| Introduction |
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xx | |
| What's different in this book |
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xxii | |
| Acknowledgements |
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xxiv | |
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2 | (85) |
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3 | (2) |
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5 | (1) |
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User interface brightness |
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6 | (4) |
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10 | (2) |
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Managing document windows |
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12 | (1) |
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Synchronized scroll and zoom |
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13 | (1) |
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Image document window details |
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14 | (2) |
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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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16 | (1) |
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17 | (1) |
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18 | (1) |
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18 | (1) |
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19 | (1) |
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Panel arrangements and docking |
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20 | (1) |
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Panel positions remembered in workspaces |
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21 | (1) |
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Customizing the menu options |
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22 | (1) |
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Customizing the keyboard shortcuts |
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23 | (1) |
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24 | (2) |
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Working with a dual display setup |
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26 | (1) |
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Adobe™ Configurator 3 application |
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27 | (1) |
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28 | (2) |
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30 | (1) |
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30 | (2) |
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32 | (2) |
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34 | (2) |
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36 | (2) |
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38 | (1) |
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39 | (1) |
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On-screen brush adjustments |
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40 | (1) |
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41 | (1) |
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42 | (1) |
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Pressure sensitive control |
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42 | (1) |
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43 | (1) |
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43 | (2) |
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45 | (1) |
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Load/Replace Swatches from HTML |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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50 | (2) |
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52 | (1) |
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Layer selection using the move tool |
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52 | (2) |
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Navigation and information tools |
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54 | (1) |
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54 | (1) |
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55 | (1) |
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55 | (1) |
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56 | (1) |
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Windows Multi-touch support |
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56 | (1) |
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56 | (1) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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61 | (1) |
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62 | (1) |
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63 | (1) |
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63 | (1) |
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History settings and memory usage |
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64 | (2) |
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66 | (1) |
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Use of history versus undo |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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71 | (1) |
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Using Save As ... to save images |
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72 | (1) |
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73 | (1) |
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Photoshop native file format |
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73 | (1) |
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73 | (1) |
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Large Document (PSB) format |
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74 | (1) |
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TIFF (Tagged Image File Format) |
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74 | (1) |
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75 | (1) |
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75 | (1) |
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76 | (1) |
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76 | (1) |
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76 | (1) |
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76 | (1) |
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77 | (1) |
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77 | (1) |
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78 | (2) |
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80 | (1) |
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Making Bridge CS6 work with Photoshop CC |
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80 | (1) |
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Custom work spaces in Bridge |
