- ISBN: 9780321553102 | 0321553101
- Cover: Paperback
- Copyright: 6/17/2008
Introduction | p. iv |
Color Management | |
What is color management? | p. 1 |
Setting your camera to the Adobe RGB color space | p. 2 |
Calibrating your display | p. 3 |
Display types, understanding the calibration settings, buying a calibration device | p. 3 |
Calibrate your display using a hardware device | p. 4 |
Choosing a color space for Photoshop | p. 6 |
Set the color space to Adobe RGB (1998) | p. 6 |
Install custom color settings as a preset for the Creative Suite | p. 7 |
Save custom color settings as a preset | p. 7 |
Acquiring a printer profile | p. 8 |
Proofing a document onscreen | p. 9 |
Simulate an inkjet print onscreen | p. 9 |
Proof colors for commercial printing | p. 10 |
Moving on | p. 10 |
Using Bridge | |
Downloading photos | p. 11 |
Download photos via Photo Downloader | p. 12 |
Taking a look at Bridge | p. 15 |
Choosing a workspace for Bridge | p. 16 |
Choose a predefined workspace for Bridge | p. 16 |
Customize the Bridge workspace | p. 18 |
Save a custom workspace | p. 18 |
Previewing thumbnails | p. 19 |
Rating and sorting thumbnails | p. 20 |
Using stacks | p. 21 |
Using Slideshow mode | p. 22 |
Opening files into Photoshop | p. 24 |
Developing a workflow for managing digital photos in Bridge | p. 25 |
Working with metadata | p. 26 |
View the metadata for a file | p. 26 |
Create, apply and edit a metadata template | p. 27 |
Add metadata to files manually | p. 28 |
Create and assign keywords | p. 29 |
Searching for files | p. 30 |
Choosing preferences for Bridge | p. 31 |
Camera Raw | |
Why use Adobe Camera Raw? | p. 33 |
Choosing preferences for Camera Raw | p. 34 |
Choose preferences for opening files | p. 34 |
Choose preferences for the Camera Raw plug-in | p. 35 |
Opening files into Camera Raw | p. 36 |
The Camera Raw interface | p. 37 |
Choosing workflow options | p. 38 |
Cropping and straightening photos | p. 39 |
Correcting the white balance | p. 40 |
Apply white balance adjustments | p. 40 |
Correcting the exposure | p. 42 |
Correct an underexposed photo | p. 42 |
Correct an overexposed photo | p. 44 |
Using the Tone Curve tab | p. 46 |
Reviving color | p. 48 |
Using the Detail tab | p. 50 |
Using the Split Toning tab | p. 53 |
Using the Lens Corrections tab | p. 54 |
Fix chromatic aberrations | p. 54 |
Correct or apply vignetting | p. 55 |
Combining multiple exposures | p. 56 |
Simulate two exposures with one photo | p. 56 |
Blend two exposures via a layer mask | p. 58 |
Retouching photos | p. 59 |
Remove spots with the Retouch tool | p. 59 |
Remove red-eye from a portrait | p. 60 |
Using Camera Raw presets | p. 61 |
Processing multiple photos via Camera Raw | p. 62 |
Synchronize the Camera Raw settings of multiple files | p. 62 |
Batch-process multiple photos via Bridge | p. 64 |
Saving files via Camera Raw | p. 65 |
Working with photos as Smart Objects | p. 66 |
Using Photoshop | |
Using the palettes | p. 68 |
Hiding and showing palettes | p. 70 |
Changing screen modes | p. 71 |
Tools on the Tools palette | p. 72 |
Changing the image size | p. 75 |
Choosing a file format | p. 76 |
Choosing a bits/channel mode | p. 77 |
Cropping an image | p. 78 |
Rotating an image | p. 79 |
Quick Summary: Choosing Colors | p. 80 |
Quick Summary: Using the Swatches palette | p. 81 |
Using the Layers palette | p. 82 |
Quick Summary: Using the Layers palette | p. 83 |
Using fill and adjustment layers | p. 84 |
Create a fill or adjustment layer | p. 84 |
Change the settings for a fill or adjustment layer | p. 84 |
Merge a fill or adjustment layer | p. 84 |
Create a layer group | p. 85 |
Create a layer mask for a layer group | p. 85 |
Choosing a mode for the History palette | p. 86 |
Making snapshots of history states | p. 87 |
Working with nonlinear histories | p. 88 |
Using presets | p. 91 |
Create a tool preset | p. 91 |
Create a preset | p. 92 |
Save all the presets currently on a picker as a new library | p. 92 |
Load a library of presets | p. 92 |
Use the Preset Manager | p. 92 |
Streamlining your workflow | p. 94 |
Selecting & Masking | |
Choosing a selection method | p. 96 |
Using the Lasso tool | p. 100 |
Using the Quick Selection tool | p. 101 |
Using the Magnetic Lasso tool | p. 102 |
Selecting complex shapes | p. 104 |
Using adjustment layer masks | p. 107 |
Selecting furry or feathered critters | p. 108 |
