| Please read first |
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| Introduction |
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xxi | |
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xxiv | |
| 1 Photoshop fundamentals |
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1 | (88) |
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2 | (1) |
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3 | (28) |
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Photoshop Welcome experience |
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5 | (2) |
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7 | (1) |
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8 | (1) |
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9 | (2) |
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The legacy New Document dialog |
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10 | (1) |
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11 | (2) |
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Managing document windows |
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13 | (2) |
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Synchronized scroll and zoom |
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14 | (1) |
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Image document window details |
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15 | (3) |
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Title bar proxy icons (Mac only) |
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16 | (1) |
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Info panel status information |
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17 | (1) |
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18 | (3) |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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21 | (1) |
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22 | (5) |
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Panel arrangements and docking |
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23 | (1) |
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Panel positions remembered in workspaces |
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24 | (1) |
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Customizing the menu options |
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25 | (1) |
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Customizing the keyboard shortcuts |
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26 | (1) |
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27 | (4) |
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Saved workspaces location |
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28 | (1) |
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Working with a dual display setup |
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28 | (3) |
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31 | (12) |
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32 | (2) |
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34 | (1) |
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34 | (1) |
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35 | (1) |
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36 | (2) |
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38 | (3) |
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A Color Range selection of a selection |
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40 | (1) |
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40 | (1) |
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Skin tone and faces selections |
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40 | (1) |
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40 | (1) |
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41 | (2) |
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43 | (9) |
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44 | (2) |
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On-screen brush adjustments |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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Pressure sensitive control |
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47 | (1) |
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Saving Brush tool presets |
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48 | (1) |
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48 | (2) |
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50 | (1) |
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50 | (1) |
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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 | (1) |
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59 | (1) |
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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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61 | (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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69 | (1) |
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69 | (1) |
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70 | (2) |
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72 | (1) |
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73 | (3) |
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74 | (2) |
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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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77 | (1) |
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77 | (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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78 | (1) |
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79 | (1) |
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79 | (1) |
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79 | (1) |
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HEIF Support and Depth Map |
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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 | (1) |
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83 | (2) |
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Custom work spaces in Bridge |
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84 | (1) |
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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) |
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88 | (1) |
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88 | (1) |
| 2 Camera Raw processing |
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89 | (172) |
