Brush tips allow you to define paint stroke behavior that mimics real paint brushes by allowing you to define the number of bristles, stiffness, shape, and other behaviors that simulate real-life brushes. Combined with the Mixer Brush tool, the Bristle Brushes elevate Photoshop CS5 to one of the premier digital art applications. See Chapter 16. Figure 1.2 shows the various new Bristle Brushes.
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Chapter 1: Introducing Adobe Photoshop CS5
FIGURE 1.1
The new Mixer Brush allows you to treat the pixels in an image like wet paint as you apply brush strokes, significantly increasing Photoshop’s ability as a painting application.
FIGURE 1.2
The new Bristle Brushes allow you to define bristle length, shape, stiffness, and behavior, providing realistic brush effects.
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Bristle Brush Preview: The new Bristle Brushes also come with a preview window that simulates the movement and pressure of the brush as you apply brush strokes. As you put more pressure on the brush, the preview shows the bristles as they fan out. The preview is especially useful if you are using a stylus that supports tilt and pressure, because the preview shows you the behavior of the brush when it is tilted and as you apply more pressure. Figure 1.3 shows some examples of the Bristle Brush preview window.
FIGURE 1.3
The Bristle Brush preview window displays the behavior of the brush in real time as you make brush strokes, including the tilt of the brush and how the bristles fan out with more pressure.
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Mini Bridge: A new Mini Bridge panel has been added to Photoshop. The Mini Bridge panel allows you to quickly find and open files in Photoshop using Navigation and Content panes similar to those in Bridge. You no longer need to switch between Photoshop and Bridge to find files. See Chapter 6. Figure 1.4 shows the look of the Content and Navigation panes in the Mini Bridge panel.
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Chapter 1: Introducing Adobe Photoshop CS5
FIGURE 1.4
The Mini Bridge panel provides a simple interface you can use to more easily find and open files in Photoshop.
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Puppet Warp tool: The Puppet Warp tool is another fun feature in Photoshop CS5. Using the Puppet Warp tool, you can lock pieces of the image to remain static and then adjust points in the no static sections. As you adjust the points, the image is warped as if you were pulling on a piece of cloth. The result is that you can take an object such as a person and warp only the arms or legs as you would a puppet. See Chapter 19. Figure 1.5 shows an example of using the Puppet Warp tool to change the position of a spider’s legs. Notice how the locking pins hold the rest of the image in place while the spider’s legs are warped.
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FIGURE 1.5
The Puppet Warp tool allows you to warp and change the position of specific areas of the image without affecting the rest of the pixels.
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Content-Aware Fill and Spot Healing: Adobe has enhanced the Spot Healing Brush tool so you can enable the Content-Aware feature. This feature takes into account the pixels in the area being healed and tries to match other similar patterns in the image. You also can create a Content Aware Fill that replaces a selection with a content aware patch. The result is that you can quickly remove content from an image without the anomalies that you used to get. It’s a situation of “now you see it, now you don’t.” See Chapter 15. Figure 1.6 shows an example of removing an elk from an image using the Content-Aware Spot Healing. Using the Content-Aware Spot Healing feature, you can simply paint loosely over an object and Photoshop does the rest. Notice how cleanly the animal is removed and replaced with grass similar to the content around it.
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FIGURE 1.6
The Content-Aware Spot Healing feature allows you to easily use painting strokes to remove elements from an image and replace them with content similar to the content around where the object was located.
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Repoussé: Another major advancement in Photoshop CS5 is the addition of the Repoussé tool. Repoussé allows you to take a 2D vector path and turn it into a 3D vector object. This is a huge bonus to the extended edition, because you can now create a variety of 3D shapes by utilizing vector paths. A great use of the Repoussé tool is to create 3D text art from vector text layers. Repoussé is covered in detail in Chapter 22. Figure 1.7 shows the Repoussé tool along with an example of turning 2D text into a 3D object.
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FIGURE 1.7
Using the Repoussé tool, you can turn a 2D shape into a 3D object. The Repoussé tool allows you to define several parameters such as depth, bevels, and textures.
2D to 3D
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3D tools: The 3D tools and 3D panel have been reworked in Photoshop CS5. They are now easier to use and have more robust features. For example, the Scene Panel tools can now be accessed at all times. See Chapter 22 for a more detailed description of the 3D tools.
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3D axis widget: The coolest advancement in the 3D toolset is the new 3D axis widget. This new widget allows you to move, scale, and rotate 3D objects, lights, cameras, and meshes. See Chapter 22 to learn more about the 3D axis widget. Figure 1.8 shows the new 3D axis widget.
FIGURE 1.8
The 3D axis widget provides a simple tool where you can easily grab an axis of a 3D object with the mouse and drag to scale, rotate, and move the object along that axis.
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Adobe Camera Raw 6.0: Photoshop CS5 comes with a new version of Adobe Camera Raw that has lots of behind the scenes enhancements to improve the adjustments that are made. See Chapter 7.
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Protect detail in the Sharpen tool: A new option has been added to the Sharpen tool that allows you to sharpen images with high-frequency details, such as stripped ties, without introducing unwanted artifacts. See Chapter 14.
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Character Styles: A new Character Styles panel has been added to Photoshop CS5 that allows you to define type styles as presets that can be saved and reused later. You can save details such as the font, size, tracking, color, and kerning. See Chapter 18 for more details.
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Paragraph Styles: A new Paragraph Styles panel has been added to Photoshop CS5 that allows you to define paragraph styles as presets that can be saved and reused later. You can save most of the settings available in the Paragraph Styles panel such as the indent, spacing, justification, and much more. See Chapter 18 for more details.
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Grid Options in the Crop tool: The Crop tool now displays new Crop Guide Overlay settings that allow you to display a grid in the cropped area so you can more easily see the spatial composition of the area that will make up the new image. You can select None, Rule of Thirds, or Grid, where Grid specifies the spacing between grid lines. See Chapter 3 for more information about using the Crop tool.
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Drag-and-Drop document to create a layer: In Photoshop CS5, you can now drag an open document window onto a PSD document window and the file is added as a new layer.
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Straighten image in the Ruler tool: A Straighten button has been added to the options bar for the Ruler tool. When you draw a line with the Ruler tool and then click the Straighten tool, the canvas is rotated to match the angle of the ruler measurement and the excess corners are clipped.
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Sampling ring in the Eyedropper tool: The Eyedropper tool now has an additional option in the options bar that enables a sampling ring when you drag the Eyedropper onto the document. The bottom of the ring shows the original foreground color, and the top of the ring shows the color of the pixel directly below the Eyedropper. See Chapter 4 for more information about the Eyedropper tool.
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Scrubby Zoom option in Zoom tool: The Zoom tool now has a Scrubby Zoom option that, when enabled, allows you to zoom in and out by clicking the image, holding down the mouse button, and dragging the mouse to the left or right. See Chapter 2 for more info about the Zoom tool.
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HDR Toning: A new option, Image ➪ Adjustments ➪ HDR Toning Option, has been added that provides single-image access to HDR Toning for 8-bit, 16-bit, or 32-bit images. HDR images are discussed in Chapter 3. Nest layer groups: Photoshop CS5 now supports nested layer groups ten levels deep instead of just five.
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Delete All Empty Layers command: You can now delete all empty layers by selecting File ➪ Scripts ➪ Delete All Empty Layers from the main menu. This allows you to quickly clean up after editing in several layers. Layers are covered in Chapter 10, and scripts are covered in Chapter 31.
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Modify opacity and fill of multiple layers: Photoshop CS5 allows you to change the opacity and fill values for multiple selected layers. This has been a needed feature for a long time. Layers are discussed in Chapter 10.
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Layer Mask from Transparency: Photoshop CS5 includes a new menu command, Layer ➪ Layer Mask ➪ From Transparency, that allows you to directly edit the layer transparency data. This command moves the transparency data to a user mask, while setting the existing transparency to opaque. This makes the data editable while preserving the document appearance. See Chapter 10 for more information about layer masks.
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Sticky Layer Style settings: The settings that you configure in the Layer Styles dialog box are now sticky, which means that they are automatically saved when you leave the dialog box. That way, the modified settings are preserved the next time you open the Layer Style. Photoshop provides Make Default and Reset to Default buttons to handle returning the settings to the original values. See Chapter 10 for more information about layer styles.
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Refine Edge algorithm: A new algorithm is used in edge refinement that is controlled by a Thickness slider. This new algorithm captures more detail on the edges of a selection or mask allowing for improved mask shaping around finely detailed image subjects like hair, grass, treetops, and so on.
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Refine Mask views: Two new view modes have been added to aid in the visual representation of the mask as the user refines it: l
On Layers: The On Layers view shows the unmasked image data with the data of the revealed composite layers that appear below it.
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Reveal Layer: The Reveal Layer view disables your layer mask so you can see the entire active layer, providing a quick way to see all the masked image data in your selected layer.
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Refine Edge—Edge Detection: The Refine Edge feature also includes another new feature, Find Hard Edges, that automatically adjusts the level of refinement that occurs around localized areas of the mask edge, helping to remove background noise that can get picked up by the refined mask.
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Refine Edges—Color Decontamination: The Refine Edge feature also includes another new feature, Color Decontamination, that allows you to remove color fringing around the edges of your masked image by replacing the original color with that of the subject. Using the Color Decontamination, you can more easily extract an item or person in an image from its background.
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Refine Edges—Add and Subtract Brushes: The Refine Edge tool also provides two new brushes, Refine Radius and Erase Refinements, that add to and subtract refinement of the edges of selections. These brushes allow you to make localized refinements to the edges of your mask.
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Paste in Place: In Photoshop CS5, the Edit ➪ Paste Inside command has been replaced by an Edit ➪ Paste Special submenu containing the following options: Paste In Place, Paste Into, and Paste Outside. The Paste Into and Paste Outside options work the same way they did in CS4. The Paste In Place option works just like Edit ➪ Paste unless the clipboard contains pixels that are copied from another Photoshop document. If the clipboard contains Photoshop data, Photoshop tries to paste the selection into the same relative location in the target document as it occupied in the source document.
Summary This chapter introduced Photoshop CS5 by discussing the general uses of Photoshop and the new features in Photoshop CS5. Photoshop can be used for a variety of purposes from photo editing to digital art to adding artistic effects. In this chapter, you learned the following: l
Photoshop can be used to edit, enhance, and create images in several ways.
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Photoshop CS5 includes a new painting tool and brushes that allow you to treat an image as if it were a wet paint canvas.
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Adobe has improved the set of 3D tools that allow you to use Photoshop’s editing capabilities on 3D objects.
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CHAPTER
Understanding the Photoshop Workspace
T
he Photoshop CS5 workspace has had years to develop into a finetuned working environment, and with bigger monitors and faster processors, working in Photoshop has only become much more fun. With all the room that larger display options give you, you can easily organize the panels, documents, and tools in the workspace to provide an efficient photo-editing environment.
Touring the workspace
With all its features, Photoshop can be a bit daunting at first. The purpose of this chapter is to familiarize you with the Photoshop workspace, how to navigate around, find tools, customize settings, and set the environment so it works best for you.
Tool overview
IN THIS CHAPTER Looking at the menus Understanding and organizing panels
Using presets to save tool configurations Configuring Photoshop preferences
Workspace Overview At first glance, the Photoshop workspace seems a little dreary—lots of gray, but that is very misleading. With beautiful photographs (or other colorful graphics) in the work area and fascinating tools at your fingertips, you’ll soon be addicted to the Photoshop playground. In fact, you probably are glad that the background not only makes a good contrast for colorful files but is easy on the eyes.
Creating custom menus and shortcuts
So without any further ado, I give you the Photoshop workspace, as shown in Figure 2.1.
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FIGURE 2.1
The Photoshop workspace Arrange Documents Screen Mode
Application bar Menus
Tool options menu bar
Document info Zoom value
Workspace presets Panel icons Panels
Panel tabs
Document window
Document tabs
Toolbox
The document workspace The document workspace, in the center area of the workspace, houses the documents (image files) that you are currently editing. The document workspace is large enough to really get some work done; it gives you the flexibility to expand your image to a workably large size and keep your favorite panels open and docked as well. The document workspace is also home to the panels and Toolbox discussed later in this chapter.
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Note The screenshots in this book were taken at a screen resolution of 1024x768, which is a really low resolution, especially if you have a larger screen. If your resolution is set higher, you have a larger work area than is shown here. If you set your resolution as high as 1920x1200 (which is what mine is usually set to), you have an insane amount of room to expand your panels, tile your document windows, and generally make everything available to you at once. Of course, if your resolution is set lower than 1024x768, your work area is smaller. n
As you open image files, they appear in the center of the document workspace, and you have several options for viewing them. When you click the View menu, as shown in Figure 2.2, and you can choose the following basic options: l
Fit to Screen: If you are working on your entire document (and not working with other files), your best option is to choose Fit to Screen so you can see all of it as large as possible.
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Actual Pixels: The Actual Pixels mode is the best option if you want to see the cleanest view of a specific area because the pixels in the image match the pixels in the screen, so no interpolation is necessary.
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Print Size: The Print Size option is handy if you want to get a better idea of how the document will look when printed.
FIGURE 2.2
You can change the way your image fits into the document workspace by using the View menu.
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Tip Don’t use the zoom options in the View menu; you have several better options—the Zoom tool, the Magnify box, and the roller wheel on your mouse, all of which are discussed later in this chapter. n
In addition to the standard View modes, you can easily zoom in and out on the image, depending on your editing needs. Notice at the bottom-left corner of the document windows is a percentage representing the Zoom value and the document information. You can change the size of your document by selecting the Zoom value and typing a new percentage. Another useful feature in the document window is the information section at the bottom. By default, the document information displays the size of your file. Keep an eye on this as you begin to add multiple layers and effects to a document; you might be surprised by how these changes can increase the size of your document. If you click the arrow next to the document information, a pop-up list opens, as shown in Figure 2.3, that gives you several options for the information display. You can choose to display the Adobe Drive, the Document Size, the Document Profile, Document Dimensions, Measurement Scale, Scratch Sizes, Efficiency, Timing, the Current Tool, and the option to preview an image at 32-bit exposure.
FIGURE 2.3
The information section of the document window can be very useful when you are editing images. The menu allows you to display several types of information.
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Chapter 2: Understanding the Photoshop Workspace When multiple documents are open in the document workspace, Photoshop provides tabs for each of them, as shown in Figure 2.1. These tabs display the document name, and you can access the document for editing by clicking its tab. Using the tabs is the most economical and organized way to have multiple files open, and you probably will prefer this option most of the time. There are also other View options when you have multiple documents open. To change how the document windows are organized, select Window ➪ Arrange from the main menu and then choose one of the following options: l
Cascade: Cascading your documents shows the document windows in a cascade fashion from the upper left to the lower right of your document workspace.
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Tile: Tiling adjusts the size of all open document windows so they can all be viewed together in the workspace. For example, if you are working with two or more documents at the same time, cloning areas of one into another, you probably want to tile your documents in the document workspace.
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Float in Window: Floating your documents releases them from the document workspace or from a floating group to their own individual window. When the document windows are floating, they are independent of the Photoshop interface, and you can use the standard operating system window controls on them. You can organize floating windows into groups by dragging one window on top of another window. When more than one document is in a floating group, their tabs are displayed at the top of the window. You also can float windows by grabbing the tab in the floating group or document workspace and dragging it out. You can add a floating document to a group or document workspace by dragging it into the tabs.
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Float All in Window: This causes all windows to float.
Tip You can quickly cycle through open tabbed document windows by using the Ctrl/Ô+Tab hotkey sequence. n l
Consolidate All to Tabs: This docks all floating windows into the document workspace. This option is great if you find that you have so many windows open that navigating them is difficult. You also can consolidate windows to the document workspace or floating group by right-clicking the tab bar at the top and selecting Consolidate All to Here.
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Match Zoom: This sets the zoom percentage of all open document windows to match the value of the active document window. This is useful when you are working with multiple images that eventually will be consolidated into a single document.
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Match Location: This sets the center panning position of all open document windows to match the center position of the active document window. This is useful if you are working with multiple versions of the same image or a sequence of images and you want to quickly move to the same location in all windows for comparison.
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Match Rotation: This sets the rotation angle of the image in all document windows to match the rotation angle of the image in the active document window.
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Match All: This sets the zoom, center panning position, and rotation of all document windows to match the values of the active document window.
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The application bar The application bar (refer to Figure 2.1) provides quick links to the following options: l
Bridge: This starts the Adobe Bridge application or navigates to it if it is already open. Bridge is the application that you should use to organize your image files.
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Mini Bridge: This opens a miniature version of Bridge inside Photoshop. You can use the Mini Bridge panel to easily select files to edit.
Cross-Ref Bridge is a great tool for organizing your files for use in Photoshop as well as other Adobe applications. Mini Bridge is new to CS5 and gives you a panel-sized version of Bridge to work directly from in the Photoshop workspace. Both applications are covered extensively in Chapter 6. n l
Guides/Grids/Rulers: Next to the application icons is the View Extras icon, which allows you to quickly control the visibility of guides, grids, and rulers to the document window using a simple drop-down menu. The guides, grids, and rulers are shown in Figure 2.4, and the following list describes the purpose of each:
FIGURE 2.4
The guides, grids, and rulers features of Photoshop allow you to better organize and align objects in your images. Guides Ruler
Cursor location indicator
Ruler units
Guides Subdivisions
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Guides: Guides are vertical or horizontal lines that you can add to a document using the View ➪ New Guide menu option. Guides can help you with object placement and organization. You also can force items to be snapped to guides by selecting View ➪ Snap To ➪ Guides from the main menu. The position of guides can be adjusted in the image using the Move tool.
Tip When you click and hold down the mouse button on the ruler, the cursor changes to a guide adjustment cursor. You can quickly add guides to an image by clicking the ruler and dragging them into the document. n l
Grids: Grids are a mesh of vertical and horizontal lines that you can use to more easily see the alignment and organization of objects in your images. Photoshop also divides the grids into subdivisions of lines that are not as visible but are visible enough to be useful. A great feature of Photoshop is that you can force items to be snapped to grids by selecting View ➪ Snap To ➪ Grid from the main menu. This option is useful when placing images, text, and shapes in a document. The number of grid lines, colors, and style can be configured in the Preferences dialog box discussed later in this chapter.
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Rulers: When rulers are enabled, a vertical ruler is displayed on the left and a horizontal ruler is displayed on the top of the document window. You can change the rulers’ unit of measure by right-clicking the ruler and selecting the unit from the dropdown menu. While you are moving the cursor over the documents, the exact placement of the cursor is noted in the ruler by a line that moves with the mouse. The Ruler tool is very important if you are preparing items for print.
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Zoom: The Zoom Value found in the document window is duplicated on the application bar. An added benefit is the easy-to-use drop-down menu that allows you to quickly choose from 25%, 50%, 100%, or 200%. You also can enter a custom value by highlighting and changing the percentage.
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Arrange Documents: The Arrange Documents icon gives you more convenience and versatility than the View menu for arranging more than one open document in the document window. Use the drop-down menu shown in Figure 2.5 to choose from several tiling options, float all windows, or open a new window. Use the Match Zoom and Match Location options to show all your open files at the same percentage and in the same location. You also can fit your selected document to the screen or view actual pixels.
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Screen mode: The Screen mode is the last icon on the application bar. The Screen mode icon lets you choose between standard screen mode, full screen mode with menu bar, and full screen mode. l
Standard Screen Mode: Standard screen mode is the default, and it allows you access to other applications that are running.
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Full Screen Mode with Menu Bar: This mode looks similar to standard screen mode, but you can’t access other programs, through the Windows taskbar for instance.
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Full Screen Mode: This mode hides everything but the selected document so you can work without distractions. The Photoshop tools are still available to you; just hover over the tool you want to use and it appears, or press the Tab key to view all your tools. Press Esc to return to standard screen mode.
FIGURE 2.5
The Arrange Documents drop-down menu lets you choose how to tile multiple documents and makes it easy to quickly access several other options. Arrange Documents
Workspace presets The workspace presets shown in the middle right of the application bar are quick ways to change the layout of the panels and tools in Photoshop, depending on the task you are performing. When you select a preset, the panel layouts are adjusted so you have easier access to the tools that are typically used for the selected task. Presets are selected by clicking the name or the double arrows and selecting one of the options from the drop-down menu: l
New in CS5: This displays the panel icons for panels with new features in CS5, such as the new 3D tools, paint brush, the paragraph and character presets, and Mini Bridge.
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Essentials: The Essentials preset gives you full access to the most commonly used panels in Photoshop, including the navigation, swatches, and layers panels.
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Design: The Design preset gives you the more common graphic design panels, such as the swatch, character, and paragraph panels.
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Painting: The Painting preset makes the paint brush and brush presets readily available.
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Photography: The Photography preset provides the histogram and adjustments panels that make it easy to apply adjustments to photographs.
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3D: The 3D preset displays the 3D, Mask, and Layers panels that are used heavily when working with 3D objects.
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Motion: The Motion preset displays the Animation {Timeline} and Clone Source panels that are frequently used in animation.
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Reset/New/Delete: When you select a workspace preset and then adjust the panels, Photoshop remembers those adjustments so you don’t have to make them each time you start the application. The Reset option restores the currently selected workspace to the original settings so you can start over with a fresh set of panels. The Create option allows you to save the current panel layout as your own custom workspace. The new workspace then shows up in the list. The Delete option deletes the currently selected workspace preset.
The Toolbox and tool options bar The Toolbox, shown in Figure 2.6, provides easy access to all of the tools in Photoshop that require mouse or stylus interaction with the document. The Toolbox includes tools such as selection tools, painting tools, erasing tools, and much more. We discuss each of the tools available in the Toolbox later in this chapter.
FIGURE 2.6
The Toolbox provides access to the mouse/stylus tools. Each time you select a new tool, the tool options bar changes to reflect settings for the new tool.
The tool options menu bar, usually referred to as the “options bar” or the “tool menu,” sits below the main menu. The tool options menu looks very different depending on the tool you have selected in the Toolbox. Figure 2.6 shows the different options for the Move, Brush, and Type tools.
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Part I: Getting Started with Adobe Photoshop CS5 It is always smart to keep an eye on what is going on in the options bar. When you select a tool, the options are set to default values that are commonly used, but not necessarily the values you would use in a particular situation. After you change the options for any given tool, those options stay changed, even after using other tools. The options bar is so useful and important that you’ll see many examples throughout this book of different ways to set your options, and as you use Photoshop, you soon become very familiar with it.
Cruising the Main Menus Now we come to the menu bar. The menus listed here give you a good comprehensive idea of what you can accomplish in Photoshop. In this section, I show you the primary purpose of each menu and highlight some of the menu options that might not be covered in other areas of the book. As you learn how to use the Photoshop tools throughout the book, you learn so much more about many of the menu options, so for now, I just give you a brief overview.
The File menu The File menu has many of the options that you would expect, and many of them are self-explanatory. For the most part, all the options listed are different ways to open, save, or export your documents. The options in the File menu are covered throughout the book, opening and saving files are covered in Chapter 3, exporting to the Web and mobile devices is covered in Chapter 30, and batch operations on files are covered in Chapter 31.
The Edit menu Again, this menu is a familiar menu found in most applications with many familiar options. Above and beyond cut, copy, and paste, you can step backward, undoing several of the last changes you made. Farther down the menu, you find the transformation edits—Content-Aware Scale and Puppet Warp among them. These are covered in Chapter 19. You learn about using color in Chapter 4 and color profiles in Chapter 29. Setting Preferences and using the menus and shortcuts options to customize menu and shortcut behavior are covered later in this chapter.
The Image menu The Image menu is loaded with lots of options for changing your image. Making changes to your image is different than making changes to your file, because these options actually affect the look of your image. The options in your Image menu let you change the color mode, resize, rotate, or duplicate your image, among other things. Neatly tucked into the Image adjustments menu you find some of the most powerful tools for correcting the color and light of your image. These are covered in Chapter
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Chapter 2: Understanding the Photoshop Workspace 13. The Apply Image and Calculations options blend the channels of your image and are covered in Chapter 11. Image variables and data sets allow you to create multiple images with similar components by defining and replacing layers. These options are covered in more detail in Chapter 10.
The Layer menu The Layer menu is built specifically for use with the Layers panel. Layers are an important part of working efficiently and non-destructively in Photoshop, and you want to learn all you can about how they work. Layers and the Layers menu are covered extensively in Chapter 10.
The Select menu You might not have thought that an entire menu could be dedicated to selections. The Selection tools are some of the most powerful tools in Photoshop. They allow you to create masks, cut precise areas out of an image, and edit only specific parts of the image. The Toolbox contains several Selection tools, and they are covered, along with the Selection menu, in Chapter 9.
The Filter menu Filters are placed over images to change their appearance. There are corrective filters such as Sharpen and Reduce Noise, and there are also special effect filters that can make your image look like it is being viewed through rippled glass or embossed into chrome. Filters are most definitely the fun side of Photoshop. You learn how to use them and their menu options in Chapters 14 and 20.
The Analysis menu The Analysis menu is all about measuring and, of course, analyzing areas in your document. You can customize the tools found here for your own use to measure, scale, and mark your images. You can choose from six menu options. I don’t list them in the order they appear in the Analysis menu because they make more sense in the order listed.
Ruler tool The Ruler tool is simply a tool that allows you to drag from one area in your image to another and measure it. The measurement information is displayed in the Info panel. By default, the measurement is displayed in pixels. The Ruler tool plays an important role in the other options found in the Analysis menu.
Count tool Selecting the Count tool and clicking your document leaves a number behind, in increments of one. This allows you to count and mark multiple items in your image. If you were trying to count a flock of birds, for instance, you would click each bird until each one had been marked. The last number placed would be the number of birds in the photo.
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Part I: Getting Started with Adobe Photoshop CS5 Record Measurements Clicking Record Measurements opens the Measurement Log panel on the bottom of your document window, as shown in Figure 2.7. As you create measurements, click the Record Measurements button on the Measurement Log panel and the measurement details are recorded. Notice that the first measurement was taken by the Ruler tool, and the second measurement was taken by the Count tool. You also can use the Measurement Log to export these measurements. Simply click the Export icon to export the measurements as a text file to any specified location. You also can access the Measurement Log menu by clicking the menu icon.
FIGURE 2.7
The Measurement Log panel allows you to record and display measurements you have taken within your document. Export
Set Measurement Scale The measurement scale can be set to Default, which simply means that one pixel is equal to one pixel. If you choose the custom option, however, it allows you to translate a set number of pixels in your document to any other measurement you prefer. For instance, in Figure 2.8, if I know the measurement of the right window pane is 20 inches, I can choose Analysis ➪ Measurement Scale ➪ Custom to open the Measurement Scale dialog box. The Measurement Scale dialog box automatically activates the Ruler tool so I can measure from the bottom of the window pane to the top. In the photo, this measurement is 225 pixels, shown as the pixel length in Figure 2.8. From here, I can enter any relative measurement that I choose—in this case, 20 inches. I could have just as easily entered 1 foot, 3 meters, or 7 girth units. I can save this measurement scale by clicking Save Preset and naming it. After closing the Measurement Scale dialog box, I can activate the Ruler tool and measure other areas of the photo. These measurements are recorded in the Measurement Log panel. Notice that the third measurement in Figure 2.7 was taken after the Measurement Scale was set. The scale indicates that 225 pixels = 20 inches; the scale unit is inches and the length is 20 (rounded up, of course).
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FIGURE 2.8
You can set a measurement scale to record any type of measurement you want.
Set Data Points The Measurement Log shows data on each measurement you record. You can choose what data to keep and display by selecting specific data points. Click Analysis ➪ Select Data Points ➪ Custom to display the Select Data Points dialog box. In this dialog box, you can deselect the types of information that you don’t want recorded. For instance, if you don’t require date and time information, deselect the box next to Date and Time. Every measurement you take after this point no longer displays the date and time in the Measurement Log panel.
Place Scale Marker You can place a scale marker in your image to denote scale. Figure 2.9 shows a scale marker in the window indicating the length of 20 inches in the document. To place a scale marker, choose Place Scale Marker from the Analysis menu to open the dialog box. You can choose the length of the scale by selecting more than one unit of measurement. In Figure 2.9, the unit of measurement is indicated by 20 inches, the measurement set by the measurement scale. If I were to change the number from 1 to 2, my scale marker would appear twice as long and be labeled “40 inches.” You also can choose to display the text and what font and size that text will be. Finally, you have the choice to display the scale marker at the top or bottom of your document and in black or white.
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FIGURE 2.9
Placing a scale marker in your image allows you to clearly see the scale of the image.
The 3D menu The 3D menu is packed full of goodies for helping you work in the 3D environment. The 3D environment allows you to bring in 3D models and use the powerful Photoshop tools to make incredible changes to their appearance. The 3D menu is covered in Chapter 22.
The View menu The View menu has the basic options for adjusting the view of your document, such as its size (fit screen, actual pixels, print size, and so on) and screen mode (full screen, full screen with menus, and standard screen) that I discussed earlier in this chapter. The proof options let you soft-proof your documents before printing; these settings are covered in more detail in Chapter 29. Options for setting pixel aspect ratios are available as well; these settings are for use with video files and are covered in Chapter 25. Several more menu options of interest will help you as you work with documents in Photoshop.
Extras and Show You might find it interesting that the Extras option allows you to see non-printing guides like selections, bounding boxes, and grids. If you deselect the Extras option, any of these items that are visible in your document disappear. The Show menu lets you customize which non-printing items are visible.
Ruler Select the Ruler option if you want Rulers to appear in your document window. The rulers start at 0 in the upper-left corner of your document and measure the actual print size of your document.
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Chapter 2: Understanding the Photoshop Workspace Snap and Snap To As you move things around in your work area, whether they are selections, panels, or objects, you can choose to have them snap to the guides or to other objects. For instance, as you customize your panels, they snap together so you can easily place them right next to each other with no space between them and no overlaps. The Snap To option lets you choose what elements your objects snap to: guides, grids, layers, and so on. The elements that have a check mark will draw objects you are moving, like a magnet. If you want to place things without the guides snapping them one way or the other, just deselect Snap in the View menu and you have full control.
New Guide, Lock Guides, and Clear Guide The line under text and the bounding box around a placement in your document are guides. They help you see and move such objects. You can make your own guides to help you with placement and alignment in your document. Select View ➪ New Guide, and select whether you want the guide to run vertically or horizontally and where you want it placed in your image. The New Guide dialog box asks you how many inches into your image you want the guide placed, so it’s helpful to have the rulers on. You also can lock these guides so you don’t accidentally move them or clear them out of the way entirely by choosing Lock Guides or Clear Guides.
Lock Slice and Clear Slices The Lock Slices and Clear Slices options allow you to lock slices from being altered and to clear the existing slices so you can easily clean them up. Chapter 30 discusses slices in more detail as part of preparing images for the Web.
The Window menu The Window menu is a comprehensive list of the panels that are available to you. From this menu, you can select the panels that you want to be visible. When a panel is visible, a check mark appears next to it. Selecting a visible panel makes the panel invisible; selecting a hidden panel makes the panel visible. The different panels are discussed later in this chapter.
The Help menu The Help menu contains information about and help for Photoshop and the plug-ins that are installed. It also contains Web links to various sites that Adobe thinks might be of interest to you. The two menu options worth noting are Photoshop Help and Deactivate.
Photoshop Help Photoshop Help is a great resource that can be very helpful if you are stuck figuring something out. Click the Help link, and you are taken to the Photoshop Help Web site where you can browse through the Help contents, search the Adobe Help resources, or even show articles and threads from others who are looking for and adding help.
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Part I: Getting Started with Adobe Photoshop CS5 Deactivate This menu option is one that is absolutely imperative for you to know. When you install Photoshop on your computer and activate it, Adobe keeps a record of it. After you have done this twice (with the single-user application, at any rate), Adobe doesn’t allow you to activate your product and you can’t use it. This obviously keeps you from passing your copy of Photoshop to your friends, neighbors, and your cousin’s boyfriend’s sister-in-law. Adobe’s anti-piracy feature becomes a problem, however, if you are restructuring your system or purchasing a new computer. In order to reinstall Photoshop on a new system, you need to deactivate it on the old one. Go to the Help menu and choose Deactivate. Doing so allows you to activate your software the next time you install it.
Understanding Panels The panels in Photoshop are really mini-applications with their own windows, controls, and menus. You rely heavily on the Photoshop panels to do most of the editing. Photoshop has many panels, each of which provides its own set of functionality. The purpose of this section is to familiarize you with how panels work in general and how to organize them. Panels tend to take up quite a bit of the workspace, so efficient management helps with how easy it is to get things done. Because panels tend to take up quite a bit of space in the work area, Photoshop allows them to be visible, collapsed into an icon, or hidden. To hide or unhide a panel, select the panel from the Window menu. Figure 2.10 shows a collapsed panel group and a visible panel group. To collapse the panel group, click the Collapse button. To expand a panel in a collapsed group, click the icon.
FIGURE 2.10
Panel groups can be collapsed to icons to reduce their footprint on the workspace. Collapsed button Collapsed Panel Group Panel tabs
Settings
Panel Menu
Panel buttons
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Note You typically only have a small number of panels that pertain to your current workflow open at a time. This makes finding the panels you need much easier. n
A panel group is one or more panels that are connected to each other. To add a panel to a group, drag the panel or icon onto the group. To remove a panel from a group, drag the panel out of the group. Organizing panel groups is really no different that organizing the items on your desktop. You can decide which panels go in which groups. The bottom line is, if you know where to find a panel, you can use it much faster. The panel groups have the following basic components, as noted in Figure 2.10: l
Panel tabs: The panel tabs are used to select which panel is visible in the group and to drag panels out of the group.
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Collapse button: This button collapses the panel to an icon to reduce the footprint in the work area.
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Settings: The settings area contains the controls used by the panel to perform various tasks. Each panel has different settings.
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Panel menu: All panels have a menu that pops out when you click the menu button in the top-right corner. The panel menus usually include additional features that are not included in the main settings area. If you can’t find something, it is probably in the panel.
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Panel buttons: Panels often have buttons on the bottom that do things such as add or delete items or perform common tasks needed by the panel.
Another way to organize panel groups is to dock them either together or to the sides of the Photoshop workspace. Panel groups can be docked by dragging the groups to the side or bottom of another group. They can be docked to the side of the workspace by dragging them until the mouse is on the workspace edge. The functionality of each individual panel is far too much to cover in a single chapter, so the panels are covered in various chapters throughout the book. Figure 2.11 shows the icons for each of the panels, and the following list describes them and where they are covered in the book to give you a quick guide: l
Swatches: Provides a simple way to manage sets of colors that you use in different documents. See Chapter 4.
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Color: Allows you to quickly select any color in the possible ranges that Photoshop supports. See Chapter 4.
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Styles: Allows you to manage the style sets that can be applied by various tools when painting or applying filters. See Chapters 10 and 16.
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Brush: Provides a robust interface that allows you to define different types of brush qualities and behaviors that are used by Brush tools. See Chapter 16.
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Brush Presets: Allows you to easily manage sets of brushes that can be used by the various Brush tools. See Chapter 16.
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FIGURE 2.11
Photoshop provides several panels that each act as individual utilities. These panels can be viewed by selecting them from the Window menu or clicking their icons.
Swatches Color Styles
Brushes
Layers Channels Paths
Histogram
Brush Presets
Info
Clone Source
Layer Comps
3D
Adjustments
Animation (Timeline)
Character
Masks
Navigator
Paragraph
Actions
Character Styles
History
Paragraph Styles
Mini Bridge
Measurement Log Notes
Tool Presets
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Clone Source: Provides a dynamic interface to control the source used by the Clone tools to heal areas of photos and remove unwanted items. See Chapter 15.
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3D: Provides a powerful interface that allows you to manipulate 3D objects and lighting. See Chapters 22, 23, and 24.
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Animation (Timeline): Provides a timeline-based utility that adds animation to images. See Chapter 26.
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Character: Provides options to quickly format character styles, fonts, and spacing of textual elements in images. See Chapter 18.
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Paragraph: Provides options to quickly format paragraph styles and spacing of textual elements in images. See Chapter 18.
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Character Styles: Allows you to create and save character style settings that allow you to keep text consistent between documents. See Chapter 18.
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Paragraph Styles: Allows you to create and save paragraph style settings that allow you to keep text consistent between documents. See Chapter 18.
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Mini Bridge: Provides a portion of the functionality of Bridge that allows you to quickly select and organize images files. See Chapter 6.
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Layers: Allows you to select, create, edit, and mange layers. This is one of the most common panels you’ll use. See Chapter 10.
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Channels: Allows you to view and manage each of the different color channels in an image as well as create additional channels such as alpha channels. See Chapter 11.
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Paths: Allows you to manage and utilize vector paths in images. See Chapter 17.
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Histogram: Provides a simple-to-understand view of the overall distribution of color and levels in an image. See Chapter 4.
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Info: Allows you to view color and other information about individual pixels in the image by hovering the mouse over them. See Chapter 4.
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Layer Comps: Allows you to easily create, manage, and view multiple versions of a layout in a single Photoshop file. See Chapter 10.
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Adjustments: Allows you to apply several adjustments to a layer in an image. See Chapters 10 and 13.
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Masks: Provides a simple interface to create masks from selections and vector data. Masks shield areas of an image when certain effects are applied. See Chapter 10.
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Actions: Allows you to record and then reapply a series of commands that perform common tasks such as applying filter settings. See Chapter 5.
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History: Provides access to the history states of the document that are recorded each time the document is changed. See Chapter 5.
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Navigator: Provides a simple interface that allows you to quickly zoom in on areas of an image. The interface includes a slider control at the bottom that zooms in on the image. It also displays a miniature of the images with a red rectangle that you can move to pan to a specific area of the image, as shown in Figure 2.12.
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Measurement Log: Keeps track of measurements as discussed earlier in this chapter.
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FIGURE 2.12
The Navigator panel allows you to quickly zoom in on the image in the document window and then pan to specific locations.
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Notes: Allows you to view and manage notes that are created by the Note tool. This is discussed later in this chapter.
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Tool presets: Allows you to quickly view and select presets for the tool that is currently selected in the Toolbox.
Understanding the Tools in the Toolbox The Toolbox, shown in Figure 2.13, provides easy access to all the tools that you use to interact directly with pixels in the document window. To enable or disable the Toolbox, select Window ➪ Tools from the main menu. Most of the tools shown in the Toolbox expand by holding down the mouse button over them to reveal several other tools, as shown in Figure 2.13. From the expanded tool menus, you can select other tools. The icon of the currently selected tool is displayed in the Toolbox, and the cursor changes to reflect the current tool as well.
Note As you select different tools in the Toolbox, the tool option menu bar changes to reflect specific options for the new tool. The settings in the tool option menu define the behavior of the tool selected in the Toolbox and extend the capabilities of what you can do. The changes you make to the tools settings are the same the next time you return to the tool, so you can usually use multiple tools and keep the same settings when you return to the tool. n
Just as with panels, the tools in the Toolbox are covered in various sections throughout the book. The purpose of this section is to familiarize you with the organization of the Toolbox and what kind of tools you can find there.
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FIGURE 2.13
Photoshop provides several tool sets in the Toolbox, and the tool sets can be expanded to reveal additional tools. Move tool
Shape Selection tools
Lasso Selection tools
Quick Selection tools
Crop and Slice tools
Eye Dropper/Ruler/Note/Count tools Healing tools
Brush tools
Stamp tools
Eraser tools History Brush tools Blur/Sharpen/Smudge tools Gradient/Paint Bucket tools
Path Creation tools
Dodge/Burn/Sponge tools
Text tools
Path Selection tools
3D Object tools Shape tools
3D Camera tools Zoom tool Hand/Rotate View tools Edit in Quick Mask mode Background/Foreground
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Tip A great feature in Photoshop is the ability to quickly select and even temporarily switch tools on the fly. In many of the tool sets, you see a letter on the right side of the tools. Pressing that letter on the keyboard selects that tool set. Holding down the Shift key while pressing the letter on the keyboard toggles through the different tools in the tool set. You can temporarily switch tools by holding down the letter key for the tool while you use it, and when you release the key, Photoshop reverts to the original tool. For example, if you hold down the V key when another tool is selected, Photoshop temporarily changes to the Move tool and you can move objects. When you are finished moving items, release the V key and the tool reverts to the original tool. n
The following list describes each of the tool sets in the Toolbox briefly and where you can find more information about them in this book: l
Move tool: Only one tool allows you to move items in the document window, and this is it. It allows you to move several items, including guides, objects and shapes in shape layers, and text objects.
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Shape Selection tools: These tools allow you to quickly select areas of the document using rectangle, ellipse, row, and column shapes. See Chapter 9.
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Lasso Selection tools: These tools allow you to quickly select areas of the document by using the mouse to draw a lasso around them. See Chapter 9.
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Quick Selection tools: These tools can intelligently select areas of the document by detecting areas that are similar to those selected by the mouse. See Chapter 9.
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Crop and Slice tools: The Crop tool lets you select an area of the document to keep and remove the area around it. See Chapter 3. The Slice tools are used for creating clickable hot areas for Web images. See Chapter 30.
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Eye Dropper/Ruler/Note/Count tools: This tool set is a catchall. The Eyedropper tool is used to select foreground colors directly from pixels in the image. See Chapter 4. The Ruler tool is used to measure areas in an image. The Note tool allows you to add notes to an image that help you retain things such as to-do editing lists with the image. The Count tool allows you to count and log items in the image, which can be useful if you are working with medical images. The Ruler, Note, and Count tools were discussed earlier in the menus section of this chapter.
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Healing tools: The Healing tools provide quick ways to apply brush strokes that can heal areas of an image, from removing dust and scratches to removing red eye. See Chapter 15.
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Brush tools: The Brush tools allow you to apply painting techniques to repair, enhance, and create images. See Chapter 16.
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Stamp tools: The Clone Stamp tool allows you to select an area of the image and then stamp or brush that area into other parts of the image or even other documents. See Chapter 15. The Pattern Stamp tool allows you to apply a style pattern to an image using brush strokes. See Chapter 16.
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Eraser tools: The Eraser tools allow you to quickly remove pixel data from an image. See Chapter 16.
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History Brush tools: The History Brush tools are used to repair and enhance areas of an image by painting data from previous editing states of the image. For example, you could change the image to grayscale and then use brush strokes to add color to specific areas. See Chapter 5.
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Blur/Sharpen/Smudge tools: The Blur and Sharpen tools allow you to use brush strokes to blur or sharpen specific areas of an image. The Smudge tool allows you to use brush strokes to smudge existing pixels into each other. See Chapter 16.
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Gradient/Paint Bucket tools: The Gradient tool allows you to paint a gradient pattern onto an image. The Paint Bucket tool allows you to apply a paint color to sections of an image. See Chapter 16.
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Dodge/Burn/Sponge tools: The Dodge and Burn tools allow you to use brush strokes to lighten or darken areas of an image. The Sponge tool allows you to use brush strokes to remove or add color saturation in areas of an image. See Chapter 16.
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Path Creation tools: The Path Creation tools allow you to create vector paths by creating lines between anchor points. See Chapter 17.
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Path Selection tools: The Path Selection tools allow you to select and manipulate vector paths by adjusting the anchor points. See Chapter 17.
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Text tools: The Text tools allow you to add textual elements to images. See Chapter 18.
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Shape tools: With the Shape tools, you can easily create and manipulate simple geometric vector shapes and lines as well as custom vector shapes. See Chapter 17.
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3D Object tools: These tools allow you to create and manipulate 3D objects. See Chapters 22, 23, and 24.
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3D Camera tools: These tools let you to manipulate camera views when working with 3D elements. See Chapters 22, 23, and 24.
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Hand/Rotate View tools: Using the Hand tool, you can grab onto the image and pan by dragging the mouse. This is available only when you are zoomed in on the image, but it’s very useful for navigating around your image. The Rotate View tool allows you to rotate the canvas in the document window by dragging with the mouse. If you hold down the Shift key while rotating the canvas, the rotation occurs in 15-degree increments. Rotating the canvas can be useful if you need to align elements in the image with the vertical or horizontal axis of the display screen for editing.
l
Zoom tool: The Zoom tool allows you to use the mouse to drag a specific rectangle to zoom in on the image. You also can zoom in at 100 percent increments by simply clicking the document with the mouse. You can zoom out at 100 percent increments by holding down the Shift key while clicking the document. The options menu for the Zoom tool provides several buttons to resize the document view based on actual pixels, print size, and screen size. If you have OpenGL Drawing enabled then you can use the Scrubby Zoom option in the Zoom tool options menu. When you enable Scrubby Zoom, then you can click and drag the mouse to the left and right on the image to zoom in and out.
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Background/Foreground: The background/foreground area of the Toolbox allows you to see and modify the current background and foreground colors. The foreground color is used by several tools to paint onto the image. The background color is used by several tools when removing pixels from the image. See Chapter 4.
Tip Pressing D on the keyboard resets the foreground and background colors to Black and White, respectively. Pressing X on the keyboard swaps the foreground and background colors. n
The foreground is represented by the front square and the background by the back square. The color of each is changed by clicking the square to launch a color chooser. The two can be switched by clicking the curved line with arrows on each end. To revert to the default of black and white, click the small black and white icon. l
Edit in Quick Mask mode: This toggles between Normal and Quick Mask mode. The Edit in Quick Mask mode option allows you to tweak selections using the brush tool to paint the exact shape. See Chapter 9.
Tip You can activate the Quick Mask mode using the Q key whenever you have an active selection in the document. n
Using Presets As you become more familiar with options available for different tools panels in Photoshop, you realize that it takes a while to get some tool settings and panels optimized for what you need them to do. If you have to do that over and over, it can become very time consuming. That’s where presets come into play. A preset is simply a set of saved settings that can be easily reloaded to make the tool behave the exact same way each time the preset is used. Presets are organized into sets that can be loaded for each tool or panel and then easily selected. You will work with presets throughout the book, but this section is designed to familiarize you with what presets are and the tools that you use to select and manage them.
Selecting tool presets The simplest way to select tool presets is from the Preset menu option that’s in every tool options bar, as shown in Figure 2.14. For the Crop tool, you see presets for each of the standard photo sizes. Selecting one of the presets configures the Crop tool to crop the image to the specific size without changing the settings manually.
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FIGURE 2.14
The Presets option in the tool options bar allows you to quickly configure settings for the tool by selecting a preset from a list of tool configurations. Tool Preset
Preset List Menu Add New Preset
Note Presets can be selected from the Tool Presets panel. If you deselect the Current Tool Only option, the list in the tool options menu and in the Tool Presets panel displays all currently loaded presets instead of just those for the current tool. Selecting a preset switches to that tool with the appropriate settings. n
Managing presets Presets are organized into sets, and each set is saved as a separate file on the file system. The Preset Manager, shown in Figure 2.15, allows you to create, load, and manage the sets of tool presets. To access the Preset Manager, select Edit ➪ Preset Manager, or click the menu icon of the Preset list shown in Figure 2.15 and select Preset Manger from the pop-up menu. The Preset Manager provides the Preset Type option that allows you to select the preset types. In addition to tool presets, you find presets for paint brushes, color swatches, styles, and others. When you select a different type, the list of presets changes to reflect the presets for that type. You can use the mouse to select presets from the list, including any new ones you have created, and then use the Save Set button to save the selected presets as a new set. To load additional presets, click the Load button. When you try to load a new set, you are prompted to add the set to the current list or to append the loaded set to the existing list.
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FIGURE 2.15
The Preset Manager allows you to load, save, and manage presets for Photoshop tools as well as other settings types such as brushes, text, and colors. Preset Manager menu
Preset list
Preset List options
Reset options Preconfigured presets
Clicking the Preset Manager Menu button loads a menu similar to the one in Figure 2.15. The menu is different for each preset type, but they are all organized into the following sections: l
List options: This defines how to display the presets. You can select icons only, lists with icons, and different sizes of icons, depending on the preset type.
l
Reset options: The Reset Presets option resets the preset list for the selected preset type to the Photoshop default. This option is a must when you begin tweaking lists and appending sets. The Replace Presets option allows you to load a preset list from a file on disk and replace the current preset list.
l
Preconfigured presets: Photoshop provides several preconfigured preset sets that can be applied to the current set. The list of preconfigured presets is different for each preset type. When you select one of these sets, you are prompted to either replace the current list or append the new list to the current list.
Creating presets Presets are created differently depending on what type of preset you are creating. Follow these steps to create a new tool preset: 1. Select a tool from the Toolbox. 2. Adjust the settings in the tool options menu.
