| What's different in this book |
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xx | |
| Acknowledgments |
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xxii | |
| 1 Photoshop fundamentals |
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1 | (88) |
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2 | (2) |
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3 | (1) |
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4 | (23) |
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6 | (1) |
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7 | (2) |
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Managing document windows |
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9 | (2) |
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Synchronized scroll and zoom |
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10 | (1) |
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Image document window details |
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11 | (3) |
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Title bar proxy icons (Mac only) |
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13 | (1) |
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Info panel status information |
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13 | (1) |
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14 | (1) |
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Additional Guides features |
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15 | (2) |
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15 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (5) |
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Panel arrangements and docking |
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19 | (1) |
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Panel positions remembered in workspaces |
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20 | (1) |
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Customizing the menu options |
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21 | (1) |
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Customizing the keyboard shortcuts |
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22 | (1) |
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23 | (5) |
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Working with a dual display setup |
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25 | (2) |
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27 | (1) |
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28 | (4) |
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30 | (1) |
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30 | (2) |
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32 | (9) |
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34 | (5) |
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36 | (3) |
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39 | (2) |
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41 | (11) |
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42 | (2) |
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On-screen brush adjustments |
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43 | (1) |
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44 | (1) |
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45 | (1) |
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Pressure sensitive control |
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45 | (1) |
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46 | (1) |
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46 | (2) |
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48 | (1) |
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Load/Replace Swatches from HTML |
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49 | (2) |
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50 | (1) |
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51 | (1) |
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Setting a custom background color |
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51 | (1) |
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Automatically add colors to the Swatches panel |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (4) |
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56 | (1) |
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Layer selection using the move tool |
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56 | (2) |
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Navigation and information tools |
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58 | (5) |
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58 | (1) |
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58 | (2) |
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59 | (1) |
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60 | (1) |
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Windows Multi-touch support |
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60 | (1) |
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60 | (1) |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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62 | (1) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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66 | (6) |
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66 | (3) |
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History settings and memory usage |
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67 | (2) |
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69 | (1) |
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Use of history versus undo |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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72 | (4) |
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73 | (1) |
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74 | (2) |
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74 | (1) |
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Using Save As... to save images |
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75 | (1) |
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76 | (5) |
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Photoshop native file format |
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76 | (1) |
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76 | (1) |
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Large Document (PSB) format |
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77 | (1) |
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TIFF (Tagged Image File Format) |
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77 | (2) |
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78 | (1) |
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78 | (1) |
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79 | (1) |
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79 | (1) |
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79 | (1) |
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79 | (1) |
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80 | (1) |
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80 | (1) |
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81 | (5) |
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83 | (2) |
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Making Bridge CS6 work with Photoshop CC |
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83 | (1) |
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Custom work spaces in Bridge |
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84 | (1) |
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Opening files from Bridge |
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85 | (1) |
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85 | (1) |
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86 | (2) |
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DNG and transparency support |
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86 | (1) |
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Opening photos from Bridge via Camera Raw |
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86 | (2) |
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88 | (1) |
| 2 Camera Raw image processing |
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89 | (176) |
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90 | (6) |
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The new Camera Raw workflow |
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90 | (5) |
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91 | (1) |
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92 | (1) |
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93 | (1) |
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Editing JPEGs and TIFFs in Camera Raw |
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93 | (1) |
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Alternative Raw processors |
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94 | (1) |
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95 | (1) |
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95 | (1) |
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Basic Camera Raw image editing |
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96 | (36) |
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Working with Bridge and Camera Raw |
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96 | (2) |
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General controls for single file opening |
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98 | (2) |
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98 | (2) |
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General controls for multiple file opening |
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100 | (2) |
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102 | (4) |
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103 | (1) |
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103 | (3) |
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106 | (1) |
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107 | (1) |
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Output proofing and the computer display |
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108 | (1) |
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Saving soft proofed raw files as smart objects |
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108 | (3) |
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Summary of the proposed soft proofing workflow |
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111 | (1) |