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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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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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Adobe Photoshop Lightroom |
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94 | (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 | (32) |
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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 | (3) |
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99 | (2) |
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General controls for multiple file opening |
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101 | (1) |
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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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Saving photos from Camera Raw |
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107 | (3) |
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108 | (1) |
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Resolving naming conflicts |
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108 | (1) |
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Color space and image sizing options |
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109 | (1) |
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Opening raw files as Smart Objects |
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110 | (4) |
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Creating Lightroom-linked Smart Objects |
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110 | (4) |
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Altering the background color |
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114 | (1) |
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115 | (1) |
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Digital camera histograms |
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115 | (1) |
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115 | (1) |
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Image browsing via Camera Raw |
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116 | (2) |
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118 | (1) |
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Modal tool refinements in Camera Raw |
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118 | (2) |
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120 | (5) |
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121 | (1) |
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121 | (1) |
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122 | (1) |
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122 | (1) |
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Performance: Accelerated graphics (GPU) |
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123 | (1) |
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Graphics card compatibility |
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124 | (1) |
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124 | (1) |
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Camera Raw cropping and straightening |
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125 | (1) |
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How to straighten and crop |
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126 | (2) |
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128 | (90) |
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128 | (4) |
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Using the White balance tool |
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128 | (2) |
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Localized white balance measurements |
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130 | (2) |
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Independent auto white balance adjustments |
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132 | (2) |
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134 | (1) |
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The Version 4 tone adjustment controls |
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135 | (3) |
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135 | (1) |
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135 | (1) |
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136 | (1) |
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137 | (1) |
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Auto-calculated Blacks range |
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138 | (1) |
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138 | (2) |
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When to clip the highlights |
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139 | (1) |
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140 | (1) |
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Shadow levels after a conversion |
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141 | (3) |
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142 | (1) |
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143 | (1) |
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How Camera Raw interprets the raw data |
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143 | (1) |
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Basic panel image adjustment procedure |
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144 | (3) |
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147 | (3) |
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Auto Whites and Blacks sliders |
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147 | (2) |
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Camera-specific default settings |
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149 | (1) |
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150 | (4) |
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152 | (2) |
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Correcting a high contrast image |
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154 | (2) |
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156 | (2) |
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158 | (4) |
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160 | (1) |
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160 | (2) |
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162 | (4) |
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Recovering out-of-gamut colors |
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163 | (1) |
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Adjusting the hue and saturation |
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164 | (2) |
