Wiley adobe photoshop CS4 bible jan 2009 ISBN 0470345179 pdf

xxxiv Part I: Welcome To Adobe Photoshop CS4 1 Chapter 1: Working with Digital Images... Lightening specifically targeted areas with curves ...440Lightening specific colors with curves .

Photoshop CS4

Bible

Stacy Cates Simon Abrams Dan Moughamian

10475 Crosspoint Boulevard

Indianapolis, IN 46256

www.wiley.com

Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

01923, (978) 750-8400, fax (978) 646-8600 Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201)748-

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Trademarks: Wiley and related trade dress are registered trademarks of Wiley Publishing, Inc., in the United States and

other countries, and may not be used without written permission All other trademarks are the property of their respective owners Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book.

Wiley also publishes its books in a variety of electronic formats Some content that appears in print may not be available in electronic books.

I would like to dedicate this book to my son, Will Cates (a.k.a., the best son in the world), who provided help, love, and support during the writing of this book, and my grandmother, Shirley Boswell

(a.k.a., the best grandmother in the world),

whose love and prayers never fail

Simon Abrams:

I would like to dedicate this book to my lovely wife Stephanie — it’s

a cliché, but I really couldn’t have done it without you.

I’d also like to dedicate this book to my father, Donald Abrams, for the opportunities and experiences he made possible for me.

Stacy Cates has been in the graphic design and printing industry for more than 20 years She has

been teaching Adobe Photoshop since 2001 and holds Adobe Certified Instructor and Comptia Certified Technical Trainer certifications, as well as a Georgia Institute of Technology Certificate in Web design Her teaching experience ranges from one-on-one training to teaching college-level computer art courses Stacy is experienced in a wide variety of practical applications for Photoshop and specializes in preparing images for printing, color correction, and retouching images Stacy has earned numerous awards for publication design and an award for Web design from the Council for Advancement and Support of Education Contact Stacey at stacy@stacycates.com

Simon Abrams was smitten with computers ever since the day his dad gave him his first

Commodore 64 back in the late ’80s It wasn’t until he took a class called Intro to Microcomputer

Graphics in college that he discovered that the intersection of computers and art was where his true

love was to be found He later attended the Savannah College of Art & Design, where he studied 3D Modeling and Animation Upon graduating with a BFA in Computer Art, Simon moved to New York City After a brief stint at Tekserve (New York’s premier Mac repair shop), he got a job work-ing as a designer at an interactive advertising agency during the heady dot-com boom of the late

’90s Along the way, he discovered his second love: photography, which he pursues vigorously as a serious amateur around the streets and subways of New York His photography has been featured

on various sites, including Yahoo! News, Gothamist, and Panasonic’s Digital Photo Academy.Simon is an Adobe Certified Photoshop Professional and regularly appears as a guest lecturer teaching Photoshop at New York University’s Courant Institute of Mathematical Sciences He has also led workshops in the theater at Apple’s flagship retail location in SoHo, New York Simon cur-rently lives in Brooklyn, with his wife Stephanie He recently became a student of karate and works

as a Flash developer at an advertising agency in New York City

Dan Moughamian began exploring Adobe Photoshop in 1993 and never looked back His passion

for digital imaging ultimately led to a career in fine art photography, which continues to present day and has evolved to encompass not only still photography, but video and motion graphics as well Dan is an accomplished instructor, teaching digital photography and Photoshop classes for Chicago-based venues such as Mac Specialist Dan is also an Adobe trainer for designProVideo.com,

authoring titles such as Photoshop CS4: Digital Photography Workflows Dan lives outside of Chicago

with his wife Kathy

Senior Acquisitions Editor

Quality Control Technician

John Greenough

Proofreading

Laura L Bowman

Indexing

Infodex Indexing Services, Inc

Media Development Project Manager

Introduction  . .  xxxi

Who the Book Is For xxxi

How the Book Is Organized xxxii

How to use this book xxxiv

Part I: Welcome To Adobe Photoshop CS4 1 Chapter 1: Working with Digital Images  . . .3

