Introduction |
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Acknowledgements |
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1 | (14) |
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Before you shoot that picture! |
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2 | (13) |
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2 | (2) |
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Shooting multiple elements - intelligently |
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4 | (2) |
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Multi light blending technique |
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6 | (2) |
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8 | (2) |
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Fashion and beauty retouching |
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10 | (2) |
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When not to use Photoshop |
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12 | (3) |
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15 | (58) |
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16 | (4) |
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16 | (2) |
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Camera Profiles in Camera Raw |
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18 | (2) |
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Optimizing the image tones |
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20 | (8) |
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Optimizing an image in Camera Raw |
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20 | (1) |
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Optimizing the highlights |
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21 | (1) |
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22 | (2) |
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Optimizing both the highlights and blacks |
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24 | (1) |
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Cut-outs against a white background |
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25 | (3) |
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Essential image editing steps |
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28 | (18) |
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30 | (1) |
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31 | (1) |
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32 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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37 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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39 | (1) |
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40 | (1) |
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40 | (2) |
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Perspective corrections with Camera Raw |
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42 | (4) |
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Capture sharpening workflow |
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46 | (8) |
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Improving camera capture sharpness |
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50 | (1) |
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50 | (2) |
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Shooting with a tripod vs. hand-held |
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52 | (1) |
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Improved sharpness using mirror-up mode |
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52 | (2) |
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54 | (8) |
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Photoshop noise reduction |
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54 | (1) |
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Third-party noise reduction |
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54 | (1) |
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55 | (3) |
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Removing noise using multiple exposures |
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58 | (4) |
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62 | (11) |
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Improving midtone contrast |
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67 | (3) |
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High radius Unsharp Mask technique |
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70 | (3) |
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73 | (66) |
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74 | (18) |
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74 | (2) |
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76 | (2) |
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78 | (2) |
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Removing foreground objects |
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80 | (2) |
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Layer blending to remove tourists |
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82 | (1) |
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82 | (4) |
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Merging objects with displace distortion |
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86 | (4) |
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How to create a spotlight effect |
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90 | (2) |
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Fashion and beauty retouching |
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92 | (20) |
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Adding lightness and contrast to the eyes |
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92 | (2) |
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Repair work using a copied selection |
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94 | (2) |
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96 | (2) |
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Tidying hair against a busy backdrop |
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98 | (4) |
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102 | (2) |
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104 | (1) |
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104 | (1) |
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105 | (1) |
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Beauty/fashion retouching |
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106 | (6) |
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112 | (12) |
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How to remove reflections from glasses |
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118 | (3) |
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How to create a sparkle brush shape |
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121 | (3) |
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124 | (15) |
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Vanishing Point planes and measurements |
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130 | (4) |
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134 | (5) |
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139 | (100) |
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140 | (22) |
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Creating a realistic composite |
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140 | (8) |
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148 | (1) |
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148 | (1) |
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Getting the different elements to match |
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149 | (9) |
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158 | (4) |
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162 | (16) |
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A different way of compositing |
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162 | (2) |
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164 | (1) |
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164 | (3) |
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167 | (1) |
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168 | (1) |
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169 | (1) |
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170 | (6) |
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176 | (2) |
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178 | (52) |
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The best way to combine exposures |
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178 | (4) |
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182 | (4) |
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Masking an object with a path |
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186 | (4) |
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Working with Smart Objects |
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190 | (8) |
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198 | (6) |
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Simulating the effect of motion |
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204 | (1) |
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205 | (5) |
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210 | (6) |
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216 | (4) |
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Extending the depth of field |
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220 | (4) |
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224 | (6) |
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230 | (9) |
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How to add extra water drops to a glass |
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231 | (5) |
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236 | (1) |
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236 | (3) |
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239 | (88) |
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240 | (16) |
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Resizing the source images |
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243 | (1) |
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A simple, one-step Photomerge |
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244 | (2) |
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246 | (6) |
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Extreme wide-angle Photomerges |
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252 | (4) |
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256 | (18) |
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How to create a fisheye lens effect |
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256 | (5) |
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How to create an aerial fisheye lens effect |
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261 | (2) |
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263 | (5) |
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268 | (2) |
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270 | (2) |
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Content-aware scaling - another use |
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272 | (2) |
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274 | (46) |
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Advanced black and white conversion |
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274 | (4) |
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278 | (4) |
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282 | (4) |
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Simulating black and white infrared film |
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286 | (4) |
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Black and white solarization |
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290 | (4) |
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Hand-coloring a photograph |
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294 | (4) |
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298 | (4) |
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Coloring effects using Match Color |
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302 | (2) |
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Match Color auto adjustments |
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304 | (2) |
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Using Camera Calibration to distort colors |
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306 | (2) |
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308 | (1) |
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308 | (4) |
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Preserving colors with ProPhoto RGB |
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312 | (2) |
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314 | (1) |
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314 | (2) |
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316 | (2) |
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318 | (2) |
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320 | (7) |
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Adding a border to an image |
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320 | (4) |
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Adding a Clouds filter border |
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324 | (3) |
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327 | (40) |
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328 | (15) |
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328 | (1) |
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328 | (2) |
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330 | (1) |
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Photographic print quality |
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330 | (1) |
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330 | (1) |
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331 | (1) |
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332 | (1) |
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332 | (1) |
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Building a custom printer profile |
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333 | (1) |
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Printing a printer test target |
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333 | (5) |
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Getting the most from your printer profiles |
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338 | (1) |
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Display gamut versus printer gamut |
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339 | (1) |
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Soft proofing via the display |
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339 | (2) |
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Display simulation options |
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341 | (2) |
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Color proofing for press output |
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343 | (3) |
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CMYK proofing with an inkjet |
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344 | (1) |
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Simulation and Rendering Intents |
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344 | (2) |
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346 | (8) |
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Preparing files for output |
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346 | (4) |
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Delivering files for output |
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350 | (1) |
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351 | (1) |
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352 | (2) |
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Preparing screen shots for publication |
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354 | (13) |
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Scaling dialog screen images |
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354 | (2) |
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Creating a droplet to process screen shots |
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356 | (1) |
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357 | (1) |
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Recording a Max Black separation action |
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358 | (1) |
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359 | (8) |
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Minding your own business |
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367 | (16) |
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Adding value to your images |
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368 | (4) |
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369 | (1) |
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File organization methods |
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370 | (2) |
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372 | (5) |
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Backing up is not archiving! |
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372 | (2) |
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374 | (2) |
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376 | (1) |
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How to make money with Photoshop |
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377 | (6) |
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377 | (2) |
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379 | (1) |
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380 | (3) |
Index |
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383 | |