Foreword |
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xx | |
Introduction |
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xxii | |
Book and DVD contents |
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xxiii | |
Photoshop for Photographers website |
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xxiii | |
Acknowledgments |
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xxiv | |
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What's New in Adobe Photoshop CS3 |
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1 | (24) |
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2 | (2) |
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4 | (1) |
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4 | (2) |
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6 | (1) |
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New Brightness and Contrast |
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7 | (1) |
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Black & White adjustments |
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8 | (1) |
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9 | (1) |
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10 | (1) |
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Clone Source palette and options |
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11 | (1) |
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Blending multiple images with Stacks |
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12 | (2) |
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New Smart Object features |
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14 | (2) |
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14 | (2) |
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16 | (2) |
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16 | (2) |
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18 | (1) |
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19 | (1) |
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20 | (2) |
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22 | (1) |
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22 | (1) |
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23 | (2) |
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25 | (72) |
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26 | (4) |
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30 | (1) |
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30 | (6) |
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The image document window |
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32 | (1) |
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Title bar proxy icons (Macintosh) |
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33 | (1) |
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Managing document windows |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (3) |
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36 | (2) |
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38 | (1) |
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Customizing the menu options |
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39 | (1) |
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39 | (3) |
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42 | (10) |
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42 | (1) |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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Desktop printer resolution |
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44 | (1) |
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44 | (1) |
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The relationship between ppi and Ipi |
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45 | (2) |
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47 | (1) |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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49 | (1) |
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49 | (1) |
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Bicubic interpolation methods |
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50 | (1) |
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50 | (1) |
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50 | (1) |
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50 | (2) |
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Converting raw data into pixels |
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52 | (2) |
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Photoshop CS3 Tools palette |
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54 | (4) |
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56 | (1) |
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57 | (1) |
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58 | (4) |
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60 | (2) |
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62 | (4) |
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63 | (1) |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (3) |
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70 | (1) |
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71 | (3) |
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72 | (1) |
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Layer selection using the move tool |
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72 | (2) |
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Navigation and information tools |
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74 | (1) |
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75 | (6) |
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75 | (1) |
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History settings and memory usage |
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76 | (2) |
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78 | (1) |
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Use of history versus undo |
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78 | (1) |
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79 | (1) |
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80 | (1) |
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81 | (1) |
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82 | (14) |
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82 | (2) |
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Opening and saving images from Bridge |
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84 | (2) |
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86 | (1) |
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87 | (1) |
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Save As... and Save a Copy |
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88 | (1) |
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89 | (1) |
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Photoshop native file format |
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89 | (1) |
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PSB (Large Document Format) |
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90 | (1) |
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TIFF (Tagged Image File Format) |
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90 | (2) |
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92 | (1) |
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93 | (3) |
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96 | (1) |
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97 | |
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98 | (1) |
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98 | (1) |
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98 | (1) |
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99 | (14) |
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100 | (2) |
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Display calibration and profiling |
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102 | (2) |
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104 | (2) |
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Do you want good color or just OK color? |
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106 | (2) |
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Calibration using a third-party calibrator |
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108 | (2) |
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Color management settings |
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110 | (1) |
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111 | (1) |
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112 | (1) |
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113 | (3) |
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113 | (2) |
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115 | (1) |
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116 | (3) |
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116 | (3) |
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119 | (1) |
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RAM memory and scratch disks |
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120 | (3) |
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Enhancing memory and performance |
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121 | (1) |
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121 | (2) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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124 | (2) |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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126 | (1) |
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127 | (1) |
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128 | (1) |
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129 | (2) |
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130 | (1) |
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131 | (1) |
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132 | |
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Basic Pixel Image Editing |
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133` | (225) |
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Image capture and file output |
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134 | (4) |
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135 | (1) |
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136 | (2) |
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16 bits per channel support |
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138 | (26) |
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16-bit and color space selection |
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139 | (2) |
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141 | (3) |
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Levels after a conversion |
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144 | (2) |
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Fine-tuning the endpoints |
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146 | (2) |
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148 | (2) |
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Preserving the highlight detail |
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150 | (1) |
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Cutouts against a white background |
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150 | (2) |
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152 | (2) |
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Using Curves in place of Levels |
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154 | (2) |
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Using Curves to improve contrast |
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156 | (1) |
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Curves luminance and saturation |
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156 | (2) |
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Saving and loading curves |
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158 | (1) |