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Chapter 2: Understanding the Photoshop Workspace 3. Open the Preset option for the tool, as shown in Figure 2.15. 4. Click the Add New Preset button. 5. Enter the name that you want to use for the preset, and click OK.
This permanently saves the preset in the Preset Manager until it is deleted. Follow these steps to create a custom style preset: 1. Select a layer that is not locked. 2. Select one of the options in the Add a Layer Style button at the bottom of the Layers panel to launch the Layer Style dialog box. 3. Adjust the options for each effect to be included in the preset. 4. Click the New Style button in the Layer Style dialog box, and name the preset.
Follow these steps to create a custom brush or pattern preset: 1. Select the pixels you want to use to create the brush or pattern.
Area selections are discussed in Chapter 9. 2. Select Edit ➪ Define Brush Preset or Edit ➪ Define Pattern from the main menu. 3. Name the Brush or Pattern and click OK. 4. Select the Brush tool if you are creating a custom brush preset. 5. Refine the brush or pattern by adjusting the settings in the Brushes panel.
Follow these steps to create a custom shape preset: 1. Create the path. 2. Select a path in the Paths panel. 3. Select Edit ➪ Define Custom Shape from the main menu. 4. Name the shape preset.
Follow these steps to create a custom color swatch preset: 1. Click the Foreground color in the Toolbox to launch a Color Picker. 2. Define the custom color. 3. Hover the mouse cursor over a blank area in the Swatches panel until the cursor changes to a paint bucket. 4. Click to add the color to the Swatches.
Note When you save preset lists, the filename must be saved with the appropriate file extension. This actually makes the preset files easy to locate later by searching the filesystem if you forget where you saved them. The default extensions are brushes (.abr), color swatches (.aco), contours (.sch), custom shapes (.csh), gradients (.grd), patterns (.pat), styles (.asl), and tools (.tpl). n
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Setting Preferences Setting the preferences allows you to work in a customized environment that feels comfortable to you. Whether you like to have more precise cursors or you would like your rulers to show centimeters instead of inches, you can make a range of changes using the preferences dialog box. The preferences are under the Edit menu, so choose Edit ➪ Preferences ➪ General to bring the Preferences dialog box up in the General pane, as shown in Figure 2.16. All the options available in the Preferences menu are also available in the left pane of the Preferences dialog box, with the exception of the Camera Raw preferences. Simply click them to display the pane you want. Before you get started setting preferences, though, you’ll probably want to know how to restore the Adobe presets, just in case. To restore all the settings to the Adobe defaults, press and hold the Ctrl/Ô+Alt/Option+Shift (Windows) keys while you open Photoshop. You are asked if you want to delete the current settings. You have a second option if you are running the Mac OS: Open the Preferences folder inside the Library folder, and drag the CS settings to the trash. The folder is automatically re-created the next time Photoshop starts.
FIGURE 2.16
The Preferences dialog box allows you to customize many of the settings in Photoshop.
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General preferences The General panel has several basic options that either apply to Photoshop as a whole or just don’t fit well into any other menu: l
Color Picker: Several applications of Photoshop require you to choose a color—most notably, when you choose a new background or foreground color using the color control displayed in the Toolbox. You use a color picker to choose a color. Color pickers are usually color wheels or a color palette. The Adobe color picker is the default used, and in many cases it’s the best choice; it was custom designed for Photoshop, after all. You also have the option to use the standard color picker for your operating system—Mac OS or Windows. At some point, you may install plug-ins that give you additional color picker options. They also are displayed in the Color Picker drop-down menu.
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HUD Color Picker: This allows you to define the style of color picker that is used by the HUD (Heads Up Display).
l
Image Interpolation: When images are resized, transformed, or otherwise manipulated, pixels are added or taken away to make up the difference. This is called interpolation, and the method of interpolation determines not only the quality of the resulting image but the speed with which the image is processed. Figure 2.17 shows examples of an image of a rose increased four times using each method of interpolation. I zoomed way in so the difference would be much more obvious.
Note You can change the image interpolation in the Image Size dialog box. A drop-down menu includes all the options available. The option you set in the preferences is the default in the Image Size dialog box. n l
Nearest Neighbor (preserve hard edges): If you select Nearest Neighbor, Photoshop simply copies the pixels and creates identical pixels next to them. This is a much faster process, but for obvious reasons, it creates an image with jagged edges.
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Bi-linear: The Bi-linear method of interpolation takes the four surrounding pixels and averages them to create the new pixel. This is a softer look than the Nearest Neighbor option, creating a smoother image but at the sacrifice of sharpness.
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Bicubic (best for smooth gradients): The Bicubic option goes one better than the Bi-linear option by using the eight surrounding pixels to create an average. It also creates more contrast between the pixels, restoring some sharpness to the image.
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Bicubic Smoother (best for enlargement): Bicubic Smoother is designed to create the smoothest possible transition when enlarging an image. It reduces the jagged edges and overall “filled-in” look you get when pixels are created to fill in the gaps of an image.
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Bicubic Sharper (best for reduction): Bicubic Sharper uses the Bicubic method of interpolation and adds a sharpening filter to further increase the sharpness of the pixels. This option is best for reducing the file size.
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FIGURE 2.17
The image interpolation option affects the quality and look of the final image.
Nearest Neighbor
Bi-linear
Bicubic
Bicubic Smoother
Bicubic Sharper
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Note It should be obvious from reading about image interpolation that the more you manipulate an image, the more that image deteriorates. Although some changes are usually necessary to get the results you desire, be careful how many steps you take to create those changes. If you want to make an image smaller, for instance, and you reduce it more than you anticipated, don’t just make the reduced image larger. Step backward and undo the first resize and then try reducing again. n l
Auto-Update Open Documents: When this option is checked, Photoshop automatically checks the hard disk for changes made to any open file and updates the file to reflect the saved changes. The best time to use this option is when two or more collaborators are working on the same file and you want to keep up with the changes being made by others.
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Beep When Done: If you select this option, Photoshop beeps whenever it finishes an operation. This could be useful if you are making less obvious changes and want to be sure the operation is finished, or you’re making more time-consuming operations and you want to walk away from your computer while they process.
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Dynamic Color Sliders: When you open Adobe’s color picker, you use a color slider to change the range of colors visible in the color selection box. With Dynamic Color Sliders turned on, as you move the slider, the box changes color in real time. The only reason to turn it off is if you are using a computer that was built sometime in the last millennium and it just can’t handle the real-time change without slowing you down.
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Export Clipboard: This option copies Photoshop’s clipboard to the operating system’s clipboard, allowing you to copy or cut from Photoshop and paste into other applications.
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Use Shift Key for Tool Switch: The Toolbox includes “tool drawers” or more than one tool hiding behind the visible icons in the Toolbox. Hotkeys also provide access to these tools. With this option on, you need to press the Shift key and the hotkey to switch tools. If this option is turned off, pressing the hotkey more than once cycles through the available tools.
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Resize Image during Paste/Place: When you are pasting or placing an image into another document, having this option on resizes it to the base document specs. For instance, if I am placing a very large file into an open image that is much smaller, the document resizes to fit into the smaller canvas area. If this option is not turned on, the larger document may overlap the canvas area and the entire image isn’t visible. Keep in mind that any resizing compromises the image quality and should be kept to a minimum if possible.
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Animated Zoom: Use this option to continuously zoom with the Zoom tool by holding down the left mouse button. It’s a great way to have control over how far you want to zoom in (or out), but be warned: It can be a little slow with larger files.
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Zoom Resizes Windows: This option works only if you are using floating windows for each of your documents. These windows are resized as your images are resized. This eliminates the white space around images that have been reduced and keeps the images that you’ve zoomed into in view, instead of hanging out of the edges of your window. If you use floating windows very often, I suggest turning this option on.
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Zoom with Scroll Wheel: This is my personal favorite zoom preference to turn on. With this option activated, you can use the scroll wheel of your mouse to zoom in and out of
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Part I: Getting Started with Adobe Photoshop CS5 the selected image. No looking around for the Zoom tool or trying to remember its hotkey; just use the scroll wheel, and you can take a closer look at that area of your image you are trying to get just right and then zoom right back out to fit it in the screen. l
Zoom Point Clicked to Center: When you click an area of your image with the Zoom tool, it zooms into that area generally, and with the Zoom Point Clicked to Center option turned on, the area you click becomes the center of the zoomed image.
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Enable Flick Panning: When this option is enabled, you can use the Hand tool to click the document, drag quickly and then release the mouse button, and the document continues to pan just as if you had flicked it.
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Place or Drag Raster Images as Smart Objects: When this option is selected, raster images in layers can be dragged and placed. Photoshop does this by temporarily converting them to Smart Objects and then back to raster. This option can use up lots of processing power, so you should enable it only if you are willing to sacrifice some computer speed.
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History Log: This option lets you keep a log of what editing has been done to the file using the following settings:
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Save Logs To: The Save Logs To option lets you store the history as metadata inside the image file itself, as a separate text file, or both. Keeping Log as Metadata makes the history data easily transferred between systems, but it increases the size of the file, and you need to remove the history before distributing it to others.
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Edit Log Items: This option allows you to specify how detailed the history is. The Session Only option records only the date and time you edit the file in Photoshop. The Concise option also records the text that appears in the history panel. The Detailed option additionally records the commands used to edit the file. Obviously, the more detailed the history, the more the file size grows.
Reset all Warning Dialog Boxes: This option enables any warning dialog boxes that have been disabled by selecting the warning dialog box’s “Don’t Show Again” option.
Interface preferences The Interface panel, shown in Figure 2.18, allows you to define the general look of the Photoshop interface including windows, panels, and documents: l
General: This defines the color and border used for the standard and full screen modes. You also can specify whether to show the following: l
Show Channels in Color: By default, channels are displayed in grayscale when you view them individually. Displaying the channels in color can give you a better perspective on the color, but it’s not the best option when trying to determine tonal adjustments that need to be made to an individual channel. See Chapter 11.
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Show Menu Colors: When this option is enabled, the colors that you define using Edit ➪ Menus or Window ➪ Workspace ➪ Keyboard Shortcuts & Menus ➪ Menus are displayed in the menus. The ability to toggle this on and off can be useful if the menu colors are distracting for some of your workflows.
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Show Tool Tips: When enabled, a textual description of tools, settings, windows, and panels is displayed when the mouse hovers over these things.
Panels & Documents: This defines the behavior of panels and document windows using the following options: l
Auto-Collapse Iconic Panels: When enabled, panels that are opened by clicking the panel icon close automatically when you click another panel or tool in the workspace.
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Auto-Show Hidden Panels: This reveals hidden panels on rollover.
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Restore Default Workspaces: Photoshop keeps track of the panels that are opened and layout changes you make to the current workspace. When you open the workspace again, the panels are back to the way you left them. The Restore Default Workspaces button resets the workspace to the default settings.
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Open Documents as Tab: When enabled, files are opened in tabbed document windows that are docked to the document workspace. When disabled, files are opened in a floating document window.
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Enable Floating Document Window Docking: When enabled, you can dock floating document windows with each other to make floating document groups that can be controlled together.
UI Text Options: This allows you to set the language and font size used for the text in Photoshop’s menus, tools, panels, and so on. You need to restart Photoshop after changing these settings.
FIGURE 2.18
The Interface settings in the Preferences dialog box allow you to define the look and feel of the windows, documents, and panels in Photoshop.
File Handling preferences The File Handling preferences panel, shown in Figure 2.19, provides the following settings to define behavior when saving files:
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File Saving Options: This controls the following behavior when saving files: l
Image Previews: This controls whether to save the preview thumbnail data to the file when you save the image. Options are Never Save, Always Save, or Ask When Saving.
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File Extension: This specifies to save the extension with uppercase or lowercase.
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Save As to Original Folder: When enabled, Photoshop defaults to the original folder the file was opened from when using File ➪ Save As.
File Compatibility: This provides the following settings for file compatibility when saving files: l
Camera Raw Preferences: This launches a dialog box to set camera raw preferences. See Chapter 7 for more information about camera raw settings.
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Prefer Adobe Camera Raw for Supported Raw Files: This causes camera raw files to be opened by Adobe Camera Raw instead of other applications, including Photoshop.
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Ignore EXIF Profile Tag: EXIF information is data about the photo that is embedded by a digital camera when the photo is taken. Cameras typically embed color profile data with the image to help ensure color correctness. However, if the camera has faulty color data, the image may not look as good as it should.
Cross-Ref If your photos aren’t looking quite right, enable this option and see if they look better. If so, you may need to disable this option for images taken with that camera. You also may try assigning a different color profile to the image, as discussed in Chapter 29. n
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Ask Before Saving Layered TIFF Files: This prompts you before layers are saved in a TIFF file to make certain you don’t want to flatten the file. Keeping layers in TIFF files is a great way to keep the file in a very editable state. However, saving layers in the TIFF file may result in a much larger file size, and some applications that support TIFFs do not support layers. Keep this setting on, just as a reminder when saving TIFF files.
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Maximize PSD and PSB Compatibility: This controls whether Photoshop tries to maximize the PSD compatibility between older versions of Photoshop when you save an image. Options are Never, Always, or Ask. Maximizing compatibility is good, but it comes at the cost of greater file size. This preference defaults to Ask, but if you know that you will never use an older version of Photoshop, disabling it saves you an extra mouse click.
Enable Adobe Drive: This enables Adobe Version Cue through Adobe Drive that manages file versions when multiple people need to work on the same files. Version Cue can track changes to a file as different people work on it. This option should be enabled only if you are using Version Cue. Recent File List Contains: This specifies the number of files to show in the File ➪ Open Recent file list. You may want to tweak this option based on the type of project that you are working on.
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FIGURE 2.19
The File handling settings in the Preferences dialog box allow you to save compatibility settings used when saving files.
Performance preferences The Performance preferences panel, shown in Figure 2.20, provides the following settings to control some of Photoshop’s features that are performance-intensive: l
Memory Usage: This defines how much system memory Photoshop is allowed to consume. This option displays the current system memory and gives a suggested range. The slider and text box defines the maximum amount of RAM Photoshop is allowed to use. Processing images is very CPU- and RAM-intensive. The more RAM you allow Photoshop to consume the faster it performs, but then less memory is available for other applications.
Caution Allowing Photoshop to consume too much memory can lead to extremely poor system performance that affects all applications, even Photoshop. This is one case where more is not necessarily better. n l
Scratch Disks: This displays a list of devices that you can select for scratch disks. Scratch disks are used by Photoshop to cache data not currently being used when processing data that requires more memory than the system has available.
Tip You get the best performance when working with Photoshop if you use three separate disk drives to store the Photoshop application, scratch data, and image files. The reason for this is that the disks can be seeking the three types of data at the same time. n l
History & Cache: This defines settings for document caching and history retention that can improve Photoshop’s performance. You have these choices:
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Optimize buttons: The first three buttons optimize the cache for documents that are Tall and Thin, Default size, or Short and Fat. This option takes into account your computer hardware and current system settings.
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History States: This specifies the number of History States to cache. These history states are accessible from the History panel as described in Chapter 5. A higher number gives you more states that you can use to backtrack changes but results in additional memory consumption.
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Cache Levels: This specifies the cache setting used to define the behavior of the cache. Caching improves performance by caching lower-resolution versions of the image to display in the document window. This allows for much faster rendering by Photoshop. A setting of 1 essentially disables caching because the full image size is stored in the cache. This gives you a more accurate view of the image but results in slower rendering times. Increasing the cache number caches more low-resolution versions of the image, which improves performance while sacrificing rendering quality in Photoshop. You need to restart Photoshop for changes to the cache to take effect.
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Cache Tile Size: This specifies the number of bytes that Photoshop stores or processes at once. Typically, the rule is to use a larger tile size when working with larger images and a smaller one when working with smaller images or images with lots of layers. You need to restart Photoshop for changes to the Cache Tile Size to take effect.
GPU Settings: The GPU settings allow you to enable or disable OpenGL drawing by your video adapter. OpenGL drawing utilizes the processor on your graphics adapter to render images. Using the video adapter to draw can significantly improve performance in many of Photoshop’s tools such as the Zoom, 3D, and Paint tools. Enabling OpenGL also enables several advanced features in Photoshop, such as the rotate view, Birdseye zooming, pixel grid, and flick to scroll. Clicking the Advanced Settings button loads the dialog box, shown in Figure 2.20, that allows you to set the following advanced options for OpenGL: l
Basic Mode: This uses the least amount of GPU memory and has the least impact on other applications running OpenGL features on the system. However, this mode can result in slowness in some areas of Photoshop that are GPU-intensive, such as 3D.
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Normal Mode: This uses the most amount of GPU memory and enables additional OpenGL features, but may cause visual defects on some GPUs.
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Advanced Mode: This uses the same amount of memory as Normal mode but enables even more OpenGL features that can improve performance and enhance some of Photoshop’s rendering features such as zoom animation. This mode also may cause visual effects on some GPUs and interfere with other applications using the GPU.
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Vertical Sync: This synchronizes the OpenGL drawing with the vertical sync of the display which provides much smoother pixel transitions at the cost of an additional performance hit.
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Anti-alias guides and paths: This smoothes guides and path lines. Disable this option if your guides and paths appear too wide or heavy.
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Chapter 2: Understanding the Photoshop Workspace The Open GPU Utility button launches a dialog box that guides you through the process of optimizing the GPU in your video card for Photoshop. This process is very CPU-intensive so you want to run it at a time that you are not using your computer. You also should disable you screen saver while it is running so the screen saver does not taint the results.
FIGURE 2.20
The Performance settings in the Preferences dialog box allow you to limit Photoshop so it does not consume too many resources on your system.
Cursors preferences The Cursors preferences panel, shown in Figure 2.21, provides the following settings to define the appearance and size of mouse or stylus cursors: l
Painting Cursors: This defines the appearance and size of the cursor used with painting tools such as the brush. You have these options: l
Standard: This looks like the painting tool icon.
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Precise: This displays a crosshair, which is much better for seeing the exact center of the brush stroke.
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Normal Brush Tip: This creates a circle the size of the paint stroke, not taking into account any feathering caused by brush settings. This option is better for seeing the immediate area that will be affected by the brush stroke.
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Full Brush Tip: This creates a circle that is the full pixel size of the paint stroke, including any feathered edges. This option is better for seeing the full area that will be affected by the brush stroke.
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Show Crosshairs in Brush Tip: This displays a crosshair in the center of the Normal and Full Brush tips.
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Show Only Crosshairs While Painting: This changes from the Normal Brush Tip or Full Brush Stroke Tips to the Crosshair Tip when you are dragging the mouse. This allows you to see the size of the brush better before using the precision tip.
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Other Cursors: This defines the brush tip cursor used for tools other than the painting tool.
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Brush Preview: This allows you to use a color chooser to define the color that is used for the brush editing preview.
FIGURE 2.21
The Cursors settings in the Preferences dialog box allow you to set size and appearance of cursors when working with Photoshop’s tools.
Transparency & Gamut preferences The Transparency & Gamut preferences panel, shown in Figure 2.22, provides the following settings to define the appearance of the transparency grid and gamut warning: l
Transparency Settings: Allows you to set the size and colors of the grid used to denote transparent pixels in an image. The size options are None, Small, Medium, and Large. The Grid Color setting provides several predefined color sets, or you can select Custom to choose your own set of colors for the grid. Typically, you have no reason to adjust the transparency colors unless you have a pattern that is very similar in the image you are editing.
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Gamut Warning: Specifies the color used to warn you when a color is out of range for a specified color profile—for example, when you use the View ➪ Gamut Warning or are previewing inside the File ➪ Print dialog box. The Opacity setting defines how transparent or opaque the gamut warning is when displayed. Reducing the opacity allows you to more easily see the image behind the gamut warning.
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FIGURE 2.22
The Transparency & Gamut settings in the Preferences dialog box allow you to define the appearance of the transparency grid and gamut warning.
Unit & Rulers preferences The Unit & Rulers preferences panel, shown in Figure 2.23, provides the following settings to define the units, column sizes, document resolution, and point size to use in Photoshop: l
Units: The Rulers option specifies the units used for rulers and measurements in Photoshop. The Type option specifies the units used to measure all the settings used by the Type tools as well as the Character and Paragraph panels. The options are pixels, inches, cm, mm, points, picas, and percent (where percent is in relation to the size of the image). When working in a print workflow, using inches or picas is best. When working in a Web output workflow, using pixels is typically best.
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Column Size: Several Photoshop dialog boxes use column width as a unit of measurement, including the New, Image Size, and Canvas Size dialog boxes. The columns in those dialog boxes are based on the setting here. Using columns can be very useful if you are preparing an image or multiple images that can be broken up into columns.
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New Document Preset Resolutions: This specifies the default print and screen resolutions used when creating a new document with the File ➪ New command from the main menu. Keep in mind that the screen resolution is important for images that are viewed on a computer, such as Web images, but print resolution determines the print quality and size of the printed image.
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Point/Pica Size: This allows you to set the values used to define the number of points and pica in an inch. The PostScript method defines a pica as about 1/6 of an inch and a point as about 1/72 of an inch. Applications from years ago used a different system where there were 6.06 picas per inch and 72.27 points per inch. You should keep this setting on Postscript unless you have a specific need to use the traditional method.
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FIGURE 2.23
The Unit & Rulers settings in the Preferences dialog box allow you to define the units, column sizes, document resolution, and point size.
Guides, Grid & Slices preferences The Guides, Grid & Slices preferences panel, shown in Figure 2.24, provides the following settings to define the color, line style, and arrangement used when displaying guides, grids, and slice bounding boxes in the document window: l
Guides: The Guides setting allows you to set the color and line style for guides. You can choose any color from the drop-down menu or select Custom to launch a color chooser that lets you select any color Photoshop can display. You typically want to set the guide color to something that has a high contrast with the colors in the image so you can see it better. You also can select to have the guide be a dashed or solid line.
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Smart Guides: The Smart Guides setting allows you to set the color of the smart guides only. Smart guides are the lines that temporarily appear around the pixels on a layer when you move items. Smart guides are great at helping you align the content of one layer with the content of another.
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Grid: This allows you to set the color and line style used when displaying the grid. You want to select a color that contrasts with the image well and also contrasts with the color of the guides so you can easily distinguish the lines apart. You also can set the spacing between grid lines and the number of subdivisions to include between grid lines. Subdivisions show up as less apparent lines.
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Slices: This allows you to specify the color of slice bounding boxes and whether to display the slice number when displaying the slice.
Cross-Ref For more information about slices, see Chapter 30. n
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FIGURE 2.24
The Guides, Grid & Slices settings in the Preferences dialog box allow you to define color, line style, and arrangement used to display guides, gridlines, and slice bounding boxes in document windows.
Plug-ins preferences The plug-ins preferences are discussed in Appendix B, along with several of the plug-ins that are available to add functionality to Photoshop.
Type preferences The Type preferences panel, shown in Figure 2.25, provides the following settings to define behaviors such as using smart quotes and font substitutions used when adding text to images: l
Use Smart Quotes: When enabled, Photoshop scans through the text, detects the starting and ending quotation marks, and automatically converts them to quotes that curve toward the text inside the quotes. You may not want this option enabled if you are using text that has lots of single quotes in it—for example, using double quotes to signify inches and a single quote to signify feet.
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Show Asian Text Options: When enabled, additional options are displayed in the Character panel to support Asian languages. This causes additional overhead, so you should leave it disabled unless you need it.
Cross-Ref For more information about fonts, glyphs, and adding text to images, see Chapter 18. n l
Enable Missing Glyph Protection: When enabled, Photoshop automatically makes font substitutions for any missing glyphs that appear in the text, but not in the selected font. This option can be important if you are keeping text as a vector layer and transferring the file between machines. When loaded on the second machine, if the font is not present, Photoshop automatically makes a font substation. If this option is disabled, Photoshop prompts you first.
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Show Font Names in English: When enabled, the names of fonts in the font list always show up as English, even if you are working with different language fonts.
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Font Preview Size: This allows you to enable and disable adding a font preview to the font selection lists. The font preview is useful in choosing a font because you can see what the sample looks like. However, the font preview is computer processor-intensive, so you may not want to enable it unless you are working with lots of text. This option also allows you to specify the size of the font preview that is displayed in the font lists, from Small to Huge.
FIGURE 2.25
The Type settings in the Preferences dialog box allow you to define behaviors such as using smart quotes and font substitutions used when adding text to images.
3D preferences The concepts surrounding 3D preferences are tightly coupled with the 3D chapters in this book. Therefore, we included a description of the 3D preferences in Chapter 22. Please refer to that chapter for information about setting 3D preferences.
Customizing Shortcuts and Menus Photoshop provides a tremendous amount of power by including feature after feature after feature. Unfortunately, that means Photoshop also had to include menu after menu after menu. With the sheer number of menus and tools that Photoshop has to offer, you can quickly find yourself spending more time finding tools than using them. The solution to that problem is to customize your menus and to use keyboard shortcuts.
Tip You can create and name several customized shortcuts or menu sets. You may want to create different sets for the type of editing you are doing and then load the set that best matches your workflow. n
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Customizing menus Photoshop allows you to customize the menus in two ways. You can hide menu items that you do not intend to use, or you can color code menu items to make them easier to find. To customize Photoshop’s menus, select Edit ➪ Menus from the main menu to display the Menus tab of the Keyboard Shortcuts and Menus dialog box, shown in Figure 2.26.
FIGURE 2.26
The Keyboard Shortcuts and Menus dialog box allows you to create custom menus that hide unwanted items and display important items in organized colors. New Set Menu list
Save Set
Delete Set
Color Visible Hidden
From the Menus tab, you can use the following options to create and manage customized menu sets: l
Set: The Set option allows you to select the default menu set or a saved menu set from the drop-down list. The Save Set icon next to the Set list allows you to save changes to the currently selected set. The New Set icon allows you to save the current menu configuration as a new set that is displayed in the Set list. The Delete icon removes the currently selected set from the list. To create a new custom menu, make all adjustments to the menus, click the New Set icon, and name the set. You can then reload that set any time you like.
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Menu For: This allows you to select whether you want to edit the application menus or the panel menus. When you change this option, either the application or panel menus are displayed, depending on which option you choose.
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Menu list: The menu list displays a list of menus that can be adjusted. You can expand and collapse a menu in the list by clicking the triangle next to the menu name. When the menu is expanded, you can customize each menu option by doing the following: l
Change Visibility: Use the mouse to toggle the eye icon to hide or show the menu item in Photoshop. Figure 2.26 shows that the Group from Layers option is hidden while the others are visible.
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Change Color: You also can change the color used for the background of the menu item. This allows you to color code certain menu types or highlight important menu items so you can more easily find them. To change the color, select a color from the drop-down menu shown in Figure 2.26.
Customizing shortcuts One of the best features Photoshop has to offer in improving your workflow speed is the use of keyboard shortcuts. Keyboard shortcuts allow you to use a key sequence to quickly perform tasks, select tools, and open panels. Throughout this book, we describe the important keyboard shortcuts when describing various tools. If you take the time to learn and use these shortcuts, you can be much faster at using Photoshop. Photoshop also allows you to customize the keyboard shortcuts. To customize Photoshop’s keyboard shortcuts, select Edit ➪ Keyboard Shortcuts from the main menu to display the Keyboard Shortcuts tab of the Keyboard Shortcuts and Menus dialog box, shown in Figure 2.27.
FIGURE 2.27
The Keyboard Shortcuts and Menus dialog box allows you to customize the keyboard shortcuts that you use to perform common tasks in Photoshop. Item list
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Chapter 2: Understanding the Photoshop Workspace From the Keyboard Shortcuts tab, you can use the following options to create customized keyboard shortcut sets: l
Set: The Set option allows you to select the default shortcut set or a saved shortcut set from the drop-down list. As with the customizing menus, the Save Set icon next to the Set list allows you to save changes to the currently selected set. The New Set icon allows you to save the current keyboard shortcuts as a new set that is displayed in the Set list. The Delete icon removes the currently selected set from the list. To create a new custom shortcut set, make all adjustments to the shortcuts, click the New Set icon, and name the set. You can then reload that set any time you like.
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Use Legacy Channel Shortcuts: This changes the channel switching shortcuts back to the pre-CS4 form for users who are used to those options.
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Shortcuts For: This allows you to select whether to edit the shortcuts for application menus, panel menus, or tools. When you change this option, the list below changes to reflect the option you choose.
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Item list: The item list displays a list of shortcuts for the type selected in the Shortcuts For option. You can expand and collapse items in the list by clicking the triangle next to the item name. To change or add a shortcut to an item, click in the Shortcut column of that item. A text box appears with a cursor. When you type a key sequence into the text box, that key sequence is added to the text box. Figure 2.27 shows an example of the text box and key sequence for the Open menu item. To apply the key sequence as a shortcut, click the Accept button. To undo the change you made, click the Undo button. To revert to the Photoshop default, click the Use Default button.
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Add Shortcut: This adds an additional shortcut to the item so it has two. This may help if you are used to different shortcuts from another application.
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Delete Shortcut: This removes the selected shortcut from the item.
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Summarize: The Summarize button launches a file dialog box that allows you to select a location to store an HTML summary of the keyboard shortcuts. After the file is saved, the summary is automatically displayed in your default Web browser, as shown in Figure 2.28. This is a good way to review the settings that you made.
Cross-Ref Appendix A contains tables that provide a quick reference to the most commonly used keyboard shortcuts. n
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FIGURE 2.28
The Summarize option of the Keyboard Shortcuts and Menus dialog box generates a viewable HTML document that displays the current keyboard shortcuts.
Summary This chapter discussed the Photoshop workspace, including the document windows, menus, panels, tools, and preferences. Photoshop provides lots of power, and if you learn how to configure and use the workspace, you can be more efficient and have much more fun. Photoshop provides a fairly intuitive interface in most areas and some powerful features, such as grouping document windows and customizing menus that enable you to speed up your workflow. In this chapter, you learned these concepts: l
How to organize and arrange document windows
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What’s in all those menus
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How to use grids, rulers, and guidelines
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All about the tools in the Toolbox and where they are covered in this book
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How to organize panels
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How to create custom panels and keyboard shortcuts to make Photoshop easier to use
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Creating and saving tool presets so you can easily configure tools for later use.
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CHAPTER
Image Basics
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hotoshop’s purpose is editing image files that have come from a variety of sources. Photoshop supports a large number of file formats. The different file formats can be confusing, so this chapter spends a bit of time talking about each of the different file formats to help you understand some of the benefits and drawbacks of each one. In this chapter, you also learn some other important concepts about file size and resolution. Understanding the relationship among the file size, the resolution, and the ultimate destination of the file helps you know what size and resolution to use for an image. You also learn the different types of algorithms that Photoshop uses to resample images when changing the size. Understanding the algorithms helps you know which ones to use to get the best results when resizing images. This chapter also discusses how and why to crop images. You learn how to use several tools in Photoshop to quickly and accurately crop, trim, rotate, and straighten images.
IN THIS CHAPTER Understanding the file formats that Photoshop supports for images, video, and 3D objects Knowing the difference between raster and vector images Opening an image in another format Understanding the resizing algorithms Creating a border around an image Cropping and straightening images
Exploring File Types
Removing a border from an image
If you have worked with images long enough, you have probably come across a variety of file formats. Although having just one file format would be great, the fact is that numerous file formats serve a variety of purposes. You need to understand the different type of image, video, and 3D file formats to really make the most of Photoshop’s features. Understanding the different file formats helps you make better decisions about how to save and work with files.
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Part I: Getting Started with Adobe Photoshop CS5 This following sections focus on helping you understand the different types of file formats, where they came from, and why to use them. After you understand these points, you can make better decisions on importing and saving files with Photoshop.
Compressed versus uncompressed The first concept you need to understand about file formats is whether the format stores the file in a compressed or uncompressed form. Each has its advantages, which is why both exist. An uncompressed file stores the full image, video, or 3D data in the same format that it exists when the file is opened. The size of the file on disk is the same as the size of the file in memory. A compressed file stores the data by using complex algorithms that allow the file to be stored using less space on disk. When the file is reopened, the data on disk is uncompressed using an inverse algorithm and loaded into memory in its original state. The advantage of using uncompressed file formats is that you always retain the data. Also, uncompressed formats are faster to load and save because the computer does not need to compress or uncompress them. The advantage of using compressed file formats is that they take up much less room on disk. With lots of large images and especially with video, this becomes a big concern. Two types of compression algorithms are used: lossless compression and lossy compression. The lossless compression algorithm loads the image back into memory in exactly the same state that it was before compression. However, the lossy compression algorithms “cheat” and throw away data that is not very relevant to displaying the image or video.
Tip Lossy compression has a major advantage: Large images and video can be stored in a much smaller space. However, the major disadvantage is that every time you save an image using a lossy compression algorithm, you lose a bit of data. The first time you save, it probably doesn’t matter much. However, after several saves, you start seeing some artifacts in the image or video. To avoid this, use a lossless or uncompressed file type when you are editing the file; when you are finished editing it, save it in the lossy form for storage. Keep a copy of the original around if you need to edit the file again. n
Raster versus vector Another file format concept that you need to understand is the difference between raster (or bitmap) and vector images. The data for an image is stored completely differently in these two file types. The image data is stored in raster images as a set of pixels in the image. Each pixel represents one point of light in the image. The image is constructed onscreen by simply applying the pixel data in the image to a pixel on the screen. The data for a vector image is stored as a series of line data instead of individual pixels. Each line data item contains the length, direction, and color of the line. These lines make up the images. The image is constructed onscreen by using the line data to draw a series of lines.
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Chapter 3: Image Basics The advantage of using vector images is that no matter how much you increase the size of the image, the lines are always crisp because they can be redrawn each time. The disadvantage is that you cannot paint, adjust, and morph them the same way that you can raster images. The advantage of using raster images is that for photos and other smooth images, generating enough lines to make the resolution good enough to view can be difficult, if not impossible. Pixels are a much closer representation of how monitors, printers, and even the human eye work. Most of the image file formats you use in Photoshop are raster images. Raster images are much better for storing image data and allow for much more detail to be captured. For the most part, you will use vector images only when working with 3D images, text, line shapes, and paths in Photoshop.
HDR images High Dynamic Range (HDR) images are images comprised of a set of photographs taken at different exposures in a technique known as exposure bracketing. The exact same photo is taken multiple times using different ISO settings and f-stops to create a wide range of exposures for the same image. These photos can then be combined to create a HDR image with a much greater tonal range than is possible in a single photo. Photoshop provides some tools to create and adjust HDR images. In Chapter 6 we discuss using the Bridge tools to create an HDR image. In Chapter 13 we discuss some of the tools used to adjust HDR images.
Image files Photoshop supports a variety of image file types. Most people tend to work with one or two types and leave the others alone. However, having a basic understanding of all file types helps you make better choices when you have to work with them. The following sections describe some image file types and advantages/disadvantages of them.
Photoshop (*.PSD, *.PDD) Photoshop natively uses its own Photoshop PSD file format. This file format contains all the information relevant to working with the image within Photoshop. For example, all the layer data you have created when working with the image is stored in the PSD file. Use the PSD file format when working with the image in Photoshop. The work done in Photoshop to create adjustment layers and other changes usually represents lots of work. The PSD file is the only format that stores all your work so you can fine-tune your adjustments later. The Photoshop file format maintains the full image data, so you need not worry about saving it multiple times. Photoshop PSD files can store image data in 8 bits per channel, 16 bits per channel, and 32 bits per channel. One disadvantage of the Photoshop file format is that it takes up a large amount of disk space compared with some of the other file formats.
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Part I: Getting Started with Adobe Photoshop CS5 TIFF (*.TIF;*.TIFF) TIFF (Tagged Image File Format) is the next best format to PSD when saving your files. TIFF images can be stored in 8 bits per channel, 16 bits per channel, and 32 bits per channel. Advantages of the TIFF file formats are that it stores the layers that you create in Photoshop and can store transparency in the form of an alpha channel (discussed later in this book). TIFF images are also fairly large comparatively, so you may not want to use this file format for most images you will be working with. Another disadvantage is that TIFF images are typically not supported in Web browsers, so you can’t add them to Web pages.
JPEG (*.JPG;*.JPEG;*.JPE) The JPEG file format has become by far the most commonly used. The JPEG format provides very good image quality supporting 16.8 million colors, combined with one of the best compression algorithms. This makes JPEG images the best quality for the file size that you can get. Consequently, most cameras use the JPEG image format by default. JPEG images are read by almost every computer program and are easily incorporated into Web pages. They also take much less disk space than PSD and TIFF files because they are compressed.
JPEG 2000 (*.JP2;*.JPX) The JPEG 2000 file format uses a different encoding and compression system that makes the compression lossless. In addition, the JPEG 2000 file format supports 16-bit color for a greater range of colors, grayscale images, and 8-bit transparency. Although JPEG 2000 files provide a number of advancements over JPEG, they are not as widely supported and so they are still not used as often. Adobe provides a plug-in for Photoshop that will allow you to read and save files in the JPEG 2000 format.
Caution JPEG images use a lossy compression algorithm, which means the more you change and save them, the worse the quality of the image becomes. You should convert the JPEG images to either PSD or TIFF to edit them and then back to JPEG when you are finished making the changes. n
CompuServ GIF (*.GIF) The GIF (Graphics Interchange Format) has been the main graphic file used in developing Web pages since the inception of the World Wide Web. The GIF format uses an 8-bit palette that is limited to 256 colors. The 8-bit palette makes the GIF images very small and easily transferred across the Internet. This makes the GIF file format perfect for creating images such as buttons, links, icons, and so on that are displayed on Web pages. A cool advantage of the GIF file format is that it supports animation effects within the image. This allows you to create animated controls and icons for Web pages. The GIF file format is lossless, so there is no data loss when saving files.
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Chapter 3: Image Basics PNG (*.PNG) The PNG (Portable Network Graphics) file format was designed to replace the GIF file format for use on the Internet. The PNG file format has an advantage over GIF in that it supports 16.7 million colors as opposed to GIF supporting 256. However, there are still some drawbacks to the PNG file format. Some Web browsers do not support it, and while others support it, they do not handle things such as transparency and gamma correctly. As browsers become more adept at handling the PNG format, it definitely will replace the GIF file format, but for now you should consider working with GIF for Web images unless you need the additional colors available in PNG.
Bmp (*.BMP; *.RLE; *.DIB) The BMP file format was developed for graphics in the Windows operating system. It is a simple format that is widely accepted by Windows applications. BMP files are not compressed, which makes them large. Another disadvantage is that there is not as much support outside of Windows—on Macs or Linux operating systems, for example.
RAW (*.RAW; *.CR; *.CR2; *.DNG; and several others) The RAW image format was designed to capture the basic information collected by the CMOS sensors in digital cameras. Collecting the information directly without converting it to another file format makes the cameras work faster and results in less data loss.
Note The Open file dialog box in Photoshop provides options for Camera Raw and Photoshop RAW. Photoshop RAW are images that are saved in the RAW file format from Photoshop. The Camera Raw options are for files that are saved in a RAW file format by the camera. There are many different file extensions for the Camera Raw option because most camera venders have their own proprietary format. n
The biggest advantage to using the RAW file format is that you can work with the image as close as possible to the state that existed when the photo was taken. Photoshop has designed as special tool, Adobe Camera Raw, discussed in Chapter 7, specifically for editing photos in the RAW state because the results tend to be much better than in other file formats.
Tip If you are taking photographs that you really want to look good, you should set your camera to the RAW setting and use Adobe’s Camera Raw tools to adjust them. After they are adjusted, you can save them in another format, but if you may want to adjust them again, keep the Camera Raw files around. n
One downside to the RAW file formats is that they have little support outside of image editors such as Photoshop. Another downside is that it is not one single format. In addition to the original . RAW file format, other vendors have added their own file formats. Canon has .CR and .CR2. Adobe has .DNG (Digital Negative), which is designed to try to standardize on a single format.
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Part I: Getting Started with Adobe Photoshop CS5 So far, the DNG format seems to be getting the best attention and support by hardware and software manufacturers.
Portable bitmap (*.PBM;*.PGM;*.PPM;*.PNM;*.PFM;*.PAM) The PBM (Portable Bitmap), PGM (Portable Graymap), and PPM (Portable Pixmap) are basic file standards. They are so basic that they serve as one of the best common denominators for transferring files between different platforms, going from Windows to Linux, for example. The other file formats tend to change files slightly when they are transferred between two different operating systems, due to differences in how the operating systems crunch numbers. Using these formats, you can overcome those problems more easily. Another advantage of the PBM file format is that it is one of the few formats that can store image data in 8 bit/channel, 16 bit/channel, and 32 bit/channel formats. This is another major advantage when trying to make an image portable from one system to another.
Wireless bitmap (*.WBM;*.WBMPI) The WBM file format is designed for images used on wireless devices. Wireless devices are limited in the size and number of colors an image can contain. Using the Wireless bitmap format allows you to create images that can be displayed on most portable devices.
Encapsulated PostScript (*.EPS; *.AI3-*.AI8; *.PS; *.EPSP; *.EPSF) The EPS (Encapsulated PostScript) file format was developed by Adobe as a means to store images in a format the PostScript printers can understand. That way, the file could be copied directly to the printer without the need to interact with the applications. Later, Adobe realized that this was an excellent means to transfer documents between different programs. Because all Adobe programs understand how to generate and read the EPS files, it was easy for one application to read an EPS file that was generated by another program. The greatest strength of the EPS file format is that it can contain both raster and vector images. This gives you the ability to generate a vector image in another program, in Adobe Illustrator, for example, and then import it into Photoshop. The vector image can then be used by Photoshop as a vector path, for instance. A major advantage of the EPS format is that its files are readable by almost every desktop layout program in use. One disadvantage is that it is not truly a graphic format. The EPS format is definitely not the best format in which to store photos for later editing. Another disadvantage is that the EPS format results in a very large file because the storage format is not efficient.
Photoshop PDF (*.PDF;*.PDP) The PDF file format was developed by Adobe to be a standard format for files that contained both vector and raster images. It has been widely accepted as a standard file format across all operating systems.
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Chapter 3: Image Basics PDF files can be read by many applications including Photoshop. When Photoshop opens a PDF file, it allows you to import the pages and images separately, as shown in Figure 3.1.
FIGURE 3.1
Selecting to import pages and images when opening a PDF file in Photoshop
The biggest advantage to the PDF file format is how widely it has been adopted. It is the de facto standard in publishing documents on the Internet, so it can be read everywhere. You will not use the PDF file format much in Photoshop, but it’s great when you need it.
PCX (*.PCX) The PCX (Personal Computer eXchange) format was developed for use with the PC Paintbrush utility for DOS. If you don’t know what DOS is, don’t worry; it’s best forgotten. The PCX format was widely used several years ago, but it has lost pace and been replaced with the GIF, JPEG, and PNG file formats. You probably don’t need to use the PCX file format unless you are using an image that was created several years ago. Keep in mind that PCX files originally had a maximum of 256 colors, so don’t expect PCX files to contain much detail.
PICT (*.PCT;*.PICT) PICT files are sort of the Apple version of PCX files. The PICT file format was original developed for use with the QuickDraw utility. The format was one of the few at the time that allowed a file to contain both vector and raster images. However, that functionality has been replaced by the EPS and PDF file formats.
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Part I: Getting Started with Adobe Photoshop CS5 Pixar (*.PXR) The Pixar file format is a format developed in-house by the Pixar animation company. The requirements of digital animation put such as huge strain on the available applications that they had to create a custom system including their own file format. Photoshop allows you to read images that were created using Pixar’s system and to write your images out to the Pixar file format. It’s probably not useful to most people, but handy when it is necessary.
FXG (*.FXG) FXG (Flash XML Graphics) is an .XML graphics file format developed by Adobe. The specific purpose of the FXG file format is to provide a common file format for all Adobe products. The FXG file format is based on the XML language and defines a standard for raster graphics. This is still a developing file format that has lots of potential.
Google Earth 4 (*.KMZ) A KMZ file is a zipped archive used by the Google Earth application to display geographic data and images. A KMZ file contains one or more KML files and the supporting images. Google Earth uses the KML files similarly to how a Web browser uses HTML files. The Google Earth application reads the KML file and interprets how to display the information and images. Photoshop allows you to read a KMZ file and open the images it contains to edit and view. Currently, Photoshop supports KMZ files using the Google Earth 4 standard only.
PSB (*.PSB) Many applications have a basic limit of 2GB for a file size due to the nature of the 32-bit operating system. This presents a problem for many file formats. Systems have overcome this by using a special file called PSB (large document format). Using the PSB file format, Photoshop can open and create files that are larger than 2GB. An advantage of the PSB file format is support for the 8 bit/channel, 16 bit/channel, and 32 bit/channel formats. However, unless you really need a file larger than 2GB, avoid using the PSB format. Only a few applications support it, so it is not very portable. Another disadvantage of the PSB file format is that you can use only the grayscale and RGB color models, which are discussed in Chapter 4.
OpenEXR (*.EXR) The OpenEXR format was developed by Industrial Light and Magic to provide a multi-resolution and arbitrary channel format for images. This can be a major advantage if you are working with complex compositing of images where you may need several different channels that do not conform to a single color mode. Although Photoshop gives you the ability to read and even write an OpenEXR file, it does not allow you to create the additional channels. However, if you have an OpenEXR file, you can use Photoshop’s powerful tools to make adjustments to the channels.
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Chapter 3: Image Basics Cineon The Cineon file format was developed by Kodak to contain data from images scanned in from film. The Cineon format is a bit different from the standard formats such as JPEG and TIFF. Instead of RGB channels representing intensity of color, the pixel data in the Cineon format represents the printing density as seen by the print film. The purpose of using the printing density is to retain the values that originally existed on the print film.
IFF (*.IFF;*.TDI) The IFF (Interchange File Format) was developed by Electronic Arts as a method to transfer graphic data between software. It is unlikely that you will come across the need to use an IFF, but if you do, Photoshop can open it.
Scitex CT (*.SCT) The Scitex CT file format is used by Scitex Corporation Ltd. graphics processing equipment. This file format is usually used only if you are sending print jobs to a Scitex digital printer.
Targa (*.TGA; *.VDA; *.ICB; *.VST) The Targa (Truevision Advanced Raster Graphics Adapter) file format has been around since the birth of color displays in computers. Targa files support 8, 16, 24, and 32-bit colors per pixel. Targa files support alpha channel data and are fairly transportable between systems. A common use of Targa files is to store textures used in 3D imaging such as video games or animation.
Radiance (*.HDR; *.RGBE; *.XYZE) The Radiance format stores four bytes per pixel (red, green, blue, and an exponent byte). This allows pixels to have the extended range and precision similar to floating point values allowing the HDR and RBGE formats to handle very bright pixels without loss of precision for darker ones. A variant of the Radiance format, XYZE, uses the XYZ color model (discussed in Chapter 29) instead of RGB.
Video files With the addition of the Timeline palette, Photoshop adds several video file formats to the huge list of supported file formats. Not only can you import movies with the following extensions, you can import image sequences with the usual image extensions that Photoshop already supports. Photoshop allows you to import the following video file formats: l
MOV: The MOV file format is the native file format of QuickTime. A .MOV file can contain several types of tracks—video, audio, effects, and text among them. This makes them easily editable and portable because a .MOV file can be used in both the Macintosh and Windows platforms.
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AVI: AVI is the highest quality file format available because it usually isn’t compressed, although some AVI codes compress the video file. This means that it takes up much more
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Part I: Getting Started with Adobe Photoshop CS5 disk space and is difficult to share over the Internet. It has the same capability to store tracks as the .MOV file format. It is the most commonly used file format in video-editing software in Windows. l
MPG/MPEG: The MPG file format is the native format for DVDs and most movies that you see on the Internet. The quality can range from very good (MPEG-2) to fast and easy to post (MPEG-4).
Note To play video in Photoshop, you must have QuickTime 7 installed on your computer. You can get a free QuickTime download from apple.com/quicktime. n
3D files By adding 3D extensions, Photoshop has expanded the file formats that it supports for 3D editing. Photoshop supports these 3D file formats: l
3ds: 3ds is a file format used by 3D Studio Max, the most widely used 3D application. It has become so much the industry standard that most 3D modeling programs of whatever type export their files in this format.
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OBJ: The OBJ file format is also a widely used industry standard. The 3D models that come with the Photoshop bonus content are .obj files.
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COLLADA: This is the file format used by the video gaming industry. It was originally developed to facilitate transporting digital content from one creation tool to another. COLLADA is also a widely supported file format.
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U3D: The Universal 3D file format allows users to share 3D graphics with other users who don’t have the 3D modeling program used to design the image. Like .jpg or .tif files, these files are working toward being universally available to most image viewers.