About Digital Images 3

Color and lightness qualities of digital images 4

Overview of the main types and characteristics of digital images 6

Bit depth 6

Bitmap (raster) and vector 10

Color mode 15

Color space 19

File format 21

Low versus high resolution 23

Getting Images into Photoshop 24

Digital cameras 24

Film cameras 26

Scanners 27

The Internet 28

E-mail 28

Video 29

Storing Digital Images 32

Summary 32

Chapter 2: The Photoshop Workspace, Preferences, and Tools  . .  33

Overview of the Photoshop Workspace 33

Default and custom workspaces 34

Menu Bar 36

Application Frame 36

Application Bar 40

Options Bar 42

Tools panel 42

Image windows 44

Panel 55

Preferences 60

General preferences 60

Color Picker 61

Image Interpolation 61

UI Text Options 61

History Log 63

Interface preferences 64

General 64

Panel 64

File handling preferences 64

Image Previews 65

Camera Raw Preferences 65

Prefer Adobe Camera Raw for supported RAW files 65

Ignore EXIF profile tag 65

Ask Before Saving Layered TIFF files 66

Maximize PSD and PSB File Compatibility 66

Enable Version Cue 66

Recent file list contains files 66

Performance preferences 67

Memory Usage 67

Available RAM 67

Ideal Range 67

Let Photoshop Use 67

Scratch Disks 68

History and Cache 68

History States 68

Cache Levels 69

GPU Settings 69

Detected Video Card 69

Enable OpenGL Drawing 70

Cursors preferences 70

Painting Cursors 70

Other Cursors 70

Transparency and Gamut preferences 70

Transparency Settings 71

Gamut Warning 71

Units & Rulers preferences 72

Rulers, Type 72

Column Size 72

New Document Preset Resolutions 72

Point/Pica Size 72

The new way 72

The old way 73

Guides, Grid & Slices preferences 73

Plug-Ins preferences 73

Additional Plug-Ins Folder 73

Legacy Photoshop Serial Number 74

Type preferences 74

Use Smart Quotes 74

Show Asian Text Options 74

Enable Missing Glyph Protection 74

Show Font Names in English 74

Font Preview Size 74

Presets and the Preset Manager 75

Selecting and using presets 76

Create individual presets 77

Customizing Shortcuts and Menus 78

Tools 80

Move tool 80

Marquee selection tools 82

Lasso selection tools 82

Quick Selection and the Magic Wand tools 83

Crop tool 83

Slice and Slice Select tools 83

Eyedropper tool 84

Color Sampler tool 84

Ruler tool 84

Count tool 85

Healing tools 85

Red Eye tool 86

Brush tool 86

Pencil tool 86

Color Replacement tool 87

Clone Stamp tool 88

Pattern Stamp tool 88

History Brush tool 88

Eraser tool 89

Background Eraser tool 89

Magic Eraser tool 89

Gradient tool 90

Paint Bucket tool 90

The Blur, Sharpen, and Smudge tools 90

The Dodge, Burn, and Sponge tools 91

The Pen tool 92

The Type tools 93

The Path selection tools 94

The Shape and Line tools 94

The 3D tools 95

The Hand, Rotation, and Zoom tools 95

Foreground and Background Color tools 96