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Opening raw files as Smart Objects |
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112 | (4) |
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Saving photos from Camera Raw |
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116 | (3) |
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117 | (1) |
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Resolving naming conflicts |
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117 | (1) |
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Color space and image sizing options |
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118 | (1) |
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Altering the background color |
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119 | (2) |
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121 | (1) |
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Digital camera histograms |
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121 | (1) |
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121 | (1) |
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Image browsing via Camera Raw |
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122 | (2) |
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124 | (5) |
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125 | (1) |
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125 | (1) |
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125 | (1) |
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126 | (1) |
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Performance: Accelerated graphics (GPU) |
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127 | (1) |
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Graphics card compatibility |
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128 | (1) |
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128 | (1) |
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Camera Raw cropping and straightening |
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129 | (1) |
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How to straighten and crop |
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130 | (2) |
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132 | (94) |
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132 | (4) |
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Using the white balance tool |
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133 | (1) |
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Localized white balance measurements |
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134 | (2) |
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Independent auto white balance adjustments |
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136 | (2) |
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138 | (2) |
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The Process 2012 tone adjustment controls |
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140 | (4) |
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140 | (1) |
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141 | (1) |
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142 | (1) |
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143 | (1) |
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Suggested order for the Basic panel adjustments |
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143 | (1) |
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Preserving the highlight detail |
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144 | (2) |
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When to clip the highlights |
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146 | (1) |
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147 | (1) |
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Shadow levels after a conversion |
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148 | (4) |
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150 | (1) |
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How Camera Raw interprets the raw data |
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151 | (1) |
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Basic panel image adjustment procedure |
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152 | (3) |
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155 | (3) |
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Auto Whites and Blacks sliders |
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155 | (2) |
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Camera-specific default settings |
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157 | (1) |
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158 | (4) |
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160 | (2) |
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162 | (2) |
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164 | (4) |
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166 | (1) |
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166 | (2) |
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Correcting a high contrast image |
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168 | (2) |
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170 | (4) |
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Recovering out-of-gamut colors |
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171 | (1) |
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Adjusting the hue and saturation |
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172 | (2) |
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174 | (3) |
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Accessing and creating custom lens profiles |
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176 | (1) |
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Lens Corrections: Color tab |
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177 | (9) |
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177 | (2) |
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179 | (1) |
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The Defringe controls in use |
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180 | (1) |
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181 | (3) |
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Localized adjustments: Defringe slider |
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184 | (2) |
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Lens Corrections: Manual tab |
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186 | (8) |
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186 | (2) |
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Synchronizing Upright settings |
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188 | (4) |
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192 | (1) |
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192 | (2) |
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194 | (8) |
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Post Crop Vignetting control |
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194 | (2) |
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Post Crop Vignette style options |
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196 | (2) |
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198 | (2) |
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200 | (1) |
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200 | (2) |
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202 | (2) |
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202 | (1) |
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Camera look settings profiles |
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203 | (1) |
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Custom camera profile calibrations |
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204 | (6) |
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206 | (4) |
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Camera Raw as a Photoshop filter |
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210 | (4) |
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214 | (2) |
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215 | (1) |
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Synchronized spotting with Camera Raw |
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216 | (1) |
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Spot removal tool feathering |
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216 | (1) |
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Spot removal tool fine-tuning |
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217 | (7) |
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218 | (2) |
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220 | (1) |
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221 | (3) |
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224 | (1) |
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225 | (1) |
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226 | (34) |
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226 | (5) |
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Initial Adjustment brush options |
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227 | (1) |
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227 | (1) |
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Adding a new brush effect |
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228 | (1) |
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229 | (1) |
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Adjustment brush duplication |
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229 | (2) |
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Editing brush adjustments |
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231 | (4) |
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Previewing the brush stroke areas |
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231 | (2) |
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233 | (2) |
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235 | (2) |
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Hand-coloring in Color mode |
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237 | (2) |
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239 | (5) |
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Graduated color temperature adjustment |
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242 | (2) |
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Radial filter adjustments |
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244 | (3) |
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247 | (1) |