Creating a background for imagery | p. 110 |
Selecting hair in a portrait | p. 111 |
Using the Extract filter | p. 114 |
Extract a shape from its background | p. 114 |
Restore areas of extracted imagery | p. 116 |
Moving imagery between files | p. 117 |
Using the Color Range command | p. 118 |
Color & Tonal Correction | |
Using color samplers | p. 120 |
Place color samplers in a document | p. 120 |
Move a color sampler | p. 120 |
Remove a color sampler | p. 120 |
View color readouts on the Info palette | p. 121 |
Using the Shadow/Highlight command | p. 122 |
Reducing noise | p. 126 |
Using the Curves command | p. 127 |
Increasing contrast by using the Curves command | p. 128 |
Neutralizing a color cast | p. 130 |
Pinpoint a neutral gray in an image | p. 130 |
Neutralize a gray and remove a color cast with one click | p. 131 |
Fine-tune a color correction via individual channels in curves | p. 132 |
Simulating a neutral density filter | p. 134 |
Dodging and burning | p. 136 |
Retouching Portraits | |
Correcting a color cast in a portrait | p. 140 |
Smoothing skin | p. 142 |
Creating a soft-focus portrait | p. 146 |
Making eyes look brighter | p. 148 |
Recoloring eyes | p. 150 |
Removing under-eye circles | p. 152 |
Changing lipstick color | p. 154 |
Lightening dark hair roots | p. 156 |
Using Liquify to trim or tighten | p. 157 |
Whitening teeth | p. 160 |
Removing blemishes | p. 161 |
"Curing" a sunburn | p. 162 |
Smoothing out small areas | p. 164 |
Combining Images | |
Tips for creating montages | p. 165 |
Aligning and blending shots of the same scene | p. 166 |
Erasing to an underlying layer | p. 169 |
Enlarging the canvas area | p. 172 |
Blending imagery via layer masks | p. 174 |
Combine images into a composite | p. 174 |
Fade a layer from its center | p. 177 |
Refine the lighting on an image layer | p. 178 |
Quick Summary: Using the Move tool | p. 179 |
Using the Clone Source palette | p. 180 |
Using the Clone Stamp tool and the Clone Source palette | p. 180 |
Reposition the source overlay after you've begun cloning | p. 182 |
Using the Vanishing Point filter | p. 184 |
Sharpening | |
Sharpening a whole image with the Unsharp Mask filter | p. 190 |
Apply the Unsharp Mask filter | p. 190 |
Suggested Unsharp Mask filter settings for different types of images | p. 193 |
Sharpening midtones with the Unsharp Mask filter | p. 194 |
Enhancing details with the High Pass filter | p. 196 |
Sharpening areas selectively | p. 198 |
Using the Smart Sharpen filter | p. 199 |
Selecting edges for sharpening | p. 203 |
Sharpening edges | p. 207 |
Tinting & Blending | |
Layering gradients | p. 210 |
Lighting a background | p. 212 |
Desaturating colors selectively | p. 214 |
Tinting an image | p. 216 |
Apply a tint to an image | p. 216 |
Recolorize the highlights in a tinted image | p. 219 |
Restoring color selectively | p. 220 |
Creating an infrared effect | p. 222 |
Creating a duotone | p. 226 |
Create a duotone by using a preset | p. 226 |
Choosing a file format for a duotone | p. 228 |
Choose options for duotone printing | p. 228 |
Fine Art Media | |
Quick Summary: Using brushes | p. 230 |
Quick Summary: Shortcuts for changing tool settings | p. 231 |
Quick Summary: Painting techniques | p. 231 |
Creating brush tips from imagery | p. 232 |
Create a brush tip from an image | p. 232 |
Painting with a brush made from an image | p. 233 |
Creating a sketch by using filters | p. 235 |
Create a line art sketch | p. 238 |
Simulating pastels | p. 240 |
Create a pastel sketch | p. 240 |
Add line work to the pastel sketch | p. 242 |
Turning a photo into a painting | p. 243 |
Creating a watercolor | p. 246 |
Create a watercolor by using filters | p. 246 |
Create a watercolor with the Pattern Stamp tool | p. 248 |
Creative Type | |
Tips for designing with type | p. 253 |
Using layer effects | p. 254 |
Quick Summary: Layer effects | p. 254 |
Choose a contour for a layer effect | p. 256 |
Using layer styles | p. 257 |
Applying layer effects to type | p. 258 |
Create beveled type | p. 258 |
Carving letters in stone | p. 260 |
Warping the carved letters | p. 261 |
Stamping letters into metal | p. 262 |
Making type look like rusted metal | p. 264 |
Filling type with a rusted metal texture | p. 266 |
Embossing leather | p. 268 |
Creating a metallic sheen using gradients | p. 269 |