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Lens Corrections panel: Profile tab |
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166 | (5) |
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Accessing and creating custom lens profiles |
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168 | (1) |
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169 | (2) |
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Lens Corrections panel: Manual tab |
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171 | (7) |
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The Defringe controls in use |
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172 | (1) |
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172 | (1) |
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How to remove axial chromatic aberration |
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173 | (3) |
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Localized adjustments: Defringe slider |
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176 | (2) |
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Transform tool and Upright corrections |
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178 | (12) |
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Synchronizing Upright settings |
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184 | (1) |
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Guided Upright adjustments |
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184 | (5) |
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189 | (1) |
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190 | (10) |
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Post Crop Vignetting control |
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190 | (2) |
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Post Crop Vignette style options |
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192 | (2) |
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194 | (2) |
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196 | (1) |
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196 | (2) |
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Localized Dehaze adjustments |
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198 | (2) |
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200 | (1) |
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200 | (1) |
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Camera Raw legacy profiles |
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200 | (1) |
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Custom camera profile calibration§ |
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201 | (1) |
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Embedding custom profiles |
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201 | (1) |
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Camera Raw as a Photoshop filter |
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202 | (4) |
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206 | (10) |
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207 | (1) |
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Synchronized spotting with Camera Raw |
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208 | (1) |
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Spot removal tool feathering |
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208 | (1) |
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Fine-tuning the Spot removal tool |
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209 | (1) |
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210 | (2) |
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212 | (1) |
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213 | (3) |
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216 | (1) |
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217 | (1) |
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218 | (38) |
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218 | (5) |
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Initial Adjustment Brush options |
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219 | (1) |
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219 | (1) |
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Adding a new brush effect |
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220 | (1) |
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221 | (1) |
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Adjustment Brush duplication |
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221 | (2) |
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Editing brush adjustments |
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223 | (4) |
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Previewing the brush stroke areas |
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223 | (2) |
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225 | (2) |
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227 | (4) |
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228 | (1) |
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229 | (2) |
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231 | (2) |
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Hand-coloring in Color mode |
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233 | (2) |
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235 | (5) |
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Graduated color temperature adjustment |
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238 | (2) |
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Radial Filter adjustments |
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240 | (3) |
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243 | (1) |
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Brush editing filter masks |
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243 | (2) |
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Correcting edge sharpness with the Radial Filter |
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245 | (1) |
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246 | (1) |
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Global sharpening + radial filter adjustment |
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246 | (1) |
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247 | (5) |
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248 | (1) |
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248 | (1) |
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Load Settings...Save Settings... |
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248 | (1) |