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KMZ: The KMZ format was discussed earlier with image file formats; however, it also provides information about the 3D geography that you see when you explore Google Earth.
DICOM files A DICOM (Digital Imaging and Communications in Medicine) file is a medical image or series of images created when you have a sonogram, CT scan, MRI, or any number of procedures that take an image of the inside of your body. DICOM files are used to analyze and diagnose problem inside the body visually without doing exploratory surgery. Photoshop gives you the ability to open and work with DICOM files. Using Photoshop’s powerful level and tone adjustments, a trained technician can adjust images so they can more easily see problems. Photoshop also has the ability to animate a series of DICOM files by sequencing them. For example, if you have several images at timed intervals of a heart beating, Photoshop can turn the images into an animated movie.
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Chapter 3: Image Basics
Creating and Opening Images The purpose of this section is to give you a quick overview of how to create and open images in Photoshop. These are the very basic operations that you need to understand before you can move onto editing. The following sections give a brief overview of creating new images, opening existing images, and saving images in Photoshop.
Creating a new image To create a new image in Photoshop, select File ➪ New from the main menu to bring up the New dialog box, shown in Figure 3.2. When creating a new image, you need to tell Photoshop how big the image should be, how much resolution the image should have, and what color mode to use. The following settings are configurable in the New dialog box when you are creating a new image in Photoshop: l
Name: This setting lets you specify a name for the file. Typically, you want to use a descriptive name so you can easily locate the document in the file system later.
Tip When you are copying from another document or application into a new file in Photoshop, copy the data to the clipboard first and then create the new document in Photoshop using the Clipboard preset. This creates the new document automatically to the exact size of the contents of the clipboard, avoiding the need to clip the data later. n l
Preset: This setting provides a drop-down list of preset sizes for the image. The default is Clipboard, which defaults to the size of any image data contained inside the clipboard. You also can choose the default Photoshop size (5x7 inches), U.S. and international paper sizes, standard photo sizes, film and video sizes, standard Web sizes, and mobile device sizes. You also can select other open images to create a new image that is the same size, which is helpful if you are using the new image to work as a composite with an existing image.
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Size: This setting allows you to select a size from the drop-down list based on the preset setting that you selected. For example, if you selected Photo in preset, the list contains the standard photo sizes such as 5x7 and 8x10. If you select the Clipboard, default Photoshop, or the Custom preset, this option is not active.
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Width: This setting lets you specify the width and the units to set the width of the new image. The available units are pixels, inches, cm, mm, points, picas, and columns.
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Height: This setting lets you specify the height and the units to set the height of the new image. The available units are pixels, inches, cm, mm, points, and picas.
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Resolution: This setting lets you specify resolution and the units to set the resolution of the image. The available units are pixels/inch and pixels/cm.
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Color Mode: This setting lets you specify the color mode and number of channels to use when creating the image. Color mode and bit level are discussed in more detail in Chapter 4.
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Background Contents: This setting specifies the contents of the background of the new image. The options are White, Background Color, and Transparent. If Background Color is selected, the color of the background in the Photoshop toolbox is used as the background for the image.
FIGURE 3.2
Setting the options while creating a new image in Photoshop
Opening an existing image The first thing you typically want to do in Photoshop is open a file for editing, because Photoshop isn’t worth much without an image file loaded. To open a file in Photoshop, select File ➪ Open from the main menu. Then use the Open dialog box, shown in Figure 3.3, to navigate to the location where the file is located. If you have lots of files in the location where you are trying to open the file, it may be difficult to find the one that you want to open. You can narrow the view by selecting the file type of the image you want to open using the Files of type drop-down menu. When you select a specific file type, only files of that type are displayed.
Tip In Figure 3.3 the thumbnails of the images are displayed to make selecting the desired file easier. You can view the thumbnails in Windows explorer by using Alt+V and selecting Medium icons, Large icons, or Extra large icons from the drop-down menu. n
You also can narrow the search by typing in the File name field. A drop-down list of files is displayed based on the name you are typing. As you type more characters, the list gets smaller until you can easily select the file you want. When you click the Open button, the image is opened in Photoshop, ready to edit.
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Chapter 3: Image Basics FIGURE 3.3
Opening an existing image in Photoshop
Opening an existing image as a specific file type The first section of this chapter discussed the different types of files in Photoshop. Some are better than others, and you probably have a preference. Photoshop has a useful feature if you are opening a file in a different format that you want to use when editing. The Open As feature lets you open a file in a different format than it currently exists in on disk. This saves you the trouble of opening the file and then saving it as the format that you really want to use. To open a file as a different format than it currently is, select File ➪ Open As from the main menu in Photoshop to bring up the Open As dialog box, shown in Figure 3.4. Navigate the file system to find the image, and select the file format you want to use when editing the image using the Open As drop-down menu. You cannot filter the list based on file type in the Open As dialog box; however, you can still filter based on filename. When you click the Open button, the image is opened in the format you specified, ready to edit.
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FIGURE 3.4
Opening an existing image as a specific file format in Photoshop
Saving an image When modifying images in Photoshop, any work you have done is lost if you do not save the changes to the file. Photoshop provides two options to save work you have done on a file: Save and Save As. The Save option simply saves the changes you have made to the file back to the original file format and filename. The Save As option allows you to save the changes to a new file format and filename.
Tip If you are planning to use an image more than once, you should always save a copy of the original first and then work on that copy. Each time an image is edited and saved, some of the original data is changed or lost. Working on copies instead of the original ensures that each time you start again, you have the best source data in the image to work from. n
For the most part, the Save option is used to save permanent changes while you are editing the document. The Save As option is used if you want to save a copy of the file to keep the original image contents, change the file format of the image, or specify additional data to preserve. To save the changes made to an existing document in Photoshop, select File ➪ Save from the main menu. Some file formats launch a dialog box with options for that file format; however, most often the file is saved immediately and you can continue working.
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Chapter 3: Image Basics To save a copy of the file, change the file format, change the filename, or specify other options, select File ➪ Save As from the main menu to launch the Save As dialog box, shown in Figure 3.5. From the Save As dialog box, you can specify the following options when saving files: l
File name: This option lets you set the name under which the file is stored on disk. Typically, you want to specify a descriptive name that identifies the file easily.
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Format: This option lets you set the file format to use when saving the file to disk. This option defaults to the current format of the existing file.
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As a Copy: When this option is selected, the filename is modified to include the word copy at the end.
Note Normally, when you use the Save As option, the old file is closed and the newly saved file becomes the working document. However, when the As a Copy option is selected, the copy is saved, but the current working document is still the original instead of the copy. n l
Alpha Channels: When the Alpha Channels option is selected, the alpha channel data also is saved in the image. This option is available only if the image contains alpha channel data and the selected file format supports alpha channel data—for example, PSD, TIFF, PDF, and GIF.
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Layers: When the Layers option is selected, the layers data also is saved in the image. This option is available if the image contains layer data and the selected file format supports layer data—for example, PSD, TIFF, and PDF.
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Notes: When the Notes option is selected, the notes data also is saved in the image. This option is available only if notes have been added to the image and the selected file format supports notes data.
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Spot Colors: When the Spot Colors option is selected, the spot color data also is saved in the image. This option is available only if the image contains spot colors and the selected file format supports spot color data—for example, PSD, TIFF, PDF, and EPS (DCS 2.0).
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Use Proof Setup: The Use Proof Setup option is available if you configure the current view’s proof setup using View ➪ Proof Setup from the main menu, View ➪ Proof Colors has been selected, and the selected file format supports converting to proof colors—for example, EPS files.
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ICC Profile: When this option is selected, the configured ICC profile data is embedded in the image. This option is available only if the selected file format supports embedding ICC data.
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Thumbnail: This specifies whether a thumbnail version of the image is embedded in the file’s metadata. This option is available only on files that can have a thumbnail embedded.
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Use Lower Case Extension: This specifies whether to use lowercase or uppercase letters for the file extension that defines the file format. Photoshop automatically appends the file extension onto the name you specify. This can be important if you are working with systems that are case sensitive. You can override this option by typing the extension yourself.
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FIGURE 3.5
Using the Save As dialog box to save changes made to an image in Photoshop
Resizing Files and Adjusting Resolution After you open the file in Photoshop, you are ready to begin editing it. Some of the first edits you want to perform are the resizing and resolution adjustments to make the image the size you want. This section discusses resolution and how it applies when you are resizing images.
Understanding resolution Resolution is the ability to discern details in an image. In Photoshop, resolution is measured in terms of pixels/inch or pixels/cm. In practice, an image with more pixels per inch has more detail. The biggest limitation of resolution is the medium on which the image is presented. For example, a typical computer monitor has a maximum resolution between 72 and 96 pixels/inch, which means that even if you have 1000 pixels/inch in an image, the detail cannot appear better than at 96 pixels/inch.
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Chapter 3: Image Basics Therefore, when setting the resolution of an image, you should understand resolution capabilities of the medium from which the image will be outputted. For example, an inkjet printer may be able to print 300–1200 dpi (dots/inch), so a file with a resolution of 1000 dots/inch prints more detail than an image that contains only 96 dots/inch. So why not just keep the resolution at the maximum? There are two reasons. First, the more resolution in the image, the larger the file is. If disk space is of concern, then reducing the resolution helps. Second, if you are using the image in an application or function that requires a specific resolution range such as a Web image, you need to change the resolution to match those requirements.
Tip It is a good practice to always maximize the resolution when editing an image until you are ready to output it. That way, all the editing is done with the maximum amount of detail. Also, if you plan to edit the image again, you should consider keeping a copy with the higher resolution. n
Changing the image size and resolution One of the most common editing functions applied to images is to change the size and resolution depending on the destination of the image. For example, if the image will be placed on a Web site, the size and resolution likely need to be less than an image being sent to a high-quality printer. This section discusses the relationship between size and resolution, how Photoshop creates the resized pixels, and how to make the adjustments in Photoshop.
Understanding the resolution and size relationship Ultimately, the digital size of an image is simply the number of pixels that are contained, and the dimension is simply the number of pixels wide by the number of pixels high. However, when you are outputting the image, size becomes tied directly to the resolution capability of the output device. For example, when you are viewing an image on a computer screen, the output dimensions of the image in inches is the number of pixels high/72dpi x the number of pixels wide/72dpi. However, when you are printing the image to a 1200dpi printer, the document’s output dimensions are the number of pixels high/1200dpi x the number of pixels wide/1200dpi, which is a much smaller image. Therefore, you need to know the intended output resolution and the desired dimensions on that medium to determine the output resolution and size to set in the image. Otherwise, you may end up with an image that is too large to view on a Web page or a printed image without enough resolution.
Tip You should leave the image as large as possible when you are editing until you are ready to finally output it. The more pixels Photoshop has to deal with, the better results you see when editing. If you need to downsize the image, wait until you have finished editing it. However, if you are upsizing the image, you should change the size before you edit it. n
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Part I: Getting Started with Adobe Photoshop CS5 Understanding Photoshop’s resizing algorithms An important concept that you need to understand when resizing images is what is happening with the pixels during the resize. When you reduce the size of an image by one-third, Photoshop has to take a block of 9x9 pixels and turn them into a block of 6x6 while displaying the same content. When you increase the size of an image by one-half, Photoshop has to take a block of 6x6 pixels and turn them into a block of 9x9 to display the same content. The point is that when resizing an image, Photoshop has to make an intelligent determination of how to combine pixels when reducing the image and how to represent the missing holes when increasing the size of an image. To do this, Photoshop uses complex algorithms to calculate what the resulting pixels in the new image should be. These algorithms are known as resample methods.
Note The algorithms that Photoshop uses to resize images are available as an option at the bottom of the Image Size dialog box that is opened when you select Image ➪ Image Size from the main menu. n
Photoshop provides five algorithms to resample images. Each algorithm has advantages over the others; however, each algorithm also produces slightly different results. The following list describes these algorithms and when to use them: l
Nearest Neighbor: This method is simplest and fastest for resizing an image. This option works by simply looking at the pixels surrounding the image and averaging them to create the pixel in the new image. It’s fast, but it produces the worst overall results, especially in images that have highly contrasting tones next to each other.
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Bilinear: This method uses a weighted average of the nearest pixels in the old image to determine the value of the pixel in the new image. This option is still fairly fast, but typically it provides much better results than the nearest neighbor method for both upsizing and downsizing images. The bilinear method is the best overall method to use.
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Bicubic: This method applies a convolution algorithm that uses a weighted set of numbers that are applied to the pixels in the old image to determine the value of the pixel in the new image. This option is not as fast the nearest neighbor or bilinear. However, the bicubic method typically preserves finer detail. A downside of the bicubic method is that it often results in ringing artifacts (a repeating pattern around edges where there is high contrast in the image—for example, white next to black).
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Bicubic Smoother: This is the same as the bicubic method, except that it applies a smoothing filter to the set of pixels at the same time to help smooth abrupt edges when enlarging an image. The bicubic smoother algorithm provides the best overall results when enlarging an image.
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Bicubic Sharper: This is the same as the bicubic method, except that it applies a sharpening filter to the set of pixels at the same time to help keep detail when shrinking an image. The bicubic smoother algorithm provides the best overall results when shrinking an image.
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Chapter 3: Image Basics Adjusting the image size and resolution To adjust the image size and resolution in Photoshop, select Image ➪ Image Size from the main menu to bring up the Image Size dialog box, shown in Figure 3.6. From the Image Size dialog box, you can set the following options: l
Pixel Dimension Width: When the Resample Image option is set, this option allows you to change the overall width of the image in terms of pixels. You can set the units to change the dimension based on pixel or percentage. If the Constrain Proportions option is set, when you change this value, the height dimension value also changes so the image maintains the original proportions.
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Pixel Dimension Height: When the Resample Image is set, this option allows you to change the overall height of the image in terms of pixels. You can set the units to change the dimension based on pixel or percentage. If the Constrain Proportions option is set, when you change this value, the width dimension value also changes so the image maintains the original proportions.
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Document Width: This allows you to change the actual document output width of the image in terms of percent, inches, cm, mm, points, picas, and columns. You can set the units used to define the new size by selecting it from the drop-down menu. If the Constrain Proportions option is set, when you change this value, the document height value also changes so the image maintains the original proportions.
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Document Height: This allows you to change the actual document output height of the image in terms of percent, inches, cm, mm, points, and picas. You can set the units used to define the new size by selecting it from the drop-down menu. If the Constrain Proportions option is set, when you change this value, the document width value also changes so the image maintains the original proportions.
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Resolution: This allows you to change the resolution of the image in terms of pixels/inch or pixels/cm. If the resample image option is set, the pixel dimensions change when adjusting this value. However, if the resample image is not selected, the document size changes when adjusting this value.
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Scale Styles: When the scale styles option is selected, any style effects that have been added to the image also are scaled. This is extremely useful if you want to apply effects before scaling an image.
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Constrain Proportions: When the Constrain Proportions option is selected, both the height and width value changes when changing either of them to maintain the document’s original proportions. This option applies to both the pixel dimension and document size values. When this option is unselected, you can change the height of the image without the width to apply distortion and elongation effects.
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Resample Image: When the Resample Image option is selected, Photoshop changes the actual pixels in the image to change the total size in pixels. When this option is not set, you are changing only the document size and resolution settings that are used when outputting the image.
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Resampling Method: This provides a drop-down list of resample methods to use when changing the number of pixels in the image. This option is available only when the Resample Image option is selected. You can select from the Nearest Neighbor, Bilinear, Bicubic, Bicubic Smoother, and Bicubic Sharper methods discussed earlier in this chapter.
Note The Bicubic methods are not available if you are working with a grayscale image. If you are planning on converting the final image to grayscale, you should change the size of the image first to use these options before converting the image to grayscale. n
FIGURE 3.6
Setting options to change the image size and resolution of an image
Changing the canvas size The previous section discussed how to change the size of an image. Photoshop also allows you to change the size of the canvas that contains the image. Changing the canvas size is different than changing the image size. Typically, the canvas size is the exact same size, so most people do not distinguish the two. Changing the canvas size allows you to either add pixels to an image or take pixels away from an image. Taking pixels away is basically the same as cropping, which is discussed in the next section. Adding pixels to an image file is useful for a variety of purposes. The most basic purpose is simply to add a border to the image. Increasing the size of the canvas naturally creates a border of pixels around the image.
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Chapter 3: Image Basics Another common reason for increasing the canvas size is to add crop marks for printing. Some printers require crop marks to crop your image precisely. Increasing the canvas size gives you the space to add crop marks to the image file. Increasing the size of the canvas does not alter the pixels of the existing image at all. Instead it simply adds pixels to the image file. To change the canvas size, select Image ➪ Canvas Size from the main menu in Photoshop to bring up the Canvas Size dialog box, shown in Figure 3.7. The Canvas Size dialog box allows you to set the following options when resizing the canvas: l
Width: Lets you specify the width in percent, pixels, inches, cm, mm, points, picas, and columns. If the Relative option is checked, the width is the actual border size; if the relative option is not checked, the width is the total width of the canvas.
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Height: Lets you specify the height in percent, pixels, inches, cm, mm, points, picas, and columns. If the Relative option is checked, the height is the actual border size; if the relative option is not checked, the height is the total height of the canvas.
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Relative: Lets you specify whether to set the width and height based on total canvas or relative to the image.
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Anchor: Lets you specify where to anchor the original image in the new canvas. You can select the top, bottom, one of the sides, or one of the corners. Typically, you want the image anchored in the center when adding a border to the document.
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Canvas extension color: Lets you choose the color of the new pixels added to the canvas. This defaults to the background color; however, it has presets for foreground, white, black, and gray. You also can select Custom to bring up a Color Picker to specify a different color.
FIGURE 3.7
Setting options to change the canvas size of an image
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Cropping and Straightening Images In addition to resizing images, you may want to use only a portion of an image and discard or crop the rest. Photoshop provides a great tool that allows you to quickly crop out the unwanted parts of your image. Using the same tool, you can straighten the cropping to fix problems such as a tilted camera. This section discusses some general guidelines that help when deciding how to crop images. You also learn how to use the Crop tool and the Trim utility included with Photoshop to crop and straighten images.
Guidelines for cropping a photo Photography is really an art form. A photo that is well composed is interesting to look at, leads the eye of the viewer to the subject, and doesn’t include any distracting elements. All these things can be improved by the right crop. Getting closer to your subject and cutting out background clutter are musts to a good crop, but knowing a few basic photography rules, such as the rule of thirds, helps you to crop your photo to the best advantage.
Get rid of background clutter A good reason to crop your photo is to get rid of distracting elements in the background. The subject should be the main focus of any image, and anything else in the image should complement the subject, lead your eye to the subject, and contribute to the “story” being told about the subject. Too many objects, distracting colors, or any other background that draws the eye away from the subject should be cropped out of your photo if possible.
Note Cropping is an obvious fix for a busy background, but you have other ways to reduce the impact of a background that can’t be cut out of a photo with the Crop tool. You can cut out your entire background using a Selection tool, you can blur the background, or you can convert the background to black and white. n
Preserving aspect ratio Before you pull out your Crop tool and start trimming away, you need to know what you are planning to do with your photo. If you might want to print your photo in more than one size, leave yourself plenty of workable area around the edges of your photo. Don’t create a custom crop size that’s so tight around your subject that you’ll go in later to create a 5x7 print and find that you can’t do it without cropping out part of your subject. Also be aware that standard print sizes such as 5x7 and 8x10 are different aspect ratios, so if you crop your photo to an 8x10 size, you’ll have to trim the edges to make the same photo a 5x7. If you are printing the same photo in multiple sizes, save the original photo, using it to crop each size, and then save each cropped photo individually.
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Chapter 3: Image Basics Rule of thirds The “rule of thirds” is a tried and true rule for making your photos visually pleasing, and it’s a very easy rule to follow. The essence of the rule of thirds is that the subject and the horizon in your photo should never divide your photo in half. Instead, they should divide the photo in thirds. Mentally divide your photo into thirds both horizontally and vertically. Ideally, the subject should be off-center in your photograph, directly in one of the intersections of your imaginary lines (power points), if possible. The horizon in your photo should run along the top or bottom line, rather than through the center. In Figure 3.8, for example, you can see that the boy in this photo is almost exactly centered. To improve the composition, I want to make a crop that places him over one-third and down one-third in the shot, as you can see in Figure 3.8. I managed to crop out a distracting background as well.
FIGURE 3.8
Cropping an image using the rule of thirds to improve the look
Of course, just like any good rule, this one is made to be broken. If your sky is the subject of your photo and much more interesting than the ground, go ahead and place the horizon line one-sixth the way up. The bottom line is that you are the ultimate judge of how your photos should be composed. If you like the way it looks, chances are good that others will too.
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Part I: Getting Started with Adobe Photoshop CS5 Give your subject somewhere to go If your subject is in motion or looking off the frame of the photo, make sure to leave room in your photo for them to move (or look) into. If the viewer of your photo feels like the subject may move out of view at any moment, it leaves them with a sense of unease. Everyone wants to feel like they are in on what happens next. I’ve cropped the photo in Figure 3.9 according the rule of thirds, so it should look great, right? Not at all. In fact, aren’t you just a little worried looking at him that the boy is about to lose his balance and fall down?
FIGURE 3.9
Image cropped that doesn’t give the subject somewhere to go
Closing in on your subject If you are taking portraits, a good rule of thumb is to close in as much as possible, even to the extent of trimming off the top of the head or the ears. If you want to follow the rule of thirds, use the eyes as the main subject. You can achieve a more engaging and personal photo, as you can see in Figure 3.10.
Don’t crop out the story A picture is worth a thousand words, so when you start cropping, make sure you aren’t taking out an important part of the story you want to tell. Close-ups are great, but not at the expense of an interesting environment. The cropped photo on the left of Figure 3.11 leaves the viewer wondering where these boys are and what they are doing. The wider view in the right of Figure 3.11 lets us in on the full story.
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FIGURE 3.10
Cropping an image to close in on the subject
FIGURE 3.11
Cropping an image too much takes the story element out of the photo.
Cropping an image Now that you have a good understanding about how and why to crop images, you are ready to do some cropping in Photoshop. You can crop images in Photoshop in a couple of different ways. The
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Part I: Getting Started with Adobe Photoshop CS5 most common method is using the Crop tool in the toolbox. However, you also can crop a selection, have Photoshop detect multiple scanned images, and crop them automatically. The following sections discuss using the Crop tool to crop your images as well as cropping using the Selection tools. Automatically cropping scanned images is covered in subsequent sections.
Using the Crop tool The Crop tool in Photoshop makes cropping your images easy and quick. To crop an image, simply select the Crop tool from the toolbox and drag the mouse across the area of the image that you want to keep to create a crop box, as shown in Figure 3.12. When you are finished selecting the area, double-click the mouse on the crop box to crop the image.
FIGURE 3.12
Cropping an image using the Crop tool in Photoshop Crop box
Although the Crop tool is simple and quick to use, it is actually pretty versatile. Additional options are provided in the Options menu of the Crop tool (refer to Figure 3.13). You have these options after the crop box is selected: l
Move the crop box: After you have created the crop box, you can use the mouse to adjust the position of the crop box in the image.
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Resize the crop box: You can adjust the size of the crop box by using the mouse to drag the corners of the crop box.
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Change the center point: Notice the center point icon in the middle of the crop box in Figure 3.12. You can drag that icon to set the center position in the cropped image. The
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Chapter 3: Image Basics cropped image won’t be the same size as the crop box if the center position is moved, however, because Photoshop must adjust the size to add enough pixels to adjust for the offset center. l
Crop Guide Overlay: A very useful feature of the Crop tool is to have grid lines that help you understand the balance of the area of the photo that you are keeping. The Crop Guide Overlay option in the Crop tool options menu shown in Figure 3.13 allows you to select a Grid, Rule of Thirds, or no overlay. The Grid overlay is useful to simply get a better idea of how the uncropped area of the photo will be spaced after cropping. The Rule of Thirds overlay helps you more easily crop to match the rule of thirds guideline.
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Shield Color and Opacity: Another useful feature in the Crop tool options menu is the Shield Color. The Shield Color allows you to cover the area of the image that is going to be cropped with a partially transparent color. This helps you understand what is being clipped out and what is being kept. You can set the overlay color and adjust the opacity to give you the best overall view. Typically, you want enough of the background to show through so you can see what is being removed; however, the less of the background that shows through, the easier it is to see what the results of the crop will be.
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Perspective: The Perspective option in the Crop tool options menu allows you to change the perspective of the crop. This is done by selecting the Perspective option and then dragging one or more of the corners of the crop box. The crop box is no longer resized in a uniform manner. Each of the corners moves independently. This results in a skewed box. Keep in mind that the crop still results in a rectangular image. Photoshop calculates that adjusted positioning and changes the perspective of the pixels. To understand the perspective option a bit better, look at the perspective transform discussed in Chapter 19 of this book.
Tip When changing the position of the crop box, you can use the arrow keys to move the box one pixel at a time. This allows you to make very small adjustments that are difficult to do with a mouse. n
FIGURE 3.13
The options menu of the Crop tool in Photoshop
Cropping using the Selection tools Another method of cropping images in Photoshop is to create a selection using the Selection tools and then selecting Image ➪ Crop from the main menu. This crops everything outside a rectangle around the selected area. Cropping an image using a selection has some advantages over using the Crop tool. The Crop tool is limited in shape to a simple rectangle, whereas the Selection tools can quickly select objects of any shape. You can then crop the image to fit only the selected object. Another
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Part I: Getting Started with Adobe Photoshop CS5 advantage is that you can do several different operations while a selection is highlighted that you cannot do while a crop is highlighted. You do not have the same cropping options available when cropping using a selection. Also, even though the selection is not rectangular, the crop is. Typically, the Crop tool is the best option when you are planning to crop an area of an image. The ability to crop around a selection provides an alternative option for times when you already have an area selected that fits the area that you would like to crop.
Straightening an image One of the most common editing tasks when working with images is straightening. Photos taken when the camera was slightly angled, or even on its side, do not look quite right. Photoshop provides several different methods to straighten images that are slightly off. Photoshop provides three basic methods for straightening images. One is to simply rotate the image by a specific angle, another is to rotate the image while you are cropping it, and another is to use the Crop and Straightening utility to batch straighten scanned photos.
Rotating and flipping images The easiest way to rotate an image in Photoshop is to select Image ➪ Image Rotation and then select one of the following options from the pop-up menu shown in Figure 3.14: l
180 degrees: Rotates the image around the center axis 180 degrees.
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90 degrees CW: Rotates the image around the center axis 90 degrees clockwise.
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90 degrees CCW: Rotates the image around the center axis 90 degrees counter-clockwise.
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Arbitrary: Launches the Rotate Canvas dialog box that allows you to select an angle to rotate the image as well as whether to rotate the image clockwise or counterclockwise. The image size is increased to keep the full original pixels in the rotated version, and any new space that must be added is added as the background color.
Note When you rotate an image 180 degrees, the dimensions and pixels do not change. When you rotate an image 90 degrees, the dimensions swap places but the pixels do not change. However, when you rotate an image at an arbitrary angle, the dimensions of the image increase to keep the corners of the rotated image. More importantly, the actual pixels of the original photo are altered slightly because they are no longer aligned in the same direction as they were. Therefore, some data is lost and you may end up with some residual artifacts. You should avoid rotating images several times, because each time leads to more distortion. n l
Flip Canvas Horizontal: This flips the entire canvas on its back in the horizontal direction. It results in a mirrored image of the original. This is similar to taking a transparent sheet and flipping it over from left to right.
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Flip Canvas Vertical: This flips the entire canvas on its back in the vertical direction. It results in a mirrored image of the original. This is similar to taking a transparent sheet and flipping it over from top to bottom.
FIGURE 3.14
Using the Image Rotation menu to rotate images in Photoshop
Rotating while cropping Another option is to rotate the image at the same time you are cropping it using the Crop tool. This has the advantage of not creating any additional background pixels to accommodate space that was not in the original image because the cropping will be rectangular. As discussed earlier, you can crop an image by selecting the Crop tool from the toolbox and then select an area in the image to crop. In addition to the other options that were discussed, you can rotate the crop box by moving the mouse over the crop box until the rotation curser shown in Figure 3.15 is displayed. Then click the left mouse button and drag to rotate and straighten the image. When you rotate the crop box, it rotates around the center point icon. You can adjust the center point to get a better angle when rotating the crop.
Tip When using the Crop tool to straighten an image, you should turn on the grid lines in the Crop Guide Overlay and use them to align the rotated crop box with an element of the image that should be either horizontal or vertical, such as a water line or a building. n
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FIGURE 3.15
Selecting the rotation cursor around a crop box to rotate an image in Photoshop
Rotation cursor
Using the Crop and Straighten tool One of the most common things that Photoshop is used for is retouching old photos. Often these photos are scanned in batches on a flatbed scanner. One of the biggest problems is that the photos move around a bit and so they are not aligned very well in the final scan. Another problem is that each scanned image contains several photos when what you really want are individual photos. Photoshop provides the Crop and Straighten tool to solve both of these problems. The Crop and Straighten tool analyzes the image and looks for whitespace around the images. Then it copies the individual photos in the original image into new documents. The results are a set of new files, each containing only a single photo that is correctly rotated. To use the Crop and Straighten tool, open the image that contains the scan of multiple photos, similar to the one in Figure 3.16. Then select File ➪ Automate ➪ Crop and Straighten Photos from the main menu in Photoshop. You see a progress bar while Photoshop is analyzing the data in the image, and then some documents open containing the individual cropped and straightened photos from the original, as shown in Figure 3.16.
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FIGURE 3.16
Using the Crop and Straighten tool to automatically detect, crop, and straighten a series of photos contained in a single scan
Tip The Crop and Straighten tool can also be used even if there is only one photo in an image, as long as there is enough of a border around the photo that Photoshop can detect the edges. n
Using the Ruler tool An excellent tool for straightening images is the Ruler tool. Using the Ruler tool you can draw a line on the image and then click on the Straighten button in the options menu, shown in Figure 3.17, to straighten the image based on the angle of the ruler line. The image will be straightened vertically or horizontally to match the angle of the line. If the line drawn with the Ruler tool is exactly vertical or horizontal then no change is made. The Straighten option of the Ruler tool works best on images that have a reference plane such as the side of a building or a horizon that should be exactly vertical or horizontal. Figure 3.17 shows an example of using the ruler to straighten a seascape image. Notice that the horizon in the original is crooked, making the image look odd. A line is drawn with the ruler tool and then when the Straighten button is clicked the horizon now matches the horizontal plane of the image.
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FIGURE 3.17
Using the straighten option in the Ruler tool options, you can quickly straighten an image based on the line drawn with the Ruler tool. Ruler line
Straighten button
On the Web Site The image shown in Figure 3.17 can be found on this book’s Web site as Figure 3-17.jpg. You can open it in Photoshop and use the Ruler tool to straighten the horizon. n
Trimming a border The Trim utility provided with Photoshop allows you to quickly trim off the border around an image. This can be useful tool when you are working with scans of older photos that contain borders, a screen shot of an image that contains a border, or a document that has empty space around the outside. The Trim utility detects the border based on a specific color or blank pixels and then trims the edges of the document based on that color. The Trim utility allows you to specify whether to use transparent pixels, the color of the pixel in the top-left corner, or the color of the pixel in the bottom-right corner of the image to trim the edges. You also can specify which of the top, bottom, left, and right edges of the border are removed. To use the Trim utility to trim the border around an image, select Image ➪ Trim from the main menu to launch the Trim dialog box, shown in Figure 3.18. Then specify the options and click the OK button to trim the image.
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FIGURE 3.18
Using the Trim utility to trim the border of an image
Summary This chapter discussed the basics about image and view files. Some file formats offer advantages over others depending on the purpose for which you are using them. Although you likely will use the Photoshop format for most of your editing, you probably will gravitate to one of the main file types such as TIFF or JPEG for saving the edited images. Resolution and size have a relationship based on the desired output location of the images. Using the Canvas Size tool, you can add additional area to an image without changing any of the existing pixels in the image. This chapter also discussed how to crop, straighten, rotate, and trim images. You can use the Crop tool to crop and straighten images. You also can straighten and rotate images using the options in the Rotate Image menu. In this chapter, you learned the following: l
The different file formats for images, video, and 3D objects that Photoshop is capable of supporting, what they are for, and when to use them
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Opening, resizing, and adjusting the resolution of images
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Using the Image Size tool to set the size and resolution of the image to match the destination
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Guidelines to use when cropping images
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Using the Crop and Straighten utility to detect borders, crop them, and straighten photos, all at the same time
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CHAPTER
Understanding Colors, Histograms, Levels, and Curves
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olor is the basic element for everything that you do with images. The purpose of this chapter is to help you understand how Photoshop perceives color so you can use the tools in subsequent chapters more effectively. Photoshop provides some very powerful tools to analyze, adjust, and select colors in your images. This chapter discusses using the histogram to understand the color composition in an image. Understanding the histogram is a basic necessity to make the most out of tools such as the Levels and Curves adjustments. Another important aspect of this chapter is discussing the color modes provided in Photoshop and how to select colors based on those color modes. The color modes give you an insight into how Photoshop perceives color and consequently how to make the most out of the editing tools provided.
IN THIS CHAPTER Understanding color and how Photoshop uses it Understanding how to use histograms to analyze colors Using the Curves tool to adjust tones Selecting a color mode for an image Selecting colors in Photoshop
Color Basics Color is the basic element of all images. The purpose of this section is to discuss the nature of color in relation to the human eye to give you a good foundation to work from. Understanding color helps you make better adjustments and corrections to your images. Also, because Photoshop gives you the option of working in several different color models, understanding color helps you choose the best color model.
What is color? They human eye can detect millions of different colors, but really, what are those colors made of? Put simply, color is made of light. Light travels in a
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Part I: Getting Started with Adobe Photoshop CS5 series of waves. Visible light is made of waves traveling between a specific set of wavelengths. White light is light that contains waves of all frequencies and therefore contains all colors. The human eye can distinguish the different wavelengths of the light waves. The wavelength of each light wave determines the color that the eye detects. For example, light waves with frequencies on the low end of the visible light spectrum are interpreted as blue, and light waves with frequencies on the high end of the visible light spectrum are interpreted as red. When the eye looks at an object, it is detecting the light that is reflecting off the object. Depending on the nature of the surface of the object, some of the frequencies are absorbed by the surface of the object and some are reflected into the eye, producing the colors we see.
Color, intensity, and the human eye The eye detects color in light waves through tiny receptor cells in the retina called cones. Light stimulates these receptor cells, and they transfer the data to the brain. Of the three groups of cones, some are sensitive to the higher frequencies, some to the lower frequencies, and some to the middle frequencies of light. Therefore, no matter how complex the composition of wavelengths in the light that the eye is receiving, the color is broken down into three basic components by the eye. This is important as we discuss topics such as channels, histograms, and color management throughout the book. Another attribute of light that affects the colors we see is the intensity. Intensity is the strength of the light reaching the eye. Basically, brighter light carries more intensity than does dimmer light. Because the cones in the eye are stimulated by the light waves, less intense waves stimulate them less, resulting in a limited amount of data being collected. This limits the number of shades of a color that the eye can discern. Understanding this helps you when you are making adjustments and correcting photos. The eye overcomes dim lighting by using additional receptor cells called rods. In bright light, the rods perform almost no function; however, in dim light, the rods transfer additional data to the brain. The data from the rods is colorless, however, which is why we don’t see much color in very low lighting. This also is why indoor photos taken with a flash appear much better than those taken without a flash.
Note The cones in the eye are most sensitive to colors on the upper end of the visible light spectrum. Therefore, colors such as red, green, and yellow are affected less by reducing the intensity than colors such as blue and purple. n
Understanding Channels and Levels Photoshop applies the concepts of digital color in a way similar to the way our eyes work. Digital color is divided into channels and levels. A channel represents a specific color, and a level represents the intensity of that color. Using combinations of different levels of channels, Photoshop can represent millions of colors.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves To illustrate this better, let’s look at how some colors are represented in Photoshop using the RGB color mode (discussed later in this chapter). Using the RGB color mode, all colors are divided into three channels—red, green, and blue, hence RGB. Each channel has an intensity level range of 0 to 255, where 0 is none of the color and 255 is full intensity of the color. Using the RGB color model, the color red is represented as 255 in the red channel, 0 in the blue, and 0 in the green. Similarly, green is represented as 255 in the green channel and 0 in the other two. Yellow is represented as a combination of the red and green channels at 255 and the blue channel at 0. To get black, all channels are set to 0; to get white, all channels are set to 255. In this way, all colors can be represented as a combination of different levels of the red, blue, and green channels.
Tip Often, when working with multiple images, images on multiple computers, or in different applications, you need to make certain you use the same color in all places. If you note the level value in each channel, you can easily reproduce the same color, no matter where you are working. For example, you may be working in RGB mode and need to create specific color of blue where the red channel has a level of 26, the green channel has a level of 74, and the blue channel has a value of 158. n
Each of the different color modes utilizes different color channels. However, all color modes use the concept of varying levels of each channel to represent different colors or tones. Photoshop provides several tools that use the concept of channels and levels to adjust images and apply special effects. Understanding how channels and levels represent color helps you utilize those tools in a much broader scope.
Adjusting with Histograms One of the most useful tools Photoshop provides when adjusting colors and tones in your images is the histogram. Using histograms, you can visually see the composition levels in one or more channels. At first histograms may seem a bit daunting to understand; however, after you understand what is being represented, your Photoshop life will never be the same. In this section, we discuss what histograms are and how to use the histogram tools provided in several areas of Photoshop to quickly adjust the levels of channels.
Understanding histograms At first glance, a histogram looks like the silhouette of a mountain range, as shown in Figure 4.1. A histogram is really just a vertical bar chart. The chart is constructed by looking at each pixel in the image and counting the number of pixels that contain a value of 0 for that channel, then the value of 1, and so forth up to the value of 255. Using the bar chart, histograms show how the levels of each channel are distributed in the image. So what does this mean? It means that you have a visual representation of the color and intensity distributing in your image.
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FIGURE 4.1
A histogram of the RGB levels of an image in Photoshop
You can interpret the visual data in the histograms in many ways to understand the composition of colors and light in an image to help you make the most out of Photoshop’s adjustment tools. To illustrate this, the following sections cover how to use histograms to determine the exposure and color balance in an image.
Determining overexposure and underexposure in an image One of the most useful features of a histogram is the ability to quickly determine how overexposed or underexposed an image is. Some photos are obviously overexposed or underexposed, and others just don’t quite look good due to overexposure or underexposure, but it is difficult to tell by just looking at an image. Using histograms helps you quickly tell if an image is overexposed or underexposed.
Tip When adjusting color, contrast, levels, and tone of an image, first check to see if the image is overexposed or underexposed. You want to adjust the exposure first as discussed in Chapter 9. n
Images that are overexposed have mostly higher levels for all channels and almost no lower levels because more light was recorded in the image. Therefore, the histogram looks like a mountain on the right and not much on the left. Figure 4.2 shows an example of an image that has been overexposed. Notice that most of the data in the image falls to the higher end of the histogram.
FIGURE 4.2
A histogram of the RGB levels of an overexposed image in Photoshop
Images that are underexposed have mostly lower levels for all channels and almost no higher levels because not enough light reached the image. Therefore, the histogram looks like a mountain on the
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left side instead of the right. Figure 4.3 shows an example of an image that has been underexposed. Notice that most of the data in the image falls to the lower end of the histogram.
FIGURE 4.3
A histogram of the RGB levels of an underexposed image in Photoshop
Determining color balance in an image Histograms allow you to ascertain the color balance in an image. Understanding the color balance helps when you are trying to correct color and tonal issues in images. For example, if you look at the histograms of an image that should be balanced and see that the image has a disproportionate amount of red, you can easily adjust the red. The best way to determine color balance in an image is to look at the histograms of each color channel individually. Viewing the histograms of each channel shows how much of that color is present in the image compared to the other color channels as well as a distribution of the levels of each channel.
Note When viewing the color channel histograms of an image, keep in mind what colors should be present. For example, if you are working with an RGB image of a boat on the ocean with a blue sky background, you should see lots of blue, but not much green, and almost no red. However, if the image contains people, with green trees in the background and a blue sky, then there should be a fairly even distribution of red, green, and blue. n
Figure 4.4 shows the channel histograms of an RGB image. Notice that the red channel has almost no values, and the values that are present are in the lower levels. Conversely, the green channel contains lots of data and is fairly distributed. The blue channel contains a moderate amount of data but is definitely skewed to the lower levels. Obviously, the color levels in this image are not balanced, but what does that mean? Well, if the image is of a green plant, then it just means that the image contains much more green than any other color. However, if the image is a snapshot of a person’s face, then it means that their skin tone is severely out of whack, and you’ve got your work cut out trying to fix it because you need red to get the pink back in the cheeks.
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FIGURE 4.4
The color levels histograms of an RGB image in Photoshop
Using the Histogram panel In the previous sections, we discussed the importance of using histograms in understanding the composition of light and color in an image. Photoshop provides a Histogram panel that helps you quickly view the important histograms of an image. Using the Histogram panel, you can view the histograms of each of the channels, all channels together, colors, and luminosity. You also can use the histogram tool to view histograms of specific layers. In addition to the histograms, the Histogram panel can show you numerical statistics about the level composition of each histogram.
Tip When you are making adjustments or corrections that have to do with color, hue, tone, contrast, and so on, view the Histogram panel for the image. Look at the overall histogram to check for overexposure/underexposure. Also, look at the individual channels to verify that the color balance is what you would expect for that image. n
The Histogram panel, shown in Figure 4.5, is launched by selecting Window ➪ Histogram from the main menu in Photoshop. The following sections discuss how to configure and use the Histogram panel to view histograms and statistics.
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FIGURE 4.5
The Histogram panel in Photoshop
Setting Histogram panel options The Histogram panel provides several views that can be set by selecting the menu icon shown in Figure 4.5. The following settings in the Histogram panel menu allow you to configure what information is shown in the Histogram panel: l
Compact view: The compact view, shown on the left in Figure 4.6, shows only the histogram image of the current channel. This view is handy if you just want to dock the histogram with several other panels to view changes as you adjust the image.
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Expanded view: The expanded view, shown in the center in Figure 4.6, shows the histogram image of the current channel but also provides the option to select different channels and sources for the histogram. It also displays the statistics if the Show Statistics option is selected.
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All channels view: The all channels view, shown on the right in Figure 4.6, shows the histograms of all channels in addition to everything that the expanded view shows.
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Show statistics: The show statistics setting toggles the statistics on and off in the expanded and all channels views.
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Show channels in color: The show channels in color option toggles the color view of channels on and off. When selected, the histograms of individual channels are displayed in the channel color. This is useful if you are viewing a specific channel, because it is easy to distinguish which channel it is.
Selecting channels The Channel menu, shown in Figure 4.7, allows you to select a specific channel to view. The channel that is selected is displayed in the compact and expanded views and at the top of the all channels view. Also, the statistics are based on the channel that is selected.
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FIGURE 4.6
The compact, expanded, and all channels views of the Histogram panel in Photoshop
Note What channels are available in the Channel drop-down list depends on the color mode of the current image. For example, if the color mode is RGB, then the channels available are Red, Green, and Blue; if the color mode is CYMK, then the channels are Cyan, Magenta, Yellow, and Black. n
FIGURE 4.7
The Channel menu in the Histogram panel of Photoshop
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves The following channels are available in the Histogram panel: l
All Channels: At the top of the list in the channels menu is the option to select all the channels for the color mode. For example, if you are using RGB, the top item is RGB and it selects all channels to use for the histogram views and statistics.
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Single Channel: In addition to all channels, each individual channel is listed in the channels list.
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Luminosity: Selecting the luminosity channel calculates the histogram and statistics based on how much general light is coming from a composite of all channels. This is useful in determining the overexposure/underexposure.
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Colors: Selecting the colors channel displays a histogram that is a composite of all color channels as well as the overlapping colors they generate. This is useful in seeing the general color composition in the image.
Selecting a source The Histogram panel allows you to select different sources to calculate the histograms from. Selecting one of the following options from the Source menu gives you the ability to view a histogram from any layer or adjustment layer or for the entire image:
Note The image must have more than one layer or adjustment layer to use the Source menu to select alternate sources. n l
Entire Image: This calculates the histogram based on a composite of all layers. Basically, this is the histogram of the image if you flatten out all your changes.
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Selected Layer: This calculates the histogram based on the selected layer in the Layer panel. You use this to calculate histograms on only a single layer.
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Adjustment Composite: This calculates the histogram based on the adjustments made in the selected adjustment layer and all layers below it. This is useful to understand the adjustments you have made to an image in graphical form.
Tip When combining elements from multiple images, add the selection from one image as a layer in the second. Then you can use the selected layer option in the source menu of the Histogram panel to compare the histograms of each different layer to see how well the colors match up. Making the histograms match better helps the composite image look better. n
Understanding statistics The statistics data in the Histogram panel, shown in Figure 4.8, displays the numerical values that are represented in the histogram image as well as some additional items. Most people would never need to use the statistics because image editing is really more of an art than a science. However, having specific numerical data about the histograms can be useful if you are tightly comparing images.
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Tip Many of the statistics change to match the level under the mouse cursor as you move the mouse over the image. n
FIGURE 4.8
The statistics data in the Histogram panel Mouse cursor
Statistics data
The following statistics are available from the statistics view in the Histogram panel: l
Mean: This represents the average level for the selected channel.
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Standard Deviation: This represents the variability of the selected channel—in other words, how varied in intensity levels the color in the selected channel is.
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Median: This shows the exact middle value of the intensity levels for the channel. In other words, if you took the pixels that are more intense and placed them on one side of a scale and the pixels that are less intense on the other side of the scale, they would be evenly balanced.
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Pixels: This shows the number of pixels in the selected channel. This can be useful to see how much data is contained in a specific layer—if you create a selection mask as a layer, for example.
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Level: This shows the intensity level value directly under the mouse pointer when the mouse is over the histogram.
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Count: This shows the total number of pixels that contain a level of intensity equal to the level under the mouse cursor.
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Percentile: This displays the percentage of pixels with intensity levels that are at or below the level under the mouse cursor. The percentage is calculated based on a percentage of all pixels in the image, so the level to the farthest left is 0% and the level to the farthest right is 100%.
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Cache Level: This displays the setting for current cache level if the Use Cache for Histograms is selected in the Preferences dialog box.
Adjusting images with the histogram tools Some Photoshop tools provide histogram tools to help you better see how to adjust and correct images. Although we cover using the tools, such as the levels adjustments, in subsequent chapters, you need to know generally how they work. The tools that Photoshop provides all have the same basic components. As an example, look at the Levels tool in Figure 4.9. The input levels are represented as a histogram. Below the histogram view are three triangular control handles that allow you to easily adjust the input levels of the channel in the image. To the right of the histogram are three eyedropper tools that allow you to select dark, light, and midtone points in the image to quickly adjust the input levels of the channel. The following sections discuss briefly how to use these tools. We discuss the tools in more detail in subsequent chapters as we get into correcting and adjusting images.
FIGURE 4.9
The Levels tool showing the histogram utility that Photoshop provides in several different tools
Control handles
Using the handles to adjust the histogram The dark handle on the left controls the minimum level for the channel, the white handle on the right controls the maximum level for the channel, and the middle gray handle controls the balance of middle tones between the high and low levels.
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Part I: Getting Started with Adobe Photoshop CS5 So what do the histogram controls really do? To help clarify, notice that most of the level values in the histogram shown in Figure 4.10 are located in the center levels. That means a relatively small number of tones are represented in the image, about 75 out of 255. The result typically is a washed-out image with very little detail. Now move the left control over to the right until it is on the left side of the histogram mountain, and move the control on the right to the left until it is on the right side of the histogram mountain, as shown in Figure 4.10.
On the Web Site A file with a histogram similar to the one in the image shown in Figure 4.10 can be found on this book’s Web site as Figure 4-10.tif. You can open it in Photoshop. Try adjusting the levels and see how changing the histogram works and the results in the image. n
Notice the values of the Histogram panel are distributed more evenly between 0 and 255. This means a greater range of tones is represented in the image because it includes values ranging between 0 and 255 instead of just a range between about 100 and 175. The tonal range of the entire image has been extended, providing much more detail with the simple adjustment of the two sliders.