The Mode buttons 97

Summary 98

Chapter 3: Finding and Processing Images with Bridge  . . .  99

Finding and Opening Images 99

Importing images from a digital camera 102

Grouping images as stacks 104

Adding labels and ratings 106

Processing images 107

Adding Descriptive and Searchable Data to Images 107

Metadata panel 107

File Info window 109

Using Metadata templates 110

Using keywords 111

Organizing Image Collections 112

Collections 112

Smart Collections 113

Creating Presentations 114

Using the Output workspace 114

PDF Presentation 114

Web Gallery 115

Processing Batches of Images and Repetitive Tasks 117

Batch renaming multiple images 117

Process multiple images 119

Batch 119

Image Processor 119

Merge to HDR 120

Photomerge 122

Summary 123

Chapter 4: Camera Raw Work Area  . . .  125

The RAW Format 126

The DNG format 128

The Camera Raw dialog box 128

Using Adobe Camera Raw 131

Importing RAW, JPEG, and TIFF images 131

Processing multiple photos 132

Image improvement settings 133

The Camera Raw toolbar 133

Local adjustments in Camera Raw 135

The Adjustment Brush 135

The Graduated Filter 137

The histogram 138

The Image Adjustment tabs 139

Basic 139

Tone Curve 141

Detail 142

HSL/Grayscale 144

Split Toning 145

Lens Correction 146

Camera Calibration 147

Presets 148

Saving from Camera Raw 149

Summary 151

Part II: Working with Images 153 Chapter 5: Creating New Images, Resizing, and Adjusting Resolution . . .  155

Getting Started with New Images 155

Units & Rulers Preferences 157

Creating a new image 158

Opening Images 161

Placing and Pasting Images 165

Image Resizing .169

Resizing parts of images 171

Resizing the canvas 173

Cropping the canvas 173

Summary 174

Chapter 6: Undoing Mistakes  . .  175

The Undo Command 175

The Revert Command 176

History Panel 176

History states 177

Snapshots 179

History Brush 180

Features with Built-In Undos 181

Dialog boxes 181

Masks 181

Adjustment layers 182

Layer comps 184

Managing layer comps 185

Those fragile layer comps 185

Smart Objects 186

Crop/Reveal All 188

Summary 188

Chapter 7: Saving Files . . .  189

Saving files to disk 189

The Save commands 190

Save for Web & Devices Command 193

File Formats in Depth 194

PSD: The native format 195

The mainstream formats 196

JPEG 196

TIFF 198

Specialized formats 200

Photoshop EPS 201

QuarkXPress DCS 203

Windows BMP 204

Cineon 205

Premiere Filmstrip 205

CompuServe GIF 205

Paintbrush PCX 206

Adobe’s Paperless PDF 206

Apple’s PICT 207

PICT Resource 208

Pixar 208

PNG 208

TrueVision’s TGA 209

WBMP 209

Photoshop Raw 209

Opening Raw documents 209

Saving Raw documents 210

Save from Camera Raw 211

Summary 211

Part III: Layers, Selections, Channels, and Curves 213 Chapter 8: Layers, Layer Masks, Blending Modes, and Smart Objects  . . .  215