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249 | (1) |
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Saving and applying presets |
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249 | (2) |
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Copying and synchronizing settings |
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251 | (1) |
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Synchronizing different process versions |
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252 | (1) |
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252 | (2) |
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Synchronize Version 3 from a Version 4 master |
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253 | (1) |
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Synchronize Version 4 from a Version 3 master |
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253 | (1) |
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254 | (2) |
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256 | (5) |
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256 | (2) |
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257 | (1) |
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Should you keep the original raws? |
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257 | (1) |
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258 | (2) |
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258 | (2) |
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260 | (1) |
| 3 Sharpening and Noise Reduction |
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261 | (50) |
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262 | (36) |
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Why one-step sharpening is ineffective |
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262 | (1) |
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262 | (2) |
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Capture sharpening for scanned images |
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263 | (1) |
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Process versions and Camera Raw sharpening |
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264 | (1) |
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264 | (1) |
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265 | (1) |
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265 | (7) |
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266 | (1) |
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The sharpening effect sliders |
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266 | (1) |
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267 | (1) |
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268 | (1) |
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269 | (2) |
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Interpreting the grayscale previews |
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271 | (1) |
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Radius and Detail grayscale preview |
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271 | (1) |
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272 | (5) |
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273 | (1) |
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Real world sharpening examples |
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274 | (1) |
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Sharpening portrait images |
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274 | (1) |
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Sharpening landscape images |
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275 | (1) |
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Sharpening a fine-detailed image |
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276 | (1) |
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How to save sharpening settings as presets |
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277 | (1) |
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Capture sharpening summary |
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278 | (1) |
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Selective sharpening in Camera Raw |
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279 | (5) |
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279 | (1) |
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Extending the sharpening limits |
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279 | (1) |
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Dual Smart Object sharpening layers |
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279 | (1) |
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How to apply localized sharpening |
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280 | (2) |
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Negative sharpening to blur an image |
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282 | (2) |
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Noise removal in Camera Raw |
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284 | (3) |
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Detail panel Noise Reduction sliders |
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285 | (1) |
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286 | (1) |
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287 | (1) |
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287 | (1) |
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Noise Reduction adjustments |
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287 | (3) |
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290 | (2) |
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Adding grain to improve appearance of sharpness |
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292 | (6) |
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Localized noise reduction in Camera Raw |
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294 | (2) |
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Localized moire removal in Camera Raw |
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296 | (2) |
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298 | (1) |
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298 | (1) |
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Localized sharpening in Photoshop |
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298 | (13) |
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298 | (1) |
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298 | (2) |
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298 | (2) |
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Advanced Smart Sharpen mode |