FIGURE 4.10
Adjusting the minimum and maximum levels on the Levels tool to match more closely with the actual data in the image
The middle slider simply adjusts the balance of the midtone levels in the histogram. When the histogram is weighted heavily to one side or the other, the middle adjustment handle can be moved toward that side to balance midtones represented in the image. For example, the Levels tool shown in Figure 4.11 is weighted heavily to the left, which means that all the data for the image is in the darker end of the levels. Move the midtone handle to the left toward the middle of the histogram mountain. Notice that the histogram mountain moves to the right to balance on the new location of the midtone slider.
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On the Web Site A file with a histogram similar to the one in the image shown in Figure 4.11 can be found on this book’s Web site as Figure 4-11.tif. You can open it in Photoshop. Try adjusting the levels and see how changing the histogram works and the results in the image. n
FIGURE 4.11
Adjusting the midtone levels on the Levels tool to change the midtone levels balance in an image
Using the eyedroppers to adjust the histogram The Eyedropper tools allow you to adjust the levels of a channel by selecting three points in the image. The eyedropper on the left sets the minimum level for the channel, the eyedropper handle on the right sets the maximum level for the channel, and the middle eyedropper controls the balance of middle tones for the channel between the high and low levels. The eyedroppers work similarly to the control handles except that instead of selecting a specific level for the dark, light, and midtones, you can select pixels directly in the image. To use the eyedroppers, simply click the left Eyedropper tool and select a pixel that should appear black in the image. Then click the right Eyedropper tool, and select a pixel that should appear white in the image. Finally click the middle Eyedropper tool, and select a pixel that should match the midtone for the color channel selected. In the case of all channels, select a pixel that should appear gray in the image.
Tip The eyedroppers are fast and extremely accurate if there are items in the image that should appear black, white, and gray in the image. If you are not certain of the colors of the pixels, use the control handles instead of the eyedroppers. n
Adjusting levels with the Curves tool Another tool that Photoshop provides to help you better see how to adjust and correct images is the Curves tool, available by selecting Image ➪ Adjustments ➪ Curves from the main menu in Photoshop. The Curves tool is one of the most difficult tools to quickly grasp, so it has become one of the most avoided tools in Photoshop. However, after you learn how to use it, a whole new world of color correction opens up.
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Part I: Getting Started with Adobe Photoshop CS5 While the Histogram tool allows you to change the light, dark, and midtone values for the histogram, the Curves tool allows you to apply a complex curve equation to the histogram, giving you unlimited control of the range of levels in the image. Using the Curves tool, you can control completely the tonal properties of an image. In this section, we discuss what the curve is and how to use the Curves tool to adjust the levels in the image. Using the different Curves tools in Photoshop for specific purposes is covered in later chapters of this book.
Understanding curves To understand how the Curves tool works, you need to understand the curve itself. The curve starts as a diagonal line with the value of 0 on the left and 255 on the right, as shown in Figure 4.12. This means that the pixels currently with an intensity level of 0 for that channel have a value of 0 in the histogram, the pixels at level 1 have a value of 1, and so on up to 255.
Note The grid lines in the curve window allow you to more easily tell what the values are for points on the line. The bottom/left line has a value of 0, the middle line has a value of 127, and the top/right line has a value of 255. The middle left/bottom line has a value of 64, and the middle right/top line has a value of 192. n
FIGURE 4.12
A simple linear curve in Photoshop
The Curve tool works by applying new level values in the histogram for each of the current levels. Think of the Selection tool just as you would a graph with the existing level values specified along the bottom axis from 0 to 255. The new values are equal to the value of the point on the line corresponding to each of the old levels.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves To help you understand the curve better, look at the following example. Figure 4.13 shows a modified curve. Notice that the points on the left (0), right (255), and the middle (127) all are on the original line, which means that pixels with those level values will not change. However, the curve goes above the original line before level 127 so those pixels for each of those levels increase to match the value of the line. Using only two points may be a bit of a problem with the tonal correction. Notice that the levels close to 0, 127, and 255 do not change as much as the levels around 64 and 192. To overcome this problem, Photoshop allows you to apply additional points to the line to adjust the curve in several ways.
FIGURE 4.13
A curve that maps pixels with levels between 0 and 127 to higher levels and pixels with values between 127 and 255 to lower values
Points
Using the Curves tool Now that you understand how the curve works, we discuss the features of the Curve tool that enable you to create dynamic curves that can really have an impact on the tones of your images. These tools can be found whether you are adjusting images using the Curves tool, with an adjustment layer, or in Camera Raw.
Selecting the channel The first thing you want to do is to select that channel you want to adjust. The Channel dropdown menu, shown in Figure 4.14, allows you to select any channel or all the channels.
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FIGURE 4.14
The Curves tool in Photoshop
Point Curve button Freehand Curve button
Click and Drag button
Control handles
Adding points Points can be added to the curve by clicking the points curve button and then clicking the curve in the curve window. When the points curve button is selected, you can use the mouse to add points by clicking on the curve. You can add up to 14 points to the curve, making a total of 16 points including the ends, because the end points also are adjustable. Points can be removed from the line by dragging them with the mouse to the bottom-left corner or to the top-right corner of the curve window.
Tip The more points you add to the line, the finer your adjustments to the tonal correction are. However, adding more points makes it more difficult to make adjustments because you may need to adjust all points when you adjust one. Make the bigger adjustments first, and then add more points as needed to speed things up. n
Adjusting the input levels You can adjust the input levels using the control handles along the bottom axis of the levels windows. This is the same thing as adjusting the minimum dark and maximum light levels in the histogram. This limits the curved lined to operate between those ranges. To adjust the input levels, simply grab one of the control handles with the mouse and drag it to the appropriate value.
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Tip You should adjust the input levels before you create your curve because adjusting the input levels afterward results in changes to the curve. n
Adjusting specific levels from the image A useful feature of the Curves tool is the ability to select a level directly from the image. This allows you to simply select a particular area of the image based on what colors/tones you see. To adjust the levels from the image, click the click-and-drag button in the Curves tool (refer to Figure 4.14). Then use the mouse to select a pixel in the image containing the tone you want to adjust. A new point is created on the curve. While holding down the mouse button, you can move the mouse up and down to adjust the level of that point.
Creating a freehand line If 16 points on the curve line is not enough, you can create your own line by clicking on the Freehand Curve button (refer to Figure 4.14). The Freehand Curve button allows you to draw a freehand line directly on the curve window instead of using points to create the curve. The freehand curve can be used by itself to create the curve. You can use the Freehand Curve tool to make slight, nonsmooth adjustments to the curve after you have created it with points. Only the areas of the curve that you draw with the Freehand tool are corrected.
Tip You can convert a freehand line into a points curve by clicking the points curve button. This is helpful if you need to make some additional adjustments to the points curve after you change it using the Freehand tool. n
Using the eyedroppers The eyedroppers work the same way for the Curves tool as discussed earlier in the Histogram tools section. Adjusting the image first with the eyedroppers sometimes gives you a better base to start from when making the tonal corrections with the curve.
Working in Different Color Modes Photoshop provides several color modes that help when working with images. Ultimately, as we discussed earlier in this chapter, color is just different intensities of light at different frequencies. However, that data needs to be translated into a quantifiable form that can be understood by Photoshop, the monitor, printers, and ultimately you. This section gives you an overview of the different color modes available for use in Photoshop and why to use them. It also helps you understand the bits/channel settings for the image modes.
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Understanding the different color modes A color model is simply a method to translate the light captured in an image into a digital form that the computer and other devices can understand. Each color model breaks the light into one or more channels and then assigns an intensity level of each channel for each pixel in the image. Photoshop provides several color modes that match the most common color models. Depending on what you are doing with an image, you want to use a specific color mode that provides the best management of the color. To set the color mode of an image, select Image ➪ Mode and then select the mode you want to use from the main menu in Photoshop. The following sections discuss each of the color modes and what they are for.
Bitmap The bitmap color mode contains only one channel with only two possible levels, 0 and 255. The translation is that a bitmap is a black and white image without color and even without shades of gray. In essence, the image becomes a series of black dots on a white background. This may not sound very useful. However, there are several good uses for these types of images. The most common use of the bitmap mode is outputting the image to a black and white laser printer. Laser printers create images as a series of black dots on the page. So working with the image as a bitmap lets you make changes to a version that appears exactly how it will when it is printed by the laser printer.
Tip Bitmap images that are printed on low-resolution laser printers often end up darker than you would expect. Be sure to lighten the image before printing it to a low-resolution laser printer. n
The bitmap dialog box shown in Figure 4.15 lets you set the resolution and method to use when creating the bitmap from the image. You should set the resolution to the same resolution that you will be using to output the image to the printer. The following methods can be selected from the drop-down list in the dialog box: l
50% Threshold: This sets every pixel in the image that is more that 50% gray to black and every pixel that is 50% gray or lighter to white. This is by far the simplest pattern; however, the end effect is very choppy, and the image typically doesn’t look very good unless you are trying for a special effect, for which it would be better to use the Threshold tool in the Image ➪ Adjustment menu.
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Pattern Dither: The pattern dither uses a pattern to mix black and white pixels together, which results in the appearance of different shades of gray. The problem with this method is that the pattern shows up in the image, so the effect is not very smooth.
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Diffusion Dither: This uses an error-diffusion method of converting an image into a series of dithered pixels that are less structured than the pattern dither. The diffusion dither method produces an image similar to a mezzotint, which often is the best option for printing on low-resolution laser printers.
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Halftone Screen: This uses a series of dots of varying sizes and spacing that trick the eye into believing it is seeing a continuous tone. When you select the halftone screen option, an additional dialog box pops up that enables you to select the frequency, angle, and shape of the halftone dots. Typically, the best shape to use is the round shape because it is closest to what the printer generates. The frequency depends on the resolution of the printer. The higher the frequency, the better resolution you get in the image; however, if you set the frequency too high, the patterns overlap when printed and the results do not look good.
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Custom Pattern: This allows you to select a custom pattern, either one of those included with Photoshop or one of your own. The custom pattern can be used with similar results to the pattern dither. Typically, this option is used only if you have a specific pattern that you want to show up in the image.
FIGURE 4.15
The options for the bitmap mode in Photoshop
Grayscale The grayscale mode contains only one channel, but unlike the bitmap mode it can have intensity levels from 0 to 255. The grayscale mode is useful if you are outputting the image to a noncolor printer.
Tip You can create a grayscale image from a single RGB channel by selecting that channel in the Channels panel and converting the image to grayscale. Only the selected channel is converted to grayscale. This can be useful for special effects as well as utilizing the detail of a specific channel. n
Another advantage of grayscale is that viewing and adjusting the image in grayscale reduces the overhead of dealing with three color channels. Photoshop is much faster at performing complex operations on grayscale images than on multichannel images. Having a single channel also makes it easier to make adjustments to an image because you only need to worry about adjusting that channel.
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Caution To change an image from color to grayscale, Photoshop takes a composite intensity for all three channels and reduces it to the single grayscale channel. This results in a loss of the original color channels. Therefore, make sure you have a backup copy of the file before you save it again. n
Duotone The duotone mode uses on contrasting color of ink over another to produce highlights and middle tones in a black and white image. Duotones typically are used to prepare images for printing. Using the Duotones Options dialog box, you can add one, two, three, or four inks to create a monotone, duotone, tritone, or quadtone image in Photoshop. Use the following steps to configure the monotone, duotone, tritone, or quadtone options from the Duotone Options dialog box shown in Figure 4.16:
Note The Duotone color mode option is available only for grayscale images. If you are using a color image you need to convert it to grayscale before changing to duotone. n
1. Select the type of tone from the Type menu. 2. Click the blank swatch for each ink you need to specify. 3. Select the color to use for that tone.
Typically, you should use black for the first ink in the list. 4. Click the curve for each ink you need to configure to launch the Duotone Curve tool.
FIGURE 4.16
The options for the Duotone color mode and the Overprint Colors dialog box in Photoshop
5. Use the Duotone Curve tool to adjust the tone curve for that color of ink.
Typically, you do not need to adjust the curve unless you want a specific effect from that tone of ink.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves 6. Click the Overprint Colors button, shown in Figure 4.16, to bring up the Overprint Colors dialog box. 7. Adjust the colors used when one ink is printed over another ink by selecting the colors for each of the overlapping options.
Indexed color The indexed color mode contains a single channel with a single set of indexed colors. Converting an image to indexed color reduces the image to a set of most important colors. The remaining colors are given an index between 3 and 256 in a color lookup table. Instead of using the level value of the pixel to define the intensity of the channel, it points to an index value in the lookup table for the indexed image. To change the color mode of an image to indexed color, select Image ➪ Mode ➪ Indexed Color from the main menu. To view the table of indexed colors, select Image ➪ Mode ➪ Color Table from the main menu to bring up the Color Table dialog box shown in Figure 4.17. The following are settings that can be modified in the Indexed Color dialog box: l
Palette: This lets you select which palette to use when choosing the color to be placed in the index. You can choose a palette based on Exact, System, Web, Uniform, Local, Master, or Custom colors. The Local option selects colors local to the image. If you are working with multiple images, the Master option selects colors from a master of all images. When selecting local or master palettes, you can use a Selective, Adaptive, or Perceptual method of choosing the colors. The Selective method tries to preserve the key colors in the image. The Adaptive method simply preserves the most common colors. The Perceptual method intelligently selects colors that will provide the best transitions, rather than just the most popular ones. You also have the option to select System colors for images that will be viewed only on a computer. The Web option selects only Web-safe colors for images that will be used on Web pages.
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Colors: This specifies the number of colors to use in the color lookup table. The minimum is 3 colors and the maximum is 256.
Tip When creating Web images with file formats such as .gif and .png, using fewer colors results in smaller images. n l
Forced: This lets you force the conversion to keep certain colors in the image. The default is to force only black and white to be kept. The Primaries option protects eight colors: white, black, red, green, blue, cyan, yellow, and magenta. The Web option protects the 216 colors in the Web-safe colors. The Custom option allows you to preserve a specific palette of colors that you create. When you select the Custom option, a dialog box launches that allows you to specify the colors that you want to preserve.
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Transparency: This specifies whether to preserve the transparency in the image.
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Matte: The matte option allows you to specify a matte to use when working with transparency in the image. If there is no transparency in the image, this option is inactive. If the transparency option is selected, the translucent areas in the image are filled with the matte
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Part I: Getting Started with Adobe Photoshop CS5 color. If the transparency option is deselected, the translucent and transparent areas are filled with the matte color. l
Dither: This specifies the method Photoshop uses to calculate replacement colors for colors being discarded from the image. The None option simply selects the closest color in the lookup table, which can sometimes result in harder edges but is typically the best option to use. The Diffusion option dithers the color randomly, creating a more naturalistic effect. The Pattern option dithers in geometric patterns, which is usually the least desirable because the patterns show up in the image. The Noise option mixes pixels throughout the image instead of just the areas of transition.
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Amount: This specifies the percentage of diffusion to use when dithering. This option is available only when you select the Diffusion dithering option. Lower values decrease the size of the file but result in harsher color transitions.
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Preserve Exact Colors: This turns dithering off for areas of solid color when the Diffusion dithering option is selected. This option is not available unless the Diffusion dithering option is selected. Using this option helps your images look better even if you have to use dithering.
FIGURE 4.17
The options for the Indexed color mode and the Color Table dialog box in Photoshop
RGB color You likely will use the RGB color model most often. The RGB color model is used by computer monitors and the human eye. Photoshop processes its wide range of vivid colors quickly. RGB is the model that most closely matches the human eye for two reasons. First, RGB uses three colors similar to the receptors in the human eye. Second, RGB is additive, meaning that as you add more color, you get more light, in the same way that more color results in the eye seeing white.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves In the RGB model, colors are divided into three channels of red, green, and blue. Each channel has an intensity level range between 0 and 255. Each color is made up of a combination of intensity levels from these three channels, resulting in the possibility of over 16.7 million different colors. RGB provides by far the most vibrant use of colors of all the color models and is supported by most file formats. The one downside to RGB is that it contains more colors, especially the brighter ones, than can be printed. This can result in loss of detail in areas of your images when they are printed. The solution is to use the CYMK color model if you are going to have your images professionally printed.
CYMK color The CYMK color model is completely different from the RGB model in that it uses a subtractive method, meaning that the more color is added, the less light is seen. This is one of the reasons the CYMK model works so well for printing. Think about adding ink to a page; if you add all the colors, you get black, or rather a really deep brown. Another difference between the CYMK model and the RGB model is that it is made up of four channels: cyan, yellow, magenta, and black. The black channel is necessary because adding the ink all together makes a dark brown not black, so if you want the printer to print true black, you must have a separate channel to specify black. Which model should you use for general color image editing? The answer is RGB. The RGB model provides the widest range for tonal adjustment and correction. The scanner, monitor, and most other devices (except printers) work in the RGB model. Also, editing images in Photoshop in the RGB mode is much faster than in CYMK.
Tip Even if you are using the RGB model, you can select View ➪ Proof Colors from the main menu to toggle the view to a simulated CYMK model. This way you can periodically check to see how the image will look when printed. Just remember to turn it off. n
Lab color The Lab color model is very different from RGB and CYMK. The Lab model does have three channels, but instead of all three dedicated to colors, only two—a and b—are dedicated to color; the third—Lightness—is dedicated to luminosity. The a channel maps colors ranging from deep green at level 0 to gray at level 127 to a rich pink at 255. The b channel maps colors ranging from bright blue at level 0 to gray at level 127 to a dim yellow at 255. The Luminosity channel maps the brightness of each pixel from dark at 0 to white at 255. The Lab channel is additive like the RGB model, but it has only two channels of color mixing, and the levels of those channels are not mapping to intensity but rather tones of color. The tones add together to form brighter colors, and only the luminosity channel provides data to darken the tone that is created by the other two channels.
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Part I: Getting Started with Adobe Photoshop CS5 Editing images in Lab color is about the same speed as RGB and much faster than CYMK, so it is a fun alternative if you want to adjust your thinking of mixing colors.
Multichannel The Multichannel mode separates out the channels in the current color model into spot channels. Spot channels can be used to store parts of an image that you want to print in specific inks or spot colors. For example, you can print specific inks from a Pantone library. When you convert an image to the Multichannel model, the current channels are changed to spot channels. The channels created in Multichannel mode depend on the original color mode of the image. For example, the RGB mode gets converted to cyan, magenta, and yellow spot channels, the CYMK model gets converted into cyan, magenta, yellow, and black spot channels, and the Lab model gets converted into three Alpha channels.
Note The spot channels overlap, so if you do not want ink from one channel to be printed on ink from another channel, the data in those areas of the channel cannot overlap. n
Bits per channel How many bits should you use per channel? The quick answer is 8 bits per channel, but let’s look a bit closer. What does bits per channel mean? A bit is a single item of information for a computer with a value of 0 or 1. That doesn’t mean much in terms of an image, but if you string millions of bits together, it can mean a lot. Using 8 bits of information, we can define an intensity level of 0 to 255. For three channels, we can define about 16.7 million different colors for each channel. If we use 16 bits per channel, that goes up to over 281.4 trillion colors; if we go to 32 bits per channel, well, you get the idea. So why not just use 32 bits per channel and maximize our information? The answer is disk space and speed. An image with 32 bits per channel takes up much more disk space and much more effort to edit on Photoshop’s part. Plus, the human eye can’t even detect all the colors in the 8 bits per channel. And that leads to the question of why not just use 8 bits per channel, because it is more than enough for the human eye? The answer lies in what happens during adjustments, corrections, and conversions. Each time you make a correction to an image, change the levels, add a filter, and so on, you lose a little bit of the distinguishing detail. If you do enough corrections on an image with 8 bits per channel, you may lose noticeable detail in the image. However, if you are using an image with 16 bits per channel, the data lost is in levels that cannot be detected by the human eye, so when you convert the image back to 8 bits per channel, there is no data loss. An image must be in the RGB or Lab color modes to convert it to 16 bits per channel. To change your image to 16 bits per channel, select Image ➪ Mode ➪ 16 Bits/Channel. After you have changed your image to 16 bits per channel, you can change it to 32 bits per channel by selecting Image ➪ Mode ➪ 32 Bits/Channel.
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Note An image with 32 bit per channel is considered an HDR (High Dynamic Range) image. Typically, these images are used in 3D rendering and advanced CGI animation effects. n
Choosing Colors Now that you understand about color and how it relates to different modes in Photoshop, the last thing you need to know is how to actually select a color in Photoshop. You will be working with many different tools in Photoshop that require you to select colors to use. Remember that even in 8 bits per channel, you can choose from more than 16 million colors. The following sections discuss the main methods that you will use to set and select colors.
Using the Color Picker tool The most common method of choosing a color is using the Color Picker tool shown in Figure 4.18. The Color Picker tool is launched by clicking the foreground or background tool in the Photoshop toolbox. The Color Picker tool allows you to select any color possible in Photoshop and gives you a wealth of information. The main areas of the Color Picker tool are the color chooser pane, the range slider, the new/current color view, and the color settings. The Color Picker lets you use the mouse to select the color of any pixel displayed in the pane. The range slider lets you use the mouse to adjust the range of colors displayed in the Color Picker pane. The new/current color view simply shows the current color on the bottom and the newly selected color on top for comparison purposes.
FIGURE 4.18
Selecting colors using the Color Picker tool
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Part I: Getting Started with Adobe Photoshop CS5 The color settings allow you to change each individual aspect of color that Photoshop uses to define a color. Selecting one of the color settings changes the types of color that can be displayed in the color chooser pane. Changing the value of one of the settings changes the selected color. This list describes the available settings in the Color Picker tool: l
H: Changes the hue of the color. The hue values are based on a range of 0 degrees to 360 degrees. Think of a color wheel where red is at 0/360 degrees, green is at 120 degrees, and blue is at 240 degrees. The hue setting is one of the best to use when selecting colors because it allows you to quickly move to a specific color using the range slider.
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S: Changes the saturation of the color. The values are based on 0% to 100%. A higher saturation means more of the color, and a lower saturation means gray. If you have the color you want but you want a little bit different tone, this is the best option to select for the range view.
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B: Changes the brightness of the color. The values are based on 0% to 100%. Higher values mean the colors are brighter, and lower values mean darker. This is also useful when you have the color you want but you want to adjust the tone just a bit.
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R: Changes the intensity of the red channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less red, and higher values mean more intense red.
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G: Changes the intensity of the green channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less green, and higher values mean more intense green.
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B: Changes the intensity of the blue channel in the color. The values are based on intensity levels of 0 to 255. Lower values mean less blue, and higher values mean more intense blue.
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#: Specifies the hexadecimal code associated with the color. This is useful for colors that are specified in Web pages and for specifying a particular color without having to memorize multiple values.
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L: Changes the lightness of the color. The values are based on a luminosity of 0 to 100. Higher values mean white, lower values mean black, and middle values specify the tone of the color. This is useful when you have the color you want but want to adjust the tone just a bit.
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a: Changes the value of the a channel in the Lab color mode. The values are based on tones between −128 and 127, where −128 is green, 127 is pink, and 0 is gray.
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b: Changes the value of the b channel in the Lab color mode. The values are based on tones between −128 and 127, where −128 is blue, 127 is yellow, and 0 is gray.
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C: Specifies the percentage of cyan in the color. The values are based on a range of 0% to 100%, where 0% is no cyan and 100% is full intensity cyan.
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M: Specifies the percentage of magenta in the color. The values are based on a range of 0% to 100%, where 0% is no magenta and 100% is full intensity magenta.
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Y: Specifies the percentage of yellow in the color. The values are based on a range of 0% to 100%, where 0% is no yellow and 100% is full intensity yellow.
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K: Specifies the percentage of black in the color. The values are based on a range of 0% to 100%, where 0% is no black and 100% is full intensity black.
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Chapter 4: Understanding Colors, Histograms, Levels, and Curves Another nice feature of the Color Picker tool is the ability to add the color you have chosen to the Swatches panel. This is especially nice if you have taken a long time to find just the right color. To add the color to the swatch, click the Add to Swatches button and specify the swatch name to add the color to. The Color Picker tool also allows you to select colors from a color library such as a Pantone color. To select a color from a color library, click the Color Libraries button to bring up the Color Library dialog box shown in Figure 4.19. Select the library book, and choose the color. To change back to the Color Picker, click the Picker button.
FIGURE 4.19
Selecting a color from the Color Libraries tool in Photoshop
Using the Color panel Another method of choosing a color is using the Color panel shown in Figure 4.20. The Color panel provides the option of quickly selecting a color based on one of the color models or using sliders to adjust the levels of the color channels. To launch the Color panel, select Window ➪ Color from the main menu in Photoshop. The working components of the Color panel are the before/after view, the Slider tools, the color ramp, and the menu. The before/after view allows you to see the original color as well as the newly selected color. The color ramp at the bottom allows you to select a color from the ramp using the Eyedropper tool that becomes visible when the mouse is over it. The Slider tools allow you to use the mouse to drag handles to quickly select the level for each available channel or to type in a specific value. The menu of the Color panel provides the following options to change the color mode used to select colors:
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FIGURE 4.20
Selecting colors from the Color panel tool in Photoshop
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Grayscale Slider: Sets the slider control to a single slider that adjusts the level of grayscale colors. This tool is useful if you need to add gray without any other tone to the image.
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RGB Sliders: Sets the slider control to three sliders that allow you to adjust the intensity levels of the red, blue, and green channels.
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HSB Sliders: Sets the slider control to three sliders that allow you to adjust the hue, saturation, and brightness of the color.
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CYMK Sliders: Sets the slider control to four sliders that allow you to adjust the intensity levels of the cyan, yellow, magenta, and black channels.
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Lab Sliders: Sets the slider control to three sliders that allow you to adjust the values of the a, b, and luminosity levels in the Lab channels.
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Web Color Sliders: Sets the slider control to three sliders that allow you to adjust the hex code values of the red, green, and blue channels for Web images.
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Copy Color as HTML: Copies the current color as the HTML code that gets inserted into an HTML tag when building Web pages—for example, color=”#9999cc”.
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Copy Color’s Hex Code: Copies the current color as the hexadecimal code that represents the red, green, and blue values—for example, 9999cc.
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RGB Spectrum: Changes the color ramp to use the RGB spectrum for selecting colors using the eyedropper.
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CYMK Spectrum: Changes the color ramp to use the CYMK spectrum for selecting colors using the eyedropper.
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Grayscale Ramp: Changes the color ramp to use the grayscale ramp for selecting a shade of gray using the eyedropper.
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Current Colors: Changes the color ramp to use only the tonal values of the current color when selecting a color using the eyedropper.
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Tip The Current Colors ramp is useful when you have the color you want, but you want to change the tone a little bit or when you want to use multiple tones of the same color in the image. n l
Make Ramp Web Safe: Changes the color ramp to provide only the Web-safe palette for selecting colors using the eyedropper.
Using the Swatches panel One of the simplest methods of choosing a color is using the Swatches panel shown in Figure 4.21. A swatch is just a set of colors combined together. The Swatches panel displays the available colors in the swatch either as thumbnails or a list. To choose a color, simply click the one you want. To launch the Swatches panel, select Window ➪ Swatches from the main menu in Photoshop.
FIGURE 4.21
Selecting colors from the Swatches panel tool in Photoshop
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Part I: Getting Started with Adobe Photoshop CS5 Using the Swatches panel menu, you can select one of the following views to display the colors available in the swatch: l
Small Thumbnail: Displays the colors as tiny squares in the Swatch panel. This view is the most commonly used. Typically, the colors are big enough to see and yet the panel doesn’t take up much room.
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Large Thumbnail: Displays the colors as larger squares in the Swatch panel. This view is useful if you have colors that are very close to each other in the swatch. Viewing larger squares makes it easier to distinguish between the colors.
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Small List: Displays the colors as a list with tiny squares next to the color names in the Swatch panel. This view typically is used when you want to know the name of the color when selecting it. Navigating large swatches from the list form is difficult.
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Large List: Displays the colors as a list with large squares next to the color names in the Swatch panel. This view is almost never used because of the difficulty in scrolling through to find a color.
Using the menu in the Swatch panel, you also can save the colors in the current swatch as a custom swatch as well as load and replace swatches. You also can select from a list of swatches built into Photoshop.
Tip When you open a new swatch, it allows you to append it to the existing swatch. This enables you to combine swatches you commonly use into a single custom swatch that you can load later, allowing you to avoid constantly switching between swatches. n
Using the Eyedropper tool Another way to select a color is to use the Eyedropper tool in the Toolbox. This is by far the simplest method of selecting a color. The Eyedropper tool works by selecting the color that the mouse is currently over in the image when the left button is clicked. The downside to using the Eyedropper tool is that the color must appear in the image. The upside to using the Eyedropper tool is that the color appears in the image. These two statements may appear to conflict; however, it depends on what you are trying to do. If the colors in the image are limited or you want to add a color that doesn’t exist in the image, the Eyedropper tool will not work for you. However, if you are trying to use a color that matches the surrounding image, selecting a color from the image guarantees that it matches somewhere in the image. When using the Eyedropper tool, the options menu shown in Figure 4.22 will allow you to set the following options:
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Sample Size: Allows you to specify the size of the area of pixels beneath the Eyedropper tool that are sampled to determine color when the mouse is clicked. The default is 11 by 11, but you can specify ranges from a single pixel to 101 by 101. The total area of pixels is sampled and the average color is selected. For images with a lot of variance, you will likely want to use a smaller sample size.
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Sample: Specifies whether to sample pixels from all layers or only the current layer.
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Show Sampling Ring: When this option is selected a large ring, shown in Figure 4.22, is displayed as long as you hold the mouse button down. The color ring shows the current color on the bottom and the sampled color on top as you drag the mouse around the image. Notice that the current color is black and the sample color is from the small patch of blue in the image.
Note The Show Sampling Ring option is available only if you enable OpenGL drawing as described in Chapter 2. n
FIGURE 4.22
The Sampling Ring allows you to see the previous color on top as well as the current color under the cursor on bottom
Using the Color Sampler tool A subtool of the Eyedropper tool in the Photoshop Toolbox is the Color Sampler. It looks like the Eyedropper, but has a crosshair in the icon. The Color Sampler tool allows you to view channel settings for up to four channels. As shown in the Info panel in Figure 4.23, the Color Sampler tool launches when a pixel is selected. To use the Color Sampler tool, select it from the Toolbox and use the mouse to select pixels in the image. After a pixel is selected by left-clicking in the image, the Info panel is loaded. As the mouse moves, the data at the top of the Info panel changes, telling you the values of the RGB and CYMK channels of the pixel that the mouse is over. You can add up to four samples to the Info panel using the Color Sampler tool. To delete a sample, right-click the sample using Color Sampler tool and select Delete from the pop-up menu. To change the color mode information listed in the Info panel, right-click the sample and select the color mode.
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FIGURE 4.23
Viewing color channel data in the Info panel in Photoshop
Using the HUD Color Picker One of the best ways to quickly select a color while using another tool such as a brush is to use the HUD Color Picker shown in Figure 4.24. The HUD color picker provides a hue strip or wheel that sets the base tone for a color block. An Eyedropper cursor in the color block allows you to select a specific color from the color block or a hue from the hue strip or wheel. The HUD Color Picker is launched by pressing Alt(Option)+Shift while right-clicking with the mouse. Figure 4.24 shows both the wheel and strip versions of the HUD Color Picker. Which version is displayed is defined in the General settings of the Preferences dialog as discussed in Chapter 2.
FIGURE 4.24
The HUD Color Picker is a very useful method to change the color while using other tools Eyedropper
Hue wheel
Hue strip
Color block
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Note The HUD Color Picker is available only if you enable OpenGL drawing as described in Chapter 2 and in 8-bit and 16-bit images. n
Summary This chapter covered everything about color, from how the human eye perceives it to how to select a color in Photoshop. The histogram shows you the basic composition of one or more color channels, and modifying the histogram modifies the color composition in the image. The purpose this chapter was to familiarize you with the relationship between light, color, the human eye, digital files, and Photoshop. You have learned the following: l
Color is simply light reflected off surfaces at different frequencies and intensities.
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Photoshop sees colors in terms of channels and levels.
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How to understand the information contained in a histogram and how it applies to the level and channels contained in the different color modes of Photoshop.
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The purpose and how to best use each of the color modes such as RGB, CYMK, and grayscale.
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Utilizing the color tools in Photoshop to give you the maximum information when editing your images.
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CHAPTER
History and Actions
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diting images in Photoshop is done by applying a series of adjustments to modify the original pixels in the image. Each adjustment builds on the others until you achieve the desired results. Photoshop provides two powerful features that allow you to be more productive by utilizing and manipulating the sets of adjustments made to images. The history feature tracks each change to the individual image. This allows you to have a record of each state of the image during editing. Photoshop provides several highly useful tools that allow you to make dynamic adjustments to the image by manipulating the history states. These tools also allow you to play around with different techniques because you can quickly revert back to previous states or remove adjustments that do not work well. The actions feature allows you to bundle a set of adjustments as an individual action. You can save actions to a file and then use them in other images. This feature saves lots of time when you are performing similar adjustments to images.
IN THIS CHAPTER Understanding the nondestructive nature of Photoshop Using the History panel to manipulate past adjustments Using the history of edits to paint out changes Using Photoshop’s built-in action to save time Creating custom actions
Photoshop: The Non-Destructive Application One of the most powerful features of Photoshop is the ability to make numerous edits to images and see the effects of those edits without destroying the underlying pixel data or previous edits. Many of the edits done to images in Photoshop are the result of a series of adjustments using a variety of tools. Each adjustment builds on another until the end result is reached.
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Part I: Getting Started with Adobe Photoshop CS5 Unfortunately, it is not an exact science, and you have to try different adjustments until you find a combination that culminates in the desired outcome. The non-destructive nature of Photoshop allows you to freely play around with the edits, tweaking them until they are just right without the fear of ruining previous edits or the original pixels in the image. In fact, you can even remove a single adjustment that was made early on without affecting the original pixels or the subsequent adjustments. To help understand the value of non-destructive editing, think about editing an image for hours and realizing that one of the first edits you had made was a bad decision. If you could not undo that edit, the hours of work would be wasted. The following is a list of the major non-destructive features/tools available in Photoshop: l
History: The History panel, discussed later in this chapter, provides a means of quickly viewing each of the adjustment that have been made to the image. The History panel also provides a means of creating snapshots that you can easily revert back to and removing individual edits from the history.
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Dialog boxes: Most of the dialog boxes in Photoshop allow you to use the key sequence Ctrl/Ô+Z sequence to undo the last adjustment you made to a field. This feature is very useful if you make a change to a value that you do not like but cannot remember what the original value was. This feature undoes only the last change made. To undo other changes, hold down the Alt key and the Cancel button turns into a Reset button. When you click the Reset button, the values of all fields in the dialog box revert to the original values from when the dialog box was last opened.
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Layers: Using adjustment layers, discussed in Chapter 10, you can make adjustments to the image without affecting the actual image itself. The adjustment layers contain adjustment data that affects how the image looks when they are applied. Layers are very useful because they can be removed, reordered, and even moved from one document to another in Photoshop.
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Layer Comps: The Layer Comps panel is similar to the History panel, but it contains the changes made to each layer. Using the Layers Comp panel, you can easily create multiple versions of the edited image, each with its own set of changes. This makes tracking multiple changes to the image easy.
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Masks: Creating masks, discussed in Chapter 10, allows you to create a protective shield for an area in the document that protects it from adjustments made. One of the major advantages to masks is that they can be altered at any time, and the alterations are automatically updated in the results because they actually sit between the adjustment layer and the layers below.
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Alpha channels: The alpha channel, discussed in Chapter11, allows you to add information that can be applied to areas of the image without actually affecting the other channels. For example, you can add transparency information to an RGB image without affecting the normal pixels in the image.
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Smart objects: Smart objects are a useful feature of Photoshop that provide powerful, yet non-destructive adjustments to images. Using smart objects, you can combine a series of one or more layers, documents, and so on into a single combined object. Then you can apply filters and make other adjustments to the object without actually changing the contents. You can change the contents of the original object at any time, and the adjustments apply only to the updated object. This allows you to create a base source image and quickly try different edits without the worry of damaging the work done to make the source image or the original pixels.
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Crops: Photoshop allows you to crop images in a non-destructive manner. When you start to crop an image, as discussed in Chapter 3, two options appear in the Options menu: Hide and Delete. If you select Delete, the pixels outside the crop box are thrown away and you work only with the remaining pixels. If you select Hide, the pixels outside the crop box are masked, and although you see the pixel inside the crop box, only the pixels outside the crop box are still present in the image. To restore the cropped pixels, select Image ➪ Reveal all. The canvas expands to the origin size, and any of the layer adjustment applied to the image is applied to the restored pixels.
Note The Hide and Delete options in the crop tool menu are available only if you are cropping a layer that does not have the pixels locked. For more information about layers and layer locking, see Chapter 10. n l
Revert: At any point while you are editing an image, you can revert to the original state of the file when it was opened or last saved by selecting File ➪ Revert or pressing the F12 key. This should be used only as a last resort. All the changes you have made to the image are lost. However, this option saves you the time of closing the image without saving the changes and reopening it.
Using the History Panel The History panel can be one of your best friends in Photoshop because it has the ability to save you hours of lost work. When you are editing images in Photoshop, you are really working from one change to another. These changes are tied together and build on one another. The purpose of the History panel is to track and manage each adjustment you make to the image. The History panel is designed to give you much more flexibility and control than that traditional undo/redo functionality. Using the History panel, you can go undo and even modify one, some, or all of the changes you have made to an image.
Note Photoshop allows you to log some of the history information as either metadata in the file or as a separate file. The history logging feature is set from the General panel in the Preferences dialog box as discussed in Chapter 2. n
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Part I: Getting Started with Adobe Photoshop CS5 The following sections discuss the History panel and how to get the most out of it. They also cover using the Eraser, History Brush, Art History Brush, and selections to roll back and modify individual edits.
Understanding the History panel You load the History panel by selecting Window ➪ History from the main menu in Photoshop. The History panel, shown in Figure 5.1, keeps track of a list of the states of the image after each edit is applied. This allows you to quickly go back in time to the state of your document after any of the edits were made. The following sections discuss configuring and using the History panel to make adjustments to your images.
FIGURE 5.1
The History panel keeps track of the state of the image after each change is made.
Configuring the History panel The History panel can be configured by setting the options in the History panel menu and by setting the preferences for history in the general Photoshop Preferences. To configure options from the History panel, select History Options from the History panel menu (refer to Figure 5.1) to bring up the History Options dialog box, shown in Figure 5.2. Using the History Options dialog box, you can configure the following options: l
Automatically Create First Snapshot: This automatically creates a snapshot of the original document when it is loaded into Photoshop. This is a useful feature that allows you to always have an original snapshot to use with the history tools; however, if you know that you do not need to use the history, then turning off this option reduces some processing overhead and memory.
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Automatically Create New Snapshot when Saving: This automatically creates a snapshot every time you save the file in Photoshop. This can be a useful feature; however, it also can be a problem if you have the tendency to save after every little change you make. You may end up with a huge list that really isn’t meaningful. If you use this feature, make sure you are careful about when you save.
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Allow Non-Linear History: Typically, the edits to a document are built on top of each other in a linear fashion. The problem with the linear method is that if you delete one state in the history list, then all the subsequent states also are deleted. When the Allow Non-Linear History option is selected, the history states become disconnected and you can delete one of the states in the middle without deleting the subsequent changes.
Note Some of the changes you make to a document are very tightly connected. You should be very careful when using the Allow Non-Linear History option so you do not delete a state on which another state is depending. n l
Show New Snapshot Dialog Box by Default: This specifies whether to show the New Snapshot dialog box when creating snapshots. If this option is disabled, the New Snapshot dialog box is not displayed unless you select New Snapshot from the History panel menu. Disabling this option can speed up creating snapshots using the button on the History panel if you do not need to specify a name or source.
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Make Layer Visibility Changes Undoable: If this option is not selected, which is the default, then turning layer visibility on and off is not recorded in the history. When this option is selected, turning a layer visibility on or off is recorded in the history and you can undo it using the history tools.
FIGURE 5.2
Setting options for the History panel
By default, Photoshop keeps a record of at most 20 history states. Each history state takes up memory and requires extra computer processing by Photoshop. For the most part, 20 history states is enough to work from; however, if you are working on an image that requires lots of different edits, you may need to increase the number of history states that are recorded so you can revert or adjust some of the corrections that you are performing. The maximum number of history states is specified in the general preferences of Photoshop. To increase the number of history states that Photoshop keeps available, select Edit ➪ Preferences ➪ General from the main menu in Photoshop (or use the Ctrl/Ô+K shortcut) to launch the preferences. Then select the Performance option and change the value of the History States field in the History & Cache pane.
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Part I: Getting Started with Adobe Photoshop CS5 Navigating through history states Navigating through the different history states can be done either directly using the History panel or by using keyboard shortcuts. The most common method is to open the History panel, scroll through the history, and select the history state you want to view. When you select a history state, the image window changes back to that state. A sometimes faster option is to use the Ctrl/Ô+Alt/%+Z keyboard shortcut to navigate backward through history and Ctrl/Ô+Shift/%+Z keyboard shortcut to navigate forward through history. If you need to go back only a few adjustments to see how the image looked, then this option is by far the fastest and easiest; however, you cannot undo any of the history edits.
Tip If you select a snapshot in the History pane, then you can use the Ctrl/Ô+Alt/%+Z keyboard shortcut to navigate backward through the snapshots and the Ctrl/Ô+Shift/%+Z keyboard shortcut to navigate forward through the snapshots. n
Using snapshots A very useful feature of the History panel is the ability to create snapshots of the image based on a specific state. The snapshot data remains, even if the history data is deleted. This feature provides a very versatile way to make different adjustments to an image and quickly compare between the adjustments. To create a snapshot, click the Create Snapshot button at the bottom of the History panel or select New Snapshot from the History panel menu to bring up the New Snapshot dialog box, as shown in Figure 5.3. Name the snapshot, and select the snapshot source. The snapshot can be taken from the full document, the current layer, or all layers merged. When you click OK, the snapshot appears in the snapshots list at the top of the History.
FIGURE 5.3
Creating a snapshot of a history state adds a state that you can go back to at any time.
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Chapter 5: History and Actions The snapshots can be treated very much like the history states. You can delete them and even use the History Brush tool on them.
Creating documents Another useful feature of the History panel is the ability to quickly turn a history state into a separate document. This feature is useful if you are editing an image and want to send someone multiple versions for her approval. You can make the full edit of the document and then use the History panel to create documents based on the states that you think might meet expectations. To create a document using the History panel, select the state or snapshot to create a document from and then click the Create New Document from Current State button or select New Document from the History panel menu. A new document with the image data from the selected state or snapshot is loaded in Photoshop. The name of the new document is the name of the state or snapshot.
Deleting history Clearing the history can be done in a couple of ways. You can select a history state and click the trash can in the History panel or select Delete from the History panel menu.
Caution If the Allow Non-Linear History option is selected for the History panel, only the state that was selected is deleted. However, if the Allow Non-Linear History option is not selected, which is the default, then all subsequent history states are deleted as well. Make sure you know which option is selected before you delete a large amount of history that you need. n
You also can clear out all the history in the History panel by selecting Clear History from the History panel menu. This removes all history states. The Clear History option works only on history states; snapshots remain after clearing the history.
Painting from history A powerful feature of the History panel is the ability to select a history state and paint or erase directly from that history state or snapshot. This allows you to paint through the changes that have been made until you get down to the selected history state. If you consider the number of brush styles and transparency options available when painting, painting from history opens a variety of possibilities. To enable painting from the History feature, you need to click the box beside the desired state or snapshot in the History panel. The box changes to the History Brush icon, as shown in Figure 5.4. Photoshop uses that state as the base level when painting from history.
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FIGURE 5.4
Selecting the History Brush option for a history state enables the History Brush, the Art History Brush, and the Eraser to utilize the history data.
Using the Eraser tool in the History panel One of the best features of Photoshop’s History panel is that it allows you to erase part of the history without having to remove all the history. To help you understand how this works, consider the following example. We start with the image shown on the left in Figure 5.5. Notice that the boy’s shirt is very light, and the light coming through the trees is so bright that it really washes out his face in the photo. We fix this problem with a simple contrast adjustment, the History Panel, and the Eraser tool using the following steps: 1. Select Image ➪ Adjustments ➪ Brightness/Contrast from the main menu. 2. Adjust the brightness and contrast down until you have reduced the brightness of the overall image, as shown in the middle image in Figure 5.5. 3. Open the History panel by selecting Windows ➪ History from the main menu. 4. Click the Enable History Brush icon for the Open history state, as shown in Figure 5.6. 5. Select the Brightness/Contrast history state, as shown in Figure 5.6. 6. Select the Eraser tool from the Toolbox. 7. Change the Mode to Brush in the Eraser Options bar, as shown in Figure 5.6. 8. Change the Brush Style to a dissipating brush with a very large size in the Eraser Options menu, as shown in Figure 5.6. 9. Set the Opacity of the brush to about 75% to allow the adjustment to be a bit gradual. 10. Select the Erase to History option in the Eraser Options bar, as shown in Figure 5.6. 11. Click the boy’s face in the image several times using the Eraser tool until most of the original brightness in the face comes back.
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Chapter 5: History and Actions The more you click, the more the change of brightness is erased from around the face. The end result is shown on the right in Figure 5.5; the face pops out a bit better than in the original.
FIGURE 5.5
Using the Erase to History option on the Eraser allows you to make an adjustment to an entire image and then erase a portion of that change.
FIGURE 5.6
Using the History Brush settings and configuring the Eraser tool to erase part of the history from an image Enable history brush
Brush style
Brush mode
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Tip Even if the Erase to History option is not checked, you can still erase to the history by holding down the Alt key while using the Eraser. n
Using the History Brush The History Brush tool actually works in the same way to erase part of the history of changes as using the Eraser tool with the Erase to History option checked—except backward. Instead of erasing the changes made since the history state was set in the history panel, you use that history state to draw on the currently selected history state. Either way, the end result is the same.
Cross-Ref Using the History Brush gives you a major advantage over using the Eraser in that you can utilize the brush modes to provide more effects when painting on the history. For more information about using the brush and brush modes, see Chapter 16.
Using the Art History Brush The Art History Brush tool also works the exact same way to erase part of the history of changes as using the Eraser tool with the Erase to History option checked. Once again, you have to think about it in reverse terms. Instead of erasing the changes made since the history state that was set in the history panel, you are using that history state to draw on the currently selected history state.
Tip Using the Art History Brush has a major advantage over using the History Brush tool: In addition to utilizing the brush modes, you also can choose a style to apply to the brush, giving an impressionistic appearance. For more information about using the brush and brush modes, see Chapter 16. n
Using selections when painting history Sometimes, you want to limit the area of an image on which history is being painted. You can use selections to limit the area of the image that will be affected by the Eraser, History Brush, and Art History Brush tools. Follow these steps to use a selection to limit the area painted on while using the history painting options: 1. Click the Enable History Brush icon for the history state you want to paint from. 2. Select the history state you want to change. 3. Use the selection tools to select the area of the image you want to paint history into.
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Chapter 5: History and Actions 4. Use the Eraser, Art History Brush, or History Brush to paint into the image.
Only the area inside the selection is painted on.
Creating and Using Automated Actions Photoshop does an excellent job of providing simple keyboard shortcuts (hotkeys) for most common tasks. The more you use Photoshop, the more you will rely on these shortcuts. They save lots of time, allowing you to create at a much faster rate. However, even performing shortcuts over and over can become tedious. That is where actions come into play. Actions are a list of operations to perform from the current window. Actions can include most of the tasks that you can perform using the shortcuts, menus, and panels in Photoshop. Actions can range from something as simple as adding a special effect to the active document to a long series of operations that include creating several new documents and layers with numerous effects, filters, and masks. There really is no limit to what you can do with custom actions. Actions save so much time because you can perform an action, whether it involves 2 steps or 50 steps, with just the click of a button or a hotkey. Photoshop comes with several predefined action sets for various common tasks. The predefined Photoshop action sets do everything from creating frames to applying a sepia toning effect to an image. As you work more with Photoshop, you likely will find tasks that you repeat over and over that get tedious. Then you will want to create custom actions. Recording a custom action is as simple as recording the steps you take as you perform those tedious tasks.
Note After you play an action, you can click the History tab to view the History panel and see each step that was taken by the action. n
Understanding the Actions panel The first step in helping you implement actions to speed up your work is to help you understand the organization of the Actions panel. The Actions panel can be accessed by selecting Window ➪ Actions from the main menu. By default, the Actions panel is shown with the History panel. The Actions panel is made up of four main sections, as shown in Figure 5.7; the action list, the Actions panel menu, the toggle boxes, and the Quick Buttons.