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81 | (1) |
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Opening files from Bridge |
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82 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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DNG and transparency support |
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84 | (1) |
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Opening photos from Bridge via Camera Raw |
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84 | (2) |
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86 | (1) |
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87 | (46) |
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88 | (1) |
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88 | (1) |
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88 | (1) |
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89 | (1) |
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90 | (1) |
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91 | (1) |
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92 | (1) |
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Retina display and default zoom settings |
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92 | (1) |
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93 | (1) |
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Display calibration and profiling |
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94 | (1) |
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94 | (2) |
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The calibration/profiling procedure |
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96 | (1) |
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96 | (1) |
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96 | (1) |
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97 | (1) |
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97 | (3) |
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Do you want good color or just OK color? |
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100 | (1) |
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Color management settings |
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101 | (1) |
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Synchronizing the Color Settings |
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102 | (1) |
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103 | (1) |
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Backing up your image data |
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103 | (1) |
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Protecting the power supply |
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104 | (1) |
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105 | (1) |
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105 | (3) |
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108 | (2) |
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110 | (1) |
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The synchronization process |
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111 | (1) |
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File Handling preferences |
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112 | (1) |
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113 | (2) |
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115 | (1) |
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116 | (1) |
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116 | (1) |
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117 | (1) |
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32-bit and 64-bit RAM limits |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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121 | (1) |
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122 | (1) |
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122 | (1) |
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122 | (1) |
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123 | (1) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Graphics Processor settings |
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124 | (2) |
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126 | (1) |
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127 | (1) |
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Color Picker gamut warning |
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128 | (1) |
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128 | (1) |
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129 | (2) |
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131 | (1) |
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132 | (1) |
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Ensuring the preferences are saved |
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132 | (1) |
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3 Camera Raw Image Processing |
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133 | (162) |
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134 | (1) |
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The new Camera Raw workflow |
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134 | (2) |
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136 | (1) |
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136 | (1) |
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137 | (1) |
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Editing JPEGs and TIFFs in Camera Raw |
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137 | (1) |
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Alternative Raw processors |
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138 | (1) |
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A basic Camera Raw/Photoshop workflow |
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139 | (3) |
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142 | (1) |
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142 | (1) |
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Getting raw images into Photoshop |
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143 | (1) |
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143 | (1) |
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Importing images via Photo Downloader |
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144 | (5) |
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149 | (1) |
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Tethered shooting via Canon EOS Utility |
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150 | (3) |
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Importing images via other programs |
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153 | (1) |
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Import Images from Device (Mac only) |