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159 | (2) |
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Manipulating portions of a curve |
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161 | (1) |
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Improved Brightness and Contrast |
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162 | (2) |
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164 | (16) |
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Basic color balancing with Levels |
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165 | (1) |
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166 | (2) |
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Color correction with Levels or Curves |
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168 | (2) |
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Precise color correction using Curves |
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170 | (4) |
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174 | (2) |
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Correcting shadow and highlight detail |
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176 | (1) |
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176 | (1) |
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176 | (1) |
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177 | (2) |
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179 | (1) |
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179 | (1) |
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180 | (3) |
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Improving the midtone contrast |
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183 | |
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Removing noise from an image |
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186r | (215) |
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Reducing film grain noise |
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187 | (1) |
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188 | (1) |
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Advanced mode noise reduction |
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189 | (1) |
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190 | (3) |
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193 | (1) |
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Saving Reduce Noise settings |
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193 | (1) |
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194 | (1) |
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195 | (2) |
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197 | (1) |
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197 | (1) |
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198 | (1) |
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198 | (1) |
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199 | (1) |
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199 | (1) |
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200 | (1) |
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200 | (2) |
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202 | (1) |
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Sharpening for the image source |
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203 | (2) |
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Which sharpen settings to use |
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205 | (4) |
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Sharpening for smooth edge content |
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209 | (4) |
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213 | (1) |
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Third-party sharpening plug-ins |
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213 | (1) |
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214 | (1) |
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215 | (1) |
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Advanced Smart Sharpen mode |
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216 | (2) |
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217 | (1) |
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218 | (3) |
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220 | (1) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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Camera Raw Image Processing |
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225 | (66) |
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226 | (1) |
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226 | (1) |
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Raw is the digital negative |
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227 | (1) |
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227 | (1) |
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228 | (1) |
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229 | (2) |
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Getting raw images into Photoshop |
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231 | (14) |
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231 | (1) |
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Importing images via Photo Downloader |
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232 | (5) |
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237 | (4) |
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Importing images via other programs |
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241 | (1) |
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Importing images via Lightroom |
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242 | (3) |
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Basic Camera Raw image editing |
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245 | (28) |
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Working with Camera Raw and Bridge |
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246 | (2) |
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General controls for single file opening |
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248 | (2) |
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General controls for multiple file opening |
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250 | (2) |
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Image browsing with Camera Raw |
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252 | (2) |
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254 | (1) |
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255 | (3) |
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Basic image adjustment procedure |
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258 | (2) |
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260 | (2) |
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262 | (1) |
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263 | (2) |
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Image effects using the Point Curve editor |
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265 | (1) |
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266 | (2) |
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Removing noise using multiple exposures |
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268 | (2) |
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270 | (1) |
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Camera Raw black and white conversions |
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271 | (1) |
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272 | (1) |
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273 | (2) |
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274 | (1) |
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275 | (5) |
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The ACR Calibrator script |
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276 | (2) |
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Using Camera Calibration to distort colors |
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278 | (2) |
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280 | (1) |
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281 | (1) |
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282 | (1) |
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283 | (1) |
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Saving and applying presets |
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284 | (2) |
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Copying and synchronizing settings |
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285 | (1) |
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32-bit editing and High Dynamic Range |
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286 | (1) |
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286 | (5) |
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Fine-tuned Image Corrections |
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291 | (21) |
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292 | (8) |
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293 | (2) |
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Multiple adjustment layers |
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295 | (1) |
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296 | (2) |
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Luminosity and Color blending modes |
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298 | (2) |
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Fine-tuned color adjustments |
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300 | (12) |
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300 | (1) |
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Arbitrary Map mode curve editing |
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301 | (1) |
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Matching color and lighting across images |
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302 | (2) |
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304 | (1) |
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Match Color auto adjustments |
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304 | (1) |
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Coloring effects with Match Color |
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304 | (2) |
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306 | (2) |
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308 | (1) |
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309 | (1) |
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310 | (1) |
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Adjusting out-of-gamut colors |
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310 | (1) |
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The essential adjustment tools |
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310 | (2) |
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312 | (42) |
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313 | (35) |
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Alternative history brush spotting technique |
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316 | (2) |
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318 | (2) |
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320 | (2) |
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322 | (1) |
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Clone and healing sample options |
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323 | (1) |
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324 | (2) |
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326 | (4) |
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330 | (4) |
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334 | (1) |
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Adding lightness and contrast to the eyes |
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334 | (2) |
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Repair work using a copied selection |