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FIGURE 5.7
Using the Actions panel to manage a set of actions to perform on an image Toggle item on/off Action set Action list
Menu
Quick buttons
Actions Toggle dialog on/off
Play New set New action Delete Stop Record
Action list Located in the main portion of the panel, the action list is made up of three components: action sets, actions, and recorded commands. l
Action sets: An action set is simply a way to file a list of actions into a category. An action set is distinguished by the folder shown next to the name of any given set. You can see
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Chapter 5: History and Actions two sets in Figure 5.7: Default and Video. You can load any one of seven predefined action sets from the Actions panel menu, or you can create your own. Click the triangle next to the action set name to see a list of actions contained in the set. l
Actions: An action is a preset list of operations that can be preformed quickly and automatically by selecting an action and clicking the play button in the Actions panel. Click the triangle next to the action name to see a list of recorded commands contained in the action.
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Recorded commands: A recorded command is a list of commands that have been recorded in a set order to perform the same series of operations every time the action is played. These commands may also contain submenus. For example, clicking the triangle next to the Stop command in Figure 5.7 shows the message displayed by the command.
Actions panel menu Available by clicking on the menu button located in the upper-right corner of the panel, the Actions panel menu contains menu items that allow you to set the panel mode, add new actions, load action sets, save action sets, and set other options for the Actions panel.
Toggle boxes Located along the left side of the panel are two toggle boxes available for each action set, action, and operation in the action list. The left toggle box enables or disables the set, action, or operation. If the toggle box is not checked, the operation is not applied when the action is run. The right toggle box enables or disables any dialog boxes contained in the set, action, or operation. If a dialog box is displayed in the toggle box, Photoshop displays the dialog box associated with the operation when running the action. For example, if an operation adjusts the levels of an image, having the dialog box toggled on displays the Levels dialog box and waits for you to adjust the levels manually every time the action is run.
Quick Buttons Located on the bottom right of the panel, the Quick Buttons are icons that provide quick access to the Stop, Record, Play, Create New Action Set, Create New Action, and Delete tasks for actions. These options are available in the panel menu as well.
Changing the view of the Actions panel Just when you thought you had a handle on the Actions panel, you can dramatically change the way it looks by choosing Button Mode from the Actions panel menu. Figure 5.8 shows that the actions list has converted to buttons. This allows you to simply click the action you want to perform without the dual steps of highlighting it and pushing Play. You can see that the action sets are delineated by color.
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FIGURE 5.8
Using the Button mode of the Actions panel
Loading existing action sets When you initially open the Actions panel, it is populated with the default action set. At this point, you can use one of the available default actions, load an existing action set, or create a custom action set. Loading an existing action set can be accomplished in one of two ways. Photoshop’s predefined action sets are listed at the bottom of the panel menu. These action sets are predefined for specific purposes such as frames, image effects, and textures. They can be loaded by simply clicking them. You also can load action sets that you have created previously or downloaded by clicking the Load Action option in the panel menu and then navigating to the location of the action set.
Note Action sets have an .atn file extension. n
When you load an action set, it is added to the action list. Photoshop automatically expands the action set to show all actions contained inside.
Creating custom actions Custom actions are created by recording operations you want to add to the action as you apply them. After you begin recording the action, all steps that affect the current document are recorded, including creating new documents. Be prepared to perform the steps in order without any extra steps. Follow these steps to create a custom action: 1. Select New Set from the Actions panel menu.
If you want to add the action to an existing set, skip to Step 3. 2. Type the name of the new action set, and click OK. 3. Select the action set to add a new action to or create a new one. 4. Create a new action by selecting New Action from the Actions panel menu to bring up the New Action dialog box, as shown in Figure 5.9.
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FIGURE 5.9
Using the New Action dialog box
5. Type the name of the new action.
You also can select a function key that automatically runs the application after it is recorded. And you can select a color to be used when displaying the action in Button Mode.
Note You will want to group like actions with like colors to make the Button Mode easier to use. n
6. Start recording the action by clicking the Record button in the New Action dialog box.
As soon as you click Record, Photoshop begins recording operations, so be ready. 7. Perform the desired operations in order.
Perform the operations as you normally would, including modifying settings in dialog boxes and so forth.
Note Don’t worry if you mess up a little bit when performing the operations. You can go back and insert forgotten operations, delete unwanted operations, and even modify operations that weren’t performed quite right. n
8. Stop recording and save the action by clicking the Stop button in the Actions panel shown in Figure 5.7.
The new action appears in the action list.
Editing actions You can edit an existing action in several different ways. For example, you may realize after recording an action that you need to add additional steps. You may also realize that you need to add menu items, stops, or paths to fine-tune the behavior. The following sections discuss the different ways that you can fine-tune your actions.
Adding a stop A stop is an operation that pauses the running action and displays a message. The user can read the message and decide whether to continue running the action. You may want to insert a stop into
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Part I: Getting Started with Adobe Photoshop CS5 actions prior to performing complex or>.html: The HTML file based on the Base Name setting that is used to display the Zoomify Flash Player utility. The appropriate code in this file can be cut and pasted into your Web page code to include the image on your Web site.
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: A folder based on the Base Name setting that contains the following items: l
ImageProperties.xml: Specifies data necessary for the Zoomify Flash Player.
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zoomifyViewer.swf: Zoomify Flash Player utility that renders the images and provides the controls in the browser to zoom in and out on the image.
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TileGroup#: A series of folders that contain the JPEG tiles of the image. Each tile is named using the #-#-#.jpg filename format. Each number represents a location in the image and zoom scale, and the numbers are used to display the zoomed portions of the image.
Figure 30.23 shows how a Zoomified image appears in a Web browser. Using the utility, we are able to easily zoom in and pan to an individual balloon.
Note When you click the OK button in Zoomify, a Web browser launches to display the Zoomified image. You may need to enable the Zoomify activeX application when the browser launches. n
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FIGURE 30.23
You can easily zoom in on and pan around a high-resolution image that has been Zoomified.
Summary Photoshop provides several powerful features that can aid graphic designers in creating and preparing images for Web applications. Photoshop provides the tools necessary to convert image formats to formats supported by Web browsers, set the size of images to reduce the bandwidth they require for download, and apply color profiles to ensure that the image colors are consistent across multiple Web browsers. Photoshop also provides features that allow you to quickly add animation and transparency to give your images a much better look and feel. This chapter discussed the Save for Web & Devices utility that allows you to quickly configure image file formats, preview output, convert images, and generate the HTML output necessary to support them. In this chapter, you learned these things: l
How to convert images to file formats that are supported by Web browsers.
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Using color profiles ensures that image colors remain consistent between Web browsers.
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How to add transparency to Web images so they flow better with the Web page.
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Using Zoomify is a simple way to add high-resolution images than can be zoomed and panned to Web pages.
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The Save for Web & Devices utility allows you to control what image metadata is included in Web images so you can show copyright information but hide camera settings.
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How to preview images in Web browsers and Device Central before outputting them to the new file format.
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CHAPTER
Digital Workflow and Automation
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hotoshop is a powerful application with many tools and utilities that provide limitless ways to create and edit images. Photoshop’s power comes with one big drawback: It has so many tools, menu options, and panels that navigating through them can be difficult, especially if you need to perform the repetitive tasks on several files. To solve that problem, Photoshop has provided several tools that make it possible to automate much of your workflow using batch processing and scripting. Batch processing involves performing the same set of commands on a set of files. Scripting involves applying a script as either a one-time command or each time a workflow event occurs. The following sections discuss utilizing Photoshop’s automation and scripting tools to make things easier and speed up image editing.
IN THIS CHAPTER Batch processing image files Creating droplets to easily apply actions to files from the file system Using scripts to simplify workflow tasks Assigning actions and scripts to Photoshop events to automate tasks
Automating Workflow in Photoshop One of the best ways to save time and increase your productivity when editing images is to automate some of the repetitive tasks. Often tasks such as lens correction and color correction need to be done on a series of photos. For example, a set of photos taken with the same lens at a wedding dinner may all need a lens correction filter applied as well as a color correction to adjust for the lighting at the event. It takes lots of time to make those adjustments to each image individually.
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Part IX: Advanced Output Techniques Photoshop has a couple of great utilities that help you automate the workflow necessary to make the same adjustments to a series of photos with one simple command. Batch and Droplets allow you to quickly apply custom actions to files to save time when editing.
Cross-Ref Creating custom actions is covered in Chapter 5. You can refer to that chapter for information necessary to build the actions and action sets that can be utilized by the Batch and Droplet processing tools. n
Batch processing multiple images The Batch processing utility allows you to apply a customizable action to a set of images and control how the images are processed. The way batch processing works is you define a location for a set of files, then select one of the customized actions defined in the Actions panel, and then define how you want the processed photos to be outputted. When the batch is processed each image is opened by Photoshop, the steps in the selected action are performed on the image, and the adjusted image is saved to disk where you can then perform individualized adjustments later. Batch processes can be started in a couple of different ways: You can select the files in Bridge and then select Tools ➪ Photoshop ➪ Batch from the main menu, or you can select File ➪ Automate ➪ Batch from the main menu in Photoshop. Each option launches the dialog box shown in Figure 31.1.
Cross-Ref Bridge is discussed in more detail in Chapter 6. Bridge is a great way to organize and manage your images. Using Photoshop’s Batch utility is usually the best way to perform batch editing on images. n
These options are available in the Batch processing utility: l
Play: This allows you to define what action to perform on each of the files specified by the sources settings by selecting from the following options: l
Set: This provides a drop-down list of the defined sets in Photoshop. The default set provides some standard edition actions such as Vignette and Custom RGB to Grayscale. However, you likely will be creating your own action sets with customizable actions. For example, you may want to create an action set with lens correction filter actions for each of your lenses.
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Action: This defines the action to be performed on each image when the files are processed. Actions can perform anything from a simple one-step edit to a series of several complex edits. The options available from the Action menu represent the list of actions that are contained in the selected Set in the Actions panel.
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FIGURE 31.1
Using the Batch dialog box, you can define a custom action that is applied to a set of source files and define a location and file-naming format to save the edited image.
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Source: This allows you to define where Photoshop gets the source images to be edited. You can select files from four different sources: Folder, Import, Opened Files, and Bridge. When you select Folder, you can use the Choose button to launch a dialog box that allows you to select a folder that contains files to be included in the batch edit. Selecting Import allows you to process images from a digital camera, scanner, or PDF. The Import option is available only if you specify that you want to batch process folders when you are importing them into Photoshop or Bridge. Selecting Opened Files batch processes all images currently open in Photoshop. Selecting the Bridge option batch processes the files currently selected in Bridge. The Bridge option is available only when you are using the Bridge interface to launch the Batch processing utility.
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Part IX: Advanced Output Techniques The Source option also allows you to use the following settings to control the behavior of handling image files from the source location: l
Override Action “Open” Commands: When this option is selected, batch processing overrides the choice of files specified for an “Open” command in the action. This does not override the settings in the Open command, just the choice of files. This option is necessary for actions that include open commands for most recent or current files because the most recent file is always the first image in the set of source files. You should not enable this option for actions that do not contain an Open command. You can leave this option disabled if the action does not include an Open command or if the Open command is on another file that is required for the action but not the actual file that is being edited.
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Include All Subfolders: When this option is selected, images in all subfolders in the selected folder also are batch processed. This allows you to process images in multiple folders so you can keep your files well organized.
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Suppress File Open Options Dialogs: When selected, this option hides the File Open dialog boxes. Instead of requiring you to specify the open options, the default values are used. This option is especially useful if you are batch processing the camera raw images because you can preset how to treat the images and bypass the dialog box when batch editing.
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Suppress Color Profile Warnings: When selected, the color policy messages, such as color mismatch or missing color profiles, are not displayed.
Destination: This allows you to control how and where the edited images are saved to disk. You can specify one of three different destinations: None, Save and Close, and Folder. If you select None, the images are edited but left open in Photoshop unless the action includes a Save or Save As command. If you select Save and Close, the original image is overwritten by the edited image on disk. If you select Folder, you can use the Choose button to select a destination folder to save the edited images. The edited images are saved in that location using the name formatting specified in the File Naming setting. The following options allow you to override the Save As command and define the file naming convention:
Caution You should select the Save and Close option only if you are confident that the action will result in the best look. After the original file is overwritten, you cannot go back and undo the edits. n
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Override Action “Save As” Commands: When this option is selected, batch processing overrides the destination folder and name of files specified by a Save or Save As command in the action. This does not override the settings in the Save commands, just the destination and name of the files. You do not need to enable this option for actions that do not contain a Save or Save As command.
Note Lots of options are available in the Save As command in Photoshop that are not available from the Batch dialog box—for example, compression, saving layers, and so on. Typically, you want to record a Save As command into the editing that sets these options. Also, you can use a Save As command in the action to change the file type of the images during the batch process. n l
File Naming: The file-naming option allows you to set the naming convention that is used to save the edited file. The file convention is defined by selecting the appropriate components from the drop-down menu shown in Figure 31.2. You also can type into one of the field components static text that is included in the filename. When the edited file is saved, these components are used in the order specified to create the filename. When you use the components, include the document name and extension in different casing formats, serial letters, multi-digit numbers, and different date formats.
Note When using Digit Serial Numbers, the numbers start with the number specified in the Starting serial# field and are prefixed by enough zeros to force them to the number of specified digits. When using serial letters, the first image starts with a/A. n l
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Compatibility: The Windows, Mac OS, and Unix options allow you to limit the naming conventions to support Windows, Apple, and Linux/Unix systems. This is useful if you plan on sharing your images with others who may be using different systems.
Errors: This allows you to control how errors in the batch processing are handled. You have two options: l
Stop For Errors: When this option is selected and an error occurs when editing one of the files in the batch, an error message is displayed and the processing stops there. No additional files are processed.
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Log Errors To File: When this option is selected and an error occurs when editing one of the files in the batch, the error message is logged to a file and the processing continues. The location of the log file is set by clicking the Save As button. The log file is in text and can be read with any text editor to determine which files failed and why.
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FIGURE 31.2
The File Naming options in the Batch dialog box allow you to select filename components based on date, document name, extension, and serialized letters or numbers.
Creating droplets to process images Droplets are very similar to Batch operations with the exception that instead of selecting a source for files, you specify a location of where to save the processing info in the file system. The processing data is converted to an executable that processes any files or folders that are dragged and dropped onto it. Droplets can be created by selecting File ➪ Automate ➪ Create Droplet from the main menu in Photoshop. Notice that the options in the Create Droplet dialog box, shown in Figure 31.3, are similar to the Batch options. The only difference is that instead of a Source option, you have a Save Droplet In option that allows you to select a location to save the droplet.
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FIGURE 31.3
Using the Create Droplet dialog box, you can create an executable file that applies an action to any image files that are dragged and dropped onto it.
To create the droplet, fill in the Save Droplet In, Play, Destination, and Errors settings and click OK. An executable file is created in the location specified. To use a droplet, simply use the file system interface to drag and drop files or folders onto the droplet. The droplet uses Photoshop to perform the specified action and save the adjusted files.
Tip Droplets are compatible to move between Windows and Mac systems. When moving a droplet from Windows to Mac or vice versa, drag and drop it onto the Photoshop executable on the new system. Photoshop converts the droplet to be used on that system. If you are planning to move a droplet from Mac to Windows, make sure to name it with the “.exe” extension so it can be executed on the Windows system. You should be aware, however, that file references in actions do not work across Windows and Mac systems. If an action refers to a file, such as in an “Open” or “Save As” command, the droplet prompts for the location of the file if it is used on a different system. n
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Using Scripting to Speed Up Workflow Another great way to save time and increase your productivity when editing images is to utilize the scripting capabilities in Photoshop. Two main types of scripts are available in Photoshop: the predefined scripts and the event-driven scripts. Predefined scripts are run once by selecting them from the File ➪ Scripts menu shown in Figure 31.4. Event-driven scripts are triggered and executed by events in your normal editing workflow. The following sections discuss utilization of each of these types of scripts.
FIGURE 31.4
The File ➪ Scripts menu in Photoshop provides several predefined scripts that perform tasks that speed up your workflow.
Using Photoshop’s scripts Predefined scripts are similar to other commands in Photoshop with the exception that they typically perform more than just one task on a single item. The predefined scripts are JavaScript or AppleScript scripts that perform a series of Photoshop tasks to reduce the number of keystrokes and mouse clicks you need to make. The following is a list that describes the predefined scripts available from the File ➪ Scripts menu:
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Image Processor: Launches a dialog box that allows you to process a set of files including converting format, changing names, and running actions.
Cross-Ref The best place to use the Image Processor is from Bridge while you are managing your files. Using the Image Processor utility from Bridge is covered in Chapter 6. You can refer to that chapter for information necessary to use the Image Processor utility to convert and process images. n l
Delete All Empty Layers: Removes empty layers from the image. This can be a useful tool to clean up an image when you have used lots of layers when editing.
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Flatten All Layer Effects: Flattens all the effects that apply to the currently selected layer in the Layer panel. This rasterizes all the layer effects so you can apply additional filters or other tools that require the layer to be flattened.
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Flatten All Masks: Applies the layer masks in all layers. The layer masks affect only the layer to which they are linked.
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Simplify Layers for FXG: Simplifies layer settings so that they are compatible with Adobe’s FXG file format. FXG is an XML-based file format that is used in graphics for Web applications which are created by applications such as Adobe Flash or Flex 4.
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Layer Comps to Files: Opens a dialog box, similar to the one in Figure 31.5, that allows you to specify a file type and location using the following options:
FIGURE 31.5
The Layer Comps to Files script utility can be used to convert the Layer Comps in the current document into individual files.
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Destination: Specifies the location on disk to create the files.
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File Name Prefix: Specifies the name prefix that is applied to the saved files. The rest of the filename includes a numerical index and the file extension specified in the File Type option.
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Selected Layer Comps Only: Allows only the currently selected Layer Comps in the image to be saved as individual image files in the specified location. Otherwise, all Layer Comps are saved as individual files.
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File Type: Specifies the file format to use when saving the image. You can select BMP, JPEG, PDF, PSD, Targa, TIFF, PNG-8, or PNG-24.
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Include ICC Profile: Specifies whether to include the current ICC color profile with the saved images. It is always a good idea to include a color profile when saving images.
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Layer Comps to WPG: Converts the Layer Comps in the image into individual WPG files.
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Export Layers to Files: Opens a dialog box, similar to the one in Figure 31.5, except that instead of only saving Layer Comps, all layers are saved to files.
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Script Events Manager: Allows you to attach specific actions to workflow events in Photoshop. The Script Events Manager is discussed in much more detail in the next section.
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Load Files into Stack: Opens the Load Layers dialog box, shown in Figure 31.6, that allows you to combine a set of files into a stack. A stack is a set of image files taken of the same subject from the same camera position. Image stacks loaded as layers can be converted to Smart object and then processed using the options located in the Layers ➪ Smart Objects ➪ Stack Mode options discussed later in this section.
FIGURE 31.6
The Load Files into Stack script utility provides a simple dialog box that allows you to select files and define how the individual files are added to a newly created stacked document.
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Chapter 31: Digital Workflow and Automation From the Load Layers dialog box, you can configure the following options: l
Use: This allows you to specify whether to use files or a folder as the source for the set of files. The Browse, Remove, and Add Open Files buttons allow you to add files and remove files and folders from the Use list.
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Attempt to Automatically Align Source Images: When this option is selected, Photoshop tries to find common edges in the images and automatically adjusts the rotation and position so the images are as closely aligned as possible. Aligning the images is important for the stack mode algorithms to work well.
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Create Smart Object after Loading Layers: The stack mode algorithms are based on processing a smart object. Selecting this option automatically creates a smart object from all the images. If this option is not selected, the images are loaded as individual layers that you can edit before combining them into a smart object.
Cross-Ref Another great place to create image stacks is from Bridge while you are managing your files. Using the Bridge application to stack images is covered in Chapter 6. You can refer to that chapter for information necessary to stack and unstack images. n l
Load Multiple DICOM Files: This opens a dialog box that allows you to select a folder containing a set of DICOM image files. The DICOM files in the folder are added as individual layers to a new document in Photoshop.
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Statistics: This opens the Image Statistics dialog box, shown in Figure 31.7. This dialog box is similar to the Load Files into Stack option, except that it automatically converts the images into a single smart object and then applies the stack mode specified in the Choose Stack Mode option. Statistics is a better option than Load Files into Stack if you do not want to align the images manually, or if you don’t want to edit any of the layers before applying the stack mode to the set.
Using stack modes on multiple images to analyze images and reduce noise Photoshop provides several options for processing images that have been stacked into a smart object using the Load Files into Stack script described in the previous section. These stack modes options can analyze the differences between images and combine images to reduce noise. The following stack mode options can be found in the Layers ➪ Smart Objects ➪ Stack Mode menu: l
Entropy: Calculated based on the number of bits that would be necessary to encode the data from all images in a set. Areas of the image that are different show up white in the resulting image, and areas with little difference show up as black. This is a great option for locating missing items between one image and another or embedding hidden copyright notices. Figure 31.8 shows an example of using the Entropy stack mode to analyze two digital images. Notice that they both look exactly the same, but when the Entropy mode is employed a clear copyright notice is shown. The copyright notice was added by creating text selection mask, as discussed in Chapter 18, copying it to a new layer and then slightly adjusting the position. You can’t see the change because it is in a busy area of the image.
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FIGURE 31.7
The Image Statistics dialog box allows you to set the stack mode that is applied after some files are automatically converted into a single smart object.
FIGURE 31.8
Using the Entropy mode, you can quickly compare a digital image with the original to reveal an embedded copyright message. Original
Entropy stack mode
Copyrighted
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Kurtosis: Calculates the stacked image based on peakedness or flatness of the levels in the image. Areas that match a normal distribution of levels appear lighter while areas that are flat or overpeaked appear as darker.
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Maximum: Uses the maximum channel value for all non-transparent pixels in the stacked image. This is good for stacks of images where you want to lighten the overall image.
Tip For the best results, images that you intend to edit using the stack mode options should be taken from a fixed position such as a tripod with a stationary subject. At the very least, the images must be similar enough that you can align them together in the set. n l
Mean: Averages the pixels for all images in the stack and uses the average value for the stacked image. This is usually the best option for noise reduction if the images are very similar.
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Median: Takes the middle value for all images in the stack and uses that value for the stacked image. This option works better than mean for noise reduction if there is a lot of variance in the lighting and color of the images, such as scratches or dark areas. Figure 31.9 shows an example of how the median mode can be used to remove unwanted items. Notice that the three images of the moon have a silhouette of a bird in front, so none of them are a clean shot. The bird can be removed by stacking the three images and applying the median mode as shown in the results.
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Minimum: Uses the minimum channel value for all non-transparent pixels in the stacked image. This is good for stacks of images where you want to darken the overall image.
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Range: Calculates the pixel value in the stacked image based on the maximum pixel value minus the minimum pixel value. This shows the range of variance in the stacked images.
FIGURE 31.9
Using the Median mode, three images of the moon with a silhouette in front can be processed into a single clean image.
+
+
=
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Skewness: Calculates the pixel value based on the variance of the pixels away from the average. This shows how close the pixel values are to each other.
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Standard Deviation: Calculates the stacked image values based on the standard deviation from the mean or square root of the variance. This can help you analyze areas of the images that are different because the areas that are different show up as a lighter value based on the amount of variance while areas that are the same across all stacked images are black.
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Summation: Calculates the pixel values in the stacked image by adding values from all images in the stack. This increases the resolution in fainter areas of the images, but the brighter areas just become white.
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Variance: Similar to the Standard deviation. Areas that match are black, and areas that do not match are gray to white based on the variance in the stacked image.
Use the following steps to apply a stack mode to a series of photographs: 1. Select File ➪ Scripts ➪ Load Files into Stack from the main menu. 2. Add the files you want to apply to the stack as described earlier. 3. Select the Attempt to Automatically Align Source Images option.
This option tries to align the images so that they match up correctly.
Note You may need to manually align the images in the smart object if the auto alignment option fails to align them completely. To align the images manually, double-click the smart object layer to open the smart object. The images are in separate layers, and you can use the Move tool to move the image in each layer until they are aligned. n
4. Select the Create Smart Layer after Loading Layers option. This converts the image layers into a single smart object. 5. Click the OK button and the images are processed into a single document in Photoshop with a smart object layer. 6. Select the newly created smart object layer. 7. Use the Layers ➪ Smart Objects ➪ Stack Mode menu and select the stack mode that you want to apply to the image.
The resulting image in the document window is changed to the results of the stack mode.
Scripting workflow events Photoshop provides the Script Events Manager, shown in Figure 31.10, that gives you access to certain program events that occur during normal editing workflow. The Script Events Manager lets you attach scripts or actions to these events so that each time an event occurs during your editing workflow, the action/script is run. Scripting workflow events can be a big timesaver by automatically performing actions you want to happen without needing to remember them. For example, you can configure the open file event to automatically save a JPEG copy so that each time you start editing a file, you have a JPEG backup. The Script Events Manager utility is loaded by selecting File ➪ Script ➪ Script Events Manager from the main menu in Photoshop. The Script Events Manager allows you to use the following options to assign actions/scripts to workflow events: l
Enable Events to Run Scripts/Actions: When this option is selected, the associations in the scripted events list are active when you are working in Photoshop. When this option is deselected, the events are ignored and no action or script is run.
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Scripted Events List: This lists the current associations between events and actions/ scripts. The Add button adds the association defined by the Photoshop Event, Script, and Action settings to this list. The Remove and Remove All buttons are used to remove associations from the list.
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Photoshop Event: This displays a set of Photoshop events that you will encounter during the normal workflow including Start Application, New Document, Open Document, Save Document, Close Document, Print Document, Export Document, and Everything (all available events).
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Script: This specifies a script that should be associated with an event and should be run each time the event occurs. The drop-down list displays the available scripts. The default script options are fairly limited; however, the drop-down list also provides a browse option so you can select a JavaScript or AppleScript from the file system.
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Action: This specifies an action that should be associated with an event and should be run each time the event occurs. The first drop-down list allows you to select the action set from the available action sets defined in the Actions panel. The second drop-down list allows you to select the action from the available actions defined in the Actions panel. Because you can easily create custom actions using the Actions panel, you have lots of options when associating actions with events.
Cross-Ref Creating custom actions is covered in Chapter 5. You can refer to that chapter for information necessary to build the actions and action sets that can be associated with workflow events. n
FIGURE 31.10
The Script Events Manager allows you to associate an action or a script to normal workflow events so that each time an event occurs, the action is performed or the script is run.
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Tip For the best results, images that you intend to edit using the Stack Mode options should be taken from a fixed position such as a tripod with a stationary subject. At the very least, the images need to be similar enough that you can align them together in the set. n
Summary This chapter discussed utilizing Photoshop’s automation and scripting tools to make things easier and speed up image editing. Photoshop provides the Batch and Droplet tools that allow you to perform the same set of commands on a set of files without opening each file individually. Photoshop also provides several scripts that apply a set of repetitive operations, such as flattening layer masks using a single menu option. In addition to the scripts, Photoshop provides the Script Events Manager that allows you to associate actions and scripts to normal workflow events. Each time an event occurs during your workflow, the associated action is performed. In this chapter, you learned the following: l
How to use custom actions to process a set of image files all at once.
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When you create a droplet, Photoshop performs a predefined action on each file that is dragged and dropped onto it.
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Photoshop provides several scripts that allow you to perform repetitive actions.
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Using the Statistics scripts, you can load a series of photos into a stack and then automatically process the set of files to clean up noise in a way that is not possible with a single file.
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Normal workflow events such as opening or saving a file can be tied to actions such that the action is automatically applied when the event occurs.
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APPENDIX
Keyboard Shortcuts
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earning keyboard shortcuts is one of the best ways to improve your performance and experience with Photoshop. With hundreds of tools and menus, navigating using the mouse can take time. Knowing the keyboard shortcuts for actions you frequently perform makes editing faster and less cumbersome. The purpose of this appendix is to give you a sample of the most common shortcuts you will encounter in Photoshop. Table A.1 lists the shortcuts for the tools in the Toolbox in the standard edition of Photoshop CS5. Table A.2 lists some of the most commonly used menu options, such as opening files and levels adjustments. Table A.3 lists the shortcuts for the tools in the Toolbox that are provided with Photoshop CS5 Extended.
IN THIS APPENDIX Standard toolbar shortcuts Common menu command shortcuts Extended toolbar shortcuts
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TABLE A.1
Standard Toolbar Shortcuts Photoshop CS5 Standard Toolbar
PC Shortcut
Mac Shortcut
Move tool
V
V
Rectangular Marquee tool
M
M
Cycle Marquee tools
Shift+M
Shift+M
Lasso tool
L
L
Cycle Lasso tools
Shift+L
Shift+L
Cycle Quick Selection, Magic Wand tools
Shift+W
Shift+W
Crop tool
C
C
Cycle Crop, Slice tools
Shift+C
Shift+C
Eyedropper tool
I
I
Cycle Eyedropper, Color Sampler, Ruler, Note, and Count tools
Shift+I
Shift+I
Spot Healing Brush
J
J
Cycle Spot Healing Brush, Healing Brush, Patch and Red Eye tools
Shift+J
Shift+J
Brush tool
B
B
Cycle Brush, Pencil, Color Replacement, and Mixer Brush tools
Shift+B
Shift+B
Clone Stamp tool
S
S
Cycle Clone Stamp, Pattern Stamp tools
Shift+S
Shift+S
History Brush tool
Y
Y
Cycle History Brush, Art History Brush tools
Shift+Y
Shift+Y
Eraser tool
E
E
Cycle Eraser, Background Eraser, and Magic Eraser tools
Shift+E
Shift+E
Gradient tool
G
G
Cycle Gradient, Paint Bucket tools
Shift+G
Shift+G
Blur, Smudge, Sharpen tools
None
None
Dodge tool
O
O
Cycle Dodge, Burn, Sponge tools
Shift+O
Shift+O
Pen tool
P
P
Cycle Pen, Freeform Pen tools
Shift+P
Shift+P
Add, Delete, Convert Anchor Point tools
None
None
Horizontal Type tool
T
T
Cycle Horizontal Type, Vertical Type, Horizontal Type Mask, and Vertical Type Mask tools
Shift+T
Shift+T
Path Selection tool
A
A
Cycle Path Selection, Direct Selection tools
Shift+A
Shift+A
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Photoshop CS5 Standard Toolbar
PC Shortcut
Mac Shortcut
Rectangle tool
U
U
Cycle Rectangle, Rounded Rectangle, Ellipse, Polygon, Line, and Custom Shape tools
Shift +U
Shift +U
Hand tool
H
H+spacebar
Rotate view tool
R
R
Zoom tool
Z
Z
Swap Foreground, Background Color
X
X
Default Foreground and Background Colors
D
D
Edit in Quick Mask Mode
Q
Q
TABLE A.2
Common Menu Command Shortcuts Popular Menu Commands
PC Shortcut
Mac Shortcut
New Document
Ctrl+N
Ô+N
Open Document
Ctrl+O
Ô+O
Browse in Bridge
Ctrl+Alt+O
Ô+Option+O
Close Document
Ctrl+W
Ô+W
Print Document
Ctrl+P
Ô+P
Undo
Ctrl+Z
Ô+Z
History Step Forward
Ctrl+Shift+Z
Ô+Shift+Z
History Step Backward
Ctrl+Alt+Z
Ô+Option+F
Fade
Ctrl+Shift+F
Ô+Shift+F
Fill
Shift+F5
Shift+F5
Free Transform
Ctrl+T
Ô+T
Color Settings
Ctrl+Shift+K
Ô+Shift+K
Image Size
Ctrl+Alt+I
Ô+Option+I
Canvas Size
Ctrl+Alt+C
Ô+Option+C
Levels
Ctrl+L
Ô+L
Curves
Ctrl+M
Ô+M
Hue/Saturation
Ctrl+U
Ô+U
Color Balance
Ctrl+B
Ô+B
New Layer
Ctrl+Shift+N
Ô+Shift+N continued
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TABLE A.2
(continued)
Popular Menu Commands
PC Shortcut
Mac Shortcut
New Layer via Copy
Ctrl+J
Ô+J
Group Layers
Ctrl+G
Ô+G
Select All
Ctrl+A
Ô+A
Deselect All
Ctrl+D
Ô+D
Inverse Selection
Ctrl+Shift+I
Ô+Shift+I
Refine Edge
Ctrl+Alt+R
Ô+Option+R
Proof Colors
Ctrl+Y
Ô+Y
Gamut Warning
Ctrl+Shift+Y
Ô+Shift+Y
Zoom In
Ctrl+plus(+)
Ô+plus(+)
Zoom Out
Ctrl+minus(-)
Ô+minus(−)
Fit on Screen
Ctrl+0
Ô+0
Show Actual Pixels
Ctrl+1
Ô+1
Show/Hide Extras
Ctrl+H
Ô+H
Rulers
Ctrl+R
Ô+R
Brush panel
F5
F5
Layers panel
F7
F7
Info panel
F8
F8
Photoshop Help
F1
Ô+/
Increase Brush Diameter
]
]
Decrease Brush Diameter
[
[
Increase Brush Hardness
Shift+[
Shift+[
Decrease Brush Hardness
Shift+]
Shift+]
TABLE A.3
Extended Toolbar Shortcuts Photoshop CS5 Extended Tools
PC Shortcut
Mac Shortcut
3D Object Rotate tool
K
K
Cycle 3D Object Rotate, 3D Object Roll, 3D Object Pan, 3D Object Slide, and 3D Object Scale tools
Shift+K
Shift+K
3D Rotate Camera tool
N
N
Cycle 3D Rotate Camera, 3D Roll Camera View, 3D Pan Camera View, 3D Walk Camera View, and 3D Zoom Camera tools
Shift+N
Shift+N
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APPENDIX
Extending Photoshop’s Capabilities Through Plug-Ins
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hotoshop is extremely powerful and excellent at what it does. One of the best features of Photoshop is the ability to extend any features that don’t already exist by adding more plug-ins. Lots of plug-ins are available from Adobe as well as other sources that provide specialized functionality for a variety of purposes. Plug-ins can be installed in Photoshop using two methods. The simplest method is to copy the plug-in file into the Adobe Photoshop CS5/Plug-ins folder where Photoshop is installed.
IN THIS APPENDIX Installing plug-ins to extend Photoshop Optional plug-ins from Adobe’s Web site
Note You need to restart Photoshop after installing a plug-in. Also some plug-ins require some additional steps, so make sure you read the readme file that comes with the plug-in. Also, you can disable a plug-in from being loaded by putting a ~ (tilde) character in front of the filename or the folder that contains the plug-in file. If you put a ~ in front of a folder name, all plug-ins in that folder and any subfolder are ignored. n
The other way that plug-ins can be installed is to add another plug-in folder for the added plug-ins. This allows you to keep third-party plug-ins in a separate location and keep your plug-ins out of the Adobe application folder where they might get removed if you uninstall. To add another plug-in folder, use Ctrl/Ô+K to open the Preferences dialog box and select the Plug-Ins option, as shown in Figure B.1. From the Plug-In Preferences panel, you also can control the following features of plug-ins:
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Allow Extensions to Connect to the Internet: When this option is selected, the optional plug-ins are allowed to access the Internet from your computer when Photoshop is running. This allows them to update or provide functionality from Web services. However, you should be careful that you trust the plug-in provider before enabling this option.
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Load Extension Panels: When this option is selected, the extension panels are loaded in addition to the normal Photoshop panels. These panels typically provide important functionality for using the plug-in.
FIGURE B.1
Adding another plug-in source using Photoshop preferences
Caution Do not move plug-ins from previous versions of Photoshop, or third-party plug-ins that have not been updated, into the Photoshop CS5 Plug-Ins folder or add a plug-ins folder from a previous version of Photoshop as an additional plug-ins folder in the Photoshop preferences. Also, if you are running the 64-bit edition of your operating system, all third-party plug-ins must be updated for 64-bit operating systems before you install them into the 64-bit version of Photoshop. n
You can get plug-ins from the following locations: l
Adobe download site/CS5 installation disk: Provides optional plug-ins that can be downloaded and installed at no cost.
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Appendix B: Extending Photoshop’s Capabilities Through Plug-Ins l
Adobe Marketplace for Photoshop: Provides lots of great plug-ins that are available for purchase. The plug-ins here are certified. The Adobe Marketplace can be found at http://www.adobe.com/cfusion/marketplace/index. cfm?event=marketplace.home&marketplaceid=2.
l
Third-party Web sites: If you do a quick browser search for Adobe CS5 Photoshop plug-ins, you find several Web sites that offer to sell you plug-ins. The downside is that these plug-ins may not be Adobe certified like the ones on Adobe Marketplace.
The following sections discuss this list of optional plug-ins available from download from the Adobe download site: l
Bigger Tiles
l
Alias
l
JPEG2000
l
RLA
l
SGIRGB
l
SoftImage
l
PatternMaker
l
PhotomergeUI
l
Web Photo Gallery (ContactSheetII)
Tip You can view information about an installed plug-in by selecting Help ➪ About Plug-in from the main menu in Photoshop and then selecting the installed plug-in from the list. n
Bigger Tiles On computers with greater than 1GB RAM, you can optimize Photoshop to take advantage of the RAM in your system and manage memory more efficiently. This plug-in is useful only if you are working with documents of large pixel dimensions (thousands of pixels in each direction) and is not recommended if you work with documents containing many layers (more than 50 pixel layers).
Note Using the Bigger Tiles plug-in can reduce the total time needed for most operations, but this is at the cost of slower painting and non-smooth drawing of previews while updating. n
Alias The Alias file format plug-in allows you to read and write files in the Alias .pix format. This format is commonly used for 3D rendering software from Alias/Wavefront and in some image-editing software on Unix systems.
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Photoshop CS5 Bible JPEG2000 The JPEG2000 format plug-in allows you to read and write files in this format.
RLA The RLA file format plug-in allows you to read and write files in the Wavefront .rla format. This format is commonly used for high-end 3D rendering software from Alias/Wavefront and in some image-editing software on Unix systems.
SGIRGB The SGIRGB format plug-in allows you to read and write files in the SGI image format. This format is commonly used by software on the Silicon Graphics platform. The SGI image format plug-in recognizes the file extensions .sgi, .rgb, .rgba, and .bw.
SoftImage The SoftImage format plug-in allows you to read and write files in the SoftImage picture format. This format is commonly used by 3D rendering software from SoftImage.
PatternMaker The PatternMaker plug-in provides a user interface in Photoshop that allows you to create patterns by slicing up an image and reassembling it. The pattern can be made of one large tile or multiple duplication tiles. The patterns can be saved and used in other images.
PhotomergeUI PhotomergeUI provides a step-by-step UI interface that operates in conjunction with Photoshop’s PhotoMerge utility. This gives you greater control and provides better results when combining two or more images into panorama.
Digimarc The Digimarc plug-in provides a panel and tools that allow you to quickly define and embed watermarks in your photos to protect them from unauthorized use.
Web Photo Gallery This is a common plug-in that allows you to output images into a Web gallery. The ability to create a Web Photo Gallery is now available in the Adobe Bridge CS5 Output workspace. We highly recommend creating your Web Photo Galleries using Bridge as described in Chapter 6.
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APPENDIX
Resources
A
lthough this book covers most of the information you need to utilize Photoshop for professional and fantastic results, you should check out what other resources are available to increase your Photoshop skill set. This appendix provides some stepping-off points to find additional resources. The following sections cover where to go to find help, get general information about Photoshop, download resources from the Web, find professional resources, and get professionally trained.
IN THIS APPENDIX Help General Information Downloadable resources Professional resources Training and conferences Certification
Help An important part of learning Photoshop is recognizing when you need help. Another important part is being able to find the help you need. Help comes in lots of forms; these Web sites are just the beginning of help you’ll find from Photoshop experts and other users: l
www.adobe.com/support/photoshop
Adobe’s official help site has the latest information on Photoshop. l
www.adobe.com/designcenter/video_workshop
This site contains several video tutorials on Adobe products including Photoshop. l
www.photoshoptips.net
This site publishes articles, tutorials, and tips. l
www.photoshopuser.com
This site is run by National Association of Photoshop Professionals (NAPP) and contains video tutorials, articles, and a help desk.
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Photoshop CS5 Bible
General Information Photoshop is by far the most popular photo-editing application on the market. Consequently, many Web sites provide good information on Photoshop. These Web sites are great places for general information about using Photoshop and learning about digital image editing: l
www.photoshopnews.com
This site publishes the latest news and rumors about Photoshop and contains a great list of links to sites that provide resources on Photoshop. l
www.creativepro.com
This site publishes articles on Photoshop and provides community blogs and forums. l
www.macworld.com
This site publishes articles on Photoshop and digital editing and provides community blogs and forums. l
www.retouchpro.com
This membership community provides blogs and chats about digital retouching. l
morris-photographics.com/photoshop/shortcuts
This site provides PDF files that contain condensed yet inclusive lists of the Photoshop keyboard shortcuts. l
www.digitaldog.net
This site publishes articles, tutorials, and tips on Photoshop and digital editing.
Downloadable Resources A great part of using Photoshop is being able to share some of your creations and tools with others. These sites provide downloadable tools and also some links to places where you can get brushes, patterns, and much more. l
www.adobe.com/cfusion/exchange
This site provides a central resource for finding tools, services, and innovations that supplement and extend your Adobe products. l
www.photoshopuser.com
This site allows members of NAPP to download numerous free items, such as shapes and custom brushes. l
www.brushes.obsidiandawn.com
This site allows you to download free brushes, images, patterns, and shapes.
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Appendix C: Resources
Professional Resources If you’re serious about working with Photoshop professionally and want to mingle with other Photoshop professionals, these resources can help you find the best information available: l
www.photoshopuser.com
Operated by the NAPP, the site of the largest organization for Photoshop professionals offers tons of information, articles, tutorials, downloads, and a professional help desk. l
www.istockphoto.com
This site provides a service to buy and sell stock photos.
Training and Conferences Adobe has some great training opportunities, and the Photoshop community at large offers even more training. Taking advantage of these opportunities can increase you skill set and also help you connect with other professionals: l
www.adobe.com/training
This site provides information about Adobe Certified instructors and training centers in your area. l
www.photoshopworld.com
The largest Photoshop conference is held twice a year; this site has all the info you need. l
www.lynda.com
This site provides online training resources for several products, including Photoshop. l
www.photoshopcafe.com
This site provides several tutorials on Photoshop.
Certification Getting certified on Adobe products can improve your productivity, increase your employment options, and greatly enhance your career. You’ll find no place better than the source: l
www.adobe.com/support/certification
Adobe’s official Web site contains information about getting certified as an Adobe Certified Associate, Expert, or Instructor.
