| Foreword |
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xix | |
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| Introduction |
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xx | |
| Book and DVD contents |
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xxi | |
| Acknowledgments |
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xxii | |
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1 | (84) |
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An overview of the book chapters |
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2 | (2) |
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4 | (3) |
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7 | (1) |
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8 | (22) |
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10 | (2) |
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Managing document windows |
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12 | (2) |
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Image document window details |
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14 | (1) |
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14 | (1) |
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Title bar proxy icons (Macintosh) |
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15 | (1) |
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16 | (1) |
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17 | (1) |
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17 | (1) |
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18 | (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 2 application |
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27 | (1) |
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28 | (2) |
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Photoshop CS5 Tools panel |
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30 | (4) |
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32 | (1) |
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33 | (1) |
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34 | (6) |
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36 | (2) |
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38 | (2) |
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40 | (8) |
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41 | (1) |
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On-screen brush adjustments |
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42 | (1) |
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43 | (1) |
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44 | (1) |
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Pressure sensitive control |
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44 | (1) |
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45 | (1) |
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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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50 | (2) |
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52 | (1) |
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53 | (3) |
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54 | (1) |
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Layer selection using the move tool |
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54 | (2) |
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Navigation and information tools |
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56 | (5) |
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57 | (1) |
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57 | (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 | (9) |
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62 | (1) |
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History settings and memory usage |
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63 | (2) |
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65 | (1) |
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Use of history versus undo |
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65 | (1) |
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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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Using Save As...to save images |
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70 | (1) |
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71 | (5) |
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Photoshop native file format |
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71 | (1) |
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71 | (1) |
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PSB (Large Document Format) |
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72 | (1) |
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TIFF (Tagged Image File Format) |
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72 | (1) |
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73 | (1) |
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74 | (1) |
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74 | (1) |
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74 | (1) |
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74 | (1) |
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75 | (1) |
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75 | (1) |
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76 | (8) |
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78 | (1) |
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Custom workspaces in Bridge |
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79 | (1) |
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79 | (2) |
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81 | (1) |
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Opening files from Bridge |
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82 | (1) |
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Opening photos from Bridge via Camera Raw |
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82 | (1) |
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What's new in Camera Raw 6.0 |
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83 | (1) |
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84 | (1) |
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85 | (40) |
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86 | (1) |
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86 | (1) |
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86 | (1) |
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87 | (13) |
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88 | (1) |
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Wide dynamic range displays |
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89 | (1) |
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89 | (1) |
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Display calibration and profiling |
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90 | (1) |
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90 | (2) |
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The calibration/profiling procedure |
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92 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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Device calibration and measurement |
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94 | (1) |
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94 | (2) |
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Do you want good color or just OK color? |
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96 | (1) |
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Color management settings |
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97 | (1) |
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Synchronizing the Color Settings |
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98 | (1) |
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99 | (1) |
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Backing up your image data |
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99 | (1) |
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100 | (25) |
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101 | (2) |
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103 | (2) |
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File Handling preferences |
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105 | (1) |
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106 | (1) |
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106 | (2) |
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108 | (1) |
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109 | (1) |
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109 | (1) |
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110 | (1) |
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32-bit and 64-bit RAM limits |
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111 | (1) |
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112 | (1) |
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113 | (1) |
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114 | (1) |
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114 | (1) |
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115 | (1) |
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115 | (1) |
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116 | (1) |
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116 | (1) |
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116 | (1) |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (1) |
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Color Picker gamut warning |
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119 | (1) |
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120 | (2) |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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3 Camera Raw Image Processing |
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125 | (126) |
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126 | (11) |
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The new Camera Raw workflow |
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126 | (2) |
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128 | (1) |