Create metallic type with grommets | p. 272 |
Creating a neon sign | p. 274 |
Stamping a product name | p. 276 |
Applying filters and gradients to type | p. 277 |
Illuminate type with gradients and a filter | p. 277 |
Create skywriting | p. 278 |
Apply the Wind filter to type | p. 279 |
Creating graffiti | |
Create graffiti | p. 280 |
Making drip marks | p. 281 |
Corroding type | p. 282 |
Cutting up a rasterized type layer | p. 284 |
Transforming type to fit onto a perspective plane | p. 286 |
Putting screened-back type on a bar | p. 288 |
Paths & Shapes | |
Converting selections to paths | p. 290 |
Using the Pen tool | p. 291 |
Using the Freeform Pen tool | p. 292 |
Trace part of an image using the Freeform Pen tool with its Magnetic option | p. 292 |
Choose options for the Freeform Pen tool | p. 293 |
Working with paths | p. 294 |
Save a Work Path | p. 294 |
Display or hide a path in the document window | p. 294 |
Move a path in the document window | p. 294 |
Duplicate a saved path | p. 294 |
Delete a saved path | p. 295 |
Reshaping paths | p. 295 |
Add segments to an existing, open path | p. 295 |
Transform an entire path | p. 295 |
Select a whole path | p. 296 |
Select anchor points on a path | p. 296 |
Deselect all the points on a path | p. 296 |
Reshape a path | p. 297 |
Recoloring paths | p. 298 |
Converting paths to selections | p. 299 |
Creating vector masks | p. 300 |
Create a vector mask using a new path | p. 300 |
Create a vector mask from an existing path | p. 300 |
Convert a layer mask to a vector mask | p. 301 |
Create a vector mask from type | p. 301 |
Working with vector masks | p. 302 |
Reposition a vector mask | p. 302 |
Reshape a vector mask | p. 302 |
Deactivate a vector mask | p. 302 |
Copy a vector mask to another layer | p. 302 |
Reverse the visible and hidden areas in a vector mask | p. 303 |
Discard a vector mask | p. 303 |
Using the shape tools | p. 304 |
Recoloring shape layers | p. 306 |
Saving shapes | p. 306 |
Using shapes to create pixel areas | p. 307 |
Rasterizing shape layers | p. 308 |
Actions | |
Features of the Actions palette | p. 309 |
Recording actions | p. 310 |
Playing actions | p. 311 |
Play an action on one image | p. 311 |
Exclude a command from playback | p. 311 |
Play an action on a batch of images | p. 312 |
Create a droplet for an action | p. 314 |
Editing actions | p. 315 |
Insert a Stop in an action | p. 315 |
Add a command or edit to an action | p. 316 |
Insert a menu item in an action | p. 316 |
Add a modal control for a command in an action | p. 317 |
Enable or disable all modal controls for an action | p. 317 |
Duplicate an action | p. 318 |
Rerecord an action using different dialog settings | p. 318 |
Change the settings for a command in an action | p. 318 |
Change the order of edits in an action | p. 319 |
Deleting commands and actions | p. 319 |
Saving and loading actions sets | p. 320 |
Output for Print & Web | |
Preparing a file for print output | p. 322 |
Prepare an RGB file for printing | p. 322 |
Apply output sharpening | p. 323 |
Printing from Photoshop | p. 324 |
Choose a paper size and orientation for inkjet printing | p. 324 |
Choose settings for an inkjet printer | p. 325 |
Turn off color management for your printer in Windows, and print the file | p. 328 |
Turn off color management for your printer in the Mac OS, and print the file | p. 329 |
Output a CMYK proof from an inkjet printer | p. 330 |
Preparing a file for commercial printing | p. 331 |
Exporting Photoshop files to Adobe InDesign and Adobe Illustrator | p. 332 |
Exporting a silhouetted image from Photoshop | p. 333 |
Saving files in the TIFF format | p. 335 |
Saving files in the Adobe PDF format | p. 336 |
Save a file as a PDF using a preset | p. 336 |
Save a file as a PDF using custom settings | p. 337 |
Saving files in the EPS format | p. 339 |
Optimizing files for the Web | p. 340 |
Previewing optimized files | p. 341 |
Optimizing files in the GIF format | p. 342 |
Optimizing files in the JPEG format | p. 344 |
Using the Adobe Media Gallery | p. 345 |
Download the Adobe Media Gallery | p. 345 |
Create a slideshow for the Web using the Adobe Media Gallery | p. 346 |
View the slideshow in your default browser | p. 348 |
Save a Web gallery | p. 349 |
Upload a Web gallery | p. 349 |
Using Zoomify | p. 350 |
Index | p. 351 |
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