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300 | (2) |
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301 | (1) |
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302 | (1) |
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The Shake Reduction controls |
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303 | (5) |
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304 | (1) |
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304 | (1) |
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304 | (1) |
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How to get the best results |
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305 | (3) |
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Creating a depth of field brush |
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308 | (3) |
| 4 Image Editing Essentials |
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311 | (76) |
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312 | (8) |
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Photoshop as a vector program |
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313 | (1) |
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Image resolution terminology |
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313 | (2) |
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313 | (1) |
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313 | (1) |
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314 | (1) |
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Desktop printer resolution |
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314 | (1) |
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315 | (1) |
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316 | (4) |
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Nearest Neighbor (hard edges) |
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317 | (1) |
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317 | (1) |
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Bicubic (smooth gradients) |
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317 | (1) |
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Bicubic Smoother (enlargement) |
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317 | (1) |
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Bicubic Sharper (reduction) |
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317 | (1) |
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317 | (1) |
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Preserve Details (enlargement) |
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318 | (2) |
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Photoshop image adjustments |
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320 | (48) |
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320 | (3) |
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322 | (1) |
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Basic Levels editing and the histogram |
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323 | (1) |
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324 | (4) |
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8-bit versus 16-bit image editing |
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325 | (1) |
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16-bit and color space selection |
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326 | (1) |
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Comparing 8-bit with 16-bit editing |
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327 | (1) |
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The RGB edit space and color gamut |
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328 | (2) |
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330 | (1) |
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330 | (2) |
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Adjustments panel controls |
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331 | (1) |
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Properties panel controls |
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332 | (2) |
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Maintaining focus in the Properties panel |
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333 | (1) |
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334 | (2) |
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334 | (2) |
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336 | (10) |
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338 | (1) |
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338 | (2) |
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Using Curves in place of Levels |
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340 | (1) |
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Output levels adjustments |
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340 | (2) |
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Luminosity and Color blending modes |
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342 | (2) |
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Locking down portions of a curve |
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344 | (1) |
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Creating a dual contrast curve |
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345 | (1) |
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346 | (5) |
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346 | (1) |
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346 | (1) |
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346 | (3) |
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349 | (1) |
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349 | (2) |
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351 | (1) |
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352 | (1) |
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Enhance Brightness and Contrast |
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352 | (2) |
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Color corrections using Curves |
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354 | (2) |
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356 | (3) |
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359 | (1) |
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360 | (1) |
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Multiple adjustment layers |
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361 | (1) |
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362 | (1) |
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Properties panel mask controls |
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362 | (4) |