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Modifying graduated and radial filter masks |
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247 | (2) |
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Correcting edge sharpness with the Radial filter |
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249 | (2) |
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251 | (2) |
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252 | (1) |
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252 | (1) |
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Load Settings... Save Settings... |
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252 | (1) |
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253 | (1) |
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253 | (3) |
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Saving and applying presets |
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253 | (2) |
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Copying and synchronizing settings |
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255 | (1) |
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Synchronizing different process versions |
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256 | (1) |
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256 | (2) |
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258 | (2) |
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260 | (5) |
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260 | (2) |
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261 | (1) |
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262 | (2) |
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262 | (2) |
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264 | (1) |
| 3 Sharpening and noise reduction |
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265 | (52) |
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266 | (38) |
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Why one-step sharpening is ineffective |
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266 | (1) |
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266 | (2) |
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Capture sharpening for scanned images |
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267 | (1) |
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268 | (1) |
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Improvements to Camera Raw sharpening |
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268 | (3) |
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271 | (1) |
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271 | (7) |
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272 | (1) |
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The sharpening effect sliders |
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272 | (1) |
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273 | (1) |
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274 | (1) |
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275 | (1) |
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275 | (2) |
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Interpreting the grayscale previews |
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277 | (1) |
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Radius and Detail grayscale preview |
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277 | (1) |
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278 | (2) |
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279 | (1) |
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Some real world sharpening examples |
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280 | (3) |
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Sharpening portrait images |
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280 | (1) |
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Sharpening landscape images |
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281 | (1) |
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Sharpening a fine-detailed image |
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282 | (1) |
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How to save sharpening settings as presets |
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283 | (1) |
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Capture sharpening summary |
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284 | (1) |
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Selective sharpening in Camera Raw |
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285 | (5) |
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285 | (1) |
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Extending the sharpening limits |
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285 | (1) |
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How to apply localized sharpening |
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286 | (2) |
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Negative sharpening to blur an image |
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288 | (2) |
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Noise removal in Camera Raw |
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290 | (3) |
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Process Versions and noise reduction |
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290 | (1) |
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291 | (1) |
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Detail panel Noise Reduction sliders |
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292 | (1) |
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293 | (1) |
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Non-raw image noise reduction |
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293 | (3) |
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296 | (8) |
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Adding grain to improve appearance of sharpness |
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298 | (2) |
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Localized noise reduction in Camera Raw |
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300 | (2) |
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Localized moire removal in Camera Raw |
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302 | (2) |
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Localized sharpening in Photoshop |
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304 | (13) |
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304 | (2) |
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304 | (2) |
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Advanced Smart Sharpen mode |
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306 | (2) |
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307 | (1) |
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308 | (6) |
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The Shake Reduction controls |
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309 | (1) |
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310 | (1) |
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310 | (1) |
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311 | (1) |
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How to get the best results |
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311 | (3) |
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Creating a depth of field brush |
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314 | (3) |
| 4 Image editing essentials |
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317 | (80) |
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318 | (8) |
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Photoshop as a vector program |
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319 | (1) |
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Image resolution terminology |
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319 | (2) |
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319 | (1) |
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319 | (1) |
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320 | (1) |
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Desktop printer resolution |
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320 | (1) |
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321 | (1) |
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322 | (4) |
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Nearest Neighbor (hard edges) |
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322 | (1) |
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323 | (1) |
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Bicubic (smooth gradients) |
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323 | (1) |
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Bicubic Smoother (enlargement) |
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323 | (1) |
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Bicubic Sharper (reduction) |
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323 | (1) |
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323 | (1) |
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Preserve Details (enlargement) |
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324 | (2) |
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Photoshop image adjustments |
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326 | (56) |
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326 | (3) |
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328 | (1) |
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Basic Levels editing and the histogram |
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329 | (1) |
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330 | (4) |
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8-bit versus 16-bit image editing |
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331 | (1) |
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16-bit and color space selection |
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332 | (1) |
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Comparing 8-bit with 16-bit editing |
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333 | (1) |
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The RGB edit space and color gamut |
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334 | (2) |
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336 | (4) |
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Adjustment layers approach |
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336 | (1) |