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154 | (2) |
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Basic Camera Raw image editing |
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156 | (1) |
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Working with Bridge and Camera Raw |
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156 | (2) |
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General controls for single file opening |
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158 | (2) |
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160 | (1) |
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General controls for multiple file opening |
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160 | (2) |
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Opening raw files as Smart Objects |
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162 | (4) |
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Saving photos from Camera Raw |
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166 | (1) |
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167 | (1) |
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Image browsing via Camera Raw |
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168 | (2) |
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170 | (1) |
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171 | (1) |
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171 | (1) |
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171 | (1) |
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172 | (1) |
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Camera Raw cropping and straightening |
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173 | (1) |
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How to straighten and crop |
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174 | (2) |
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176 | (1) |
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176 | (1) |
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Using the white balance tool |
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177 | (1) |
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178 | (2) |
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The Process 2012 tone adjustment controls |
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180 | (1) |
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180 | (1) |
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181 | (1) |
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182 | (1) |
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183 | (1) |
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Suggested order for the Basic panel adjustments |
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183 | (1) |
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Preserving the highlight detail |
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184 | (2) |
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When to clip the highlights |
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186 | (1) |
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187 | (1) |
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Shadow levels after a conversion |
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188 | (2) |
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190 | (1) |
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How Camera Raw interprets the raw data |
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191 | (1) |
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Basic panel image adjustment procedure |
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192 | (3) |
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195 | (1) |
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Camera-specific default settings |
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195 | (2) |
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197 | (1) |
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198 | (2) |
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200 | (2) |
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202 | (2) |
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204 | (1) |
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204 | (2) |
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Correcting a high contrast image |
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206 | (2) |
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208 | (1) |
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Recovering out-of-gamut colors |
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209 | (1) |
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Adjusting the hue and saturation |
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210 | (2) |
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212 | (2) |
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Accessing and creating custom lens profiles |
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214 | (1) |
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Lens Corrections: Color tab |
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215 | (1) |
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215 | (2) |
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217 | (1) |
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The Defringe controls in use |
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218 | (1) |
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219 | (3) |
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Localized adjustments: Defringe slider |
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222 | (2) |
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Lens Corrections: Manual tab |
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224 | (1) |
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224 | (2) |
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Synchronizing Upright settings |
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226 | (4) |
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230 | (1) |
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230 | (2) |
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232 | (1) |
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Post Crop Vignetting control |
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232 | (2) |
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Post Crop Vignette style options |
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234 | (2) |
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236 | (2) |
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238 | (2) |
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240 | (1) |
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240 | (1) |
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Camera look settings profiles |
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241 | (1) |