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Editing a mask using the masks controls |
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364 | (2) |
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Image Adjustments as Smart Filters |
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366 | (2) |
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368 | (19) |
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368 | (1) |
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369 | (1) |
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370 | (1) |
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370 | (1) |
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371 | (1) |
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372 | (1) |
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372 | (2) |
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372 | (2) |
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374 | (1) |
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375 | (2) |
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377 | (1) |
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377 | (3) |
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380 | (1) |
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381 | (1) |
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382 | (4) |
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|
384 | (1) |
|
How to remove objects from a scene |
|
|
385 | (1) |
|
|
|
386 | (1) |
| 5 Black and white |
|
387 | (22) |
|
Converting color to black and white |
|
|
388 | (21) |
|
Dumb black and white conversions |
|
|
388 | (1) |
|
Smarter black and white conversions |
|
|
388 | (3) |
|
Black & White adjustment presets |
|
|
391 | (1) |
|
Split color toning using Color Balance |
|
|
392 | (2) |
|
Split color toning using Curves adjustments |
|
|
394 | (2) |
|
Split color toning using a Gradient Map |
|
|
396 | (2) |
|
Camera Raw black and white conversions |
|
|
398 | (7) |
|
Pros and cons of the Camera Raw approach |
|
|
398 | (2) |
|
Camera Calibration panel tweaks |
|
|
400 | (2) |
|
HSL grayscale conversions |
|
|
402 | (3) |
|
Camera Raw Split Toning panel |
|
|
405 | (5) |
|
|
|
405 | (1) |
|
Camera Raw color image split toning |
|
|
406 | (3) |
| 6 Extending the dynamic range |
|
409 | (34) |
|
High dynamic range imaging |
|
|
410 | (20) |
|
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|
410 | (3) |
|
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412 | (1) |
|
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412 | (1) |
|
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|
413 | (1) |
|
Capturing a complete scenic tonal range |
|
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413 | (1) |
|
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414 | (4) |
|
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415 | (1) |
|
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416 | (2) |
|
Basic tonal compression techniques |
|
|
418 | (12) |
|
|
|
422 | (2) |
|
Processing HDR files in Camera Raw |
|
|
424 | (1) |
|
The Camera Raw HDR TIFF processing |
|
|
424 | (1) |
|
Creating HDR photos using Photo Merge |
|
|
425 | (2) |
|
|
|
427 | (1) |
|
Steps to produce a Photo Merge DNG |
|
|
427 | (3) |
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430 | (13) |
|
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430 | (2) |
|
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432 | (4) |
|
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432 | (2) |
|
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434 | (1) |
|
How to avoid the 'HDR look' |
|
|
434 | (1) |
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435 | (1) |
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436 | (1) |
|
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|
436 | (4) |
|
How to smooth HDR toned images |
|
|
440 | (3) |
| 7 Image retouching |
|
443 | (48) |
|
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|
444 | (34) |
|
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|
444 | (2) |
|
Clone Stamp brush settings |
|
|
444 | (2) |
|
|
|
446 | (2) |
|
Clone Source panel and clone overlays |
|
|
448 | (1) |
|
Choosing an appropriate alignment mode |
|
|
448 | (3) |
|
Clone and healing sample options |
|
|
450 | (1) |
|
|
|
451 | (1) |
|
|
|
452 | (1) |
|
|
|
453 | (1) |
|
Spot healing in Content-Aware mode |
|
|
453 | (3) |
|
|
|
454 | (2) |
|
Diffusion slider for the Healing tools |
|
|
456 | (2) |
|
|
|
458 | (5) |
|
The Patch tool in Content-Aware fill mode |
|
|
460 | (2) |
|
|
|
462 | (1) |
|
|
|
463 | (5) |
|
Content-Aware move tool in Extend mode |
|
|
465 | (3) |
|
Enhanced content-aware color adaptation |
|
|
468 | (4) |
|
Content-Aware move with transformations |
|
|
470 | (2) |
|
Working with the Clone Source panel |
|
|
472 | (2) |
|
|
|
474 | (2) |
|
Ethics of retouching in Photoshop |
|
|
476 | (4) |
|
|
|
476 | (2) |
|
|
|
478 | (2) |
|
|
|
480 | (11) |
|
|
|
480 | (5) |
|
On-screen cursor adjustments |
|
|
482 | (1) |
|
|
|
482 | (1) |
|
Saving and loading the mesh |
|
|
483 | (1) |
|
|
|
483 | (1) |
|
|
|
484 | (1) |
|
|
|
484 | (1) |
|
Face-Aware Liquify adjustments |
|
|
485 | (3) |
|
|
|
488 | (1) |
|
Smart Object support for Liquify |
|
|
488 | (4) |
|
Targeted distortions using Liquify |
|
|
489 | (2) |
| 8 Layers, selections, and masking |
|
491 | (112) |
|
|
|
492 | (9) |
|
|
|
492 | (2) |
|
Recalling the last used selection |
|
|
494 | (1) |
|
|
|
494 | (1) |
|
Creating an image selection |
|
|
495 | (1) |
|
|
|
496 | (1) |
|
|
|
496 | (1) |
|
Modifying an image selection |
|
|
497 | (2) |
|
Selections, alpha channels, and masks |
|
|
499 | (1) |
|
|
|
500 | (1) |
|
|
|
500 | (1) |
|
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|
501 | (2) |
|
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|
501 | (1) |
|
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|
501 | (1) |
|
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|
502 | (1) |
|
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|
502 | (1) |
|
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|
502 | (1) |
|
|
|
503 | (25) |
|
|
|
505 | (1) |
|
|
|
505 | (3) |
|
Viewing in Mask or Rubylith mode |
|
|
506 | (1) |
|
Copying or removing a layer mask |
|
|
506 | (1) |
|
Adding an empty layer mask |
|
|
506 | (1) |
|
Thumbnail preview clipping |
|
|
506 | (2) |
|
Properties Panel in Masks mode |
|
|
508 | (3) |
|
Working with the Quick selection tool |
|
|
509 | (2) |
|
|
|
511 | (9) |
|
|
|
513 | (1) |
|
|
|
513 | (1) |
|
|
|
513 | (1) |
|
|
|
514 | (1) |
|
|
|
515 | (1) |
|
Select and Mask performance |
|
|
515 | (5) |
|
Ragged borders using Select and Mask |
|
|
520 | (2) |
|
|
|
522 | (2) |
|
|
|
524 | (4) |
|
|
|