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Adjustments panel controls |
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337 | (1) |
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Properties panel controls |
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337 | (2) |
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Maintaining focus in the Properties panel |
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339 | (1) |
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340 | (2) |
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340 | (2) |
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342 | (10) |
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344 | (1) |
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344 | (2) |
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Using Curves in place of Levels |
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346 | (1) |
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Output levels adjustments |
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346 | (2) |
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Luminosity and Color blending modes |
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348 | (2) |
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Locking down portions of a curve |
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350 | (1) |
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Creating a dual contrast curve |
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351 | (1) |
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Correcting shadow and highlight detail |
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352 | (4) |
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352 | (1) |
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352 | (1) |
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352 | (3) |
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355 | (1) |
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355 | (1) |
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356 | (2) |
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358 | (1) |
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Enhanced Brightness and Contrast |
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358 | (2) |
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Color corrections using Curves |
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360 | (2) |
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362 | (3) |
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365 | (1) |
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366 | (2) |
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Color Lookup Table Export |
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368 | (2) |
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370 | (1) |
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Multiple adjustment layers |
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371 | (1) |
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372 | (1) |
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Properties panel mask controls |
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372 | (4) |
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Editing a mask using the masks controls |
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374 | (2) |
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Image Adjustments as Smart Filters |
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376 | (2) |
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378 | (4) |
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382 | (15) |
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Entering measurement units |
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382 | (1) |
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383 | (1) |
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383 | (1) |
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Landscape and portrait mode crops |
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384 | (1) |
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384 | (1) |
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385 | (1) |
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386 | (1) |
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386 | (2) |
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386 | (2) |
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388 | (1) |
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389 | (1) |
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390 | (1) |
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391 | (1) |
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392 | (4) |
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How to protect skin tones |
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394 | (1) |
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How to remove objects from a scene |
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395 | (1) |
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396 | (1) |
| 5 Black and white |
|
397 | (20) |
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Converting color to black and white |
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398 | (1) |
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Dumb black and white conversions |
|
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398 | (1) |
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Smarter black and white conversions |
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|
398 | (3) |
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Black & White adjustment presets |
|
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401 | (1) |
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Split color toning using Color Balance |
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|
402 | (2) |
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Split color toning using Curves adjustments |
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|
404 | (2) |
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Split color toning using a Gradient Map |
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|
406 | (2) |
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Camera Raw black and white conversions |
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|
408 | (5) |
|
Pros and cons of the Camera Raw approach |
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|
408 | (2) |
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HSL grayscale conversions |
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410 | (1) |
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Camera Calibration panel tweaks |
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410 | (3) |
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Camera Raw Split Toning panel |
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413 | (4) |
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413 | (1) |
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Camera Raw color image split toning |
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414 | (3) |
| 6 Extending they dynamic range |
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417 | (36) |
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High dynamic range imaging |
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418 | (8) |
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419 | (1) |
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420 | (1) |
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420 | (1) |
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420 | (2) |
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Displaying deep-bit color |
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421 | (1) |
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Capturing a complete scenic tonal range |
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422 | (1) |
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423 | (3) |
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424 | (1) |
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424 | (2) |
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Basic tonal compression techniques |
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426 | (14) |
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Blending multiple exposures |
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426 | (4) |
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Camera Raw adjustments using Process 2012 |
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430 | (2) |
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Processing HDR files in Camera Raw |
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432 | (4) |
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432 | (4) |
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HDR photos using Photo Merge in Camera Raw |
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436 | (4) |
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Creating Photo Merge DNGs |
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436 | (4) |
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440 | (13) |
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440 | (2) |
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442 | (4) |
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442 | (2) |
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444 | (1) |
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How to avoid the 'HDR' look |
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444 | (2) |
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446 | (1) |
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446 | (4) |
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How to smooth HDR toned images |
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450 | (3) |
| 7 Image retouching |
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453 | (42) |
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454 | (30) |
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454 | (2) |
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Clone stamp brush settings |
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454 | (2) |
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456 | (2) |
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Choosing an appropriate alignment mode |
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458 | (1) |
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Clone Source panel and clone overlays |
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458 | (3) |
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Clone and healing sample options |
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460 | (1) |