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336 | (1) |
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337 | (1) |
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338 | (1) |
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339 | (1) |
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340 | (1) |
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340 | (4) |
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344 | (2) |
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346 | (1) |
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347 | (1) |
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347 | (1) |
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348 | (6) |
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Vanishing Point planes and measurements |
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352 | (2) |
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Layers, Selections and Masking |
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354 | (93) |
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355 | (8) |
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355 | (1) |
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356 | (1) |
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357 | (1) |
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357 | (2) |
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Selections, alpha channels and masks |
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359 | (1) |
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360 | (1) |
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Expanding and shrinking selections |
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361 | (1) |
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Anti-aliasing and feathering |
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362 | (1) |
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362 | (1) |
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363 | (4) |
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364 | (1) |
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Drawing paths with the pen tool |
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364 | (1) |
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Guidelines for drawing pen paths |
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364 | (2) |
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366 | (1) |
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367 | (4) |
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367 | (1) |
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368 | (1) |
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368 | (1) |
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368 | (1) |
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368 | (3) |
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371 | (4) |
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371 | (1) |
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372 | (1) |
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373 | (2) |
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Working with multiple layers |
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375 | (7) |
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375 | (3) |
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Layer selection and linking |
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378 | (2) |
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380 | (1) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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382 | (8) |
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Advanced Blending options |
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388 | (2) |
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390 | (12) |
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Multiple raw conversions of an image |
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394 | (3) |
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397 | (1) |
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Layer blending to remove objects |
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398 | (4) |
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402 | (20) |
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404 | (1) |
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405 | (1) |
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Transforming selections and paths |
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405 | (1) |
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406 | (2) |
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408 | (2) |
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410 | (2) |
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412 | (2) |
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414 | (2) |
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416 | (1) |
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Masking an object with a vector path |
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416 | (6) |
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422 | (14) |
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431 | (1) |
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431 | (1) |
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Working with the quick selection tool |
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432 | (2) |
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434 | (2) |
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436 | (5) |
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441 | (4) |
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Applying layer styles to image layers |
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441 | (1) |
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442 | (2) |
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444 | (1) |
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445 | (2) |
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447 | (28) |
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Black and white from color |
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448 | (13) |
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451 | (2) |
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Adjustment layer split toning |
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453 | (1) |
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Black and white solarization |
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454 | (2) |
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456 | (2) |
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458 | (3) |
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461 | (14) |
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461 | (1) |
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461 | (5) |
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Channel Mixer color adjustments |
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466 | (2) |
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468 | (2) |
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Hand coloring a photograph |
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470 | (2) |
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472 | (1) |
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Adding a border to an image |
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473 | (1) |
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474 | (1) |
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475 | (33) |
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476 | (1) |
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476 | (10) |
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476 | (1) |
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476 | (2) |
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478 | (1) |
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478 | (1) |
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478 | (3) |
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481 | (1) |
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481 | (1) |
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481 | (1) |
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482 | (1) |
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482 | (2) |
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Applying Lens Blur to a composite image |
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484 | (2) |
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486 | (1) |
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487 | (6) |
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487 | (1) |
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487 | (3) |
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Clouds and Difference Clouds |
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490 | (2) |
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492 | (1) |
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493 | (1) |
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Pixel distortions and corrections |
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494 | (11) |
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494 | (2) |
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496 | (2) |
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498 | (2) |
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500 | (1) |
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500 | (1) |
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501 | (1) |
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502 | (1) |
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502 | (3) |
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505 | (1) |
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506 | (2) |
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508 | (35) |
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511 | (6) |
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Rotating the thumbnails and preview |
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511 | (1) |
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512 | (1) |
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512 | (1) |
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513 | (1) |
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514 | (1) |
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514 | (1) |
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515 | (2) |
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517 | (1) |
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Arranging the Bridge contents |
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518 | (15) |
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Customizing the panels and content area |
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520 | (2) |
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Selecting a Bridge workspace |
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522 | (2) |
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Working with multiple windows |
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524 | (1) |
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525 | (1) |
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525 | (1) |
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525 | (1) |
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526 | (1) |
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527 | (1) |
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528 | (1) |
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528 | (2) |
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530 | (1) |
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531 | (1) |
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532 | (1) |
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Managing images in Bridge |
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533 | (5) |
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Image rating and labeling |
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534 | (1) |
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535 | (1) |
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536 | (1) |