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SYMBOLS
duplicating actions and operations, 146 modifying action name and function key, 147–148 modifying operations, 146–147 moving operations, 146 saving actions, 148 loading existing action sets, 144 managing action list, 148 overview, 131, 143 scripting, 962, 963 Actions panel Action list, 142–143 batch processing, 950 changing views, 143–144 menu, 143 overview, 35 Quick Buttons, 143 scripting, 963 toggle boxes, 143, 148 Active option (3D objects), 711 Actual Pixels option, 19 Adaptive option, 117, 937 Add a Pixel Mask option, 334, 931 Add Anchor Point tool, 553 Add Layer Mask button, 686 Add Mask icon, 328–329 Add Noise dialog box, 462 Add Shortcut option, 61 Add Space After Paragraph option, 603 Add Space Before Paragraph option, 603 Add to palette option, 942 Add to path area option, 555, 556 Add to sample option, 269 Add to selection option Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 overview, 646 Quick Selection tool, 264 Add tool, 966 Add Vector Mask button, 334, 615 Adjust Edge settings, 289
# settings, 122
A A settings, 122 absolute colorimetric option, 912 Accented Edges filter, 656, 668 accuracy (color management) device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 ACE, 911 action list Actions panel, 142–143 managing, 148 action name, 147–148 Action option, 950 Action Options dialog box, 147–148 action sets file extensions, 144 loading, 144 overview, 142–143 actions Actions panel, 141–144 actions list, 142–143, 148 batch processing, 950 changing views, 143–144 menu, 143 Quick Buttons, 143 scripting, 963 toggle boxes, 143, 148 batch processing, 950 correcting video files, 875 creating custom actions, 144–145 editing actions, 145–148 adding a stop, 145–146 adjusting settings, 148 deleting operations, 147
977
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Index
Adjustment Brush overview, 216, 241 setting Adjustment options, 244–246 setting Brush options, 243–244 setting Mask options, 242 using pins, 242–243 Adjustment Composite option, 105 Adjustment layer adding, 418 Adjustment panel, 376–377 choosing, 314 Clone Stamp tool, 482 creating, 682 editing moving layer, 318 properties, 318–319 fading out, 847 New Adjustment Layer option, 299 overview, 313, 315–318 video files adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864 Adjustment slider, 407 adjustment workflow Adjustments panel, 373–378 icons, 374–377 overview, 373–374 presets, 377–378 making auto adjustments, 371–373 steps, 369–371 adjustments blur automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 color and lighting Brightness/Contrast tool, 382–383 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves, 420–430
Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 levels, 411–419 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 video layers, 863–864 noise adding, 462 Lens Blur filters, 458 reducing, 458–461 sharpness basic filters, 438–443 Smart Sharpen, 445–448 Unsharp Mask, 443–445 3D objects, 765–766 Adjustments panel accessing, 373 Edit Adjustment option, 302 editing layer properties, 318, 319 icons, 374–377 overview, 35 presets, 377–378 Adobe Camera Raw. See Camera Raw Adobe Illustrator. See Illustrator Adobe InDesign. See InDesign Adobe Marketplace, 971 Adobe Photoshop. See Photoshop Adobe RGB color profile, 908 Advanced Character Formats option, 605 Advanced Controls, 912–913 advanced mode GPU settings, 52 reducing noise, 460 Advanced Rename option, 159 AI3 files, 68 AI8 files, 68 Airbrush option brush settings, 527 Clone Stamp tool, 482 Eraser tool, 513 painting tools, 509
978
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Index
Alias, 971 Align Center option, 602 Align Left option, 602 Align option, 300, 929 Align Right option, 602 Aligned option, 482 alignment Clone Stamp tool, 482, 511 guides, 31 objects on layers, 300 Path Selection tool, 561 slicing images, 929 source images, 959 text, 587, 588, 602 All Channels option, 103, 105 All Layers option Paint Bucket tool, 535 selection, 260 Allow Frame Skipping option, 803, 849 Allow Non-Linear History option deleting history, 137 History panel, 135 alpha channels changing options, 359–360 Content-Aware Scale, 629–630 creating, 356–357 creating depth map, 456–457 creating transparency, 930–932 layer masks versus, 358–359 loading selections, 357 mask options, 645 modifying, 358 non-destructive editing, 132 rendering video, 899–900 saving images, 77 sharing, 353 Alpha value, 935 Altered Video property, 855, 856, 870–872, 874–876 ambient setting, 749 amount settings creating vignette, 251 dithering, 118 fade, 447 fixing highlights, 401 fixing shadows, 400 grain, 249 Lens Blur filter, 458 output settings, 290
Radial Blur filter, 453 sharpening, 255 Smart Sharpen filter, 446 Unsharp Mask, 443 Analysis menu Count tool, 27 placing scale marker, 29–30 Record Measurements, 28 Ruler tool, 27 setting data points, 29 setting measurement scale, 28–29 Anamorphic 2:1 ratio, 792 anchor points Add Anchor Point tool, 553 Convert Point tool, 553–554 Delete Anchor Point tool, 553 Direct Selection tool, 280 Magnetic Lasso tool, 276 Path Selection tool, 558 using paths, 279, 548–549, 552 anchors adding text, 607 resizing canvas, 83 angle bristle brush shapes, 525 flat brush shapes, 523 Motion Blur filter, 452 paths, 548 Smart Sharpen filter, 446 3D objects, 708 tilt option, 737 Angle Jitter setting, 527 Angled Strokes filter, 656 Animated Zoom, 47 animating DICOM files, 860–862 GIF files, 66 global lighting, 850–851 images, 5, 931–932 keyframe placement, 841–843 layer styles, 847–850 masks, 852, 853 multiple layers, 843–845 opacity setting, 845–847 options, 302 text, 851–854 animation controls, 943–944
979
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Index
Animation (Frames) panel features convert to animation, 885 disposal method, 883 duplicating selected frames, 885 frame delay time, 882 looping options, 883 tweens animation frames icon, 883–885 frame-by-frame animation building animation, 896–899 creating animation from layered image, 893–896 Layers panel, 888 menu, 885–887 overview, 881–882 rendering video, 899–900 tweened frame animations creating keyframes, 890–891 opening images, 889–890 tweening keyframes, 892–893 Animation (Timeline) panel accessing Video Layers menu, 805–806 animating DICOM files, 860–862 global lighting, 850–851 layer styles, 847–850 masks, 852, 853 opacity setting, 845–847 position of layer, 841–845 text, 851–854 creating comments, 839–841 defining options, 802–805 icons, 801 keyframes creating, 832–836 editing, 836–838 placement, 841–843 overview, 35, 831 rotoscoping, 853–860 creating modified frames, 855–857 creating new video layer, 855 overview, 853, 854 restoring frames, 860 using onion skins, 857–859 setting interpolation hold interpolation, 838–839 linear interpolation, 838 setting layer favorites, 807
time adjustment, 798–799 work area, 800–801 Animation panel menu icon, 801 anti-alias options Brush and Pencil tools, 507 Color Replacement tool, 510 guides, 52 Lasso tools, 273 layer styles, 321 Magic Eraser tool, 514 Magic Wand tool, 267 Marquee tools, 271 Paint Bucket tool, 535 paths, 52 text, 587, 593, 600 anti-piracy feature, 32 Appearance panel creating Web gallery, 182 setting up Mini-Bridge, 184 AppleScript, 956 application bar, 22–24 Apply Mask option, 335 Apply Metadata feature, 161 Apply Preset option, 207 Apply Sharpening setting, 204 Apply Snapshot option, 207 Approved label, 164 arbitrary flip, 90 Arc tool, 723 architectural renderings, 735–736 arcs, 594 Arrange Documents icon drop-down menu, 24 View menu, 23 Arrange option, 300 Art History Brush tool keyboard shortcut, 966 painting from history, 138 artistic effects adding grain, 249, 250 adding vignette, 251 blending modes, 683 filters, 654–655 overview, 4 Asian text options, 57, 584 Ask Before Saving Layered TIFF Files option, 50 Ask when Opening option, 910
980
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Index
Ask when Pasting option, 910 aspect ratios correcting, 487 pixel aspect ratio, 30, 790–792 preserving, 84 ratios of images, 793–796 video aspect ratios, 791–793 ATN files, 144 Attempt to Automatically Align Source Images option, 959 audio files, 162 Auto Add/Delete option, 553, 555 auto adjustments adjustment workflow, 371–373 default image settings, 204 auto button, 415, 422 Auto-Collapse Iconic Panels option, 49 Auto Collection script, 177, 178 Auto Color Corrections Options dialog box, 371, 372, 416 Auto Curves Adjustment, 425 Auto-enhance option, 264 Auto erase, 509 Auto grayscale mix, 204–205 Auto hide option, 486 Auto layout option, 695 Auto Levels Adjustment, 415–416 Auto Mask option, 244 auto-merging, 177–179 Auto Rotate option, 637 auto settings, 235, 236 Auto-Show Hidden Panels option, 49 Auto slice, 925, 926 Auto Tone adjustments, 204 Auto-Update Open Documents option, 47 automated actions Actions panel, 141–144 auto-merging, 177–179 auto tone adjustments, 204 batch processing, 174 creating custom actions, 144–145 editing actions, 145–148 loading existing action sets, 144 managing action list, 148 overview, 131 automatic blur filters, 448–449 automatic disposal, 883 Automatically Create First Snapshot option, 134 Automatically Create New Snapshot when Saving option, 134
automating workflow batch processing multiple images, 950–954 creating droplets, 954–955 overview, 949 Average blur filter, 449 AVI files, 71–72 Axis option, 737
B B settings, 122 backdrop, 647 background, 40, 689–690, 929, 930, 941 background color Clouds filter, 660 Color Dynamics option, 531 keyboard shortcut, 967 printing settings, 920 setting, 363 background contents, 74 Background Eraser tool keyboard shortcut, 966 options, 514, 515 background layers changing, 897 multiple layers, 294–295 sharpening images, 439–441 Smart Object layers, 668–669 background mattes, 899–900 background sampling Background Eraser tool, 514 Color Replacement tool, 509 Bas Relief filter, 661 folder, 947 .html files, 947 baseline, 424 baseline shift, 599 basic blending modes, 503 Basic Character Formats option, 605 basic mode GPU settings, 52 reducing noise, 460 Batch dialog box, 950, 951, 953, 954 batch processing multiple images, 950–954 overview, 174–175, 949 raw images, 194 Batch Rename utility, 166–167
981
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Index
batch saving options, 211–212 Beep When Done option, 47 begin text anchor, 607 Behind blending mode, 503 bells, 594 bend, 594, 707 bevel, 709–710 Bevel and Emboss option edge effects, 321 layer styles, 596 bi-linear interpolation, 45, 46, 80 bicubic interpolation, 45, 46, 80, 82 bicubic sharper interpolation, 45, 46, 80 bicubic smoother interpolation, 45, 46, 80 Bigger Tiles, 971 bit depth, 200–201 Bitmap color mode, 114–115 bitmap (BMP) files overview, 67 wireless, 68 bits per channel, 120–121 black adjusting lighting, 225 background matte, 900 Color Picker tool, 122 Black and White adjustment layer, 845, 847, 868 Black and White adjustment tool, 316, 317, 348, 403, 404 black and white images Adjustment panel, 374 bitmap color mode, 114 Black and White adjustment, 316–318, 348 creating, 403–404 black clip, 402 black eyedropper, 384, 414, 420 Black Point Compensation option, 912, 915, 916 black slider, 413, 414, 418 Black-white option, 937 Blacks slider, 225 blade curvature, 457 blank canvas, 539–542, 796 blank layers adding, 826, 828 creating, 313 video layers animation, 855, 856 cloning and healing, 872–874 overview, 805–806 bleed, 921 blemishes, 466–471
Blend RGB Colors Using Gamma option, 913 blending composite files changing blending mode, 682, 683 changing fill settings, 681–682 changing opacity settings, 681–682 creating Adjustment layer, 682 creating drop shadow, 680–681 creating Fill layer, 682 refining edges, 680 using masks, 683–687 options, 302, 325–326 panoramas, 693–696 blending modes changing, 682, 683 Clone Stamp tool, 482 Fill and Adjustment layers, 313 Layers panel adding contrast, 308 color blending, 309 darkening, 307 Dissolve, 307 lightening, 307–308 menu, 305–306 Normal, 306–307 steps for using, 309–312 using difference, 308–309 onion skins, 859 overlay blending mode, 486 painting, 502–506 basic, 503 color, 505–506 contrast, 504–505 darkening, 503–504 difference, 505 divide, 505 exclusion, 505 lightening, 504 subtract, 505 painting tools, 508 Smart Filters, 437 Blending Options dialog box, 325, 326 Bloat tool, 641 Block mode, 513 blue, 404 blue channel Channel Mixer, 344 Color Picker tool, 122 overview, 342
982
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Index
selecting channels, 354, 355 swapping colors, 345–346 blur custom filters, 673 file output settings, 939 blur center, 454 blur filters automatic, 448–449 Direction Blur Motion Blur, 451–453 Radial Blur, 453–454 Lens Blur, 455–458 Depth Map, 456–457 Iris, 457 noise, 458 overview, 455 preview, 456 Specular Highlights, 457–458 Shape Blur Box Blur, 449–450 Gaussian Blur, 448, 449 Shape Blur, 450–451 Smart Blur, 451–455 Surface Blur, 454 Blur More filter, 449 Blur tools keyboard shortcut, 966 overview, 39 painting, 516–517 BMP (bitmap) files overview, 67 wireless, 68 Border Selection option selection, 261 borders Border Selection option, 261 creating knockouts, 364 creating pattern fill, 315 printing settings, 920 straightening images, 93 trimming, 94–95 vignettes, 251 Both Axes option, 530 bounding box combining images, 678 distorting images, 622–625, 628 paths, 562 printing, 918 slicing images, 925, 926
text, 588–589 3D objects, 732, 733, 738 Box Blur filter, 449–450 Bridge application bar, 22 batch processing, 951 finding files, 8 Mini-Bridge tool browsing, 184–186 setting up, 183–184 opening JPEGs and TIFFs, 205 organizing files assigning keywords, 164–166 assigning ratings and labels, 163–164 creating stacks, 171–172 deleting versus rejecting files, 172–173 finding files, 167–170 importing images, 157–161 renaming files, 166–167 using collections, 170–171 working with metadata, 161–163 processing images batch processing, 174–175 creating PDFs, 179–181 creating web galleries, 181–183 merging photos, 176–179 opening images in Photoshop, 173–174 using Image Processor, 175–176 Web galleries, 972 workspaces Bridge utility, 151–156 types, 156–157 Bridge button, 184 Bridge utility content view controls, 155–156 main menu, 152–153 toolbar, 153–154 window panes, 154–155 brightness adjusting, 382–383, 402 Adjustment options, 244 color calibrating, 906 Color Picker tool, 122 creating 3D mesh, 711 fixing highlights, 401 Lens Blur filter, 458 lightening blending modes, 307 lighting, 225
983
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Index
Brightness/Contrast tool, 382–383 Brightness slider adjusting lighting, 225 Adjustment panel, 374 Bristle Brush, 6, 7, 524–526 Bristle Brush preview overview, 8 toggling, 525 bristle brush shapes, 524–526 Browse in Bridge command, 967 browser file formats, 66, 67 preparing images for Web, 923 previewing, 944, 945 Zoomify utility, 947 browsing images, 185 Mini-Bridge tool, 184–186 bruising, 369 brush behavior, 531–532 brush density, 643 Brush mode, 513, 521 Brush panel Brush Presets panel, 533–534 keyboard shortcut, 522, 968 overview, 33, 508 setting brush behavior, 526–534 Color Dynamics, 531–532 Dual Brush option, 531 overview, 526 Scattering, 528–530 Shape Dynamics, 527–528 Texture, 530–531 Transfer option, 532–533 setting brush tip shape bristle brush shapes, 524–526 flat brush shapes, 522–523 brush picker, 264 Brush Preset Picker, 507, 508 brush presets, 33, 482, 533–534 Brush Presets panel, 33, 533–534 brush pressure, 643 brush preview, 54 brush rate, 643 brush size Clone Stamp tool, 482 Liquify effects, 643 Brush Strokes filters, 656
brush tip shape bristle brush shapes, 524–526 flat brush shapes, 522–523 painting cursor preferences, 53–54 Brush tool editing masks, 332 keyboard shortcut, 966 overview, 38 painting, 507 Quick Mask mode, 284–285 brushes. See also specific brushes adding and subtracting, 14 Erase Refinements brush, 14 Refine Radius brush, 14 bump map, 748 Burn tool keyboard shortcut, 518 overview, 39 painting, 517–519 business graphics, 6 button (3D panel), 728 Button Mode, 143–145, 148
C C settings (Color Picker tool), 122 cache level, 52, 107 cache settings Camera Raw preferences, 205 overview, 51–52 cache tile size, 52 cached frames indicator, 800–801 calibration bars, 920, 921 calorimeter, 906 camera calibration, 252–253 file formats, 66, 67 importing images, 153, 157–161 positioning on 3D objects, 724–725 sensors, 190 serial number, 205 setting preferences, 50 stacks, 171 Camera Calibration tab, 251–252 camera data, 162 camera profiles, 253 Camera Raw adjusting color and clarity clarity, 226, 227 creating grayscale photo, 235–237
984
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Index
HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 adjusting lighting, 222–225 adjusting sharpness, 253–255 adjusting white balance lighting settings, 221 overview, 218–219 using Temperature slider, 221–222 using Tint slider, 221–222 White Balance tool, 220 adjustment workflow, 370 CMOS information, 190–191 correcting and retouching creating artistic effects, 249–251 creating graduated filter, 246–249 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 correcting camera quirks camera calibration, 252–253 lens correction, 252 creating snapshots, 207–209 exporting files, 210–212 file formats, 193–196 DNG, 67–68, 195–196, 203, 204 overview, 67 saving files, 212 XMP files, 195, 196, 203–205 importing, 153 memory card and disk space, 189, 194 metadata, 189–193 non-destructive editing, 191–193 opening images, 174, 196–197 overview, 13, 189 panel menu, 206–207 reducing noise, 253–254 saving presets, 209–210 setting preferences, 50, 202–206 cache settings, 205 default, 204–205 DNG file handling, 205 general, 203–204 JPG and TIFF handling, 205–206 synchronizing adjustments in multiple raw images, 217–218
time needed for processing, 194 tools, 197, 213–216 workflow options, 199–202 workspace, 197–199 Camera Raw 6, 192 Camera Raw dialog box, 197, 217 Camera tool, 753 Canon, 195 canvas extension color, 83 canvas size, 82–83 Canvas size command, 967 card reader, 157–161 Cascade option, 21 cast shadow setting, 739 catch shadows setting, 739 center crop marks, 920 Center Image option, 918 center point, 88–89 central point, 716 certification, 975 Chalk & Charcoal filer, 661 Change Layer Properties option, 574 Change Text Orientation option, 600 Channel menu, 103 Channel Mixer Adjustment panel, 374 color mixing, 344–345 converting color to grayscale, 346–349 overview, 343 swapping colors, 345–346 channel overlays, 424 channels adjusting levels, 411 alpha changing options, 359–360 Content-Aware Scale, 629–630 creating, 356–357 creating depth map, 456–457 creating transparency, 930–932 layer masks versus, 358–359 loading selections, 357 mask options, 645 modifying, 358 non-destructive editing, 132 rendering video, 899–900 saving images, 77 sharing, 353
985
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Index
channels (continued) Channel Mixer color mixing, 344–345 converting color to grayscale, 346–349 overview, 343 swapping colors, 345–346 Channels panel deleting channels, 350 duplicating channels, 350–351 merging channels, 351–353 opening, 349 selecting channels, 350 sharing channels, 353 splitting channels, 351, 352 creating black and white photos, 403 Curves Adjustment tool, 420, 421 Enhance Monochromatic Contrast option, 372 Histogram panel, 105 Hue/Saturation tool, 406 Levels Adjustment tool, 413 making selections, 262, 353–356 overview, 98–99, 341–343 selecting Curves tool, 111 Histogram panel, 103–105 Show Channels in Color option, 48 spot color creating, 361–363 merging, 363 removing ink overlap, 363–364 uses, 360 turning off visibility, 333 Channels panel deleting channels, 350 duplicating channels, 350–351 layer masks, 332–334 merging channels, 351–353 opening, 349 overview, 35 selecting channels, 350, 354, 356 sharing channels, 353 splitting channels, 351, 352 Character panel Asian text options, 57 editing type, 590 Fractal Width option, 587 overview, 35 text, 596–601, 604–609
Toggle Paragraph/Character Panels option, 587 Type Mask tools, 615 Character Style Options dialog box, 606, 607 Character Styles panel options, 604–605 overview, 13, 35 Charcoal filter, 661 Check All Layers option, 591 Check Spelling option, 591 chroma noise, 458, 461 Chrome filter, 661 CIE LAB color spaces, 905 CIE XYZ color spaces, 905 Cineon files, 71 clarity Adjustment options, 244 Camera Raw creating grayscale photo, 235–237 HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 Clarity slider, 226 Clean Brush After Stroke option, 520, 521 Clear All Actions option, 148 Clear blending mode, 503 Clear Guide option, 31 Clear History option, 137 Clear Imported Settings option, 207 Clear Override/Clear Modification option, 604, 605 Clear Slices option, 31 Clip to Layer button, 865, 866 clipart, 7 clipboard, 47, 452 Clipped option, 486 clipping, 865–866 clipping masks Create Clipping Mask option, 300 overview, 330–332 paths, 568–570 photo collages, 692 clipping path, 551, 564 clipping warnings, 223, 224 clone sample icons, 485 clone source, 486, 878 Clone Source panel, 34, 473, 485–490, 877, 879
986
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5/3/10 10:58 AM
Index
Clone Stamp tool adjustment workflow, 370 blending pixels, 473 correcting video files, 877, 879 keyboard shortcut, 966 options, 481–482 overview, 480–481 painting, 511–512 removing dust and scratches, 460 steps in, 482–484 cloning Camera Raw, 238–240 Clone Source panel, 34, 473, 485–490 Clone Stamp options, 481–482 face swapping with multiple images, 493–497 fixing damaged photos, 490–493 overview, 480 steps in, 482–484 vanishing point, 647–652 video files, 876–879 video layers, 872–874 Close Document command, 967 Close option, 302 Close Tab Group option, 302 closed path, 550 Clouds filter, 660 CMMs (Color Management Modules), 903, 911 CMOS (Complementary Metal Oxide Semiconductor) information, 67, 190–191 CMYK color mode, 119, 343, 905, 907–909 CMYK slider, 124 CMYK spectrum, 124 COLLADA files, 72, 700, 704 collage, 688–692 Collage Layout option, 695 Collapse button, 32, 33 collections creating collections, 170–171 creating smart collections, 171 overview, 155 Collections panel New Smart Collection option, 171 overview, 170 color adjustments Brightness/Contrast tool, 382–383 Camera Raw clarity, 226, 227 creating grayscale photo, 235–237
HSL adjustments, 233–235 saturation, 226 split toning, 237 tone curve, 227–233 vibrance, 226 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 Camera Raw, 226, 234 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 levels configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 411–415 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 video layers, 863–864 color balance color and lighting adjustments, 386–389 determining, 101–102 Color Balance Adjustment layer, 388, 875 Color Balance Adjustment tool, 386 Color Balance panel Adjustment panel, 374 keyboard shortcut, 967 color blending modes layers, 307, 309 painting, 505–506 Color Blindness options, 916 Color Burn blending mode, 307, 503 color calibrating monitors, 906–907 printers, 906–907
987
47_584743-bindex.indd 987
5/3/10 10:58 AM
Index
color card, 222 color casts, 311, 312, 416, 419 color channels. See channels color clusters, 395 color decontamination Layer menu, 300 Refine Edge feature, 14 Color Dodge blending mode, 307, 504 Color Dynamics option, 531–532 Color Halftone filter, 659 Color Handling option, 919 color lens filters, 393, 394 Color Libraries, 123 Color light setting, 754 color management accuracy and consistency device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 assigning color profiles to images, 913–914 color calibrating monitors and printers, 906–907 configuring settings advanced controls, 912–913 conversion options, 910–912 policies, 909–910 Settings menu option, 907–908 working spaces, 908–909 converting images to other color profiles, 914–915 preparing images for Web, 940 proofing images, 915–916 Color Management Modules (CMMs), 903, 911 Color Match Tool, 430–433 color mixing Channel Mixer, 344–345 converting to grayscale, 204–205 Lab color mode, 119 color modes Bitmap, 114–115 bits per channel, 120–121 CMYK, 119, 343, 905, 907–909 Duotone, 116–117 Grayscale, 115–116 Indexed color, 117–118 Lab color, 119–120 multichannel, 120 overview, 113
RGB channels, 342, 343 color management, 905, 906, 908–909, 913 images, 71, 99 overview, 118–120 preparing images for Web, 71 settings, 73 color noise, 458, 461 color overlay, 321 color palette, 937, 947–948 Color Palette panel, 182 Color panel choosing colors, 123–125 overview, 33 Color Picker tool choosing colors, 121–123 Quick Mask mode, 283 setting preferences, 45 color profiles assigning, 913–914 camera calibration, 253 Camera Raw, 199, 200 converting images, 914–915 embed color profile option, 939 embedding, 904–905 overview, 903 preparing images for Web, 925 Suppress Color Profile Warnings option, 951 Color Range refining, 335 selection, 261, 268–270 color reduction algorithm, 937 Color Replacement tool keyboard shortcut, 966 overview, 509–510 Color Sampler tool Camera Raw, 214, 215 choosing colors, 127–128 keyboard shortcut, 966 color settings dialog box, 907–911 keyboard shortcut, 907, 967 options, 907–908 color sliders changing color balance, 386 Selective Color Adjustment tool, 390 color stops, 538 Color Table dialog box, 117, 118
988
47_584743-bindex.indd 988
5/3/10 10:58 AM
Index
Color Table pane, 942, 943 color temperature, 393 Color tool, 935 Colored Pencil filter, 653 Colorize option, 407 ColorMatch RGB, 202 color(s) Adjustment options, 244 adjustment workflow, 370, 371 alpha channels, 360 animating changes, 875 camera calibration, 252–253 Camera Raw options, 199 canvas extension, 83 changing, 430–433 choosing Color panel, 123–125 Color Picker tool, 121–123 Color Sampler tool, 127–128 Eyedropper tool, 126–127 HUD Color Picker, 128–129 Swatches panel, 125–126 Color blending mode, 309 converting to grayscale, 346–349 decontaminate colors option, 290 guides, 56 intensity, 431 menu list, 60 Mixer Brush, 520 overview, 97–98 reducing noise, 254 replacing, 394–398 Shape tools, 574 swapping, 345–346, 967 text, 587, 599 column size, 55 Combine button, 561 combining images adjustment workflow, 370 channels, 351–353 creating composites, 677–687 adjusting and transforming layers, 679–680 blending composite files, 680–687 combining files, 678–679 overview, 677 creating panorama, 693–696 creating photo collage, 688–692 layers, 338–339
PhotoMergeUI plug-in, 972 photos auto-merging, 177–179 Merge to HDR utility, 177 overview, 4, 176 Photomerge, 177 spot color channels, 363 using Photomerge, 693–696 video layers, 867–868 commands, recorded, 143 comments Animation (Timeline) panel, 839–841 Edit Timeline Comment option, 804, 840 comments track, 800 compact view, 103 compatibility settings, 50, 51 Compensate for Scene-referred Profiles option, 912 Complementary Metal Oxide Semiconductor (CMOS) information, 67, 190–191 composites blending files changing blending mode, 682, 683 changing fill settings, 681–682 changing opacity settings, 681–682 creating drop shadow, 680–681 creating Fill or Adjustment layer, 682 refining edges, 680 using masks, 683–687 3D objects, 769–785 composition, 606 compressed files Bridge utility, 160 Camera Raw, 190 uncompressed versus, 64 compression, 433 compression algorithms, 64 Compuserv GIF files, 66 concavity, 576 Cone tool, 723 conferences, 975 consistency device-independent color profiles, 905 embedding color profiles, 904–905 ICC color profiles, 904 overview, 903 Consolidate All to Tabs option, 21 Constant option, 344 constrain proportions, 81
989
47_584743-bindex.indd 989
5/3/10 10:58 AM
Index
constraining text, 609–611 Conté filter, 661 Content-Aware Fill, 10, 11, 478–479 Content-Aware option, 467–471, 478–479 Content-Aware Scale, 629–634 Content-Aware Spot Healing, 10, 11 Content panel Bridge utility, 155, 164, 167 collections, 171 Mini-Bridge, 185 Content View controls, 155–156 Content View settings, 186 content window pane, 154 contextual alternates, 600 Contiguous option erasing limits, 509 Magic Eraser tool, 514 Magic Wand tool, 267 Paint Bucket tool, 535, 536 continuous sampling Background Eraser tool, 514 Color Replacement tool, 509 contour layer styles, 321 presets, 709 Contract/Expand option, 289 Contract option, 262 contrast Adjust Edge settings, 289 adjusting, 244, 382–383 auto adjustments, 372 color calibrating, 906 curves, 425–430 custom filters, 674 lighting, 225 Magnetic Lasso tool, 276 contrast blending modes layers, 308 painting, 504–505 Contrast slider adjusting lighting, 225 Adjustment panel, 374 control setting, 527, 529, 531–532 Control to Fade setting, 527, 529, 532 Convert Anchor Point tool, 966 Convert Point tool, 553–554, 566 Convert to Animation (Timeline) icon, 885 Convert to DNG option, 159–161, 195, 196
Convert to Frame Animation option, 801, 804, 889 Convert to Grayscale option, 204, 235 Convert to Linear Image option, 161 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Convert to Smart Object option, 301 Convert to sRGB option, 940 Convert to Timeline option, 887 convert to working profile option, 910 converting animation, 885 color management settings, 919 color profiles, 910–912, 914–915 Convert to DNG option, 159–161 file output settings, 936 grayscale, 116 Image Processor utility, 175 layers, 323–324 options, 915 paths, 561 Smart Objects, 867 sRGB color profile, 940 cooling filters, 393 copies, 918 copy and paste commands adding document as layer, 296 combining files, 678 frames, 886–887 image files, 827 keyframes, 802, 836, 837 selections, 297 Copy Color as HTML slider, 124 Copy Color’s Hex Code slider, 124 Copy Frame options, 886–887 copyright metadata, 161, 960 corner anchor points, 548, 549, 552, 554 corner crop marks, 920 correcting creating artistic effects, 249–251 creating graduated filter, 246–249 overview, 4 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 count (Histogram panel), 106 Count Jitter option, 530 Count option, 530
990
47_584743-bindex.indd 990
5/3/10 10:58 AM
Index
Count tool keyboard shortcut, 966 overview, 27, 38 CR files, 67 CR2 files, 67 Craquelure filter, 663 crease threshold, 734 Create a Path option, 564 Create Clipping Mask option, 300 Create Droplet dialog box, 954, 955 Create Gallery panel, 183 Create Layers option, 322 Create New Document from Current State button, 137 Create New Layer for Each New Frame option, 887 Create New Shape Layer option, 574 Create New Subfolder options, 899 Create option, 25 Create Shadows light setting, 754 Create Smart Object after Loading Layers option, 959 Create Snapshot button, 136 Create Work Path option, 592 Creating Texture option, 467 creator metadata, 161 crisp anti-aliasing, 587, 600 Crop and Straighten tool, 92–93 Crop Guide Overlay, 13, 91 Crop Guide Overlay option, 89 crop marks, 83, 920–921 Crop tool Camera Raw, 215, 216 keyboard shortcut, 966 overview, 13, 38, 88–89 presets, 40 rotating images, 91 cropping crop marks, 83, 920–921 images, 84–90, 370 non-destructive editing, 133, 215 cross sections, 735–737 crosshairs, 54, 622 Crosshatch filter, 656 Crystallize filter, 659 Cube tool, 723 Current Colors ramp, 124–125 current frame rate, 799 Current Selection option, 703 current time indicator, 799, 816, 835 Cursors preferences panel, 53–54 curved path, 550
curves Adjustment panel, 374 color adjustments adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Curves tool, 109–113 keyboard shortcut, 967 paths, 548 Curves Adjustment tool, 420–424 Curves Display Options dialog box, 424 Curves Display tool, 424–425 Curves tool, 109–113 Custom dialog box, 672, 673 Custom option, 117 custom pattern, 115 custom settings, 205 Custom Shape tool keyboard shortcut, 967 options, 576 selecting custom shapes, 580 custom shapes, 610 Custom Shapes list, 568 Customize Proof Condition dialog box, 915, 916 customizing actions, 144–145 color palette, 937 exposure, 384 filename options, 166 filters, 664, 672–674 gradients, 538 menus, 58–60 pixel aspect ratios, 793 presets, 43 proofing images, 915 setting preferences, 44 shortcuts, 58, 60–62, 856 Strength and Preserve details, 461 Tween dialog box, 892 values in Channel Mixer, 348 vector shapes, 579–581 Cutout effect, 654 cyan, 122, 404 cyanotype Hue/Saturation tool, 406 cylinder anamorphosis, 657–658 Cylinder option, 712 Cylindrical Layout option, 695
991
47_584743-bindex.indd 991
5/3/10 10:58 AM
Index
D DAE files, 700, 704, 705 damaged photos, 490–493 Dark Strokes filter, 656 Darken blending mode, 307, 503, 845 Darken Color blending mode, 307, 504 Darken slider, 240 darkening blending modes layers, 307 painting, 503–504 darkness, 223 data camera, 162 metadata Bridge utility, 155, 161–163, 167 Camera Raw, 189–193 categories, 167 creating stacks, 172 file output settings, 940 logging history information, 133 Metadata workspace, 156 storing history, 48 XMP files, 195, 196 selection, 357 data points, 29 De-Interlace dialog box, 797, 798 de-interlacing, 797 deactivating Photoshop, 32 Decontaminate Colors option, 290 Decrease Brush Diameter command, 968 Decrease Brush Hardness command, 968 default preferences Camera Raw auto grayscale mix, 204–205 auto tone adjustments, 204 defaults specific to camera ISO setting, 205 defaults specific to camera serial number, 205 Reset Camera Raw Defaults option, 207 Hue/Saturation tool, 406 OpenType options, 601 restoring, 44 Define Custom Shape option, 568 Defringe option, 301 Delete all Empty Layers command, 14, 957 Delete Anchor Point tool, 553 Delete Animation option, 886 Delete button, 276, 728 Delete Current Path option, 564
Delete Frame option, 806, 886 Delete Hidden Layers option, 298 Delete Keyframes icon, 801, 837 Delete Layer option, 298 Delete option cropping images, 133 custom vector shapes, 579 deleting history, 137 overview, 25 video editing, 802 Delete Original Files option, 161 Delete Shortcut option, 61 Delete Style option, 604, 606 Delete tool, 966 deleting channels, 350 collections, 170 cropping images, 133 files, 161, 172–173 frames, 806 history, 137 keyframes, 801, 802, 837 keywords, 166 layers, 298, 313 operations, 147 original files, 161 Pen tool, 553 shapes, 579 shortcuts, 61 views, 721 density Brush options, 243 editing masks, 335 photo filters, 393. 394 depth brush stroke texture settings, 531 Repoussé tool, 707 depth jitter, 531 depth map Lens Blur filters, 456–457 3D objects, 711–713 depth setting, 200–201 Desaturate Monitor Colors By option, 913 Description option, 920 Deselect option keyboard shortcut, 260, 968 overview, 260, 261 Design preset, 24 Despeckle filter, 458
992
47_584743-bindex.indd 992
5/3/10 10:58 AM
Index
destination batch processing, 951 Camera Raw, 211 Layer Comps to Files option, 957 Destination and Errors settings, 175 destination folder, 167 Destination option, 477 destination space, 914 detail enhancing, 245 HDR Toning tool, 434 increasing, 416–420 sharpening, 255 Details tab, 204, 253, 254 Device Central, 944–946 Device Central button, 944, 946 device-independent color profiles, 905 device to stimulate option, 915 DIB files, 67 DICOM (Digital Imaging and Communications in Medicine) files animating, 860–862 Load Multiple DICOM Files option, 959 Metadata panel, 162 overview, 72 3D objects, 713 3D panels, 734 Difference blending mode, 309, 505 difference blending modes layers, 308–309 painting, 505 Difference Clouds filter, 660 Diffuse filter, 662 Diffuse Glow filter, 657 Diffuse Texture icon, 747 diffusion dither, 114, 938 Diffusion option, 118 Digimarc, 972 Digit Serial Numbers, 953 digital color, 98 Digital Imaging and Communications in Medicine (DICOM) files animating, 860–862 Load Multiple DICOM Files option, 959 Metadata panel, 162 overview, 72 3D objects, 713 3D panels, 734
Digital Negative (DNG) files Camera Raw ignore sidecar XMP files, 205 overview, 193–196 saving files, 203, 204 Update DNG Previews option, 207 update embedded JPEG previews, 205 converting images, 159–161 overview, 67–68 dim lighting, 98 Direct Selection tool Convert to Shape option, 593 keyboard shortcut, 966 overview, 558 selecting anchor points, 280 direction, 527 Direction Blur filters Motion Blur, 451–453 Radial Blur, 453–454 directional blur, 674 Disable JPEG/TIFF support, 205 Discontiguous option, 509 discretionary ligatures, 600 disk space bits per channel, 120 Camera Raw, 194 file formats, 65, 66, 72 resolution size, 79 Displace filter, 657 disposal method, 883 Dispose option, 883 Dissolve blending mode layers, 307 overview, 503 Distort filters, 657–658 Distort option, 629 distorting transformation, 625–626 Distribute Horizontal Center option, 561, 562 Distribute option, 300 Distribution tools, 561–562 dither file output settings, 937–938 indexed color mode, 118 Use Dither option, 912, 915 dither algorithm, 937 Dither option, 537 Divide blending mode, 309, 505 Divide button, 928, 929
993
47_584743-bindex.indd 993
5/3/10 10:58 AM
Index
Divide Slice dialog box, 928 DNG Conversion Settings dialog box, 160 DNG (Digital Negative) files Camera Raw ignore sidecar XMP files, 205 overview, 193–196 saving files, 203, 204 Update DNG Previews option, 207 update embedded JPEG previews, 205 converting images, 159–161 overview, 67–68 do not dispose setting, 883 document adding, as layer, 296–297 creating, 137 Drag-and-Drop, 13 duplicating channels, 351 document height, 81 document information, 20 Document option, 919 Document panel, 180–181 Document Settings, 804 document width, 81 Document window, 49, 197 document workspace, 18–21 Dodge tool keyboard shortcut, 518 overview, 39 painting, 517–519 D1/DV NTSC ratio, 792 D1/DV PAL ratio, 792 D1/DV PAL Widescreen ratio, 792 Don’t Color Manage this Document option, 913 downloadable tools, 974 Drag-and-Drop document, 13, 296, 297 Drag tool, 718–719 Draw Freehand Curve option, 423, 424 drawing, 423 drop shadow creating, 680–681 layer styles, 320, 321, 327 realism, 686 droplets, 954–955 Dry Brush filter, 544, 654 Dual Brush option, 531 Duotone color mode, 116–117 Duotone Curve tool, 116 duotone models, 908
Duotones Options dialog box, 116 Duplicate Channel option, 350 Duplicate Frame option, 806 Duplicate Layer option Layer menu, 298 Smart Objects, 668 Duplicate Path option, 564 Duplicates Selected Frames icon, 885, 891 duplicating actions, 146 channels, 350–351 duplicate path option, 564 frames, 806, 856 layers, 298 operations, 146 selected frames, 885 duration, 866–867 Dust and Scratches filter, 460 DVCPRO HD 1080 ratio, 792 Dynamic Color Sliders option, 47
E edge detail, 254 Edge Detection refining edges, 14, 288–289 Show Radius option, 287 edge options, 734 edges custom filters, 674 filters, 663 interpolation, 921 refining, 285–291 Adjust Edge settings, 289 combining images, 680 Edge Detection, 14, 287–289 Output Settings, 289–291 overview, 285 View Mode, 286–288 Sharpen More filter, 439 Surface Blur filter, 454 tracing, 543–544 Edit Adjustment option, 302 Edit Contents option, 302 Edit heading, 152 Edit in Quick Mask Mode keyboard shortcut, 967 overview, 40
994
47_584743-bindex.indd 994
5/3/10 10:58 AM
Index
Edit in Quick Selection Mask Mode option, 262 Edit Log Items option, 48 Edit menu overview, 26 setting preferences, 44 Edit Timeline Comment option, 804, 840 Edit Type option, 590–591 editing actions, 145–148 adding a stop, 145–146 adjusting settings, 148 deleting operations, 147 duplicating actions and operations, 146 modifying action name and function key, 147–148 modifying operations, 146–147 moving operations, 146 saving actions, 148 Adjustment layer, 318–319 Fill layer, 318–319 keyframes, 836–838 layer masks Channels panel, 332–334 Masks panel, 334–335 painting on image, 332 materials, 745–749 non-destructive Camera Raw, 191–193, 215 Fill and Adjustment layers, 314 filter adjustments, 668–672 layers, 299 overview, 131–133 Smart Filters, 437 Output Settings, 941 painting Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 History tools, 512 overview, 502, 510 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 render settings, 733–734 textures, 742–745
vector shape, 581 vector text layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595 Effects panel, 249, 250 8 bits per channel setting Camera Raw, 190, 200–201 colors, 120, 121, 129 converting HDR images, 433–435 Ellipse tool keyboard shortcut, 967 options, 575 Elliptical Marquee tool red eye removal, 480 selecting by shape, 272 transforming selections, 278 em units, 599 Embed Color Profile option, 939 Embed Original Raw File option, 161 embedded JPEG previews, 205 embedded video files, 870, 871 embedding color profiles, 904–905 Embed Original Raw File option, 161 watermarks, 972 Emboss filter, 662 embossing edge effects, 321 layer styles, 596 emulsion down option, 920 Enable Adobe Drive option, 50 Enable Airbrush option, 482 Enable/Disable Mask option, 335 Enable Events to Run Scripts/Actions option, 962 Enable Flick Panning option, 48 Enable Floating Document Window Docking option, 49 Enable Missing Glyph Protection option, 584 Enable Onion Skins option, 805
995
47_584743-bindex.indd 995
5/3/10 10:58 AM
Index
Enable Timeline Shortcut Keys option, 805 Encapsulated PostScript (EPS) files, 68 encrypted information, 195 End option, 576 end text anchor, 607 Engine option, 911, 915 Enhance Edges option, 674 Enhance Monochromatic Contrast option, 372, 415 Enhance Per Channel Contrast option, 372, 415 enhancement, 4 enlargement, 45 Entire Image option, 105 Entropy mode, 959, 960 Environment map, 748 EPS (Encapsulated PostScript) files, 68 EPSF files, 68 EPSP files, 68 Equalize Histogram option, 433 Erase Refinements brush, 14 Erase to History option, 139, 140, 513 Eraser tools blending changes, 495 editing masks, 332 keyboard shortcut, 966 overview, 38 painting, 512–515 painting from history, 138–140 errors, 953 Essentials preset, 24 Essentials workspace, 156 event-driven scripts, 956 Exclude Overlapping Path Areas option, 557, 566 Exclude Overlapping Shape Areas option, 560, 578–579 exclusion blending modes, 309, 505 EXIF information, 50 Expand option, 262 expanded view, 103 expanding images, 18 Export Layers to Files option, 958 Export Timeline Comment option, 804 exporting Bridge toolbar, 153 Bridge utility, 155 Camera Raw files, 210–212 clipboard, 47 Export Layers to Files option, 958 measurements, 28 Quick Time Export options, 899
Exporting Settings to XMP option, 207 exposure Adjustment options, 244 Adjustment panel, 374 Burn tool, 518 Camera Raw files, 193, 223 Dodge tool, 518 HDR Toning tool, 433, 434 panoramas, 693 exposure bracketing, 65 Exposure option, 316 Exposure slider, 223 Exposure tool, 382–386 exposure values, 384 EXR files, 70 extended version of Photoshop, 4 extension panels, 970 Extract Work Area option, 804, 822 extracting video layer section, 822, 824 Extras option, 30 Extrude filter, 662–663 extrude settings, 707–708 Eyedropper tool adjusting lighting, 384 choosing colors, 126–127 Color Range dialog box, 269 color table, 942 Curves Adjustment tool, 113, 420–422 Histogram panel, 107, 109 Hue/Saturation tool, 407 keyboard shortcut, 966 Levels Adjustment tool, 414–415 overview, 38 preview panes, 935 Replace Color Adjustment tool, 395, 397 sampling ring, 13
F face options, 734 face swapping, 493–497 Facet filter, 659 fade amount, 447 Color Match tool, 431 Fade command, 967 Falloff light setting, 754 faux bold, 593
996
47_584743-bindex.indd 996
5/3/10 10:58 AM
Index
faux italics, 593 faux options, 593 favorites window pane, 154 Feather option Adjust Edge settings, 289 editing masks, 335 Lasso tools, 273 refining edges, 329 selection, 262, 271, 272 feathering Adjust Edge settings, 289 Brush options, 243 creating vignette, 251 editing masks, 335 Hue/Saturation tool, 407 Lasso tools, 273 Marquee tools, 271, 272 refining edges, 329 selection, 262 Fibers filter, 660 50% threshold option, 114 file compatibility, 50 File Extension option, 50 file formats Camera Raw, 193–196 DNG, 67–68, 195–196, 203, 204 overview, 67 saving files, 212 XMP files, 195, 196, 203–205 compressed versus uncompressed, 64 DICOM files, 72 extensions, 212 File Extension option, 50 file output settings, 936 HDR files, 65 image, 65–71 BMP, 67 Cineon, 71 Compuserv GIF, 66 Encapsulated PostScript, 68 FXG, 70 Google Earth 4, 70 IFF, 71 JPEG, 66 JPEG 2000, 66 OpenEXR, 70 PCX, 69 PDF, 68–69
Photoshop, 65, 68–69 PICT, 69 Pixar, 70 PNG, 67 Portable bitmap, 68 PSB, 70 Radiance, 71 RAW, 67–68 Scitex CT, 71 Targa, 71 TIFF, 66 Wireless bitmap, 68 Layer Comps to Files option, 957 opening exist images, 75–76 overview, 63 plug-ins, 971 preparing images, 924 raster versus vector, 64–65 saving images, 77 3D files, 72 3D objects, 699–701 video, 71–72, 899 file handling, 49–51 File Handling preferences panel, 49–51 File heading adding document as layer, 296 Bridge main menu, 152 File Info utility, 161, 163 File menu, 26 file name prefix, 957 file naming, 43, 953, 954 File option, 703 file properties, 162 file saving options, 50 Fill command, 967 Fill dialog box, 479 Fill layer choosing, 314 creating, 682 editing moving layer, 318 properties, 318–319 overview, 314–315 video files adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864
997
47_584743-bindex.indd 997
5/3/10 10:58 AM
Index
Fill Light slider, 223, 224 fill path with foreground color option, 563 fill pixels mode Pen tool, 555 vector shapes, 572–573, 581 fill settings changing, 681 Layers Panel, 303–304 Film Grain filter, 654 filmstrip, 197, 217 Filmstrip workspace, 156 Filter button, 185, 727 Filter Gallery adding Smart Filters, 324–326 filter thumbnail pane, 667 options pane, 667–668 overview, 653 preview pane, 665–666 Filter menu creating Smart Objects, 323 overview, 27 Filter panel, 167, 168 Filter Settings dialog box, 325 filter thumbnail pane, 667 filters Adjustment panel, 374 adjustment workflow, 371 animating, 840 artistic, 654–655 blur automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 Bridge utility, 155 Brush Strokes, 656 creating custom, 664, 672–674 Distort, 657–658 Filter Gallery filter thumbnail pane, 667 options pane, 667–668 overview, 653 preview pane, 665–666 graduated, 246–249 Liquify mask options, 645–646 mesh options, 643
reconstruct options, 643–645 tools, 639–643 view options, 646–647 noise Despeckle filter, 458 Dust and Scratches filter, 460 Median filter, 459 Reduce Noise filter, 460–461 overview, 653 Pixelate, 658–659 Render, 660 sharpening basic filters, 438–443 Smart Sharpen, 445–448 Unsharp Mask, 443–445 Sketch, 661–662, 664 Smart Filters adding, 324–325, 653 adjusting filters, 669–670 applying, 870–872 applying to video files, 870–872 Convert to Smart Object option, 301 Layer menu, 298 layers, 323 making changes, 325–327 non-destructive editing, 437 Stylize, 662–663 Texture, 663–664 3D objects, 713, 767–768 using Smart Objects, 668–672 video files, 796–798 Find and Replace Text option, 592 Find Dark and Light Colors option, 372, 415 Find Edges filter, 663 Find Edges option, 509 Find tool, 167–169 fine/coarse options, 400 finger painting, 516 First Frame option, 884 Fit-to-Screen option Camera Raw, 197 keyboard shortcut, 968 overview, 19 Fixed Aspect Ratio style (slicing), 926 Fixed Size option, 574 Fixed Size style (slicing), 926 Flash browser utility, 946
998
47_584743-bindex.indd 998
5/3/10 10:58 AM
Index