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461 | (1) |
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462 | (2) |
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463 | (1) |
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Spot healing in Content-Aware mode |
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464 | (2) |
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466 | (5) |
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The patch tool and content-aware filling |
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468 | (2) |
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470 | (1) |
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471 | (3) |
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Content-aware move tool in Extend mode |
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473 | (1) |
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Enhanced content-aware color adaptation |
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474 | (6) |
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Content-aware move with transformations |
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478 | (2) |
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Working with the Clone Source panel |
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480 | (2) |
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482 | (2) |
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484 | (2) |
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486 | (9) |
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Advanced Liquify tool controls |
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488 | (3) |
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488 | (1) |
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489 | (1) |
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489 | (1) |
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490 | (1) |
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491 | (1) |
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Smart Object support for Liquify |
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491 | (5) |
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On-screen cursor adjustments |
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492 | (1) |
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Targeted distortions using Liquify |
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493 | (2) |
| 8 Layers, selections and masking |
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495 | (116) |
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496 | (9) |
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496 | (2) |
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498 | (1) |
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Creating an image selection |
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499 | (1) |
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500 | (1) |
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500 | (1) |
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Modifying an image selection |
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501 | (2) |
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Selections, alpha channels and masks |
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503 | (1) |
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504 | (1) |
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504 | (1) |
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505 | (29) |
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505 | (1) |
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505 | (1) |
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506 | (1) |
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506 | (1) |
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506 | (1) |
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506 | (3) |
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509 | (1) |
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509 | (3) |
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Viewing in Mask or Rubylith mode |
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510 | (1) |
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510 | (1) |
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Adding an empty layer mask |
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510 | (1) |
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Thumbnail preview clipping |
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510 | (2) |
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Properties Panel in Masks mode |
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512 | (1) |
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513 | (5) |
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515 | (1) |
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515 | (1) |
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516 | (1) |
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516 | (1) |
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517 | (1) |
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Working with the quick selection tool |
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518 | (2) |
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Combining a quick selection with Refine Edge |
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520 | (6) |
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526 | (2) |
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Ragged borders with the Refine Edge adjustment |
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528 | (2) |
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530 | (4) |
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534 | (16) |
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Creating panoramas with Photomerge |
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540 | (4) |
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Panorama Photo Merges in Camera Raw |
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544 | (4) |
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Creating Photo Merge panoramas |
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544 | (1) |
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The panorama projection options |
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545 | (3) |
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548 | (2) |
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Working with multiple layers |
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550 | (25) |
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550 | (1) |
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550 | (3) |
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Nested group layer compatibility |
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551 | (1) |
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Managing layers in a group |
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552 | (1) |
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553 | (1) |
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How to create a clipping mask |
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553 | (1) |
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Masking layers within a group |
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554 | (1) |
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Clipping layers and adjustment layers |
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554 | (2) |
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556 | (2) |
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558 | (1) |
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558 | (1) |
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Layer selection using the move tool |
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559 | (1) |
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Layer selection with the path selection tools |
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560 | (2) |
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562 | (1) |
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563 | (1) |
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563 | (1) |
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563 | (1) |
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563 | (1) |
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563 | (1) |
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Generator: generating assets from layers |
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564 | (4) |
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564 | (1) |
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Summary of how Generator works |
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565 | (1) |
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565 | (3) |
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568 | (2) |
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568 | (2) |
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570 | (2) |
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Sharing libraries with other users |
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571 | (1) |
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Smarter naming when merging layers |
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572 | (1) |
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572 | (3) |
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Isolation mode layer filtering |
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574 | (1) |
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575 | (18) |
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577 | (1) |
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577 | (1) |
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578 | (1) |
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Transforming paths and selections |
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578 | (1) |
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579 | (1) |
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580 | (2) |
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582 | (5) |
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587 | (6) |
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588 | (1) |
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589 | (1) |
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589 | (1) |
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589 | (4) |
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593 | (8) |
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597 | (4) |
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Creating linked Smart Objects |
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597 | (2) |