Working with Layers 215

Getting images and image parts onto separate layers 217

Resizing images on layers 222

The Layers palette 225

Layers palette menu 230

Layer menu 231

Layer Masks 233

The Masks palette 236

Adjustment Layers 238

The Adjustments palette 242

Blending Modes 255

Smart Objects 258

Image Stacks 259

Summary 260

Chapter 9: Histograms, Levels,and Curves  . .  263

About Histograms 263

Acceptable histograms 265

The Histogram palette 266

The Levels Command 269

The Levels dialog box 269

Using Levels 270

Levels sliders 271

Levels numeric input and output values 275

Levels eyedroppers 276

The Auto and Options buttons in Levels and Curves 278

The Curves Command 280

The Curves dialog box 281

Using Curves 285

Summary 291

Chapter 10: Selections and Channels  . .  293

Core Selection Tools and Options 294

The Marquee tools 294

Important keyboard shortcuts 298

Feathering selections 299

Anti-aliasing 299

The Lasso tools 300

Polygonal Lasso tool 302

Magnetic Lasso tool 303

Quick Selection, Magic Wand, and Color Range 305

Quick Selection tool 305

Magic Wand tool 307

Color Range 309

Refining Selections 311

Refine Edge 311

Select menu options 316

Understanding Channels 319

Alpha channels 320

Creating alpha channels 320

The Channels panel 322

Work smarter 324

Color channels and selections 325

Sharing channels between images 327

Summary 327

Part IV: Paths, Shapes, and Text 329

Chapter 11: Working with Paths  . .  331

Introduction to Bézier Paths 331

Defining Paths and Vector Tools 333

Dissecting a Photoshop path 333

Types of paths 333

Parts of a path 335

Understanding vector tools and options 338

The Pen tools 338

Pen and path selection tool options 340

The Paths panel 345

The Masks panel 348

Creating Vector Paths 348

Making simple open and closed paths 348

Creating complex paths 351

Editing paths 360

Aligning and distributing path components 364

Path strokes and fills 365

Path strokes 365

Path fills 366

Paths as selections 367

Creating path selections 367

From path to Alpha Channel 369

Sharing paths between documents and applications 370

Summary 371

Chapter 12: Working with Vector Shapes  . .  373

Vector Shapes Defined 373

Using Vector Shape Tools 375

Creating vector shape layers 377

Shape layer options 377

Shape layer keyboard modifiers 380

Combining shape layer areas 381

Aligning and distributing shape layer areas 383

Editing Vector Shape Layers 383

Using Vector Shape Presets 384

Creating New Custom Shapes 387

Creating New Shape Presets 389

Summary 390

Chapter 13: Working with Text  . .  391

Entering Text 392

Editing Text 393

Type tools 396

Single-Line Type 396

Paragraph Type 397

Type Tool Options Bar 398

Character palette 399

Choosing a font 399

OpenType options 401

Font size 402

Leading 403

Kerning 403

Metrics kerning 403

Optical kerning 403

Manual kerning 404

Tracking 405

Fractional Widths and System Layout 406

Horizontal and vertical scaling 406

Baseline shift 406

Color 406

Character styles 407

Check Spelling 408

Find and Replace 409

Anti-aliasing 409

Paragraph palette 410

Alignment 411

Justification 411

Roman Hanging Punctuation 413

Indents and spacing 413

Hyphenation 414

Adobe Single-Line Composer and Every-Line Composer 415

Single-Line Composer 415

Every-Line Composer 415

Type on a Path 415

Type on a curved, open path 416

Type on a circle 417

Type inside a closed shape 419

Warping type 419

Type in a Smart Object 421

Type with Layer Styles 424

Vector versus Rasterized Type 429

Summary 429

Part V: Enhancing, Correcting, and Retouching 431 Chapter 14: Lightening, Darkening,and Changing Contrast  . .  433