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128 | (1) |
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129 | (1) |
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Editing JPEGs and TIFFs in Camera Raw |
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129 | (1) |
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Alternative Raw processors |
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130 | (1) |
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A basic Camera Raw/Photoshop workflow |
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131 | (3) |
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A Lightroom/Photoshop workflow |
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134 | (2) |
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136 | (1) |
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136 | (1) |
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Getting raw images into Photoshop |
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137 | (15) |
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137 | (1) |
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Importing images via Photo Downloader |
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138 | (5) |
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143 | (1) |
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Tethered shooting via Canon EOS Utility |
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144 | (3) |
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Importing images via other programs |
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147 | (1) |
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148 | (1) |
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Importing photos via Lightroom 3 |
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149 | (3) |
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Basic Camera Raw image editing |
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152 | (22) |
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Working with Bridge and Camera Raw |
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152 | (2) |
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General controls for single file opening |
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154 | (2) |
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156 | (1) |
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General controls for multiple file opening |
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156 | (2) |
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Opening raw files as Smart Objects |
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158 | (4) |
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Saving photos from Camera Raw |
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162 | (1) |
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163 | (1) |
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Image browsing via Camera Raw |
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164 | (2) |
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166 | (1) |
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167 | (1) |
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Camera-specific default settings |
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167 | (2) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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171 | (1) |
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Camera Raw cropping and straightening |
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171 | (1) |
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How to crop and straighten |
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172 | (2) |
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174 | (53) |
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174 | (1) |
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Using the white balance tool |
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175 | (1) |
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The tone adjustment controls |
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176 | (1) |
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176 | (1) |
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176 | (1) |
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176 | (1) |
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177 | (1) |
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Suggested order for the basic adjustments |
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177 | (1) |
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Basic image adjustment procedure |
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178 | (2) |
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Preserving the highlight detail |
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180 | (2) |
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When to clip the highlights |
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182 | (1) |
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183 | (1) |
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Shadow levels after a conversion |
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184 | (2) |
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186 | (2) |
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188 | (2) |
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190 | (1) |
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191 | (1) |
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192 | (2) |
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194 | (2) |
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196 | (2) |
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Correcting a high contrast image |
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198 | (2) |
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200 | (1) |
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Recovering out-of-gamut colors |
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201 | (1) |
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Adjusting the Hue and Saturation |
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202 | (2) |
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204 | (1) |
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205 | (1) |
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206 | (2) |
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208 | (1) |
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Post Crop Vignetting control |
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208 | (2) |
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Post Crop Vignetting style options |
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210 | (2) |
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212 | (2) |
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214 | (2) |
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216 | (1) |
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216 | (1) |
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Camera `look settings' profiles |
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217 | (1) |
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Custom camera profile calibrations |
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218 | (2) |
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220 | (4) |
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224 | (1) |
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Synchronized spotting with Camera Raw |
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225 | (1) |
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226 | (1) |
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227 | (21) |
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227 | (1) |
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Initial Adjustment brush options |
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228 | (1) |
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228 | (1) |
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Adding a new brush effect |
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229 | (1) |
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Editing brush adjustments |
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230 | (1) |
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Previewing the brush stroke areas |
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230 | (2) |
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232 | (2) |
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Hand-coloring in Color mode |
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234 | (2) |
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236 | (3) |
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239 | (1) |
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Adding clarity and contrast |
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239 | (2) |
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241 | (1) |
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242 | (1) |
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242 | (1) |
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Load Settings...Save Settings |
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242 | (1) |
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243 | (1) |
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243 | (1) |
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Saving and applying presets |
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243 | (2) |
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Copying and synchronizing settings |
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245 | (1) |
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246 | (2) |
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248 | (3) |
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248 | (1) |
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249 | (1) |
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250 | (1) |
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4 Sharpening and Noise Reduction |
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251 | (38) |
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252 | (26) |
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252 | (1) |
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252 | (1) |