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Packaging linked embedded assets |
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599 | (1) |
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599 | (1) |
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Layers panel Smart Object searches |
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600 | (1) |
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601 | (10) |
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602 | (1) |
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Drawing paths with the pen tool |
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602 | (1) |
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602 | (3) |
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Pen tool shortcuts summary |
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604 | (1) |
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604 | (1) |
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Multi-selection path options |
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605 | (2) |
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Selecting path anchor points |
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607 | (1) |
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608 | (4) |
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Isolating an object from the background |
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609 | (2) |
| 9 Blur, optical and rendering filters |
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611 | (60) |
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612 | (28) |
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612 | (1) |
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612 | (6) |
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612 | (1) |
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613 | (1) |
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Adding a Radial Blur to a photo |
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613 | (2) |
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615 | (1) |
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615 | (1) |
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615 | (1) |
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616 | (1) |
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616 | (2) |
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618 | (4) |
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618 | (1) |
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619 | (1) |
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620 | (2) |
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622 | (11) |
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624 | (2) |
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626 | (1) |
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626 | (2) |
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628 | (3) |
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631 | (2) |
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Motion Blur Effects panel |
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633 | (3) |
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636 | (4) |
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Blur Gallery filters on video layers |
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636 | (1) |
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Smart objects and selections |
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636 | (1) |
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Applying a Blur Gallery filter to a video clip |
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637 | (1) |
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Blur Gallery filter with a smart object plus mask |
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638 | (2) |
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640 | (31) |
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Applying Smart Filters to pixel layers |
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641 | (5) |
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646 | (5) |
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646 | (4) |
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Selecting the most appropriate profiles |
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650 | (1) |
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Adobe Lens Profile Creator |
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651 | (1) |
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Interpolating between lens profiles |
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651 | (1) |
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Lens Correction profiles and Auto-Align |
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651 | (1) |
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Batch lens correction processing |
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651 | (1) |
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Adaptive Wide Angle filter |
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652 | (12) |
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How the Adaptive Wide Angle filter works |
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654 | (1) |
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655 | (1) |
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656 | (1) |
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656 | (1) |
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657 | (1) |
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657 | (3) |
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Calibrating with the Adaptive Wide Angle filter |
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660 | (1) |
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661 | (3) |
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664 | (3) |
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666 | (1) |
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667 | (5) |
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Tree filter checkbox options |
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669 | (1) |
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670 | (1) |
| 10 Print output |
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671 | (24) |
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672 | (7) |
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Judge the print, not the display |
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673 | (1) |
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High Pass filter edge sharpening technique |
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673 | (3) |
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Soft proof before printing |
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676 | (3) |
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Managing print expectations |
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678 | (1) |
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679 | (16) |
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679 | (10) |
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679 | (3) |
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682 | (2) |
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Rendering intent selection |
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684 | (1) |
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685 | (2) |
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687 | (1) |
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688 | (1) |
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Ensuring your prints are centered (Mac) |
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689 | (2) |
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690 | (1) |
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690 | (1) |
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Saving operating system print presets |
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691 | (1) |
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691 | (1) |
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Configuring the Print Settings (Mac and PC) |
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692 | (2) |
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Photoshop managed color on Windows |
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693 | (1) |
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694 | (1) |
| 11 Automating Photoshop |
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695 | (18) |
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696 | (16) |
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696 | (1) |
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697 | (2) |
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699 | (1) |
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Limitations when recording actions |
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700 | (2) |
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Actions only record changed settings |
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700 | (1) |
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Background layers and bit depth |
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700 | (1) |
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701 | (1) |
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701 | (1) |
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702 | (2) |
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Exporting and importing presets |
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704 | (1) |
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705 | (1) |
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706 | (4) |
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Conditional action droplets |
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707 | (3) |
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710 | (2) |
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712 | (1) |
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712 | (1) |
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712 | (1) |
| Index |
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713 | |
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Remote profiling for RGB printers |
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727 | (1) |
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727 | (1) |
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728 | (1) |
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728 | (1) |
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Pixel Genius PhotoKit plug-in |
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729 | |
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729 | |
Lisainfo e-raamatute kohta