Flash XML Graphics (FXG) files overview, 70 Simplify Layers for FXG option, 957 flat brush shapes, 522–523 flatness, 569, 570 Flatten All Layer Effects option, 957 Flatten All Masks option, 957 Flatten Frames into Layers, 804, 815, 887 Flatten Image option, 300, 339, 766, 915 Flatten Image to Preserve Appearance option, 915 flattening Flatten Frames into Layers, 804, 815, 887 Flatten Image to Preserve Appearance option, 915 image, 300, 339, 766, 915 layer masks, 358 3D objects, 701 Flip Canvas Horizontal option, 90 Flip Canvas Vertical option, 91 Flip option, 737 Flip the Clone Source option, 486 Flip X Jitter option, 527 Flip X option, 523 Flip Y Jitter option, 527 Flip Y option, 523 flipping images, 90–91 text, 609 Float All in Window option, 21 Float in Window option, 21 flow Brush options, 243 Clone Stamp tool, 482 painting tools, 509 Flow Jitter, 532 Flow option, 513 focal length, 693 folder batch processing, 951 destination, 167 Zoomify utility, 947 folder control, 154 folders window pane, 154 Folders workspace, 157 font menus, 49 setting preferences, 57–58 typeface versus, 583 font family, 586, 597 font preview size, 58, 585
font size Character panel, 597 options, 586 preview, 58, 585 font style, 597 Footer panel, 181 Forced option, 117 Foreground/Background Jitter setting, 531 foreground colors Background Eraser tool, 514 Clouds filter, 660 Color Dynamics option, 531 Eyedropper tool, 967 fill path with foreground color option, 563 keyboard shortcut, 967 Neon Glow filter, 654 Paint Bucket tool, 536 Forward Warp tool, 639 4-Up option, 934 Fractal Width option, 587 fractional widths, 601 fractions (OpenType), 601 Fragment filter, 659 Frame Animation mode, 889 frame aspect ratio, 790 frame-based animation, 801 frame-by-frame animation building animation, 896–899 creating animation from layered image, 893–896 making changes, 870 overview, 831 frame-by-frame correction adding adjustment to single frame, 875–876 cloning, 876–879 healing, 876–879 locking source frame, 879 frame delay time, 882 Frame Offset option, 486 frame rate, 900 frame ruler, 799 frame spacing, 859 frames duplicating, 885 restoring, 860 Frames to Add option, 884 Free Transform option keyboard shortcut, 628, 967 overview, 628–629
999
47_584743-bindex.indd 999
5/3/10 10:58 AM
Index
Freeform Pen tool keyboard shortcut, 552, 966 overview, 553 Pen tool options, 555 Freehand Curve tool, 113 freehand line, 113 Freeze Mask tool, 642, 643, 645, 646 frequency, 276 Fresco filter, 654 From Center option, 574 full brush tip painting cursors, 53 full screen mode with menu bar, 24 function key, 147–148 fuzziness slider Color Range dialog box, 269 Replace Color Adjustment tool, 395 FXG (Flash XML Graphics) files overview, 70 Simplify Layers for FXG option, 957
G G settings (Color Picker tool), 122 gamma correction, 383, 433, 434, 906, 913 gamut, 54–55, 912 Gamut Warning command keyboard shortcut, 968 options, 919 setting preferences, 54, 55 Gaussian Blur filter, 448, 449 Gaussian noise, 458 General panel (preferences), 45–48, 133 general purpose setting (color management), 907 geometric distortion correction, 695 Get Photos From option, 157, 158 GIF (Graphic Interchange Format) files animated, 881, 896 overview, 66 PNG files versus, 67 preparing images for Web, 924, 929, 930, 936 Glass filter, 657 Global Ambient Color, 735 global lighting animating, 850–851 Global Lighting track, 800 layer styles, 321 Global Lighting track, 800
gloss setting, 749 glow, 320 Glowing Edges filter, 663 glyph protection, 57, 584 Go to option, 803, 887 Go to Recent Folder button, 153 Google Earth 4 files, 70, 72, 700 GPU memory (VRAM) options, 730 GPU settings, 52–53 gradient customizing, 538 pattern, 537 presets, 539 radial, 711, 712 satin option, 321 solid, 538 Gradient Editor, 538–539 gradient map, 375 gradient overlay, 321, 596 gradient pattern, 537 gradient style, 537 Gradient tool keyboard shortcut, 966 overview, 39 painting, 537 gradient type, 538 Graduated Filter tool Camera Raw, 216 creating, 246–249 grain adding, 249, 250 adding noise, 462 Grain filter, 663 Graphic Interchange Format (GIF) files animated, 881, 896 overview, 66 PNG files versus, 67 preparing images for Web, 924, 929, 930, 936 Graphic Pen filter, 662 graphics, 6 grass brush style, 540, 541 gray color profiles, 908 gray eyedropper, 415, 422 gray value, 308 grayscale auto grayscale mix, 204–205 bump map, 748
1000
47_584743-bindex.indd 1000
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Index
color channels, 342, 344, 346–349 color mode, 115–116 color palette, 937 color settings, 908 creating 3D objects, 711–713 creating photos, 235–237 Grayscale slider, 124 merging images, 352 resizing images, 82 split toning, 237 grayscale mix, 204–205 grayscale profiles, 199, 200 Grayscale Ramp, 124 Grayscale slider, 124 green, 404 green channel adjusting midtone range, 418 Channel Mixer, 344 Color Picker tool, 122 overview, 342 selecting channels, 354 grid lines, 110 Grid options, 13 grid size, 425 grids application bar, 22, 23 preferences, 56–57 Ground Plane option, 731 Group Layers command keyboard shortcut, 968 Layer menu, 300 menu list, 60 grouping images as stacks, 172 layers, 313 Grow option, 262 guidelines selection, 590 slicing, 926–928 guides anti-alias, 52 application bar, 22, 23 preferences, 56–57 Guides, Grid, & Slices preferences panel, 56–57
H H settings (Color Picker tool), 122 half-toning, 458 Halftone Pattern filter, 662 Halftone Screen option, 115 halos, 301 Hand tool Camera Raw, 214 keyboard shortcut, 967 overview, 39 preview panes, 935 refining edges, 286 handles adjusting histogram, 107–109 adjusting layers, 679 scale, 623 Skew transformation, 625 Hard Light blending mode, 308, 504–505 Hard Mix blending mode, 308, 505 hard proof, 919 hardness, 523 HD video, 795 HDR (High Dynamic Range) files bits per channel, 121 converting, 433–435 Merge to HDR utility, 177 merging, 177 overview, 65 Radiance file format, 71 HDR toning, 13, 433–435 HDR Toning tool, 433–435 HDV 1080/DVCPRO HD 720 ratio, 792 Header panel, 181 healing video files, 876–879 video layers, 872–874 Healing Brush tools adjustment workflow, 370 Content-Aware fill, 478–479 face swapping with multiple images, 493–497 fixing damaged photos, 490–493 Healing Brush, 471–475 overview, 465–466 Patch tool, 475–478 Red Eye tool, 480
1001
47_584743-bindex.indd 1001
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Index
Healing Brush tools (continued) Spot Healing Brush Content-Aware option, 467–471, 478–479 Creating Texture option, 467 Proximity Match option, 466–467 healing modes, 468 Healing tools overview, 38 removing dust and scratches, 460 height bounding box, 588 canvas, 83 document, 81 horizontal distortion, 595 Marquee tools, 271 printing, 918 scale, 623 settings, 73 video files, 790 Help heading, 153 Help menu deactivating Photoshop, 32 overview, 31–32 Photoshop Help, 31 Hex value, 935 hexadecimal code Color Picker tool, 122 Copy Color’s Hex Code slider, 124 Hide Altered Video option, 806 Hide Auto Slices option, 929 Hide Layers option, 300 Hide option, 133 hiding cropping images, 133 full screen mode, 24 layers, 300 panels, 32 3D objects, 758–759 High Contrast option, 674 High Dynamic Range (HDR) files bits per channel, 121 converting, 433–435 Merge to HDR utility, 177 merging, 177 overview, 65 Radiance file format, 71 High Pass filter, 664, 665
Highlight clipping warning icon, 223, 224 highlights adjusting, 400–402 Auto Levels Adjustment, 416 creating vignette, 251 edges, 674 HDR Toning tool, 433, 434 split toning, 237 tonal range, 518 Histogram panel overview, 35, 102 selecting channels, 103–105 selecting source, 105 setting options, 103, 104 statistics, 105–107 histograms adjusting images, 107–109 adjusting levels, 109–113 Camera Raw workspace, 197, 214 Curves Display tool, 424 determining color balance, 101–102 equalizing, 433 HDR Toning tool, 435 Histogram panel, 102–107 Levels Adjustment tool, 415 overview, 99–102 Parametric panel, 228 history filter adjustments, 668 History panel configuring, 134–135 creating documents, 137 navigating through history states, 136 overview, 132–134 using snapshots, 136–137 overview, 131, 132 painting from using Eraser tool, 138–140 using History Brush, 137–140 using selections, 140–141 settings, 51–52 History & Cache pane, 135 History Brush tools blending changes, 495 keyboard shortcut, 966 overview, 39 painting from history, 137–140
1002
47_584743-bindex.indd 1002
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Index
History Log options, 48 History panel configuring, 134–135 creating documents, 137 navigating through history states, 136 overview, 35, 132–134 painting from history using Eraser tool, 138–140 using History Brush, 140 using selections, 140–141 using snapshots, 136–137 history states Allow Non-Linear History option, 135 deleting history, 137 navigating, 136 setting preferences, 52 History Step Backward command, 967 History Step Forward command, 967 History tools, 512 hold interpolation, 838–839 Hole option (3D objects), 711 Home button, 716, 725 horizontal distortion, 595 Horizontal options vector text layers, 593 warping text, 594 Horizontal Type Mask tool keyboard shortcut, 966 overview, 614 Horizontal Type tool adding text, 588, 589 keyboard shortcut, 966 hotkeys automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Hotspot light setting, 754 HSB slider, 124 HSL (hue, saturation, and luminance) adjustments adjusting lighting, 226 hue, 234 luminance, 235 overview, 233 saturation, 234 HSL/Grayscale panel, 204, 226, 233–236
HTML Copy Color as HTML slider, 124 output settings, 941, 944 slicing images, 926, 928–930 HUD Color Picker choosing colors, 128–129 setting preferences, 45 hue adjusting Adjustment panel, 374 Camera Raw, 234, 237 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 overview, 404–405 Replace Color Adjustment tool, 396, 398 Animation (Frames) panel, 899 Color Picker tool, 122 Hue blending mode, 309 Hue/Saturation Adjustment tool, 374, 405–411, 967 red eye removal, 480 Hue blending mode, 309, 505 hue range area, 408 Hue/Saturation Adjustment tool Adjustment panel, 374 keyboard shortcut, 967 making colors pop, 408–411 overview, 405–408 hyphenation, 603, 604, 606 Hyphenation dialog box, 603, 604
I ICB files, 71 ICC (International Color Consortium) color profiles assigning, 913–914 camera calibration, 253 Camera Raw, 199, 200 converting images, 914–915 embedding, 904–905 Layer Comps to Files option, 958 overview, 77–78, 903 preparing images, 925 IFF (Interchange File Format) files, 71 Ignore Adjustment Layers option, 482 Ignore EXIF Profile Tag option, 50 Ignore Selection when Applying Adjustment option, 431 Illumination map, 748–749 Illustrator, 6, 147
1003
47_584743-bindex.indd 1003
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Index
Image adjustment panel, 199 image adjustment tabs, 199 image-based light, 752–753 image file formats BMP, 67 Cineon, 71 Compuserv GIF, 66 Encapsulated PostScript, 68 FXG, 70 Google Earth 4, 70 IFF, 71 JPEG, 66 JPEG 2000, 66 OpenEXR, 70 PCX, 69 PDF, 68–69 Photoshop, 65, 68–69 PICT, 69 Pixar, 70 PNG, 67 Portable bitmap, 68 PSB, 70 Radiance, 71 RAW, 67–68 Scitex CT, 71 Targa, 71 TIFF, 66 Wireless bitmap, 68 Image info panel, 182 image layer, 294 Image light setting, 754 Image menu, 26–27 Image Previews option, 50 Image Processor, 175–176, 957 Image Rotation menu, 90, 91 image sequences, 810–815, 899 image settings, 205 Image Size command, 967 Image Size pane, 942, 943 Image Statistics dialog box, 959, 960 Image Tile Option settings, 946 ImageProperties.xml, 947 images animating, 5, 931–932 applying text adding text on path, 607–609 adding to Smart Object, 611–614
applying as mask, 614–616 constraining text, 609–611 aspect ratios, 793–796 combining adjustment workflow, 370 channels, 351–353 creating composites, 677–687 creating panorama, 693–696 creating photo collage, 688–692 layers, 338–339 PhotoMergeUI plug-in, 972 photos, 4, 176, 177–179 spot color channels, 363 using Photomerge, 693–696 video layers, 867–868 converting, 914–915 creating, 73–74 cropping, 84–90 file types, 63–72 compressed versus uncompressed, 64 DICOM files, 72 embedding color profiles, 904 HDR files, 65 image files, 65–71 overview, 63 raster versus vector, 64–65 histograms, 107–109 opening, 74–76, 889–890 adjustment workflow, 370 loading files as layers, 174 opening in Camera Raw, 174 placing images, 173 tweened frame animations, 889–890 outputting to Web animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933 previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 preparing for Web, 923–933 adding transparency, 930–931 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930
1004
47_584743-bindex.indd 1004
5/3/10 10:59 AM
Index
proofing, 915–916 ratios, 793–796 resizing, 78–84 adjustment workflow, 370 canvas, 82–83 changing resolution, 79–82 resolution, 78–81 saving, 76–78 straightening flipping images, 90–91 rotating images, 90–93 Ruler tool, 93–94 trimming borders, 94–95 import/export tools, 153 importing batch processing, 951 Bridge toolbar, 153 file formats, 68–69 image sequences, 810–815 images applying metadata, 161 converting to DNG, 159–161 creating subfolders, 158 deleting original files, 161 Get Photos From option, 158 Location area, 158 opening Bridge, 159 overview, 157 renaming files, 158–159 Save Copies To option, 161 video files, 808, 809 Impressionist option, 511 in-between frames, 832 Inactive option (3D objects), 711 Include All Subfolders option, 951 Increase Brush Diameter command, 968 Increase Brush Hardness command, 968 Increase Saturation More option, 406 Indent First Line option, 602 Indent Left Margin option, 602 Indent Right Margin option, 602 indentation, 602, 606 InDesign, 6 Index value, 935 Indexed color mode, 117–118, 924 infinite light, 750, 752 Infinite Light 1, 754 inflating 3D objects, 708–709
Info panel Color Sampler tool, 127 keyboard shortcut, 968 overview, 35 initial direction, 527 ink color management, 907, 916 Curves Display tool, 424 Ink Outlines filter, 656 ink overlap, 363–364 inner glow, 320, 596 Inner light setting, 754 inner shadow, 320, 596 input levels, 112–113 input range sliders, 422 input tonal range, 422 Insert Blank Frame option, 806 installing plug-ins, 969–971 intensity color, 98 Color Match tool, 431 Color Picker tool, 122 grayscale images, 116 HDR Toning tool, 435 Intensity light setting, 754 Intent option, 912, 915, 916 interactive (painting) mode, 735 interactive rendering options, 730 Interchange File Format (IFF) files, 71 interface Curves Adjustment tool, 420 preferences, 48–49 Interface panel, 48–49 Interlaced option, 939 interlaced video, 797 Internal Constraint options, 710 internal constraints, 710 Internet, 970 Internet setting, 908 interpolation hold, 838–839 image size settings, 942 keyframe, 803 linear, 838, 853 printing settings, 920 setting preferences, 45–47 tweening, 832 Interpret Footage option, 806
1005
47_584743-bindex.indd 1005
5/3/10 10:59 AM
Index
Intersect Path Areas option, 556 Intersect Shape Areas option, 559, 560 Intersect with Selection option distorting images, 646 Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 intersection line, 425 Intersection option, 737 Inverse Selection command keyboard shortcut, 968 overview, 260 Invert all option, 645 Invert option Adjustment panel, 375 brush stroke texture settings, 530 Clone Stamp tool, 486 Color Range dialog box, 269 duplicating channels, 351 editing masks, 335 Lens Blur filter, 457 Invert Selection option, 646 invisible setting, 739 IPTC core, 162 Iris settings, 457 ISO setting Camera Raw preferences, 205 noise reduction, 254 item list, 61
J JavaScript, 956 Jitter option layer styles, 321 soft brush style, 542 JPEG 2000 files JPEG2000 plug-in, 972 overview, 66 JPEG/JPG/JPE files Camera Raw preferences, 205–206 Camera Raw versus, 190, 191 opening, 196 overview, 66 preparing images for Web, 924, 936 remove JPEG artifact option, 461 thumbnails, 160
JPEG2000 plug-in, 972 JPEG previews, 205 JP2 files, 66 JPX files, 66 justification, 602, 603, 606 Justify All option, 602 Justify Center option, 602 Justify Left option, 602
K K settings (Color Picker tool), 122 kerning, 598–599 keyboard shortcuts automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Keyboard Shortcuts and Menus dialog box, 59, 60, 62 keyframe interpolation, 803 keyframe navigator, 835–837 keyframes copying and pasting, 802 creating, 832–836, 890–891 deleting, 801, 802 editing, 836–838 interpolation, 803 placement, 841–843 tweening, 892–893 keywords assigning adding existing keywords, 164 adding new keywords, 164–165 adding new sub-keywords, 165 deleting keywords, 166 finding keywords in list, 165 renaming keywords, 166 Bridge utility, 155 Keywords workspace, 156 Keywords tab, 164 Keywords workspace, 156 KML files, 70 KMZ (Google Earth) files, 70, 72, 700 knockout, 363–364 Kurtosis mode, 961
1006
47_584743-bindex.indd 1006
5/3/10 10:59 AM
Index
L L settings (Color Picker tool), 122 Lab color mode, 119–120, 122 Lab sliders, 124 Label heading, 153 labels assigning, 163–164 filtering files, 154 printing, 920 language, 49, 599 Large List option, 126 Large Thumbnail option, 126 Lasso Selection tools, 38 Lasso tools keyboard shortcut, 966 selection Magnetic Lasso tool, 272, 275–277 options, 272–273 Polygonal Lasso tool, 272, 274–275 Last Frame option, 884 Layer Based slice, 925, 926 Layer Comps panel non-destructive editing, 132 overview, 35, 337–338 Layer Comps to Files option, 957–958 Layer Comps to WPG option, 958 Layer Content Options, 299 layer duration bar dragging layers, 819 overview, 801 trimming video layers, 815–816, 818 layer favorites, 807 layer groups, 13 layer knocks out drop shadow option, 321 Layer Mask from Transparency command, 14 Layer Mask option, 299 layer masks alpha channels versus, 358–359 creating, 328–332 editing, 332–335 Fill and Adjustment layers, 313 moving, 335–337 New Document with Layer Mask option, 291 New Layer with Layer Mask option, 290 overview, 313, 327 slicing images, 931 unlinking, 335–337 video layers, 864
Layer Menu, 298–301 Layer Properties option, 298 Layer Style dialog box, 596, 848 layer styles adjusting options, 321–322 adjustment workflow, 371 animating, 847–850 creating separate layer, 322–323 keyboard shortcut, 692 menu, 319 overview, 298 photo collages, 689, 692 3D objects, 766–767 types, 320–321 vector text layers, 595–596 Layer Styles dialog box opening, 320 Sticky Layer Style settings, 14 layering (collages), 689 layers adding new, 296–297 Adjustment, 313–319 adding, 418 Adjustment panel, 376–377 choosing, 314 Clone Stamp tool, 482 creating, 682 editing, 318–319 fading out, 847 New Adjustment Layer option, 299 overview, 313, 315–318 video files, 863–870 Color Match tool, 431 Drag-and-Drop document, 13 editing vector text Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595
1007
47_584743-bindex.indd 1007
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Index
layers (continued) Fill choosing, 314 creating, 682 editing, 318–319 overview, 314–315 video files, 863–870 filtering, 729 Layer Comps panel, 337–338 Layer Menu, 298–301 Layer Styles adjusting options, 321–322 creating separate layer, 322–323 menu, 319 types, 320–321 Layers panel blending modes, 305–312 creating blank layers, 313 Fill and Adjustment layers, 313 grouping layers, 313 Layer masks, 313 Layer styles, 313 linking layers, 312 Lock settings, 304–305 menu, 301–303 Opacity and Fill settings, 303–304 throwing layers away, 313 loading files, 174 masks creating, 328–332 editing, 332–335 moving, 335–337 overview, 327 unlinking, 335–337 merging, 338–339 multiple animating, 843–845 importing image sequences, 813–815 modifying opacity, 14 overview, 294–295 non-destructive editing, 132 overview, 293 painting, 502 position of, 841–845 saving images, 77 selection option, 260–261 slicing images, 927 Smart Objects, 323–327 3D files, 701–702
3D scene, 731–732 TIFF files, 66 tracing edges, 543 tweening, 884 vector, 314, 502, 590–596 vector shape, 572–573 video blank, 826, 828 creating, 855 moving, 818–819 splitting, 820–822 text, 826, 827 trimming, 815–818 visibility, 135 Layers panel adding text, 588, 590 Adjustment panel icons, 376–377 Animation (Frames) panel, 888 Animation (Timeline) panel, 833–835 blending modes adding contrast, 308 color blending, 309 darkening, 307 Dissolve, 307 lightening, 307–308 menu, 305–306 Normal, 306–307 steps for using, 309–312 using difference, 308–309 creating blank layers, 313 creating 3D objects, 713–714 Fill and Adjustment layers, 313 filters, 671 grouping layers, 313 keyboard shortcut, 968 Layer masks, 313 Layer styles, 313 linking layers, 312 Lock settings, 304–305 Materials panel, 742–743 merging layers, 338 Opacity and Fill settings, 303–304 order of layers, 691 overview, 35 selecting vector text layer, 599 3D objects, 699, 713–714 throwing layers away, 313 video files, 819
1008
47_584743-bindex.indd 1008
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Index
layout page, 6 photo collages, 689 previewing, 934–936 Layout panel, 181 Leading option, 598 left falloff handle, 408 left fallout area, 408 left range handle, 408 length bristle brush shapes, 524 Line tool, 576 Lens Blur dialog box, 455, 456 Lens Blur filters Depth Map, 456–457 Iris, 457 noise, 458 overview, 455 preview, 456 Specular Highlights, 457–458 Lens Correction tab, 252 lens filters, 393, 394 Lens Flare filter, 660 level data, 344, 350 levels adjusting, 109–113 configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 412–415 overview, 411 Adjustment panel, 374 channels, 98–99 Histogram panel, 106, 107 Levels Adjustment tool, 411–415, 418, 419 Levels command, 967 Levels tool, 107–109, 418 Lift Work Area option, 804 light, 424 light guides, 750–751 Light Rotate tool, 753 Light Table workspace, 156 Light Type setting, 754 Lighten blending mode, 307, 504 lightening Dodge tool, 516 noise, 254 shadows, 223
lightening blending modes layers, 307–308 painting, 504 Lighter Color blending mode, 308, 504 lighting adjusting, 221–225 adjustment workflow, 370–371 color, 97–98 global, 850–851 overexposure, 100 panoramas, 693 rotating 3D objects, 716 lighting adjustments Brightness/Contrast tool, 382–383 Camera Raw, 222–225 changing color balance, 386–389 changing colors, 430–433 converting HDR images, 433–435 creating black and white photos, 403–404 curves, 420–430 adjusting to correct color and contrast, 425–430 configuring Auto Curves Adjustment, 425 Curves Adjustment tool, 420–424 Curves Display tool, 424–425 Exposure tool, 383–386 fixing highlights, 400–402 fixing shadows, 400–402 hue and saturation, 404–411 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 levels, 411–419 configuring Auto Levels Adjustment, 415–416 increasing detail, 416–420 Levels Adjustment tool, 411–415 Match Color Tool, 430–433 overview, 381 photo filter, 393–394 replacing specific colors, 394–398 selective, 389–393 Variations Adjustment tool, 398–400 white balance, 221 Lighting Effects filter, 660, 686 Lighting Preset setting, 754 lightness adjusting exposure, 223 Color Picker tool, 122 Replace Color Adjustment tool, 396, 398 Variations Adjustment tool, 400
1009
47_584743-bindex.indd 1009
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Index
Lights panel adding new lights, 751–753 overview, 750 positioning lights, 753 settings, 754 limits Background Eraser tool, 514 Color Replacement tool, 509 line illustration rendering, 733 line segments, 548 Line tool keyboard shortcut, 967 options, 576 Linear Burn blending mode, 307, 503 Linear Dodge blending mode, 307, 310, 504 linear interpolation, 838, 853 Linear Light blending mode, 308, 505 linear path, 550 lines creating freehand, 113 intersecting, 425 vector graphics, 64–65 link added layers option, 887 Link Layers option, 300 linking layers, 312 link added layers option, 887 Liquify filter mask options, 645–646 mesh options, 643 reconstruct options, 643–645 tools, 639–643 view options, 646–647 list options presets, 42 view as list option, 155 Load Brush after Stroke option, 520 Load Brushes option, 533 Load button, 916 Load Control option, 520 Load Files Onto Stack option, 958, 959 Load Layers dialog box, 814, 958, 959 Load Multiple DICOM Files option, 959 Load option Color Range dialog box, 269 Mixer Brush, 521 Load Path as a Selection option, 564 Load Selected button, 750 Load Selection from Mask option, 335
Load Selection option, 262 Load Settings option, 207 Load Shapes option, 580 Load Solid Colors only option, 520 Load Statistics option, 431 loading brush settings, 533 Color Range dialog box, 269 custom vector shapes, 580 load path as selection option, 564 selections from alpha channels, 357 Local Adaptation option, 433 Local option, 117 localized color clusters, 269, 395 Location area, 158 Lock All Layers in Group option, 300 Lock All option, 304 Lock Frame box, 879 Lock Frame option, 486 Lock Guides option, 31 Lock Image Pixels option, 304 Lock Position option, 304 Lock settings, 304–305 Lock Slice option, 31 Lock Thumbnail Grid option, 155 Lock Transparent pixels option, 304 locking background layers, 622 brush settings, 526 colors, 942 source frame, 879 Log Errors to File option, 953 Looping options, 883, 943 loose mode, 645 loose tracking, 599 Lorem Ipsum text, 610 lossless compression, 64, 924 lossy compression, 64, 66, 939 lowercase extension, 77 luminance Camera Raw, 235 Color Match tool, 431 reducing noise, 254 luminance noise, 458 Luminance tab, 235 luminosity Lab color mode, 119 Luminosity blending mode, 309, 506 preserve luminosity option, 386, 394
1010
47_584743-bindex.indd 1010
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Index
Luminosity blending mode, 309, 506 luminosity channel, 105
M M settings (Color Picker tool), 122 Mac OS color palette, 937 magenta, 122, 404 Magic Eraser tool keyboard shortcut, 966 options, 514–515 Magic Wand tool adjusting selections, 277–278 keyboard shortcut, 966 selection options, 266–267 steps for using, 267–268 Magnetic Lasso tool options, 272, 275–276 selection, 275–277 Magnetic option, 553 Magnify box, 20 main menu (Bridge), 152–153 Make Frames from Layers option, 804, 887 Make Layer Visibility Changes Undoable option, 135 Make Ramp Web Safe option, 125 Make Selection option, 564 Make Work Path option, 564 Make Working Path from Selection option, 564 Manage Modules panel, 184 manipulation tools, 728 manual kerning, 598 manual slicing, 926 Map to Transparent option, 942 maps, 747–749 Marquee options, 270–271 Mask All option, 645 Mask Edge, 335 Mask Enable, 852, 853 Mask Position, 852 Mask Thumbnail option, 334 Mask tools, 642 masked areas, 359 masks Adjustment Brush, 241–243 animating, 852, 853 applying text, 614–616 composite files, 683–687
layer alpha channels versus, 358–359 creating, 328–332 editing, 332–335 Fill and Adjustment layers, 313 moving, 335–337 New Document with Layer Mask option, 291 New Layer with Layer Mask option, 290 overview, 327 unlinking, 335–337 non-destructive editing, 132 options, 242, 645–646 sharpening, 255 Unsharp Mask filter, 439 vector add vector mask button, 334 creating, 329 Layer Menu, 300 paths, 551, 570–572 Masks panel, 35, 328, 334–335 Master option, 117 Match All option, 21 Match Color Tool, 430–433 Match Layer Across Frames option, 887 Match Location option, 21, 23 Match Print Colors option, 919 Match Rotation option, 21 Match Zoom option, 21, 23 Material Drop tool, 749–750 materials, 745–749 materials drop button, 728 Materials panel editing materials, 745–749 editing textures, 742–745 Material Drop tool, 749–750 matte indexed color mode, 117–118 Layer menu, 300–301 slicing images, 929 Maximize PSD and PSDB Compatibility option, 50 Maximum filter, 664 maximum mode, 961 maximum opacity, 859 mean Histogram panel, 106 stack modes, 961 Measurement Log panel, 28, 29, 35 measurement scale, 28–29
1011
47_584743-bindex.indd 1011
5/3/10 10:59 AM
Index
Measurement Scale dialog box, 28 median Histogram panel, 106 stack modes, 961 Median filter, 459 medical images, 860–862 megapixel size, 201 memory card, 186, 194 memory usage, 51 menu bar, 24 menu command keyboard shortcuts, 967–968 Menu For option, 59 menu item, 147 menu list, 60 Menu option, 816–817 menu(s) Actions panel, 143 Analysis menu Count tool, 27 placing scale marker, 29–30 Record Measurements, 28 Ruler tool, 27 setting data points, 29 setting measurement scale, 28–29 customizing, 58–60 Edit menu, 26 File menu, 26 Filter menu, 27 Help menu deactivating Photoshop, 32 Photoshop Help, 31 Image menu, 26–27 Layer Styles, 319 Layers panel, 305–306 Select menu, 27 3D menu, 29–30 View menu Clear Guide option, 31 Clear Slices option, 31 Extras option, 30 Lock Guides option, 31 Lock Slice option, 31 New Guide option, 31 Ruler option, 30 Show menu option, 30 Snap and Snap To options, 31 Window menu, 31 Merge Channels dialog box, 351
Merge Down option, 300 Merge Layers option, 339 Merge mode dialog box, 351 Merge to HDR utility, 177, 178 Merge Visible option, 300, 339 merging channels, 351–353 documents, 296 images adjustment workflow, 370 creating composites, 677–687 creating panorama, 693–696 creating photo collage, 688–692 PhotoMergeUI plug-in, 972 photos, 176–179 spot color channels, 363 using Photomerge, 693–696 layers overview, 338–339 video, 867–868 Mesh Move tools, 707 Mesh tool, 740–741 meshes Liquify filter, 639 options, 643 Puppet Warp tool, 635, 636 show mesh option, 646 texture maps, 742 3D, 711–713 Meshes panel, 739–741 metadata Bridge utility, 155, 161–163, 167 Camera Raw, 189–193 categories, 167 creating stacks, 172 file output settings, 940 logging history information, 133 Metadata workspace, 156 storing history, 48 XMP files, 195, 196 Metadata panel, 161, 162 Metadata workspace, 156 method options, 433 metric kerning, 598 Mezzotint filter, 659 midpoint, 251 midtone contrast, 402 midtone eyedropper, 384
1012
47_584743-bindex.indd 1012
5/3/10 10:59 AM
Index
midtone slider, 413, 414 midtones Auto Levels Adjustment, 415, 416 creating 3D mesh, 711 Surface Blur filter, 454 tonal range, 518 Variations Adjustment tool, 398 Mini-Bridge adding document as layer, 296 application bar, 22 browsing, 184–186 combining files, 679, 690 setting up, 183–184 Mini-Bridge panel application bar, 22 overview, 8, 35 minimum depth, 531 Minimum filter, 664 minimum mode, 961 minimum opacity, 859 Mirror tool, 642 missing glyph protection, 57 Mix option, 521 Mixer Brush keyboard shortcut, 966 overview, 6, 7, 510 painting, 519–521 transfer option, 532 wet paint on existing image, 544 mixing tools, 502, 519–521 mobile devices, 944 mobile SWF files, 162 mode brush stroke texture settings, 531 Clone Stamp tool, 482 Eraser tool, 513 Gradient tool, 537 Mixer Brush, 521 Paint Bucket tool, 535 painting tools, 508 Sharpen and Blur tools, 516 Smart Blur filter, 455 Sponge tool, 518 modified frames, 855–857 Modify option, 261 modules, 184 monitor color setting, 907 Monitor RGB color profile, 908
monitors color calibrating, 906–907 pixel aspect ratio, 790, 791 RGB color mode, 118 monochromatic noise, 458, 462 Monochrome option, 344, 347, 372, 415 More Accurate option, 446 More Options button, 910, 911 Mosaic filter, 659 Mosaic Tiles filter, 663 Motion Blur filter, 451–453 Motion preset, 25 MOV files, 71 Move Layer End Point to Current Time option, 803, 819 Move Layer In Point to Current Time option, 803 Move to Current View option, 753 Move tool adding text, 588 keyboard shortcut, 966 overview, 38 moving Adjustment layer, 318 channels, 353 crop box, 88 layer masks, 335–337 layers, 295, 296 operations, 146 video layers, 818–819 MPG/MPEG files, 72 multichannel color mode, 120 multiple images batch processing, 950–954 color, 99 creating photo collage, 688–692 face swapping, 493–497 merging auto-merging images, 177–179 channels, 351–353 creating composites, 677–687 creating panorama, 177, 693–696 creating photo collage, 688–692 layers, 338–339 Merge to HDR utility, 177 overview, 4, 176 PhotoMergeUI plug-in, 972 photos, 176–179 spot color channels, 363 using Photomerge, 177, 693–696 video layers, 867–868
1013
47_584743-bindex.indd 1013
5/3/10 10:59 AM
Index
multiple images (continued) selecting source, 105 stack modes, 959–962 synchronizing adjustments, 217–218 multiple layers animating, 843–845 importing image sequences, 813–815 modifying opacity, 14 overview, 294–295 Multiply blending mode, 307, 503
N Name option alpha channels, 359 Gradient Editor, 538 naming Camera Raw files, 211 duplicating channels, 351 files, 73, 77, 953 positions, 721 renaming collections, 170 files, 158–159, 166–167 importing, 153 keywords, 166 shapes, 579 video layers, 808 snapshots, 136 video files, 808, 827, 899 video layers, 855 National Association of Photoshop Professionals (NAPP), 973–975 navigating history states, 136 keyboard shortcut, 136 navigation bar, 184 navigation buttons, 184 navigation panel, 184 navigation tools, 153 Navigator panel, 35, 36 nearest neighbor interpolation, 45, 46, 80 Negative option, 920 Neon Glow filter, 654 nest layer groups, 13 neutral color card, 222 Neutralizes option, 431 New Action dialog box, 145
New Adjustment Layer option, 299 New Background From Layer option, 298 New Blank Video Layer option, 805–806 New Character Style option, 604 New dialog box, 73 New Document option keyboard shortcut, 967 output settings, 291 New Document with Layer Mask option, 291 New Filenames, 167 New Fill Layer option, 298 New Frame option, 886 New Group from Layers option, 298 New Group option, 298, 867 New Guide option, 31 New in CS5 presets, 24 New Keyword button, 164, 165 New Layer Based Slice option, 300 New Layer option keyboard shortcut, 967 Layer menu, 298 Layers panel, 828 output settings, 290 New Layer via Copy option keyboard shortcut, 968 Layer menu, 298 New Layer via Cut option, 298 New Layer with Layer Mask option, 290 New Layers Visible in All Frames option, 887, 897 New Paragraph Style option, 606 New Path option, 564 New Selection option Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 270 Quick Selection tool, 264 New Synchronized Window option, 153 New Video Layer from File option, 805 newspaper setting, 908 Next Frame option, 884 Nikon, 195 90 degrees CCW flip, 90 90 degrees CW flip, 90 No Break option, 601 No Dither option, 938 No Filter option, 673 No Image slice, 925, 926
1014
47_584743-bindex.indd 1014
5/3/10 10:59 AM
Index
noise adding, 462 adjusting lighting, 222 gradient type, 538 Lens Blur filters, 458 reducing, 253–254 adjustment workflow, 371 Despeckle filter, 458 Dust and Scratches filter, 460 Median filter, 459 Reduce Noise filter, 460–461 stack modes, 959–962 setting brush behavior, 526 noise dither, 938 Noise option, 118 non-brush painting tools Gradient Editor, 538–539 Gradient tool, 537 overview, 534 Paint Bucket tool, 535–536 non-destructive editing Camera Raw, 191–193, 215 Fill and Adjustment layers, 314 filter adjustments, 668–672 layers, 299 overview, 131–133 Smart Filters, 437 non-linear history, 135 Normal blending mode, 306, 503 normal brush tip painting cursors, 53 Normal healing mode, 468 Normal map, 748 normal mode, 52 Normal style (slicing), 926 Note Paper filter, 662, 665 Note tool keyboard shortcut, 966 overview, 38 notes, 77 Notes panel, 36 NTSC colors, 797–798 Number of Colors option, 942
O OBJ files, 72, 700 Ocean Rippler filter, 657 off mode (color management), 909 offset, 673
Offset filter, 665 Offset option, 737 offset printing, 360 offset values adjusting, 383 Clone Source panel, 485 Old style option, 406, 601 On-image Adjustment tool Curves Adjustment tool, 422–423 Hue/Saturation tool, 407 On Layers view, 14 once sampling Background Eraser tool, 514 Color Replacement tool, 509 180 degrees flip, 90 Onion Skin Count, 859 Onion Skin Options dialog box, 804 onion skins rotoscoping, 857–859 settings, 804–805 toggle onion skins icon, 801 opacity alpha channels, 360 Animation (Frames) panel, 890, 891 changing settings, 681 Clone Stamp tool, 482 Crop tool, 89 editing masks, 332 Eraser tool, 513 Gradient tool, 537 maximum, 859 minimum, 859 modifying, 14 Normal blending mode, 306 overlay opacity option, 486 Paint Bucket tool, 535 painting tools, 508 settings animating, 845–847 changing, 681–682, 747 Layers panel, 303–304 overview, 54 spot removal, 240 Opacity Jitter, 532 Opacity map, 747–748 Opacity slider, 240 Open As dialog box, 75 Open Bridge option, 183
1015
47_584743-bindex.indd 1015
5/3/10 10:59 AM
Index
Open dialog box batch processing, 952 opening existing images, 74 Open Document command, 967 Open Documents as Tab option, 49 Open File dialog box, 67, 184 Open GL drawing, 730–731 Open GPU Utility button, 53 open path, 550 Open Preferences icon, 202 opened files, 951 OpenEXR files, 70 OpenGL drawing, 129, 525 opening Camera Raw images, 196–197, 202 Channels panel, 349 images, 74–76 adjustment workflow, 370 loading files as layers, 174 opening in Camera Raw, 174 placing images, 173 tweened frame animations, 889–890 3D objects file, 701–702 video files, 808–809 OpenType fonts enabling features, 605 options, 600–601 overview, 583, 584 operations adding, 146 duplicating, 146 modifying, 146–147 moving, 146 optical kerning, 598 Optimize Animation option, 887 optimize buttons, 52 Optimize option, 939 Optimize to File Size dialog box, 940 options bar overview, 25–26 3D panel, 728 options pane, 667–668 orbiting with camera, 725 Order option, 928 ordinals, 601 organizing files assigning keywords adding existing keywords, 164 adding new keywords, 164–165
adding new sub-keywords, 165 deleting keywords, 166 finding keywords in list, 165 renaming keywords, 166 assigning ratings and labels, 163–164 creating stacks, 171–172 deleting versus rejecting files, 172–173 finding files, 167–170 importing images applying metadata, 161 converting to DNG, 159–161 creating subfolders, 158 deleting original files, 161 Get Photos From option, 158 Location area, 158 opening Bridge, 159 overview, 157 renaming files, 158–159 Save Copies To option, 161 renaming files, 166–167 using collections, 170–171 working with metadata, 161–163 orientation printing, 918 text, 586 3D objects, 716 Original/Current Pick option, 398 ornaments, 601 outer glow, 320 Outer light setting, 754 outline, 322 Output button, 179 output channel, 344 output levels, 414 Output Preview window, 182 Output Settings editing, 941 refining edges, 289–291 Output Settings dialog box, 941 Output settings panel, 182 Output to option, 290 output tonal range, 422 Output workspace, 156 outputting images animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933
1016
47_584743-bindex.indd 1016
5/3/10 10:59 AM
Index
previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 overexposure adjusting brightness/contrast, 382, 383 Curves Adjustment tool, 426 determining, 100–101 overlap ink, 363–364 panoramas, 693 Overlay blending mode, 308, 504 Overlay Blending Mode option, 486 Overlay Opacity option, 486 overlays channel, 424 Clone Stamp tool, 486 color, 360 creating PDFs, 181 Override Action “Open” commands option, 951 Override Action “Save As” commands option, 953 overspray technique, 577
P page layout, 6 Paint Bucket tool keyboard shortcut, 966 overview, 39, 535–536 Paint Daubs filter, 654 paint mask rendering, 733 paint mode hiding areas, 758–759 overview, 757 steps for using, 759–765 Paint on option, 735 painting blending modes basic, 503 color, 505–506 contrast, 504–505 darkening, 503–504 difference, 505 divide, 505 exclusion, 505 lightening, 504 subtract, 505
Brush panel Brush Presets panel, 533–534 setting brush behavior, 526–534 setting brush tip shape, 522–526 editing tools Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 History tools, 512 overview, 502, 510 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 from history using Eraser tool, 138–140 using History Brush, 137–138, 140 using selections, 140–141 on image, 332 mixing tools, 502, 519–521 modifying alpha channels, 358 non-brush painting tools Gradient Editor, 538–539 Gradient tool, 537 overview, 534 Paint Bucket tool, 535–536 overview, 4, 501–502 painting tools, 506–510, 840 techniques painting from blank canvas, 539–542 tracing edges from existing image, 543–544 wet paint on existing image, 544 painting cursors, 53–54 Painting preset, 24 palette, 117, 937, 947–948 Palette Knife filter, 654, 655 PAM files, 68 panel buttons, 33 panel groups collapsing, 32 overview, 33 panel menu Animation (Frames) panel, 885–887 Camera Raw, 206–207 overview, 33 3D panel, 727
1017
47_584743-bindex.indd 1017
5/3/10 10:59 AM
Index
panel options, 302, 564, 805 panel tabs, 33 Panel View settings, 184 panels overview, 32 panel groups, 32, 33 presets, 24 setting preferences, 49 types, 34–36 panning, 725 panorama, 177–179, 693–696 paper quality, 907 Paragraph panel overview, 35 text, 590, 602–609 Paragraph Style Options dialog box, 606 Paragraph Styles panel options, 606–607 overview, 13, 35 paragraph type adding text, 588–589 overview, 587 parameters setting, 885, 892 Parametric panel, 227–230 parent folder name, 159 password, 180 Paste After Selection option, 887 Paste Before Selection option, 887 Paste Frame options, 886–887 Paste in Place option, 15 Paste Over Selection option, 887 pastels, 655 pasting adding document as layer, 296 combining files, 678 image files, 827 keyframes, 802, 836, 837 overview, 47 selections, 297 Patch tool healing, 475–478 keyboard shortcut, 966 Patchwork filter, 664 Path Creation tools, 39 Path Selection tools keyboard shortcut, 558, 966 options, 558–562
overview, 39, 557 types, 558 paths adding custom vector shapes, 579–581 adding text, 607–609 adding vector shape layers, 577–579 adjusting selection, 279–281 anti-alias, 52 components, 548–549 creating, 565–567 creating clipping masks, 568–570 creating masks, 328 creating vector masks, 570–572 creating vector shapes, 567–568 distorting images, 625 editing vector shapes, 581 inserting, 147 overview, 547–548 Repoussé tool, 11 TrueType fonts, 584 types, 549–551 vector path tools, 551–565 Path Selection tools, 557–562 Paths panel, 562–565 Pen tools, 551–557, 552–557 vector shape layers, 572–573 vector shape tools, 573–576 Paths panel inserting paths, 147 overview, 35 selections, 280 vector path tools, 562–565 pattern custom, 115 gradient, 537 Paint Bucket tool, 535 pattern dither, 114, 938 Pattern option, 118 pattern overlay, 321 Pattern Picker option, 511 Pattern Stamp tool keyboard shortcut, 966 painting, 511–512 PatternMaker, 972 PBM (Portable bitmap) files, 68 PCT files, 69 PCX (Personal Computer eXchange) files, 69
1018
47_584743-bindex.indd 1018
5/3/10 10:59 AM
Index
PDD files, 205 PDF files creating, 179–181 exporting files, 153 overview, 68–69 PDP files, 68–69 Pen tools keyboard shortcut, 552, 966 vector paths clipping masks, 569 options, 554–557 overview, 551 types, 552–554 pen width, 276 Pencil mode, 513 Pencil tool keyboard shortcut, 966 painting, 507 tracing edges, 543 Per Channel option, 461 percentile (Histogram panel), 107 Perceptual option, 117, 912, 919, 937 performance preferences, 51–53 Performance preferences panel, 51–53 Personal Computer eXchange (PCX) files, 69 perspective Crop tool, 89 Free Transform option, 629 Puppet Warp tool, 637 tracing edges, 543 vanishing point, 647–652 Perspective Layout option, 695 Perspective option, 89 Perspective transformation, 626–627 PFM files, 68 PGM (Portable Graymap) files, 68 photo collage, 688–692 photo compositions, 4 photo corrections, 4 Photo Downloader, 157–159 photo enhancements, 4 Photo Filter, 374, 393–394 Photo Filter Adjustment tool, 393–394 Photocopy filter, 662 Photography preset, 25 Photomerge creating panorama, 693–696 overview, 177
PhotomergeUI, 972 photometer, 907 Photoshop. See also specific headings applications, 4–5 overview, 3 versions, 4 Photoshop CS3, 695, 699 Photoshop CS4, 695, 699 Photoshop CS5, 263, 285, 467, 604, 699, 753 Photoshop events, 963 Photoshop files, 65, 68–69 Photoshop Help keyboard shortcut, 968 overview, 31 Photoshop Manages Color option, 919 Photoshop workspace. See workspace(s) pica size, 55 PICT files, 69 Pigment/Ink option, 424 Pin Light blending mode, 308, 505 Pinch filter, 657 pins Camera Raw, 242–243 Puppet Warp tool, 635–638 PIX file format, 971 Pixar (PXR) files, 70 Pixel Aspect Ratio Correction, 790–791, 796 pixel aspect ratios video editing, 790–796 View menu, 30 pixel dimension height, 81 pixel dimension width, 81 pixel masks Add a Pixel Mask option, 334, 931 overview, 328 Pixelate filters, 658–659 pixelization, 458, 548 pixels alpha channel, 356, 358–359 blur filters, 449 Camera Raw workflow, 201 distortion, 369 Histogram panel, 106 histograms, 99 Lock Image Pixels option, 304 Lock Transparent pixels option, 304 pixel aspect ratios, 790–796 raster versus vector graphics, 64–65
1019
47_584743-bindex.indd 1019
5/3/10 10:59 AM
Index
pixels (continued) resizing canvas, 82–83 resolution, 78 Ruler tool, 27 setting measurement scale, 28 Place command, 678, 679, 829 Place or Drag Raster Images as Smart Objects option, 48 Plane option, 712, 737 Plaster filter, 662 Plastic Wrap filter, 654 Play option, 950 playback controls, 799, 849 Playback panel, 181 Plug-In Preferences panel, 969 plug-ins Alias, 971 Bigger Tiles, 971 Digimarc, 972 installing, 969–971 JPEG2000, 972 Manage Modules panel, 184 PatternMaker, 972 PhotomergeUI, 972 preferences, 57 RLA, 972 SGIRGB, 972 SoftImage, 972 Web Photo Gallery, 972 PNG (Portable Network Graphics) files overview, 67 preparing images for Web, 924, 929, 930 PNM files, 68 point light, 752 Point Light at Origin option, 753 point size, 55 Point tab, 231–233 point type adding text, 588 overview, 587 Pointillize filter, 659 points, 112, 427–429 Points Curve option, 112, 422 Polar Coordinates filter, 657, 658 policies, 909–910 Polygon tool adding layers, 577–578 keyboard shortcut, 967 options, 575
Polygonal Lasso tool options, 272 selection, 274–275 Portable bitmap (PBM) files, 68 Portable Graymap (PGM) files, 68 positions changing, 721–722 printing, 918 positive horizontal distortion, 595 positive vertical distortion, 595 postcard, 703 Poster Edges filter, 655 Posterize option, 375 PostScript fonts, 583 PPM (Portable Pixmap) files, 68 precise painting cursors, 53 preconfigured presets, 42 predefined filters, 393 predefined scripts, 956–960 Prefer Adobe Camera Raw for Supported Raw Files option, 50 preferences Camera Raw, 202–206 cache settings, 205 default, 204–205 DNG file handling, 205 general, 203–204 JPG and TIFF handling, 205–206 Scene panel, 729–731 3D, 729–731 type, 584–585 workspace cursors, 53–54 3D, 58 file handling, 49–51 general, 45–48 guides, grid, and slices, 56–57 interface, 48–49 overview, 44 performance, 51–53 plug-ins, 57 transparency and gamut, 54–55 type, 57–58 unit and rulers, 55–56 Preferences dialog box adding plug-in folders, 969 Camera Raw preferences, 202–203 history logging feature, 133
1020
47_584743-bindex.indd 1020
5/3/10 10:59 AM
Index
HUD Color Picker, 128 setting preferences, 44, 53 3D, 730 Premultipled with Black option, 900 Premultipled with Color option, 900 Premultipled with White option, 900 preparing images adding transparency, 930–931 adjustment workflow, 371 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930 prepress setting, 908 Preserve Details option, 461 Preserve Embedded Profiles option, 909 Preserve Exact Colors option, 118 Preserve Luminosity option, 386, 394 Preserve Raw Image option, 160 Preserve RGB/CMYK Numbers option, 916 Preset Lists option, 580 Preset Manager, 41–42, 580 Preset panel, 209, 210 presets Adjustments panel, 377–378 Batch Rename utility, 167 Brush Presets panel, 33, 533–534 brush stroke texture settings, 530 Camera Raw Apply Preset option, 207 overview, 205 saving presets, 209–210 Channel Mixer, 344 Clone Stamp tool, 482 color settings, 907 contour, 709 creating, 42–43 Curves Adjustment tool, 420 custom vector shapes, 580 exposure values, 384 file output settings, 936 Film & Video, 796 gradient, 539 HDR Toning tool, 433 Hue/Saturation tool, 406 images, 73 Lasso tool, 272