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Capture sharpening for scanned images |
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253 | (1) |
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254 | (1) |
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Improvements to Camera Raw sharpening |
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254 | (3) |
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257 | (1) |
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257 | (1) |
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258 | (1) |
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The sharpening effect sliders |
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258 | (1) |
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259 | (1) |
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260 | (1) |
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261 | (1) |
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261 | (2) |
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Interpreting the grayscale previews |
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263 | (1) |
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Radius and Detail grayscale preview |
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263 | (1) |
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264 | (1) |
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265 | (1) |
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Some real world sharpening examples |
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266 | (1) |
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Sharpening portrait images |
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266 | (1) |
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Sharpening landscape images |
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267 | (1) |
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Sharpening a fine-detailed image |
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268 | (1) |
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How to save sharpening settings as presets |
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269 | (1) |
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Capture sharpening roundup |
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270 | (1) |
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Selective sharpening in Camera Raw |
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271 | (1) |
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271 | (1) |
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Extending the sharpening limits |
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271 | (3) |
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Noise removal in Camera Raw |
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274 | (1) |
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Detail panel noise reduction sliders |
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274 | (4) |
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Localized sharpening in Photoshop |
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278 | (7) |
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278 | (1) |
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278 | (2) |
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Advanced Smart Sharpen mode |
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280 | (1) |
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281 | (1) |
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Creating a depth of field brush |
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282 | (3) |
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Removing noise in Photoshop |
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285 | (4) |
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Third-party noise reduction |
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285 | (1) |
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286 | (1) |
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Advanced mode noise reduction |
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287 | (1) |
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288 | (1) |
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Saving the Reduce Noise settings |
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288 | (1) |
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5 Image Editing Essentials |
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289 | (88) |
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290 | (12) |
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Photoshop as a vector program |
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291 | (1) |
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Image resolution terminology |
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291 | (1) |
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291 | (1) |
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291 | (1) |
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292 | (1) |
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Desktop printer resolution |
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292 | (1) |
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Choosing the right pixel resolution for print |
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293 | (1) |
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The optimum number of pixels |
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293 | (1) |
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294 | (1) |
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The relationship between ppi and lpi |
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295 | (1) |
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But we always use 300 ppi! |
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296 | (1) |
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297 | (1) |
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298 | (1) |
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299 | (1) |
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299 | (1) |
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299 | (1) |
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299 | (1) |
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The advanced bicubic interpolation methods |
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300 | (1) |
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300 | (1) |
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300 | (1) |
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300 | (2) |
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302 | (40) |
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302 | (3) |
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Basic Levels editing and the histogram |
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305 | (1) |
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306 | (1) |
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8-bit versus 16-bit image editing |
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307 | (1) |
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Comparing 8-bit with 16-bit editing |
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308 | (1) |
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16-bit and color space selection |
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309 | (1) |
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The RGB edit space and color gamut |
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310 | (2) |
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312 | (1) |
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Adjustment layers and Adjustments panel |
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312 | (1) |
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Adding an adjustment layer procedure |
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313 | (1) |
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Keeping the focus on the panel fields |
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313 | (2) |
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Adjustments panel controls |
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315 | (1) |
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316 | (1) |
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316 | (2) |
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Using Levels to improve the contrast |
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318 | (2) |
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320 | (2) |
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322 | (2) |
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324 | (1) |
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Saving and loading curves |
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324 | (2) |
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Using Curves in place of Levels |
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326 | (1) |
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Output levels adjustments |
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326 | (2) |
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Using Curves to improve contrast |
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328 | (1) |
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Curves luminance and saturation |
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328 | (2) |
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Luminosity and Color blending modes |
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330 | (2) |
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332 | (2) |
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Locking down portions of the curve |
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334 | (1) |
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Creating a dual contrast curve |
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335 | (1) |
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336 | (2) |
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Correcting shadow and highlight detail |
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338 | (1) |
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338 | (1) |
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338 | (1) |