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537 | (1) |
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538 | (2) |
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538 | (1) |
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Applying Camera Raw settings |
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539 | (1) |
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540 | (1) |
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540 | (3) |
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542 | (1) |
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543 | (47) |
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The need for color management |
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544 | (5) |
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544 | (2) |
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546 | (1) |
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547 | (1) |
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Output-centric color management |
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548 | (1) |
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Profiled color management |
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549 | (10) |
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550 | (1) |
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The Profile Connection Space |
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550 | (2) |
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Choosing an RGB work space |
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552 | (1) |
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552 | (1) |
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552 | (1) |
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553 | (1) |
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553 | (1) |
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553 | (1) |
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554 | (1) |
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Calibration and profiling |
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555 | (1) |
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556 | (1) |
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557 | (2) |
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Photoshop color management interface |
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559 | (18) |
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559 | (1) |
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Color management policies |
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560 | (1) |
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Profile mismatches and missing profiles |
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560 | (1) |
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Preserve embedded profiles |
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561 | (1) |
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562 | (1) |
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563 | (1) |
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564 | (1) |
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564 | (2) |
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566 | (1) |
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567 | (1) |
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568 | (1) |
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Reducing the opportunities for error |
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569 | (3) |
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572 | (1) |
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573 | (1) |
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574 | (1) |
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574 | (1) |
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Use Dither (8-bit per channel images) |
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574 | (1) |
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574 | (1) |
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Blend RGB colors using gamma |
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575 | (1) |
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Customizing the RGB and work space gamma |
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576 | (1) |
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577 | (6) |
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577 | (1) |
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Creating a custom CMYK setting |
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577 | (1) |
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578 | (1) |
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579 | (1) |
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Gray Component Replacement (GCR) |
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580 | (1) |
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|
580 | (1) |
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Undercolor Addition (UCA) |
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|
581 | (1) |
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|
581 | (2) |
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Choosing a suitable RGB work space |
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583 | (7) |
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584 | (1) |
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584 | (1) |
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584 | (1) |
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585 | (1) |
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585 | (3) |
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588 | (1) |
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|
588 | (1) |
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589 | (1) |
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|
589 | (1) |
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|
590 | (27) |
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|
591 | (1) |
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|
592 | (1) |
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Photographic print quality |
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|
592 | (1) |
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593 | (1) |
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|
593 | (1) |
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|
594 | (1) |
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|
595 | (2) |
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High Pass filter edge sharpening |
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|
595 | (2) |
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597 | (20) |
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|
598 | (1) |
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Ensuring your prints are centered |
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599 | (1) |
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600 | (1) |
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|
600 | (2) |
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602 | (2) |
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System Print dialog settings |
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|
604 | (1) |
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System print dialog options |
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|
605 | (1) |
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Building a custom printer profile |
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|
606 | (1) |
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Printing a printer test target |
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|
606 | (4) |
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Getting the most from your printer profiles |
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|
610 | (1) |
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Soft proofing via the display |
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|
611 | (2) |
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Display simulation options |
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|
613 | (1) |
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Color proofing for press output |
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|
614 | (1) |
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CMYK proofing with an inkjet |
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|
615 | (1) |
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Simulation and rendering intents |
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616 | (1) |
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|
617 | (26) |
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Sending images over the Internet |
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618 | (18) |
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|
618 | (1) |
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619 | (2) |
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621 | (1) |
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|
621 | (2) |
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Choosing the right compression type |
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|
623 | (2) |
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|
625 | (1) |
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626 | (1) |
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PNG (Portable Network Graphics) |
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|
626 | (1) |
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627 | (3) |
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630 | (2) |
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632 | (1) |
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633 | (1) |
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Adding a copyright watermark |
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|
634 | (2) |
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636 | (7) |
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|
642 | (1) |
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|
643 | (23) |
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Custom keyboard shortcuts |
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644 | (3) |
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646 | (1) |
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647 | (8) |
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|
647 | (1) |
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648 | (2) |
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650 | (1) |
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651 | (1) |
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|
651 | (1) |
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652 | (2) |
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|
654 | (1) |
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|
655 | (2) |
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|
655 | (1) |
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|
656 | (1) |
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|
657 | (9) |
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Crop and Straighten Photos |
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|
657 | (1) |
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|
657 | (1) |
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|
658 | (2) |
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Photomerge in Interactive layout mode |
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|
660 | (4) |
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|
664 | (1) |
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Export Transparent Image and Resize Image |
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|
665 | (1) |
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|
666 | (14) |
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Remote profiling for RGB printers |
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|
679 | (1) |
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Pixel Genius PhotoKit plug-in discounts |
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|
680 | |