Levels Adjustment tool, 413 Magic Wand tool, 266 managing, 41–42 Marquee tools, 270 painting tools, 507 Quick Selection tool, 263 reducing noise, 460 Render filters, 660 render settings, 732–733 resolution, 55 restoring, 44 selecting tool, 40–41 3D objects, 704–706 Tool presets panel, 36 video aspect ratios, 791–793 warps, 625, 626 workspace, 24–25 preview blur filters, 449, 450 Bridge utility, 155, 160, 167 browser, 944 brush, 54 Color Range dialog box, 269 devices, 944–946 file output settings, 940 Filmstrip workspace, 156 Filter Gallery, 665–666 font size, 58, 585 Image Previews option, 50 Lens Blur filters, 456 Mini-Bridge settings, 186 Output Preview window, 182 Patch tool, 476 Preview in Browser button, 182 Preview workspace, 156 printing, 918 Refresh Preview button, 180, 182 Save for Web & Devices utility, 933–936 Update embedded JPEG previews option, 205 video files, 790 Preview in Browser button, 182 preview pane animation, 944 Bridge utility, 155 Filter Gallery, 665–666 Save for Web & Devices utility, 935, 936 Preview panel, 185
1021
47_584743-bindex.indd 1021
5/3/10 10:59 AM
Index
preview size Smart Sharpen filter, 445 Unsharp Mask, 443 Preview workspace, 156 previous conversion, 205 Previous Frame option, 884 Primaries option, 117 Print dialog box, 917, 919–921 Print Document command, 967 print settings, 918 Print Size option, 19 Print Vector Data option, 920 Printer Manages Color option, 919 Printer Profile option, 919 printers, 906–907, 918 printing accurate colors, 918–920 adding crop marks, 920–921 bitmap color mode, 114 clipping path, 564 color calibrating printers, 906–907 configuring options, 918 crop marks, 83 file formats, 68 preparation, 5 preset resolution, 55 Print dialog box, 917 Print Size option, 19 resolution, 79, 201–202 spot color channels, 360 processing images batch processing, 174–175 creating droplets, 954–955 creating PDFs, 179–181 creating web galleries, 181–183 merging photos, 176–179 opening images in Photoshop, 173–174 using Image Processor, 175–176 Profile option, 913 Progressive option, 939 Project Foreground Color option, 514 Promote button, 928 Proof Colors command, 968 Proof option, 919 Proof Settings menu, 916 Proof Setup option, 919 proofing images, 915–916 propagate frame 1 icon, 888 properties, 318–319
ProPhoto RGB profile, 199 Proportional option, 574 Protect Skin Tones button, 631–633 Protect Texture option, 527 Protect Tones option Burn tool, 518 Dodge tool, 518 protecting detail Sharpen and Blur tools, 516 Sharpen tool, 13 Proximity Match option, 466–467 PS files, 68 PSB files compatibility preferences, 50 overview, 70 PSD files compatibility preferences, 50 overview, 65 Pucker tool, 641 punctuation, 603 pupil size, 480 Pupil Size slider, 240 Puppet Warp tool overview, 9, 10, 622 transformations, 634–638 Push left tool, 641 PXR (Pixar) files, 70
Q quality file output settings, 939, 942 Radial Blur filter, 454 render settings, 735 Smart Blur filter, 455 Quick Buttons, 143 Quick Mask mode activating, 40 adjusting selection, 281–285 Rectangle Marquee tool, 271–272 Quick Mask Options dialog box, 283 Quick Selection tools options, 263–264 overview, 38 Polygonal Lasso tool versus, 274 steps for using, 264–266 Quick Time Export options, 899 Quicktime, 71–72, 808, 899
1022
47_584743-bindex.indd 1022
5/3/10 10:59 AM
Index
R R settings, 122 Radial Blur filter, 453–454 radial gradient, 711, 712 Radiance files, 71 radius blur filters, 449–451, 454 edge detection, 288, 289 fixing highlights, 401 fixing shadows, 401 HDR Toning tool, 433 Lens Blur filter, 457 Median filter, 459 Polygon tool, 575 refining edges, 287, 288 sharpening, 255 Smart Sharpen filter, 446, 447 Unsharp Mask, 443, 444 RAM Bigger Tiles plug-in, 971 Content-Aware algorithm, 479 setting preferences, 51 range rendering video, 899 stack modes, 961 tonal, 422, 518 Range slider, 269 raster files EPS file format, 68 Layer menu, 300 vector versus, 64–65 Rasterize Type option, 592 rasterizing adding text in Smart Object, 610 Layer menu, 300 Rasterize Type option, 592 3D objects, 701 vector shapes, 572 video layers, 806 ratings assigning, 163–164 filtering files, 154 RAW files Bridge utility, 160–161 overview, 67–68 Ray Traced Final Draft, 735
Ray Tracer Create Shadows light setting, 754 option, 731 refraction setting, 749 rendering, 730–731 Recent File List Contains option, 50 reconstruct options, 643–645 Reconstruct tool, 639 Record button, 146 Record Measurements, 28 Record Stop dialog box, 146 recorded commands, 143 recording actions, 141, 144–146 recovery, 223 Recovery slider, 223 Rectangle Marquee tool keyboard shortcut, 966 Polygonal Lasso tool versus, 274 selecting by shape, 271–272 Rectangle tool keyboard shortcut, 967 options, 574–575 red, 404, 410 Red Boost option, 406 red channel Channel Mixer, 344 Color Picker tool, 122 overview, 341–342 selecting channels, 354, 355 swapping colors, 345–346 red-eye removal Camera Raw, 216, 240–241 Healing tools, 511 Red Eye tool Camera Raw images, 240–241 healing, 466, 480 keyboard shortcut, 966 overview, 480, 966 red slider, 234 Redefine Style option, 604, 606 reduce color noise, 461 Reduce Noise dialog box, 460–461 Reduce Noise filter, 460–461 reduction, 45, 47 reference points, 622–623 Refine Edge algorithm, 14 Refine Edge dialog box, 285–287, 290, 291, 329, 680
1023
47_584743-bindex.indd 1023
5/3/10 10:59 AM
Index
Refine Edge option Magic Wand tool, 267 Marquee tools, 271 Quick Selection tool, 264 Refine Edge tool adding and subtracting brushes, 14 color decontamination, 14 edge detection, 14 keyboard shortcut, 968 selection, 261 Refine Mask views On Layers view, 14 Reveal Layer view, 14 selection, 261 Refine Radius brush, 14 Refine Radius tool, 288 refining adjusting selection, 277–285 Color Range, 335 edges Adjust Edge settings, 289 combining files, 680 Edge Detection, 288–289 Output Settings, 289–291 overview, 285 View Mode, 286–288 Mask Edge, 335 Reflection map, 748 reflective surfaces, 735, 748, 749 refraction setting, 749 Refresh Preview button creating PDFs, 180 creating Web gallery, 182 registration marks, 920, 921 rejecting files, 172–173 Relative Colorimetric option, 912, 919 Release Clipping Mask option, 331 Reload Frame option, 806 Remove Black or White matte option, 301 Remove from Palette option, 942 Remove JPEG Artifact option, 461 remove option (Smart Sharpen filter), 446 removing ink overlap, 363–364 Rename file option, 158 Rename option, 579 renaming collections, 170 files, 158–159, 166–167 importing, 153
keywords, 166 shapes, 579 video layers, 808 Render filters, 660 render settings editing, 733–734 Global Ambient Color, 735 overview, 731 Paint on option, 735 presets, 732–733 quality, 735 3D preferences, 729 Render Video dialog box, 899, 900 rendering, video, 899–900 Rendering Intent option, 916, 919 Replace Actions option, 148 Replace Brushes option, 533 Replace Color Adjustment dialog box, 394 Replace Color Adjustment tool, 395–398 Replace Footage option, 806 Replace Frames option, 886 Replace Selection option, 645, 646 replace shapes option, 580 Reposition Layout option, 695 Repoussé tool creating 3D objects, 705–711 overview, 11, 12 resample methods, 80–82, 201 Reselect option, 260 Reset Actions option, 148 Reset All Warning Dialog Boxes option, 48 Reset Brushes option, 533 Reset button, 132 Reset Camera Raw Defaults option, 207 Reset Character option, 601 Reset Paragraph option, 603 Reset Presets option, 42 Reset Shapes option, 580 Reset Transform option, 486 Resize Image during Paste/Place option, 47 resizing crop box, 88 file output settings, 943 images, 78–84 adjustment workflow, 370 canvas, 82–83 changing resolution, 79–82 paths, 548
1024
47_584743-bindex.indd 1024
5/3/10 10:59 AM
Index
resolution bitmap color mode, 114 Camera Raw workflow, 201–202 changing size, 79–82 defined, 78 overview, 78 pixel aspect ratios, 795 presets, 55 screen, 19 settings, 73 Restore All Frames option, 806 Restore Default Workspaces option, 49 Restore Frame option, 806 restoring frames, 860 presets, 44 Restrictive option, 937 result color swatch, 396 Reticulation filter, 662 retouching Camera Raw creating artistic effects, 249–251 creating graduated filter, 246–249 red-eye removal, 240–241 spot removal and cloning, 238–240 using Adjustment Brush, 241–246 Crop and Straighten tool, 92–93 Reveal Layer view, 14 Reveal Recent File option, 153 Reverse Frames option, 887 Reverse option, 537 revert mode, 644 reverting, 133 Review label, 164 Review Mode, 168–170 RGB color mode channels, 342, 343 color management, 905, 906, 908–909, 913 images, 71, 99 overview, 118–120 preparing images for Web, 71 RGB slider, 124 RGB spectrum, 124 RGB values Color Sampler tool, 214, 215 Hard Mix blending mode, 308 normal map, 748 RGBE files, 71
right falloff handle (Hue/Saturation tool), 408 right fallout area (Hue/Saturation tool), 408 right range handle (Hue/Saturation tool), 408 rigid mode, 644 Ripple filter, 658 RLA, 972 RLE files, 67 Roll tool, 716–718 rolling camera, 725 3D objects, 716–718 Roman Hanging Punctuation option, 603 Rotate the Clone Source option, 486 Rotate tool, 716–717, 723 Rotate View tool keyboard shortcut, 967 overview, 39 rotating Angle Jitter setting, 527 Auto Rotate option, 637 Bridge toolbar, 154 Free Transform option, 629 images, 90–93, 624 Lens Blur filter, 457 paths, 562 reference points, 622 rotate the clone source option, 486 text, 588 3D objects, 716–717, 723 rotational positioning, 693 rotoscoping creating modified frames, 855–857 creating new video layer, 855 frame-by-frame correction, 874 overview, 853, 854 restoring frames, 860 using onion skins, 857–859 Rough Pastels filter, 655 roughness, grain, 249 round brushes, 523 Rounded Rectangle tool keyboard shortcut, 967 options, 575 roundness creating vignette, 251 flat brush shapes, 523 Roundness Jitter setting, 528 Roundness Jitter setting, 527
1025
47_584743-bindex.indd 1025
5/3/10 10:59 AM
Index
Rubber Band option, 555 rule of thirds, 85, 86 Ruler tool application bar, 23 keyboard shortcut, 966, 968 overview, 27, 38 setting measurement scale, 28 straightening images, 93–94 rulers application bar, 22, 23 preferences, 55–56 Ruler option, 30 Unit & Rulers preferences panel, 55–56 Rulers option setting preferences, 55 View menu, 30
S S settings (Color Picker tool), 122 Sample All Layers option Magic Eraser tool, 514 Magic Wand tool, 267 Mixer Brush, 521 Quick Selection tool, 264 Sharpen and Blur tools, 516 Spot Healing Brush, 469 Sample option Clone Stamp tool, 482 Eyedropper tool, 127 sample point, 473 sample size (Eyedropper tool), 127 sampling ring (Eyedropper tool) overview, 13 show sampling ring option, 127 Satin option, 321 saturation adjusting Camera Raw, 226, 234 Hue/Saturation Adjustment tool, 405–408 making colors pop, 408–411 overview, 404–405 Variations Adjustment tool, 400 Adjustment options, 244 Adjustment panel, 374 Animation (Frames) panel, 899 color correction, 401 color decontamination, 300 Color Picker tool, 122
color settings, 912 Desaturate Monitor Colors By option, 913 HDR Toning tool, 435 red eye removal, 480 Replace Color Adjustment tool, 396, 398 Saturation blending mode, 309 Sponge tool, 517, 518 Saturation blending mode, 506 Saturation slider, 226 Save As a Copy option, 77 Save As Defaults option, 416 Save As dialog box, 78 Save As option Override Action “Save As” commands option, 953 saving images, 76, 77 Save As to Original Folder option, 50 Save Brushes option, 533 Save button, 916 Save Copies To option, 161 Save Droplet In option, 954, 955 Save Exposure Preset option, 384 Save for Web & Devices utility animation controls, 943–944 Color Table pane, 942, 943 file output settings, 936 Image Size pane, 942, 943 keyboard shortcut, 933 previewing in browser, 944 previewing layout and toolbar, 934–936, 940 previewing on devices, 944–946 Save Image settings, 203–204 Save Lights Preset option, 754 Save Logs To option, 48 Save New Camera Raw Defaults option, 207 Save option Color Range dialog box, 269 saving images, 76 Save Options dialog box, 211 Save Path dialog box, 570 Save Selection option, 262 Save Settings option, 207 Save Shapes option, 580 save statistics option, 433 saving actions, 148 Automatically Create New Snapshot when Saving option, 134 brush settings, 533
1026
47_584743-bindex.indd 1026
5/3/10 10:59 AM
Index
Color Range dialog box, 269 custom vector shapes, 580 files, 50, 51, 941 files with layer masks, 358 images, 76–78 preset lists, 43 presets, 209–210 selections, 290 scale brush stroke texture settings, 531 custom filters, 672 Free transform option, 628 horizontal, 599 printing, 918 Repoussé tool, 707 3D objects, 720–721, 723–724 transformations, 623–624, 629–634 vertical, 599 scale marker, 29–30 scale styles, 81 Scale tool, 720–721, 723–724 scaling, 720–721, 723–724 scattering effect, 542 Scattering option, 528–530 scene layer, 731–732 scene mode, 728 Scene panel changing preferences, 729–731 creating cross sections, 735–737 overview, 728 render settings editing, 733–734 Global Ambient Color, 735 overview, 731 Paint on option, 735 presets, 732–733 quality, 735 scene settings, 710 Scitex CT files, 71 scratch disks, 51 scratches, 460, 490, 511 Screen blending mode, 307, 504 Screen mode full, 24 full, with menu bar, 23 standard, 23, 24 screen resolution, 19 Script Events Manager, 958, 962–964 scripted events list, 963
scripting predefined scripts, 956–960 Script Events Manager, 962–964 stack modes, 959–962 Scrubby Zoom option, 13, 39 SCT files, 71 seams, 496 Search tool Bridge toolbar, 153 finding keywords, 165 Mini-Bridge, 184 Second label, 164 Select All Frames option, 887 Select All option keyboard shortcut, 260, 968 overview, 260 video editing, 803 Select Folder option, 899 Select label, 164 Select Light Color dialog box, 754 Select Linked Layers option, 300 Select menu Color Range dialog box, 269 overview, 27 selection, 259–262 Select No Keyframes option, 803 Select Text Color dialog box, 587, 599 selected areas (alpha channels), 360 selected layer comps only option, 957 Selected Layer option, 105, 703 selection applying text as mask, 614–616 channels, 350, 353–357 creating, 297 guidelines, 590 painting from history, 140–141 refining adjusting selection, 277–285 edges, 285–291 Select menu, 259–262 tools Color Range, 261, 268–270 Lasso tools, 272–277 Magic Wand tool, 266–268 overview, 262 Quick Selection tool, 263–266 selecting by shape, 270–272 tweening, 884
1027
47_584743-bindex.indd 1027
5/3/10 10:59 AM
Index
selection data, 357 Selection/Image option Color Range dialog box, 269 Replace Color Adjustment tool, 396 Selection Preview option, 269 Selection tools Content-Aware tool, 478 cropping, 89–90 selection view, 396 selective color adjustment, 375, 389–393 Selective Color Adjustment layer, 392 Selective Color Adjustment tool, 389–393 Selective option, 117, 937 sepia effect, 404, 406 serial number (camera), 205 Set End of Work Area option, 803 Set option customizing menus, 59 customizing shortcuts, 61 overview, 950 Set Start option, 803 Set the Scale of the Clone Source option, 486 settings Adjust Edge, 289 adjusting actions, 148 cache, 205 Clone Stamp tool, 481–482 color management advanced controls, 912–913 conversion options, 910–912 policies, 909–910 Settings menu option, 907–908 working spaces, 908–909 Fill, 303–304 lighting, 221 Lights panel, 754 Lock, 304–305 opacity, 845–847 output, 289–291 outputting images, 936–941 panel groups, 33 Smart Sharpen filter, 446 Sticky Layer Style, 14 3D panel, 728 Toolbox, 36 Settings menu option, 907–908 Settings option, 183 SGI files, 972
SGIRGB, 972 Shadow clipping warning icon, 223, 224 shadow opacity setting, 739 shadow(s) adjusting, 400–402 Auto Levels Adjustment, 415 drop, 320, 321, 327, 680–681, 686 HDR Toning tool, 434 inner, 320 lightening, 223 split toning, 237 tonal range, 518 Variations Adjustment tool, 398 Shadows/Highlights Adjustment tool, 400–402 Shape Blur filters Box Blur, 449–450 Gaussian Blur, 448, 449 Shape Blur, 450–451 Shape Dynamics option, 527–528 Shape Layers Pen tool, 555 vector shape layers, 572 shape modes (Pen tool), 555 Shape Selection tools, 38 Shape tools keyboard shortcut, 573 overview, 39 vector shapes, 573–576 shape(s) adding, as layer, 297 bristle brush shapes, 524 flat brush shapes, 523 Lens Blur filter, 457 photo collages, 689, 691 selecting by, 270–272 sharing channels, between images, 353 sharp anti-aliasing, 587, 600 Sharpen Details option, 461 Sharpen Edges filter, 439, 442 Sharpen filter, 439, 442 sharpen for/amount, 202 Sharpen More filter, 439, 442 Sharpen tool(s) keyboard shortcut, 966 overview, 39 painting, 516–517 protecting detail, 13
1028
47_584743-bindex.indd 1028
5/3/10 10:59 AM
Index
sharpening adjustment workflow, 371 Apply Sharpening setting, 204 basic filters, 438–443 custom filters, 673 reducing noise, 461 sharpen for/amount, 202 Smart Sharpen, 445–448 Unsharp Mask, 443–445 video files, 864 sharpness adjusting, 253–255 Adjustment options, 244 shear (Repoussé tool), 707 Shear filter, 658 Shield Color option, 89 Shift Edge option, 289 Shift to Web Palette option, 942 shine setting, 749 shortcuts automated actions, 141 changing views, 287 customizing, 58, 60–62, 856 Enable Timeline Shortcut Keys option, 805 Save for Web & Devices utility, 933 types, 966–968 Shortcuts For option, 61 Show Actual Pixels command, 968 Show Asian Text Options, 584 Show Backdrop option, 647 Show Bounding Box option, 562 Show Channels in Color option, 48, 103 Show Clipping option, 400 Show Font Names in English option, 584 Show/Hide Extras command, 968 Show Image option, 646 Show Mask option, 244, 647 Show Menu Colors option, 48 Show Menu option, 30 Show Mesh option, 646 Show New Snapshot Dialog Box by Default option, 135 Show option, 805 Show Original option, 287 Show Overlay option, 486 Show Paper White option, 920 Show Radius option, 287 Show Sampling Ring option, 127 show statistics setting, 103
Show Tool Tips option, 49 sidecar XMP files ignoring, 205 metadata, 195, 196 saving, 203, 204 silhouette, 472, 609 Silicon Graphics platform, 972 Similar Layers option, 261 Similar option, 262 Simplify Layers for FXG option, 957 Simulate Black Ink option, 916, 919 Simulate Paper Color option, 916, 919 Single Channel option, 105 Site Info panel, 182 16 bits per channel setting, 120, 129, 200–201 size bounding box, 588 Brush options, 243 Camera Raw workflow, 201 column, 55 flat brush shapes, 523 grain, 249 photo collages, 689 print, 917 printing, 918 rendering video, 899 resolution, 79 settings, 73 slices, 928 Size Jitter settings, 527 Sketch filters, 661–662, 664 skewing Free Transform option, 629 transformations, 625 skewness, 961 skin tones, 630–633 Slice Background Type option, 929 Slice Options button, 929 Slice Options dialog box, 929, 930 Slice Select tool, 928, 935 Slice tool keyboard shortcut, 966 overview, 38 Slice Visibility tool, 935 slices New Layer Based Slice option, 300 output settings, 941 preferences, 56–57
1029
47_584743-bindex.indd 1029
5/3/10 10:59 AM
Index
slicing Clear Slices option, 31 configuring slices, 928–930 creating slices, 926–928 Lock Slices option, 31 overview, 925 PatternMaker plug-in, 972 Slide tool, 719–720 Slider tools, 123 slip edits, 823–827 Small List option, 126 Small Thumbnail option, 126 Smart Blur filter, 451–455 Smart Collection dialog box, 171 smart collections, 171 Smart Filters adding, 324–325, 653 adjusting filters, 669–670 applying to video files, 870–872 Convert to Smart Object option, 301 Layer menu, 298 layers, 323 making changes, 325–327 non-destructive editing, 437 Smart Guides, 56 Smart Objects adding text, 611–614 Camera Raw workflow, 202 Convert to Smart Object option, 301 converting vector layers, 502 Create Smart Object after Loading Layers option, 959 duplicating layers, 441 filter adjustments, 668–672 grouping stacks, 172 layers adding Smart Filters, 324–325 converting layers, 323–324 Layer Menu, 300 making changes to Smart Filters, 325–327 non-destructive editing, 133 setting preferences, 48 3D objects, 768–769 video files, 864, 868–872 smart quotes, 57, 584 Smart Radius, 288 Smart Sharpen dialog box, 445, 447 Smart Sharpen filter, 439, 445–448 smooth anchor points, 548, 549, 552, 554, 566
smooth anti-aliasing, 587, 600 smooth corners (Polygon tool), 575 Smooth Curve option, 423 smooth gradients, 45 smooth indents (Polygon tool), 575 smooth mode, 645 Smooth option Adjust Edge settings, 289 selection, 262 smoothing brush settings, 527 smoothness (Gradient Editor), 538 Smudge Stick filter, 655 Smudge tools keyboard shortcut, 966 overview, 39 painting, 516–517 Snap Neutral Midtones option, 415 Snap option, 31 Snap To option grids, 23 View menu, 31 Snap to Pixels option, 574 snapshots Apply Snapshot option, 207 Automatically Create First Snapshot option, 134 Automatically Create New Snapshot when Saving option, 134 Create Snapshot button, 136 creating, 207–209 navigating, 136 Show New Snapshot Dialog Box by Default option, 135 steps in use, 136–137 Snapshots panel, 207–209 soft brush style, 542 Soft Light blending mode, 308, 504 soft proofing, 915 softening (blur filters) automatic, 448–449 Direction Blur, 451–454 Lens Blur, 455–458 Shape Blur, 449–451 Smart Blur, 451–455 Surface Blur, 454 SoftImage, 972 Softness light setting, 754 Solarize filter, 663 solid gradient, 538 solidity (spot color channel), 360
1030
47_584743-bindex.indd 1030
5/3/10 10:59 AM
Index
Sony, 195 sort and filter (Bridge toolbar), 154 Sort button, 185 sound, 808 source batch processing, 951–952 Paint Bucket tool, 535 selecting, 105, 703 snapshot, 136 source frame, locking, 879 Source menu (Histogram panel), 105 Source option (Color Match tool), 431 source space, 914 source view, 433 space Camera Raw workflow, 199–200 settings, 199 3D, 718–721 spacing flat brush shapes, 523 frame, 859 leading option, 598 Paragraph Styles panel, 606 Spatter filter, 656 special effects Camera Raw, 194 Layer Styles, 319–323 swapping colors, 345 spectrophotometer, 907 Specular Highlights filter, 457–458 specular setting, 749 speed (bits per channel), 120 Sphere option, 712 Spherical Layout option, 695 Spherize filter, 658 spin (Radial Blur filter), 453 Split Layers option, 804, 820 Split Toning panel, 237 splitting channels, 351, 352 video layers, 820–822, 864 Sponge filter, 655 Sponge tool keyboard shortcut, 518 overview, 39 painting, 517–519 spot color channels alpha channels, 360 color management, 908
creating, 361–363 merging, 363 Multichannel mode, 120 overview, 360 removing ink overlap, 363–364 spot colors (saving images), 77 Spot Healing Brush Content-Aware option, 467–471, 478–479 Creating Texture option, 467 keyboard shortcut, 966 options, 466 overview, 10, 11 Proximity Match option, 466–467 spot light, 752, 754 Spot Removal tool, 238–240 Sprayed Strokes filter, 656 Square option (Rectangle tool), 574 square ratio, 791 sRGB color profile, 905, 907, 908, 925, 940 stack modes options, 964 scripting, 959–962 stacks Bridge main menu, 152 creating, 171–172 importing image sequences, 811 Stacks heading, 152 Stained Glass filter, 664 Stamp filter, 662 Stamp tools overview, 38 vanishing point, 651 standard deviation Histogram panel, 106 stack modes, 961 standard ligatures, 600 standard painting cursors, 53 standard screen mode, 24 standard version of Photoshop, 4 standardization, 196 Star option (Polygon tool), 575 Start option, 576 states, history. See history states static coordinates, 715 statistics Histogram panel, 105–107 load statistics option, 431 save statistics option, 433 scripts, 959, 960
1031
47_584743-bindex.indd 1031
5/3/10 10:59 AM
Index
Stereo options, 734 Sticky Layer Style, 14 sticky workspaces, 6 stiff mode, 644 stiffness, 525 still shots (video editing) adding blank layer, 826, 828 adding text layer, 826–827 placing 3D model, 828–829 placing image file, 827, 828 Stop for Errors option, 953 stops (actions), 145–146 Straight Unmatted option, 899 Straighten option (Ruler tool), 93–94 Straighten tool, 215 straightening images adjustment workflow, 370 flipping, 90–91 rotating, 90–93, 624 Ruler tool, 93–94 strength customizing, 461 reducing noise, 460 Sharpen and Blur tools, 516 stroke Brush tool, 507 layer styles, 321, 596 Pencil tool, 507 Stroke Path with Brush/Stroke Path option, 563 strong anti-aliasing, 587, 600 Strong Saturation option, 406 style Type tool options, 586 warping text, 594 style options creating vignette, 251 creating Web gallery, 182 Marquee tools, 271 Shape tools, 574 text, 604–606 Styles panel, 33 stylistic alternates, 601 Stylize filters, 662–663 stylus pen, 526 sub-keywords, 165 subfolders creating, 158 Include All Subfolders option, 951
sublayers Layer Style, 319 Smart Filters adding, 324–325 applying, 870–872 Convert to Smart Object option, 301 Layer menu, 298 making changes, 325–327 overview, 323 3D objects, 714 Subtract blending mode, 309, 505 Subtract From Path Area option, 555, 556 subtract from sample tool, 269 Subtract From Selection option Freeze Mask tool, 646 Lasso tools, 273 Magic Wand tool, 266 Marquee tools, 271 Quick Selection tool, 264 Subtract From Shape Area option, 559, 560 Sumi-e effect, 656 Summarize option, 61, 62 summation, 962 Suppress Color Profile Warnings option, 951 Suppress File Open Options Dialogs option, 951 Surface Blur filter, 454 swapping colors Channel Mixer, 345–346 keyboard shortcut, 967 layers, 295 swash glyphs, 601 Swatches panel choosing colors, 123, 125–126 overview, 33 SWF (Small Web Format) files, 162 SWOP v2 color profile, 907, 908 Synchronize dialog box, 218 synchronizing adjustments, 217–218 system layout, 601
T tab group, 302 tablet pressure Clone Stamp tool, 482 Magnetic Lasso tool, 276 painting tools, 508
1032
47_584743-bindex.indd 1032
5/3/10 10:59 AM
Index
Tablet Pressure Controls Brush Size option, 482 Tablet Pressure Controls Opacity option Eraser tool, 513 painting tools, 508 Tablet Pressure Controls Size option Eraser tool, 514 painting tools, 509 tabs, 21, 33, 199, 204 Tagged Image File Format (TIFF/TIF) files Ask Before Saving Layered TIFF Files option, 50 Camera Raw preferences, 205–206 opening, 196 overview, 66 Targa (Truevision Advanced Raster Graphics Adapter) files, 71 target image, 431, 432 Targeted Adjustment tool, 214 TDI files, 71 Temperature slider, 221–222 Template field creating PDFs, 180 creating Web gallery, 181 text adding layers, 297 overview, 5 paragraph type, 587–589 point type, 587, 588 tools, 585–587 animating, 851–854 applying to images adding text on path, 607–609 adding to Smart Object, 611–614 applying as mask, 614–616 constraining text, 609–611 Character panel, 596–601, 604–609 editing vector layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596
Rasterize Type option, 592 Warp Text option, 594–595 overview, 583–584 Paragraph panel, 602–609 setting type preferences, 584–585 video layers, 826, 827 Text Edit mode adding text, 588 editing text, 590 Text Edit pop-up menu, 590, 591 text formatting options, 599 text layer, 826–827 Text tools, 39 texture adding grain, 249, 250 adding noise, 462 adding to 3D objects, 5 brush settings, 527 crosshatch, 656 editing, 742–745 face options, 734 Healing Brush, 474 painting, 735 Repoussé tool, 707 3D objects, 699, 704, 709 unlit, 734 Texture Each Tip option, 531 Texture filters, 663–664 texture maps, 742 Texture settings, 530–531 Texturizer filter, 664 TGA files, 71 Thaw Mask tool, 642 thickness (bristle brush shapes), 524 third-party plug-ins, 969, 970 32 bits per channel setting, 120, 121, 433, 753 3D Axis option, 738 3D Axis Widget creating 3D objects, 722–724 overview, 12, 738, 741 rotating objects, 717 3D buildings, 735–736 3D Camera tools, 39 3D Constraint tools, 710 3D extras, 737–738 3D File Loading option, 731 3D files, 72 3D glasses, 734 3D Ground Plane option, 738
1033
47_584743-bindex.indd 1033
5/3/10 10:59 AM
Index
3D layers, 728 3D Light option, 738 3D menu creating new objects, 702 overview, 29–30 3D mesh, 711–713 3D model, 735, 828–829 3D Object Roll tool, 968 3D Object Rotate tool, 968 3D Object Scale tool, 968 3D Object Slide tool, 968 3D objects adding textures, 5 adjustments, 765–766 applying filters, 767–768 applying layer styles, 766–767 creating composites, 769–785 Layers panel, 713–714 overview, 5, 702 postcard, 703 presets, 704–705 Repoussé tool, 705–711 selecting source, 703 Smart Objects, 768–769 3D mesh from grayscale, 711–713 volume option, 713 file formats, 699–701 layer styles, 321 manipulating changing positions, 721–722 Home button, 716 moving through 3D space, 718–721 overview, 714 static coordinates, 715 turning objects around central point, 716–718 opening files, 701–702 paint mode hiding areas, 758–759 overview, 757 steps for using, 759–765 placing files in Photoshop, 701–702 positioning camera, 724–725 Repoussé tool, 11, 12 3D Axis Widget, 722–724 tools, 39 3D Overlays option, 731 3D paint mode, 735 3D Pan Camera View tool, 968
3D panel creating new objects, 702 Lights panel adding new lights, 751–753 overview, 750 positioning lights, 753 settings, 754 Materials panel editing materials, 745–749 editing textures, 742–745 Material Drop tool, 749–750 Meshes panel, 739–741 overview, 35, 727–729 Scene panel changing preferences, 729–731 creating cross sections, 735–737 overview, 728 render settings, 731–735 toggling 3D extras, 737–738 3D postcard, 703 3D preferences, 58 3D preset, 25 3D Render Settings dialog box, 733–734 3D Roll Camera View tool, 968 3D Rotate Camera tool, 968 3D scene, 731–732 3D Selection option, 738 3D space, 718–721 3D Studio Max, 72 3D tools overview, 12 3D Axis Widget, 12, 722–724 3D volume, 713 3D Walk Camera View tool, 968 3D Zoom Camera tool, 968 3ds files, 72, 700 3ds Max, 700 Threshold option Adjustment panel, 375 Dust and Scratches filter, 460 HDR Toning tool, 433 Lens Blur filter, 458 Smart Blur filter, 454 Unsharp Mask, 443 Thumbnail size slider, 155 Thumbnail slider, 186 thumbnails Animation (Frames) panel, 882 Bridge toolbar option, 153
1034
47_584743-bindex.indd 1034
5/3/10 10:59 AM
Index
Filter Gallery, 667 finding files, 167 JPEG files, 160 layers, 294 mask thumbnail option, 334 Repoussé preset, 705 saving images, 77 Smart Objects, 323, 324, 871 Swatches panel, 125, 126 Variations Adjustment tool, 399, 400 TIFF/TIF (Tagged Image File Format) files Ask Before Saving Layered TIFF Files option, 50 Camera Raw preferences, 205–206 opening, 196 overview, 66 tight tracking, 599 Tile option, 21 TileGroup#, 947 Tiles filter, 663 Tilt option, 737 time adjustment, 798–799 time ruler, 799 Time-Vary Stopwatch, 800, 835, 839, 844, 845 timestamps, 178 Tint option, 404 Tint slider, 221–222 titling alternatives, 601 To Do label, 164 toggle boxes, 143, 148 Toggle Brush panel, 482 toggle button, 485 Toggle Clone Source panel, 482 Toggle Misc 3D Extras button, 722 Toggle Misc 3D Extras icon, 750 toggle onion skins icon, 801 Toggle Paragraph/Character Panels option, 587 toggling anchor points, 554 Bristle Brush preview, 525 channels, 103 filters, 667 Pen tool, 553 text, 594 3D extras, 737–738 tools, 38 tolerance Background Eraser tool, 514 Color Replacement tool, 510
Magic Eraser tool, 514 Magic Wand tool, 266, 277 Paint Bucket tool, 535 tonal range Burn tool, 518 Curves Adjustment tool, 422 Dodge tool, 518 tonal width fixing highlights, 401 fixing shadows, 401 Smart Sharpen filter, 447 tone Camera Raw preferences, 204 changing color balance, 386 Selective Color Adjustment tool, 389 tone curve (Camera Raw) Parametric panel, 227–230 Point tab, 231–233 toning, split, 237 toning curve, 435 tool options bar, 25–26 Tool Presets panel, 36, 41 toolbar Bridge utility, 153–154 previewing, 934–936 shortcuts, 966–967 Toolbox, 25–26, 36–40 tools Camera Raw, 197, 213–216 creating 3D objects, 715–722 downloadable, 974 overview, 36–40 painting, 506–521 Blur tools, 516–517 Burn tools, 517–519 Clone Stamp, 511–512 Dodge tools, 517–519 Eraser tools, 512–515 Gradient Editor, 538–539 Gradient tool, 537 History tools, 512 overview, 510, 534 Paint Bucket tool, 535–536 Pattern Stamp, 511–512 Sharpen tools, 516–517 Smudge tools, 516–517 Sponge tools, 517–519 presets, 40–41
1035
47_584743-bindex.indd 1035
5/3/10 10:59 AM
Index
tools (continued) selection Color Range, 268–270 Lasso tools, 272–277 Magic Wand tool, 266–268 overview, 262 Quick Selection tool, 263–266 selecting by shape, 270–272 tool sets, 37 types, 38–40 vector path Path Selection tools, 557–562 Paths panel, 562–565 Pen tools, 551–557 Tools button, 186 Tools heading (Bridge main menu), 153 Torn Edges filter, 662 Trace Contour filter, 663 tracing edges, 543–544 tracking, 599 training, 975 Transfer option (brush), 532–533 Transform menu, 679 Transform Selection option, 262 Transform tools, 278, 279 transformations animating, 840 Content-Aware scale, 629–634 distorting, 625–626 free transform, 628–629 overview, 621 perspective, 626–627 Puppet Warp tool, 634–638 reference points, 622–623 rotating images, 624 scale, 623–624, 629–634 selections, 278–279 skewing, 625 warping, 627–628 translucency, 747 transparency alpha channels, 132, 930–932 aspect ratios, 793, 794 Clear blending mode, 503 file output settings, 939 Gradient tool, 537 Illumination map, 748
indexed color mode, 117 onion skins rotoscoping, 857–859 settings, 804–805 toggle onion skins icon, 801 preferences, 54–55 Web image formats, 924 Transparency & Gamut preferences panel, 54–55 transparency stops, 538 trapping, 364 Trim Document Duration to Work Area option, 804, 817, 818 Trim Layer End to Current Time option, 803 Trim Layer Start to Current Time option, 803, 818, 867 Trim utility, 94–95 trimming borders, 94–95 video layers document duration to work area, 817 layer duration bar, 815–816, 818 looking at layers, 817–818 menu option, 816–817 overview, 815 TrueType fonts, 584 Turbulence tool, 642, 643 Turbulent Jitter setting, 643 turning objects, around central point, 716–718 Tween dialog box, 883, 884, 892 Tween with drop-down menu, 884 tweening creating keyframes, 890–891 keyframes, 892–893 opening images, 889–890 options, 883–885, 887 overview, 832 setting interpolation, 838 tweening keyframes, 892–893 tweens animation frames icon, 883–885 Twirl Clockwise tool, 639 Twirl filter, 658 twist (Repoussé tool), 707 Two-sided Plane option, 712 2-Up option, 934 2D images, 647 2D text, 11, 12 type Layer menu, 300 setting preferences, 584–585
1036
47_584743-bindex.indd 1036
5/3/10 10:59 AM
Index
type layer menu, 295 multiple layers, 294 Type Mask tools, 614–616 type masks overview, 329–330 Vertical Type Mask tool, 966 Type 1 fonts, 583 Type preferences panel, 57–58 Type tools adding text as paragraph type, 588–589 adding text as point type, 588 creating selections, 586 editing vector text layers, 590–591 options bar, 586–588, 590 overview, 585 typeface, font versus, 583
U UI text options, 49 uncompressed files, 64 Unconstrained option, 574 underexposure adjusting brightness/contrast, 382, 383 determining, 100–101 Underpainting filter, 655 Undo command, 967 undoing, 135 Ungroup Layers option, 300 uniform noise, 458 unify layer position icon, 888 unify layer style icon, 888 unify layer visibility icon, 888 Unit & Rulers preferences panel, 55–56 unit preferences, 55–56 units printing, 918 setting preferences, 45 universal changes, 318 Universal 3D (U3D) files, 72 unlinking, 335–337 unlit texture, 734 Unsharp Mask filter, 439, 443–445 Unsharp Mask filter dialog box, 443 Update DNG Previews option, 207 updating, 205
Upload button, 183 U.S. Web Coated (SWOP) v2 color profile, 907, 908 Use Attenuation light setting, 754 Use Black Point Compensation option, 912, 915, 916 Use Dither option, 912, 915 Use Legacy Channel Shortcuts option, 61 Use Proof Setup option, 77 Use Selection in Source to Calculate Colors option, 431 Use Selection in Target to Calculate Adjustment option, 431 Use Shift Key for Tool Switch option, 47 Use Smart Quotes option, 584 User slice, 925, 926 U3D (Universal 3D) files, 72, 700
V Vanishing Point filter, 647–652 variance, 962 Variations Adjustment tool, 398–400 VDA files, 71 vector artwork EPS file format, 68 files, 700–701 overview, 5 raster versus, 64–65 using Illustrator, 6 vector layers Fill and Adjustment layers, 314 painting, 502 text layers, 590–596 vector masks add vector mask button, 334 creating, 329 Layer Menu, 300 paths, 551, 570–572 vector path tools Path Selection tools options, 558–562 overview, 557 types, 558 Paths panel, 562–565 Pen tools options, 554–557 overview, 551 types, 552–554 vector paths. See paths vector shape layers, 572–573, 593, 692
1037
47_584743-bindex.indd 1037
5/3/10 10:59 AM
Index
vector shapes adding custom, 579–581 adding layers, 577–579 constraining text, 609–611 creating, 567–568 editing, 581 inserting paths, 147 tools, 573–576 vector text layers Anti-Alias options, 593 Check Spelling option, 591 Convert to Paragraph Text option, 594 Convert to Point Text option, 594 Convert to Shape option, 593 Create Work Path option, 592 Edit Type option, 590–591 Faux options, 593 Find and Replace Text option, 592 Horizontal and Vertical options, 593 layer styles, 595–596 Rasterize Type option, 592 Warp Text option, 594–595 vertex options, 734 vertical distortion, 595 Vertical options vector text layers, 593 warping text, 594 vertical scale, 599 vertical sync, 52 Vertical Type Mask tool keyboard shortcut, 966 overview, 614 Vertical Type tool adding text, 588, 589 keyboard shortcut, 966 vibrance Adjustment panel, 374 Camera Raw, 226 HDR Toning tool, 435 Sponge tool, 518 Vibrance slider, 226 video adapter, 52 video aspect ratios, 791–793 video card, 731 video editing adding still shots, 825–829 adding blank layer, 826, 828 adding text layer, 826–827
placing image file, 827, 828 placing 3D model, 828–829 Animation (Timeline) panel accessing Video Layers menu, 805–806 defining options, 802–805 icons, 801 setting layer favorites, 807 time adjustment, 798–799 work area, 800–801 layers blank, 826, 828 extracting section, 822–823 lifting section, 822 moving, 818–819 splitting, 820–822 text, 826, 827 trimming, 815–818 moving layers, 818–819 performing slip edits, 823–827 video files, 789–798 adding, 809–810 aspect ratios, 790–796 filters, 796–798 importing image sequences, 810–815 opening, 808–809 overview, 789 video files adding, 809–810 applying Smart Filters, 870–872 aspect ratios, 790–796 pixel aspect ratio, 790–792 ratios of images, 793–796 video aspect ratios, 791–793 Clone Stamp tool, 486–489 Convert to Frame Animation icon, 801 filters, 796–798 de-interlacing, 797 NTSC colors, 797–798 Smart Filters, 870–872 frame-by-frame correction, 874–879 adding adjustment to single frame, 875–876 cloning, 876–879 healing, 876–879 locking source frame, 879 importing image sequences, 810–815 Metadata panel, 162 opening, 808–809 overview, 71–72, 789
1038
47_584743-bindex.indd 1038
5/3/10 10:59 AM
Index
video layers Animation (Timeline) panel work area, 800 blank, 826, 828 cloning, 872–874 creating new, 855 Fill or Adjustment layers, 863–870 adding to Smart Object, 868–870 adjusting duration, 866–867 clipping layer to layer below it, 865–866 merging, 867–868 overview, 863–864 healing, 872–874 importing image sequences, 810–815 Layer menu, 300 moving, 818–819 changing layer hierarchy, 819 changing position of layers, 819 dragging layers, 819 overview, 818 renaming, 808 setting layer favorites, 807 splitting, 820–822, 864 text, 826, 827 trimming, 815–818 document duration to work area, 817 layer duration bar, 815–816, 818 looking at layers, 817–818 menu option, 816–817 overview, 815 Video Layers menu, 805–806 video memory (VRAM), 730 View as Details option, 155 View as List option, 155 View as Thumbnails option, 155 View button, 728 View heading, 152 View menu Clear Guide option, 31 Clear Slices option, 31 Extras option, 30 Lock Guides option, 31 Lock Slice option, 31 New Guide option, 31 overview, 30–31 refining edges, 286–287 Ruler option, 30 Show menu option, 30 Snap and Snap To options, 31 view options, 19–23
View Mode, 286–288 view options Actions panel, 143–144 camera, 725 custom vector shapes, 580 Liquify filter, 646–647 multiple documents, 21 View PDF After Save option, 181 vignette adding, 251 Elliptical Marquee tool, 272 lens correction, 252 removal, 695 visibility background, 897 layers, 135, 895 menu list, 60 mesh, 739 unify layer visibility icon, 888 video files, 818 visible light, 98 Vivid Light blending mode, 308, 505 Volume options, 713, 734 VRAM (video memory), 730 VST files, 71
W Walking the Camera option, 725 warming filters, 393 warning messages converting layers to Smart Objects, 323 creating, 146 Warp Text dialog box, 595, 852 Warp Text option animating text, 849–850 vector text layers, 594–595 warping animating, 851–852 Forward Warp tool, 639 overview, 627–628 text, 587, 594–595, 611–614, 629 Water Paper filter, 662 Watercolor filter, 655 Watermark panel, 181 watermarks embedding, 972 Watermark panel, 181
1039
47_584743-bindex.indd 1039
5/3/10 10:59 AM
Index
Wave filter, 658 waves, 594 WBMP (wireless bitmap) files overview, 68 preparing images for Web, 924 WBMPI files, 68 Web adding zoomable images, 946–948 creating images, 5 file formats, 66 indexed color mode, 117 outputting images animation controls, 943–944 Color Table pane, 942, 943 Image Size pane, 942, 943 overview, 933 previewing in browser, 944 previewing layout and toolbar, 934–936 previewing on devices, 944–946 settings, 936–941 preparing images, 923–933 adding transparency, 930–931 animating images, 931–932 formats, 924 overview, 923 selecting color profile, 925 slicing images, 925–930 web color Make Ramp Web Safe option, 125 Web Color Sliders, 124 Web Color Sliders, 124 web galleries, 181–183 Web option, 117 Web Photo Gallery, 972 Web setting, 908 Web snap option, 939 wet edges, 527 wet paint on existing image, 544 flat brush shapes, 523 overview, 7 wetness options, 521 white, 900 white balance lighting settings, 221 overview, 214, 218–219 using Temperature slider, 221–222
using Tint slider, 221–222 White Balance tool, 220 White Balance tool adjusting white balance, 220 overview, 214 white clip, 402 white eyedropper, 384, 414, 421 white light, 98 white slider, 413, 414, 418, 427 Whole Scene filter, 729, 731 width bounding box, 588 canvas, 83 document, 81 Line tool, 576 Magnetic Lasso tool, 276 Marquee tools, 271 pen, 276 pixel dimension, 81 printing, 918 scale, 623 settings, 73 tonal, 401, 447 vertical distortion, 595 video files, 790 Wind filter, 663 Window heading, 153 Window menu, 31 window panes, 154–155 Windows color palette, 937 wireframe mode, 700, 734 wireless bitmap (WBMP) files, 68, 924 wireless devices, 68 word processing, 5 work area, 800–801 work area indicators, 800, 817 Work Path option, 703 workflow adjustment Adjustments panel, 373–378 making auto adjustments, 371–373 steps, 369–371 automating batch processing multiple images, 950–954 creating droplets, 954–955 overview, 949 customizing shortcuts, 58
1040
47_584743-bindex.indd 1040
5/3/10 10:59 AM
Index
scripting predefined scripts, 956–960 Script Events Manager, 962–964 stack modes, 959–962 workflow options bit depth, 200–201 opening images as Smart Objects, 202 resolution, 201–202 sharpen for/amount, 202 size, 201 space, 199–200 Workflow Options dialog box, 199, 200 working path Create Work Path option, 592 overview, 550 working spaces settings, 908–909 workspace selection area, 153 workspace switcher, 6 workspace(s) application bar, 22–24 Bridge Bridge utility, 151–156 types, 156–157 Camera Raw, 197–199 customizing menus, 58–60 customizing shortcuts, 58, 60–62 document workspace, 18–21 menus Analysis menu, 27–30 customizing, 58–60 Edit menu, 26 File menu, 26 Filter menu, 27 Help menu, 31–32 Image menu, 26–27 Select menu, 27 3D menu, 29–30 View menu, 30–31 Window menu, 31 overview, 17 panels overview, 32 panel groups, 33 types, 34–36 preferences cursors, 53–54 file handling, 49–51
general, 45–48 guides, grid, and slices, 56–57 interface, 48–49 overview, 44 performance, 51–53 plug-ins, 57 3D, 58 transparency and gamut, 54–55 type, 57–58 unit and rulers, 55–56 presets, 24–25 creating, 42–43 managing, 41–42 selecting tool, 40–41 3D, 702 tool options bar, 25–26 Toolbox, 25–26, 36–40 tools, 36–40 WPG files, 958 wrapping text, 588
X XML, 70 XMP files Exporting Settings to XMP option, 207 sidecar, 195, 196, 203–205 XYZ color model, 71 XYZE files, 71
Y Y settings (Color Picker tool), 122 yellow, 122, 404, 410 Yellow Boost option, 406
Z ZigZag filter, 658 Zoom in command, 968 Zoom menu, 213 Zoom out command, 968 zoom percentage, 197 Zoom Point Clicked to Center option, 48 Zoom Resizes Windows option, 47 Zoom Settings Level tool, 935 zoom slider, 799
1041
47_584743-bindex.indd 1041
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Index
Zoom tool Camera Raw, 213 keyboard shortcut, 967 overview, 39 preview panes, 935 refining edges, 286 scrubby zoom, 13 View menu, 20 Zoom Value, 23 Zoom with Scroll Wheel option, 47–48
Zoomify, 946–948 zoomifyViewer.swf, 947 zooming Animated Zoom, 47 camera, 725 Filter Gallery, 666 Radial Blur filter, 453 video editing, 799 View menu, 20, 21 Zoom Settings Level tool, 935
1042
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Companion Web Site
16-Page, Full-Color Insert
• Find project files for the book’s tutorials
• Beautiful, full-color examples
Companion Web Site
• Make your image a canvas, and “paint” with new tools • Create, edit, and manipulate 3D objects, scenes, and settings • Create compelling images for the Web, print, and mobile devices • Batch process multiple images or use scripts to speed workflow
Edit and paint with brushes
www.wiley.com/compbooks
Create special effects
owns and operates a media creation business. She teaches Photoshop classes, is the author of Photoshop CS3 Extended Video and 3D Bible, and is coauthor of several books with her husband, Brad Dayley.
Brad Dayley is a senior software engineer with almost 20 years of experience creating computer applications as well as working with Photoshop. He is the author of the Silverlight 2 Bible, and other books.
$44.99 USA $53.99 Canada
Adobe
®
Photoshop CS5 ®
Get the very most out of Photoshop CS5 Correct, enhance, or composite your photos
Design 3D projects
Shelving Category: COMPUTERS / Computer Graphics Reader Level: Beginning to Advanced
Lisa DaNae Dayley and Brad Dayley
®
• Work with video files, add cool effects, and master the Animation Panel
Lisa DaNae Dayley
®
• Explore all the features of Photoshop CS5
The book’s Web site includes project files for the book’s tutorials: www.wiley.com/go/photoshopcs5bible
Adobe
Every previous edition of the Photoshop Bible has been a top-seller, and once you open this in-depth guide, you’ll understand why. Whether you’re a casual user or Photoshop professional, the 1000+ pages in this hefty book cover everything you need, from the very latest features and tools in Photoshop CS5 to the basics of Camera Raw—to techniques for creating 3D objects, producing images for mobile devices, and much more.
Companion Web Site
Photoshop CS5
If you want to learn Photoshop, this is the book!
Dayley Dayley
Design for the Web, video, or mobile devices
The book you need to succeed!
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