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338 | (3) |
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341 | (1) |
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341 | (1) |
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342 | (24) |
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Basic color balancing with Levels |
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343 | (1) |
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344 | (2) |
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Color corrections using Levels or Curves |
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346 | (2) |
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Precise color corrections using Curves |
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348 | (4) |
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352 | (3) |
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355 | (1) |
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356 | (1) |
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Multiple adjustment layers |
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357 | (1) |
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358 | (1) |
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358 | (2) |
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Editing a mask using the Masks panel |
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360 | (2) |
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Color Range adjustment layer masking |
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362 | (2) |
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364 | (2) |
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366 | (11) |
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368 | (1) |
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369 | (1) |
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370 | (1) |
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371 | (1) |
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372 | (2) |
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How to protect skin tones |
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374 | (1) |
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How to remove objects from a scene |
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375 | (1) |
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376 | (1) |
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377 | (14) |
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Converting color to black and white |
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378 | (12) |
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The dumb black and white conversions |
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378 | (1) |
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Smarter black and white conversions |
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378 | (3) |
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Black & White adjustment presets |
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381 | (1) |
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Split color toning with Color Balance |
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382 | (2) |
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Curves adjustment split toning |
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384 | (2) |
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Camera Raw black and white conversions |
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386 | (1) |
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Pros and cons of the Camera Raw approach |
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387 | (1) |
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Camera Raw Split Toning panel |
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388 | (1) |
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Camera Raw color image split toning |
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389 | (1) |
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390 | (1) |
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7 Extending the Dynamic Range |
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391 | (24) |
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392 | (4) |
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395 | (1) |
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High dynamic range imaging |
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396 | (19) |
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396 | (1) |
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397 | (1) |
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398 | (1) |
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398 | (1) |
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Displaying deep-bit color |
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399 | (1) |
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Capturing a complete scenic tonal range |
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400 | (1) |
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401 | (1) |
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402 | (1) |
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402 | (2) |
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404 | (2) |
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406 | (1) |
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406 | (2) |
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408 | (1) |
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How to avoid the `HDR' look |
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408 | (6) |
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414 | (1) |
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415 | (36) |
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416 | (22) |
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416 | (1) |
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Clone stamp brush settings |
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416 | (2) |
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418 | (2) |
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Choosing an appropriate alignment mode |
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420 | (1) |
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Clone Source panel and clone overlays |
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420 | (2) |
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422 | (2) |
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424 | (2) |
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426 | (1) |
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Clone and healing sample options |
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427 | (1) |
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428 | (2) |
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Spot healing in Content-Aware mode |
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430 | (2) |
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432 | (2) |
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Alternative history brush spotting technique |
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434 | (2) |
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436 | (2) |
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438 | (2) |
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440 | (2) |
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442 | (9) |
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444 | (1) |
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444 | (1) |
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445 | (1) |
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446 | (1) |
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446 | (2) |
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Straightening a fringe with Liquify |
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448 | (3) |
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9 Layers, Selections and Masking |
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451 | (88) |
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452 | (9) |
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452 | (2) |
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454 | (1) |
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Creating an image selection |
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455 | (1) |
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456 | (1) |
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456 | (1) |
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Adding to an image selection |
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457 | (2) |
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Selections, alpha channels and masks |
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459 | (1) |
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460 | (1) |
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460 | (1) |
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461 | (27) |
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461 | (1) |
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461 | (1) |
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462 | (1) |
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462 | (1) |
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462 | (1) |
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462 | (3) |
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465 | (1) |
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465 | (1) |
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Viewing in Mask or Rubylith mode |
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466 | (1) |
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466 | (1) |
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Adding an empty image layer mask |
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466 | (2) |
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Creating a layer mask from Transparency |
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468 | (2) |
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470 | (1) |
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471 | (2) |
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473 | (1) |
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473 | (1) |