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Custom camera profile calibrations |
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242 | (2) |
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244 | (4) |
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Camera Raw as a Photoshop filter |
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248 | (4) |
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252 | (1) |
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252 | (2) |
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Synchronized spotting with Camera Raw |
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254 | (1) |
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254 | (2) |
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256 | (1) |
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257 | (3) |
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260 | (1) |
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261 | (1) |
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261 | (1) |
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Initial Adjustment brush options |
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262 | (1) |
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262 | (1) |
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Adding a new brush effect |
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263 | (1) |
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Editing brush adjustments |
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264 | (1) |
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Previewing the brush stroke areas |
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264 | (2) |
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266 | (2) |
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268 | (2) |
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Hand-coloring in Color mode |
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270 | (2) |
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272 | (3) |
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Graduated color temperature adjustment |
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275 | (2) |
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Radial filter adjustments |
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277 | (2) |
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Correcting edge sharpness with the radial filter |
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279 | (2) |
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281 | (1) |
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282 | (1) |
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282 | (1) |
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Load Settings... Save Settings |
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282 | (1) |
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283 | (1) |
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283 | (1) |
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Saving and applying presets |
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283 | (2) |
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Copying and synchronizing settings |
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285 | (1) |
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Synchronizing different process versions |
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286 | (1) |
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286 | (2) |
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288 | (2) |
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290 | (1) |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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292 | (2) |
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294 | (1) |
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4 Sharpening and noise reduction |
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295 | (50) |
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296 | (1) |
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Why one-step sharpening is ineffective |
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296 | (1) |
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296 | (1) |
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Capture sharpening for scanned images |
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297 | (1) |
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298 | (1) |
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Improvements to Camera Raw sharpening |
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298 | (3) |
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301 | (1) |
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301 | (1) |
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302 | (1) |
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The sharpening effect sliders |
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302 | (1) |
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303 | (1) |
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304 | (1) |
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305 | (1) |
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305 | (2) |
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Interpreting the grayscale previews |
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307 | (1) |
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Radius and Detail grayscale preview |
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307 | (1) |
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308 | (1) |
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309 | (1) |
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Some real world sharpening examples |
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310 | (1) |
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Sharpening portrait images |
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310 | (1) |
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Sharpening landscape images |
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311 | (1) |
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Sharpening a fine-detailed image |
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312 | (1) |
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How to save sharpening settings as presets |
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313 | (1) |
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Capture sharpening roundup |
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314 | (1) |
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Selective sharpening in Camera Raw |
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315 | (1) |
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315 | (1) |
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Extending the sharpening limits |
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315 | (1) |