528 | (20) |
|
Creating panoramas with Photomerge |
|
|
534 | (4) |
|
|
|
537 | (1) |
|
Panorama Photo Merges in Camera Raw |
|
|
538 | (6) |
|
Creating Photo Merge panoramas |
|
|
538 | (1) |
|
The panorama projection options |
|
|
539 | (3) |
|
Photo Merge Boundary Warp |
|
|
542 | (1) |
|
Panorama Photo Merges and the Adaptive Wide Angle filter |
|
|
542 | (2) |
|
Editing spherical panoramas in Photoshop |
|
|
544 | (2) |
|
|
|
546 | (2) |
|
Working with multiple layers |
|
|
548 | (23) |
|
|
|
548 | (1) |
|
|
|
548 | (3) |
|
|
|
549 | (1) |
|
Managing layers in a group |
|
|
550 | (1) |
|
|
|
551 | (3) |
|
How to create a clipping mask |
|
|
551 | (1) |
|
Adding an adjustment layer as a clipping mask |
|
|
552 | (1) |
|
Masking layers within a group |
|
|
553 | (1) |
|
|
|
554 | (2) |
|
|
|
556 | (1) |
|
Multiple layer opacity adjustments |
|
|
556 | (1) |
|
|
|
556 | (4) |
|
Layer selection using the Move tool |
|
|
556 | (1) |
|
|
|
557 | (1) |
|
Layer selection using the Path selection tools |
|
|
558 | (2) |
|
|
|
560 | (1) |
|
|
|
561 | (1) |
|
|
|
561 | (1) |
|
|
|
561 | (1) |
|
|
|
561 | (1) |
|
|
|
561 | (1) |
|
|
|
562 | (2) |
|
Metadata and Color Space sections |
|
|
564 | (1) |
|
|
|
564 | (1) |
|
|
|
564 | (3) |
|
Adding and linking assets |
|
|
565 | (1) |
|
Sharing libraries with other users |
|
|
566 | (1) |
|
Create library assets from documents |
|
|
567 | (1) |
|
Smarter naming when merging layers |
|
|
568 | (1) |
|
|
|
568 | (3) |
|
Isolation mode layer filtering |
|
|
570 | (1) |
|
|
|
571 | (15) |
|
|
|
573 | (1) |
|
|
|
573 | (1) |
|
|
|
574 | (1) |
|
Transforming paths and selections |
|
|
574 | (1) |
|
|
|
575 | (1) |
|
|
|
576 | (2) |
|
|
|
578 | (3) |
|
|
|
581 | (5) |
|
|
|
582 | (1) |
|
|
|
583 | (1) |
|
|
|
583 | (1) |
|
|
|
583 | (3) |
|
|
|
586 | (7) |
|
|
|
587 | (2) |
|
|
|
589 | (4) |
|
Creating linked Smart Objects |
|
|
589 | (2) |
|
|
|
591 | (1) |
|
Packaging linked embedded assets |
|
|
592 | (1) |
|
Layers panel Smart Object searches |
|
|
592 | (1) |
|
|
|
593 | (10) |
|
|
|
594 | (1) |
|
Drawing paths with the Pen tool |
|
|
594 | (1) |
|
|
|
594 | (2) |
|
Pen tool shortcuts summary |
|
|
596 | (1) |
|
|
|
596 | (1) |
|
|
|
597 | (1) |
|
|
|
597 | (1) |
|
|
|
598 | (1) |
|
|
|
598 | (2) |
|
|
|
600 | (4) |
|
Isolating an object from the background |
|
|
601 | (2) |
| 9 Blur, optical, and rendering filters |
|
603 | (62) |
|
|
|
604 | (28) |
|
|
|
604 | (6) |
|
|
|
604 | (1) |
|
|
|
604 | (1) |
|
Adding a Radial Blur to a photo |
|
|
605 | (2) |
|
|
|
607 | (1) |
|
|
|
607 | (1) |
|
|
|
607 | (1) |
|
|
|
607 | (1) |
|
|
|
608 | (1) |
|
|
|
608 | (2) |
|
|
|
610 | (1) |
|
|
|
610 | (6) |
|
|
|
611 | (1) |
|
|
|
612 | (2) |
|
|
|
614 | (2) |
|
|
|
616 | (2) |
|
|
|
618 | (1) |
|
|
|
618 | (7) |
|
|
|
620 | (3) |
|
|
|
623 | (2) |
|
Motion Blur Effects panel |
|
|
625 | (7) |
|
|
|
628 | (1) |
|
Blur Gallery filters on video layers |
|
|
628 | (1) |
|
Smart objects and selections |
|
|
628 | (1) |
|
Applying a Blur Gallery filter to a video clip |
|
|
629 | (1) |
|
Blur Gallery filter with a smart object plus mask |
|
|
630 | (2) |
|
Smart Filters/Smart Objects |
|
|
632 | (32) |
|
Applying a Smart Filter to an image |
|
|
633 | (5) |
|
|
|
638 | (4) |
|
Video file Lens Corrections |
|
|
639 | (1) |
|
|
|
639 | (3) |
|
Selecting the most appropriate profiles |
|
|
642 | (1) |
|
Adobe Lens Profile Creator |
|
|
642 | (2) |
|
Interpolating between lens profiles |
|
|
643 | (1) |
|
Lens Correction profiles and Auto-Align |
|
|
643 | (1) |
|
Batch lens correction processing |
|
|
643 | (1) |
|
Adaptive Wide Angle filter |
|
|
644 | (12) |
|
How the Adaptive Wide Angle filter works |
|
|
646 | (1) |
|
|
|
647 | (1) |
|
|
|
648 | (1) |
|
|
|
649 | (1) |
|
|
|
649 | (1) |
|
|
|
649 | (3) |
|
Calibrating with the Adaptive Wide Angle filter |
|
|
652 | (1) |
|
|
|
653 | (3) |
|
|
|
656 | (3) |
|
|
|
658 | (1) |
|
|
|
659 | (3) |
|
Tree filter panel options |
|
|
661 | (1) |
|
|
|
662 | (4) |
|
Graphics card requirements |
|
|
662 | (2) |
|
|
|
664 | (1) |
| 10 Color Management |
|
665 | (38) |
|
The need for color management |
|
|
666 | (3) |
|
Color management objectives |
|
|
667 | (1) |
|
|
|
668 | (1) |
|
Output-centric color management |
|
|
668 | (1) |
|
Profiled color management |
|
|
669 | (6) |
|
|
|
670 | (1) |
|
The Profile Connection Space |
|
|
670 | (2) |
|
|
|
672 | (1) |
|
|
|
672 | (1) |
|
|
|
673 | (1) |
|
Color management in action |
|
|
674 | (1) |
|
|
|
675 | (11) |
|
Color management policies |
|
|
676 | (4) |
|
Preserve embedded profiles |
|
|
676 | (1) |
|
Profile mismatches and missing profiles |
|
|
676 | (2) |
|
|
|
678 | (1) |
|
|
|
679 | (1) |
|
|
|
680 | (3) |
|
|
|
680 | (2) |
|
|
|
682 | (1) |
|
Profile mismatches when pasting |
|
|
682 | (1) |
|
|
|
683 | (1) |
|
Reducing the opportunities for error |
|
|
684 | (2) |
|
|
|
685 | (1) |
|
|
|
686 | (8) |
|
|
|
686 | (5) |
|
|
|
687 | (1) |
|
|
|
687 | (1) |
|
|
|
687 | (1) |
|
|
|
688 | (3) |
|
|
|
691 | (1) |
|
Use Dither (8-bit per channel images) |
|
|
691 | (1) |
|
|
|
691 | (1) |
|
|
|
692 | (2) |
|
Desaturate Monitor Colors |
|
|
692 | (1) |
|
Blend RGB Colors using Gamma |
|
|
692 | (1) |
|
Custom RGB and work space gamma |
|
|
693 | (1) |
|
|
|
694 | (4) |
|
|
|
694 | (1) |
|
Creating a custom CMYK setting |
|
|
694 | (4) |
|
|
|
695 | (1) |
|
|
|
696 | (1) |
|
Gray Component Replacement (GCR) |
|
|
696 | (1) |
|
|
|
697 | (1) |
|
Undercolor Addition (UCA) |
|
|
697 | (1) |
|
|
|
697 | (1) |
|
Choosing a suitable RGB workspace |
|
|
698 | (3) |
|
|
|
698 | (1) |
|
|
|
698 | (1) |
|
|
|
699 | (1) |
|
|
|
699 | (1) |
|
|
|
699 | (1) |
|
|
|
700 | (1) |
|
|
|
700 | (1) |
|
Color management references |
|
|
701 | (1) |
|
|
|
702 | (1) |
| 11 Print output |
|
703 | (25) |
|
|
|
704 | (1) |
|
|
|
704 | (7) |
|
Judge the print, not the display |
|
|
705 | (1) |
|
High Pass filter edge sharpening technique |
|
|
705 | (3) |
|
Soft proof before printing |
|
|
708 | (3) |
|
Managing print expectations |
|
|
710 | (1) |
|
|
|
711 | (14) |
|
|
|
711 | (11) |
|
|
|
711 | (3) |
|
|
|
714 | (1) |
|
Adobe Color Printer Utility |
|
|
715 | (1) |
|
Rendering intent selection |
|
|
716 | (1) |
|
|
|
716 | (1) |
|
Proof print or aim print? |
|
|
717 | (1) |
|
|
|
718 | (1) |
|
|
|
719 | (1) |
|
Ensuring your prints are centered (Mac) |
|
|
720 | (1) |
|
|
|
721 | (1) |
|
|
|
721 | (1) |
|
Saving operating system print presets |
|
|
722 | (1) |
|
|
|
722 | (1) |
|
Configuring the Print Settings (Mac and PC) |
|
|
723 | (2) |
|
Creating custom print profiles |
|
|
725 | (1) |
|
Creating contact sheets via Bridge CC |
|
|
726 | (1) |
|
|
|
727 | (1) |
| Index |
|
728 | (14) |
| Colourmanagement.net |
|
742 | (1) |
| Rod Wynne-Powell |
|
743 | |
Lisainfo e-raamatute kohta