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474 | (1) |
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475 | (1) |
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Working with the quick selection tool |
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476 | (2) |
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Combining a quick selection with Refine Edge |
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478 | (6) |
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484 | (4) |
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488 | (12) |
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Advanced Blending options |
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494 | (1) |
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494 | (1) |
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494 | (2) |
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Creating panoramas with Photomerge |
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496 | (2) |
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498 | (2) |
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Working with multiple layers |
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500 | (10) |
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500 | (1) |
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500 | (1) |
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Nested group layer compatibility |
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501 | (1) |
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Managing layers in a group |
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502 | (1) |
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503 | (1) |
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Ways to create a clipping mask |
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503 | (1) |
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Masking layers within a group |
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504 | (1) |
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Clipping layers and adjustment layers |
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504 | (2) |
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506 | (1) |
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506 | (1) |
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Layer selection using the move tool |
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507 | (1) |
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508 | (1) |
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509 | (1) |
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509 | (1) |
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509 | (1) |
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509 | (1) |
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509 | (1) |
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510 | (5) |
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512 | (1) |
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513 | (1) |
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Transforming selections and paths |
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513 | (1) |
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514 | (1) |
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Using transforms to create a kaleidoscope pattern |
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515 | (13) |
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518 | (2) |
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520 | (1) |
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521 | (1) |
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522 | (1) |
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522 | (1) |
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522 | (4) |
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Drag and drop a document to a layer |
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526 | (2) |
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528 | (4) |
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532 | (7) |
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533 | (1) |
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Drawing paths with the pen tool |
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533 | (1) |
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Pen path drawing tutorial |
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533 | (2) |
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Pen tool shortcuts summary |
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535 | (1) |
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535 | (1) |
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536 | (1) |
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Isolating an object from the background |
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537 | (2) |
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10 Essential Filters for Photo Editing |
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539 | (28) |
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540 | (10) |
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540 | (1) |
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540 | (1) |
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Adding a Radial Blur or Spin Blur to a photo |
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540 | (2) |
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542 | (1) |
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542 | (1) |
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542 | (3) |
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545 | (1) |
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545 | (1) |
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545 | (1) |
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546 | (1) |
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546 | (2) |
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Applying Lens Blur to a composite image |
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548 | (2) |
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550 | (16) |
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Applying Smart Filters to pixel layers |
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551 | (5) |
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Ragged borders with the Refine Edge adjustment |
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556 | (2) |
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558 | (1) |
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558 | (4) |
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Selecting the most appropriate profiles |
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562 | (1) |
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Adobe Lens Profile Creator |
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563 | (1) |
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Interpolating between lens profiles |
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563 | (1) |
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Lens Correction profiles and Auto-Align |
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563 | (3) |
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566 | (1) |
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567 | (64) |
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568 | (4) |
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Configuring the General preferences |
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568 | (2) |
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570 | (1) |
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Rotating the thumbnails and preview |
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570 | (2) |
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Arranging the Bridge contents |
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572 | (16) |
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Customizing the panels and content area |
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574 | (2) |
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Bridge workspace examples |
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576 | (2) |
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Working with multiple windows |
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578 | (1) |
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579 | (1) |
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580 | (1) |
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581 | (2) |
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Advanced and miscellaneous preferences |
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583 | (1) |
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584 | (1) |
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584 | (1) |
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584 | (2) |
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586 | (2) |
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588 | (3) |
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588 | (1) |
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588 | (1) |
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589 | (1) |
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590 | (1) |
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Managing images in Bridge |
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591 | (19) |
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Image rating and labeling |
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592 | (2) |
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594 | (1) |
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595 | (1) |
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596 | (1) |
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597 | (1) |
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597 | (1) |
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598 | (2) |
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600 | (2) |
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602 | (1) |
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603 | (1) |
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603 | (1) |
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604 | (1) |
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605 | (1) |
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606 | (2) |