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How to apply localized sharpening |
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316 | (2) |
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Negative sharpening to blur an image |
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318 | (2) |
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Noise removal in Camera Raw |
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320 | (1) |
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Process Versions and noise reduction |
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320 | (2) |
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Detail panel Noise Reduction sliders |
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322 | (1) |
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323 | (1) |
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Non-raw image noise reduction |
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323 | (3) |
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Adding grain to improve appearance of sharpness |
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326 | (2) |
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Localized noise reduction in Camera Raw |
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328 | (2) |
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Localized moire removal in Camera Raw |
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330 | (2) |
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Localized sharpening in Photoshop |
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332 | (1) |
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332 | (1) |
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332 | (2) |
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Advanced Smart Sharpen mode |
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334 | (1) |
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335 | (1) |
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336 | (1) |
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The Shake Reduction controls |
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337 | (1) |
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338 | (1) |
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338 | (1) |
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339 | (1) |
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How to get the best results |
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339 | (3) |
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Creating a depth of field brush |
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342 | (3) |
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5 Image Editing Essentials |
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345 | (94) |
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346 | (1) |
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Photoshop as a vector program |
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347 | (1) |
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Image resolution terminology |
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347 | (1) |
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347 | (1) |
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347 | (1) |
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348 | (1) |
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Desktop printer resolution |
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348 | (1) |
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Choosing the right pixel resolution for print |
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349 | (1) |
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The optimum number of pixels |
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349 | (1) |
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350 | (1) |
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The relationship between ppi and lpi |
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351 | (1) |
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But we always use 300 ppi! |
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352 | (1) |
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353 | (1) |
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354 | (1) |
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Nearest Neighbor (hard edges) |
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354 | (1) |
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355 | (1) |
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Bicubic (smooth gradients) |
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355 | (1) |
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Bicubic Smoother (enlargement) |
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355 | (1) |
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Bicubic Sharper (reduction) |
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355 | (1) |
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355 | (1) |
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Preserve Details (enlargement) |
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356 | (2) |
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358 | (1) |
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358 | (2) |
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360 | (1) |
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Basic Levels editing and the histogram |
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361 | (1) |
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362 | (1) |
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8-bit versus 16-bit image editing |
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363 | (1) |
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16-bit and color space selection |
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364 | (1) |
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Comparing 8-bit with 16-bit editing |
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365 | (1) |
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The RGB edit space and color gamut |
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366 | (2) |
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368 | (1) |
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Adjustment layers approach |
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368 | (1) |
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Adjustments panel controls |
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369 | (1) |
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Properties panel controls |
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369 | (2) |
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Maintaining focus in the Properties panel |
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371 | (1) |
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372 | (1) |