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608 | (1) |
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609 | (1) |
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610 | (10) |
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611 | (1) |
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612 | (1) |
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612 | (4) |
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616 | (1) |
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617 | (1) |
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618 | (1) |
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619 | (1) |
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620 | (3) |
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621 | (1) |
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622 | (1) |
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622 | (1) |
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Applying Camera Raw settings |
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622 | (1) |
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623 | (8) |
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The Mini Bridge interface |
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623 | (1) |
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624 | (4) |
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Filter and Sort order menus |
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628 | (1) |
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Navigator and Preview pods |
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628 | (2) |
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630 | (1) |
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631 | (48) |
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The need for color management |
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632 | (5) |
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632 | (2) |
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634 | (1) |
|
Why not all RGB spaces are the same |
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635 | (1) |
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635 | (1) |
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Output-centric color management |
|
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636 | (1) |
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Profiled color management |
|
|
637 | (10) |
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638 | (1) |
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The Profile Connection Space |
|
|
638 | (2) |
|
Choosing an ideal RGB workspace |
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640 | (1) |
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640 | (1) |
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640 | (1) |
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641 | (1) |
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641 | (1) |
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641 | (1) |
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642 | (1) |
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Calibration and profiling |
|
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643 | (1) |
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644 | (1) |
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|
645 | (2) |
|
Photoshop color management interface |
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|
647 | (18) |
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647 | (1) |
|
Color management policies |
|
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648 | (1) |
|
Preserve embedded profiles |
|
|
648 | (1) |
|
Profile mismatches and missing profiles |
|
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649 | (1) |
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649 | (1) |
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650 | (1) |
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651 | (1) |
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652 | (1) |
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653 | (1) |
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Profile mismatches when pasting |
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|
654 | (2) |
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656 | (1) |
|
Reducing the opportunities for error |
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657 | (3) |
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660 | (1) |
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661 | (1) |
|
Conversion options and rendering intents |
|
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662 | (1) |
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662 | (1) |
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Use Dither (8-bit per channel images) |
|
|
662 | (1) |
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Blend RGB colors using gamma |
|
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663 | (1) |
|
Custom RGB and workspace gamma |
|
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664 | (1) |
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665 | (4) |
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|
665 | (1) |
|
Creating a custom CMYK setting |
|
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665 | (1) |
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666 | (1) |
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667 | (1) |
|
Gray Component Replacement (GCR) |
|
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668 | (1) |
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668 | (1) |
|
Undercolor Addition (UCA) |
|
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669 | (1) |
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|
669 | (1) |
|
Choosing a suitable RGB workspace |
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669 | (10) |
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670 | (1) |
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670 | (1) |
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670 | (1) |
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671 | (1) |
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671 | (3) |
|
Fine-tuning the CMYK end points |
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|
674 | (2) |
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676 | (1) |
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676 | (1) |
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677 | (1) |
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678 | (1) |
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679 | (20) |
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680 | (6) |
|
Judge the print, not the display |
|
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681 | (1) |
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High Pass filter edge sharpening technique |
|
|
681 | (3) |
|
Soft proof before printing |
|
|
684 | (2) |
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686 | (13) |
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|
687 | (1) |
|
Printer selection and print scaling |
|
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688 | (1) |
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689 | (1) |
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|
690 | (3) |
|
Proof Setup in the Print dialog |
|
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693 | (1) |
|
Proof print or aim print? |
|
|
693 | (1) |
|
Configuring the Print Settings (Mac and PC) |
|
|
694 | (2) |
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696 | (1) |
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|
696 | (1) |
|
Ensuring your prints are centered |
|
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697 | (1) |
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698 | (1) |
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699 | (16) |
|
Sending images over the Internet |
|
|
700 | (15) |
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700 | (1) |
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700 | (1) |
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701 | (2) |
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703 | (1) |
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|
703 | (3) |
|
Choosing the right compression type |
|
|
706 | (1) |
|
TIFF compression for FTP transfer |
|
|
707 | (1) |
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|
708 | (1) |
|
PNG (Portable Network Graphics) |
|
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708 | (1) |
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709 | (1) |
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710 | (1) |
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710 | (1) |
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711 | (1) |
|
GIF Save for Web & Devices |
|
|
712 | (2) |
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714 | (1) |
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715 | (13) |
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716 | (10) |
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716 | (1) |
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717 | (2) |
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|
719 | (1) |
|
Limitations when recording actions |
|
|
720 | (1) |
|
Actions only record changed settings |
|
|
720 | (1) |
|
Background layers and bit depth |
|
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720 | (1) |
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721 | (1) |
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721 | (1) |
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722 | (2) |
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724 | (1) |
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725 | (1) |
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726 | (1) |
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726 | (1) |
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727 | (1) |
|
Crop and Straighten Photos |
|
|
727 | (1) |
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|
|
727 | (1) |
|
|
|
728 | |
|
Remote profiling for RGB printers |
|
|
744 | (1) |
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|
|
744 | (2) |
|
Pixel Genius PhotoKit plug-in |
|
|
746 | |
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|
746 | |