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372 | (2) |
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Using Levels to improve the contrast |
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374 | (2) |
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376 | (2) |
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378 | (2) |
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380 | (1) |
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Saving and loading curves |
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380 | (2) |
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Using Curves in place of Levels |
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382 | (1) |
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Output levels adjustments |
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382 | (2) |
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Using Curves to improve contrast |
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384 | (1) |
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Curves luminance and saturation |
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384 | (2) |
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Luminosity and Color blending modes |
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386 | (2) |
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388 | (2) |
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Locking down portions of a curve |
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390 | (1) |
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Creating a dual contrast curve |
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391 | (1) |
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392 | (2) |
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Correcting shadow and highlight detail |
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394 | (1) |
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394 | (1) |
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394 | (1) |
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394 | (3) |
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397 | (1) |
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397 | (1) |
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398 | (2) |
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400 | (1) |
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Enhance Brightness and Contrast |
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400 | (2) |
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402 | (1) |
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Color Balance adjustments |
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402 | (1) |
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Basic color balancing with Levels |
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402 | (2) |
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Color corrections using Curves |
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404 | (2) |
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406 | (3) |
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409 | (1) |
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410 | (2) |
|
|
|
412 | (1) |
|
Multiple adjustment layers |
|
|
413 | (1) |
|
|
|
414 | (1) |
|
Properties panel mask controls |
|
|
414 | (2) |
|
Editing a mask using the masks controls |
|
|
416 | (2) |
|
|
|
418 | (4) |
|
|
|
422 | (2) |
|
|
|
424 | (1) |
|
Entering measurement units |
|
|
424 | (1) |
|
|
|
425 | (1) |
|
|
|
425 | (1) |
|
Landscape and portrait mode crops |
|
|
426 | (1) |
|
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|
426 | (1) |
|
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427 | (1) |
|
|
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428 | (1) |
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428 | (1) |
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428 | (2) |
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430 | (1) |
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431 | (1) |
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432 | (1) |
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|
433 | (1) |
|
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|
434 | (2) |
|
How to protect skin tones |
|
|
436 | (1) |
|
How to remove objects from a scene |
|
|
437 | (1) |
|
|
|
438 | (1) |
|
|
|
439 | (20) |
|
Converting color to black and white |
|
|
440 | (1) |
|
Dumb black and white conversions |
|
|
440 | (1) |
|
Smarter black and white conversions |
|
|
440 | (3) |
|
Black & White adjustment presets |
|
|
443 | (1) |
|
Split color toning using Color Balance |
|
|
444 | (2) |
|
Split color toning using Curves adjustments |
|
|
446 | (2) |
|
Split color toning using a Gradient Map |
|
|
448 | (2) |
|
Camera Raw black and white conversions |
|
|
450 | (1) |
|
Pros and cons of the Camera Raw approach |
|
|
450 | (2) |
|
HSL grayscale conversions |
|
|
452 | (1) |
|
Camera Calibration panel tweaks |
|
|
452 | (1) |
|
Camera Raw Split Toning panel |
|
|
453 | (1) |
|
|
|
453 | (1) |
|
Camera Raw color image split toning |
|
|
454 | (3) |
|
|
|
457 | (1) |
|
|
|
457 | (2) |
|
7 Extending the dynamic range |
|
|
459 | (32) |
|
High dynamic range imaging |
|
|
460 | (1) |
|
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|
461 | (1) |
|
|
|
462 | (1) |
|
|
|
462 | (1) |
|
|
|
462 | (1) |
|
Displaying deep-bit color |
|
|
463 | (1) |
|
Capturing a complete scenic tonal range |
|
|
464 | (1) |
|
|
|
465 | (1) |
|
|
|
466 | (1) |
|
|
|
466 | (2) |
|
Basic tonal compression techniques |
|
|
468 | (1) |
|
Blending multiple exposures |
|
|
468 | (4) |
|
Camera Raw adjustments using Process 2012 |
|
|
472 | (2) |
|
Processing HDR files in Camera Raw |
|
|
474 | (1) |
|
|
|
474 | (4) |
|
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478 | (1) |
|
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|
478 | (2) |
|
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|
480 | (1) |
|
|
|
480 | (2) |
|
|
|
482 | (1) |
|
How to avoid the `HDR' look |
|
|
482 | (2) |
|
|
|
484 | (1) |
|
|
|
484 | (4) |
|
How to smooth HDR toned images |
|
|
488 | (3) |
|
|
|
491 | (40) |
|
|
|
492 | (1) |
|
|
|
492 | (1) |
|
Clone stamp brush settings |
|
|
492 | (2) |
|
|
|
494 | (2) |
|
Choosing an appropriate alignment mode |
|
|
496 | (1) |
|
Clone Source panel and clone overlays |
|
|
496 | (2) |
|
Clone and healing sample options |
|
|
498 | (1) |
|
|
|
499 | (1) |
|
|
|
500 | (1) |
|
|
|
501 | (1) |
|
Spot healing in Content-Aware mode |
|
|
502 | (2) |
|
|
|
504 | (2) |
|
The patch tool and content-aware filling |
|
|
506 | (2) |
|
|
|
508 | (1) |
|
|
|
509 | (2) |
|
Content-aware move tool in Extend mode |
|
|
511 | (1) |
|
Working with the Clone Source panel |
|
|
512 | (2) |
|
|
|
514 | (2) |
|
Alternative history brush spotting technique |
|
|
516 | (2) |
|
|
|
518 | (2) |
|
|
|
520 | (2) |
|
|
|
522 | (2) |
|
Advanced Liquify tool controls |
|
|
524 | (1) |
|
|
|
524 | (1) |
|
|
|
525 | (1) |
|
|
|
525 | (1) |
|
|
|
526 | (1) |
|
Photoshop CC performance and interface |
|
|
527 | (1) |
|
|
|
527 | (1) |
|
On-screen cursor adjustments |
|
|
528 | (1) |
|
Targeted distortions using Liquify |
|
|
529 | (2) |
|
9 Layers, Selections and Masking |
|
|
531 | (94) |
|
|
|
532 | (1) |
|
|
|
532 | (2) |
|
|
|
534 | (1) |
|
Creating an image selection |
|
|
535 | (1) |
|
|
|
536 | (1) |
|
|
|
536 | (1) |
|
Modifying an image selection |
|
|
537 | (2) |
|
Selections, alpha channels and masks |
|
|
539 | (1) |
|
|
|
540 | (1) |
|
|
|
540 | (1) |
|
|
|
541 | (1) |
|
|
|
541 | (1) |
|
|
|
541 | (1) |
|
|
|
542 | (1) |
|
|
|
542 | (1) |
|
|
|
542 | (1) |
|
|
|
542 | (3) |
|
|
|
545 | (1) |
|
|
|
545 | (1) |
|
Viewing in Mask or Rubylith mode |
|
|
546 | (1) |
|
|
|
546 | (1) |
|
Adding an empty layer mask |
|
|
546 | (1) |
|
Thumbnail preview clipping |
|
|
546 | (2) |
|
Properties Panel in Masks mode |
|
|
548 | (1) |
|
|
|
549 | (2) |
|
|
|
551 | (1) |
|
|
|
551 | (1) |
|
|
|
552 | (1) |
|
|
|
552 | (1) |
|
|
|
553 | (1) |
|
Working with the quick selection tool |
|
|
554 | (2) |
|
Combining a quick selection with Refine Edge |
|
|
556 | (6) |
|
Ragged borders with the Refine Edge adjustment |
|
|
562 | (2) |
|
|
|
564 | (4) |
|
|
|
568 | (6) |
|
Advanced Blending options |
|
|
574 | (1) |
|
|
|
574 | (1) |
|
|
|
574 | (2) |
|
Creating panoramas with Photomerge |
|
|
576 | (4) |
|
|
|
580 | (2) |
|
Working with multiple layers |
|
|
582 | (1) |
|
|
|
582 | (1) |
|
|
|
582 | (1) |
|
Nested group layer compatibility |
|
|
583 | (1) |
|
Managing layers in a group |
|
|
584 | (1) |
|
|
|
585 | (1) |
|
Ways to create a clipping mask |
|
|
585 | (1) |
|
Masking layers within a group |
|
|
586 | (1) |
|
Clipping layers and adjustment layers |
|
|
586 | (2) |
|
|
|
588 | (2) |
|
|
|
590 | (1) |
|
|
|
590 | (1) |
|
Layer selection using the move tool |
|
|
591 | (1) |
|
|
|
592 | (1) |
|
|
|
593 | (1) |
|
|
|
593 | (1) |
|
|
|
593 | (1) |
|
|
|
593 | (1) |
|
|
|
593 | (1) |
|
Smarter naming when merging layers |
|
|
594 | (1) |
|
|
|
594 | (2) |
|
Isolation mode layer filtering |
|
|
596 | (1) |
|
|
|
597 | (2) |
|
|
|
599 | (1) |
|
|
|
599 | (1) |
|
|
|
600 | (1) |
|
Transforming selections and paths |
|
|
600 | (1) |
|
|
|
601 | (1) |
|
|
|
602 | (2) |
|
|
|
604 | (1) |
|
|
|
605 | (1) |
|
|
|
606 | (1) |
|
|
|
606 | (1) |
|
|
|
606 | (4) |
|
Drag and drop a document to a layer |
|
|
610 | (2) |
|
|
|
612 | (4) |
|
|
|
616 | (1) |
|
|
|
617 | (1) |
|
Drawing paths with the pen tool |
|
|
617 | (1) |
|
|
|
617 | (2) |
|
Pen tool shortcuts summary |
|
|
619 | (1) |
|
|
|
619 | (1) |
|
Multi selection path options |
|
|
620 | (2) |
|
|
|
622 | (1) |
|
Isolating an object from the background |
|
|
623 | (2) |
|
10 Blur, optical and lighting effects filters |
|
|
625 | (52) |
|
|
|
626 | (1) |
|
|
|
626 | (1) |
|
|
|
626 | (1) |
|
Adding a Radial Blur or Spin blur to a photo |
|
|
626 | (2) |
|
|
|
628 | (1) |
|
|
|
628 | (1) |
|
|
|
628 | (5) |
|
|
|
633 | (1) |
|
|
|
633 | (1) |
|
|
|
633 | (1) |
|
|
|
634 | (1) |
|
|
|
634 | (2) |
|
|
|
636 | (1) |
|
|
|
636 | (1) |
|
|
|
637 | (1) |
|
|
|
638 | (2) |
|
|
|
640 | (2) |
|
|
|
642 | (1) |
|
|
|
642 | (2) |
|
Applying a Blur Gallery filter to a video clip |
|
|
644 | (1) |
|
|
|
645 | (1) |
|
Blur Gallery filters on video layers |
|
|
645 | (1) |
|
Smart objects and selections |
|
|
645 | (1) |
|
Blur Gallery filter with a smart object plus mask |
|
|
646 | (2) |
|
|
|
648 | (1) |
|
Applying Smart Filters to pixel layers |
|
|
649 | (5) |
|
|
|
654 | (1) |
|
|
|
654 | (4) |
|
Selecting the most appropriate profiles |
|
|
658 | (1) |
|
Adobe Lens Profile Creator |
|
|
659 | (1) |
|
Interpolating between lens profiles |
|
|
659 | (1) |
|
Lens Correction profiles and Auto-Align |
|
|
659 | (1) |
|
Adaptive Wide Angle filter |
|
|
660 | (2) |
|
How the Adaptive Wide Angle filter works |
|
|
662 | (1) |
|
|
|
663 | (1) |
|
|
|
664 | (1) |
|
|
|
664 | (1) |
|
|
|
665 | (1) |
|
|
|
665 | (3) |
|
Calibrating with the Adaptive Wide Angle filter |
|
|
668 | (1) |
|
|
|
669 | (3) |
|
|
|
672 | (1) |
|
Properties panel adjustments |
|
|
673 | (3) |
|
|
|
676 | (1) |
|
|
|
677 | (54) |
|
|
|
678 | (1) |
|
Configuring the General preferences |
|
|
678 | (2) |
|
|
|
680 | (1) |
|
Rotating the thumbnails and preview |
|
|
680 | (2) |
|
|
|
682 | (2) |
|
Customizing the panels and content area |
|
|
684 | (2) |
|
Bridge workspace examples |
|
|
686 | (2) |
|
Working with multiple windows |
|
|
688 | (1) |
|
|
|
689 | (1) |
|
|
|
690 | (1) |
|
|
|
691 | (2) |
|
Advanced and miscellaneous preferences |
|
|
693 | (1) |
|
|
|
694 | (1) |
|
|
|
694 | (1) |
|
|
|
694 | (2) |
|
|
|
696 | (2) |
|
|
|
698 | (1) |
|
|
|
698 | (1) |
|
|
|
698 | (1) |
|
|
|
699 | (1) |
|
|
|
700 | (1) |
|
Managing images in Bridge |
|
|
701 | (1) |
|
Image rating and labeling |
|
|
702 | (2) |
|
|
|
704 | (1) |
|
|
|
705 | (1) |
|
|
|
706 | (1) |
|
|
|
707 | (1) |
|
|
|
707 | (1) |
|
|
|
708 | (2) |
|
|
|
710 | (2) |
|
|
|
712 | (1) |
|
|
|
713 | (1) |
|
|
|
713 | (1) |
|
|
|
714 | (1) |
|
|
|
715 | (1) |
|
|
|
716 | (2) |
|
|
|
718 | (1) |
|
|
|
719 | (1) |
|
|
|
720 | (1) |
|
|
|
721 | (1) |
|
|
|
722 | (1) |
|
|
|
723 | (1) |
|
|
|
724 | (1) |
|
|
|
724 | (1) |
|
Applying Camera Raw settings |
|
|
724 | (1) |
|
|
|
725 | (1) |
|
The Mini Bridge interface |
|
|
725 | (2) |
|
|
|
727 | (1) |
|
|
|
728 | (1) |
|
|
|
728 | (2) |
|
|
|
730 | (1) |
|
|
|
731 | (24) |
|
|
|
732 | (1) |
|
Judge the print, not the display |
|
|
733 | (1) |
|
High Pass filter edge sharpening technique |
|
|
733 | (3) |
|
Soft proof before printing |
|
|
736 | (2) |
|
Managing print expectations |
|
|
738 | (1) |
|
|
|
739 | (1) |
|
|
|
739 | (1) |
|
|
|
739 | (3) |
|
|
|
742 | (2) |
|
Rendering intent selection |
|
|
744 | (1) |
|
|
|
745 | (2) |
|
|
|
747 | (1) |
|
|
|
748 | (1) |
|
Ensuring your prints are centered (Mac) |
|
|
749 | (1) |
|
|
|
750 | (1) |
|
|
|
750 | (1) |
|
Saving operating system print presets |
|
|
751 | (1) |
|
|
|
751 | (1) |
|
Configuring the Print Settings (Mac and PC) |
|
|
752 | (1) |
|
Photoshop managed color on Windows |
|
|
753 | (1) |
|
|
|
754 | (1) |
|
|
|
755 | (18) |
|
|
|
756 | (1) |
|
|
|
756 | (1) |
|
|
|
757 | (2) |
|
|
|
759 | (1) |
|
Limitations when recording actions |
|
|
760 | (1) |
|
Actions only record changed settings |
|
|
760 | (1) |
|
Background layers and bit depth |
|
|
760 | (1) |
|
|
|
761 | (1) |
|
|
|
761 | (1) |
|
|
|
762 | (2) |
|
Exporting and importing presets |
|
|
764 | (1) |
|
|
|
765 | (1) |
|
|
|
766 | (1) |
|
Conditional action droplets |
|
|
767 | (3) |
|
|
|
770 | (1) |
|
|
|
771 | (1) |
|
|
|
771 | (1) |
|
|
|
772 | (1) |
|
Crop and Straighten Photos |
|
|
772 | (1) |
|
|
|
772 | (1) |
| Index |
|
773 | (17) |
| Colourmanagement.net |
|
790 | (1) |
| Rod Wynne-Powell |
|
791 | (1) |
| Solutions Photographic |
|
791 | (1) |
| Pixel Genius PhotoKit plug-in |
|
792 | (1) |
| www.pixelgenius.com |
|
792 | |