Lightening 433

Using curves to lighten 434

Lightening broad areas with curves 435

Lightening generally targeted areas with curves 438

Lightening specifically targeted areas with curves 440

Lightening specific colors with curves 442

Lightening with Curves eyedroppers and color numbers 444

Lightening by entering color numbers in curves 446

Changing a curves lighten adjustment by readjusting curves settings 447

Reducing a curves lighten adjustment by reducing opacity 447

Confining a Curves lighten adjustment to a specific layer or set of layers 448

Lightening with curves without shifting color 449

Increasing a curves lighten adjustment with the Screen blending mode 449

Lightening with an original, unadjusted curve and the Screen blending mode 450

Increasing a lighten adjustment by duplicating Curves adjustment layers 450

Using duplicate layers and the Screen blending mode to lighten 451

Using Levels to lighten 452

Lightening broad areas with Levels 452

Lightening specifically targeted areas with Levels 454

Lightening specific colors with Levels 454

Lightening with Levels eyedroppers and color numbers 456

Lightening by entering color numbers in Levels 457

Changing a Levels adjustment 457

Using the Clone tool to lighten 457

Using the Dodge tool to lighten 459

Using an Exposure adjustment to lighten 459

Using the Shadows/Highlights command to lighten shadows 461

Using a Brightness/Contrast adjustment to lighten 461

Using a Black & White adjustment with Luminosity and a mask to lighten 462

Using layers with different content and a blending mode to lighten 462

Darkening 463

Using curves to Darken 463

Darkening broad areas with curves 464

Darkening generally targeted areas with curves 464

Darkening specific colors with curves 466

Darkening with Curves eyedroppers and color numbers 467

Darkening by entering color numbers in curves 469

Changing a Curves darken adjustment by readjusting curves settings 470

Reducing a Curves darken adjustment by reducing opacity 470

Confining a Curves darken adjustment to a specific layer or set of layers 470

Darkening with curves without shifting color 471

Increasing a Curves darken adjustment with the Multiply blending mode 471

Darkening with an original, unadjusted curve and the Multiply blending mode 472

Increasing a Darken adjustment by duplicating Curves adjustment layers 472

Using duplicate layers and the Multiply blending mode to darken 472

Using Levels to darken 473

Darkening broad areas with Levels 473

Darkening specifically targeted areas with Levels 474

Darkening specific colors with Levels 474

Darkening with Levels eyedroppers and color numbers 475

Darkening by entering color numbers in Levels 476

Changing a Levels adjustment 477

Using the Clone tool to darken 477

Using the Burn tool to darken 478

Using an Exposure adjustment to darken 478

Using the Shadows/Highlights command to darken highlights 480

Using a Brightness/Contrast adjustment to darken 480

Using a Black & White adjustment with Luminosity and a mask to darken 481

Using layers with different content and a blending mode to darken 481

Increasing Contrast and Detail 482

Using curves to increase contrast 482

Increasing contrast in broad areas with curves 483

Increasing contrast in generally targeted areas with curves 483

Increasing contrast in specifically targeted areas with curves 484

Increasing contrast in specific colors with curves 485

Increasing contrast with Curves eyedroppers and color numbers 487

Changing a Curves contrast adjustment by readjusting curves settings 487

Reducing a Curves contrast adjustment by reducing opacity 487

Confining a Curves contrast adjustment to a specific layer or set of layers 487

Increasing Contrast with curves without shifting color 488

Increasing contrast with an original, unadjusted curve and the Soft Light blending mode 488

Using Levels to increase contrast 489

Using the Clone tool to add contrast 489

Using the Dodge and Burn tools to increase contrast 489

Using a Brightness/Contrast adjustment to increase contrast 490

Decreasing Contrast and Detail 490

Decreasing contrast with curves 490

Decreasing contrast with Levels 491

Using layers with different content to decrease contrast 492

Using a Brightness/Contrast adjustment to decrease contrast 493

Summary 493

Chapter 15: Color Correctionand Color Changes  . .  495

Preparing to Work with Color 495

Check the image size and resolution 496

Consider working on a larger master file with preserved layers 496

Think about correcting full-color images in RGB or Lab color mode 496

Set the Color Settings appropriately 497

Create a soft-proof profile so you can proof the image on-screen as you work 498

Calibrate your monitor 498

Color Correction 499

Measuring color 499

Color numbers and color correction 501

Setting colors that should be neutral to neutral 503

Setting neutrals with Auto Color 503Setting neutrals with curves 504Adjusting memory colors 507Adjusting memory colors with Curves 508Using Hue/Saturation to adjust memory colors 509Color Changes 510Change colors by sampling and painting 511Changing a darker color to a lighter color 511Changing colors with adjustment layers 512Change colors with a Hue/Saturation adjustment layer 513Change colors with a Photo Filter adjustment layer 515Change colors with a Selective Color adjustment layer 515Change colors with a Black and White adjustment layer 515Change colors with the Replace Color command 516Change colors with the Color Replacement tool 517Change colors with filled selections or Fill layers 519Change colors with a Color Overlay style 520Change colors with gradients 521Using the Gradient Editor 521Change colors with Gradient Map 522Change colors with the Posterize command 524Change colors with Duotone mode 524Change colors with Lab-mode curves 527Change colors with the Match Color command 529Summary 532

Chapter 16: Transparency, Opacity, Silhouettes,

and Image Collages  . . .  533

Transparency and Opacity 533Making an image transparent 534Creating and painting on layer masks 538Silhouetting 539Combining Images into a Collage 543Custom collages using layers and layer masks 543Transforming objects in a collage 546Edit ➪ Free Transform 546Edit ➪ Transform ➪ Skew 547Edit ➪ Transform ➪ Distort 547Edit ➪ Transform ➪ Perspective 548Edit ➪ Transform ➪ Warp 549Edit ➪ Transform ➪ (Rotate or Flip) 550Collages of panoramas using the Photomerge command 550Collages to remove unwanted image content 553

Drawing the Eye to Certain Areas 554Use blur and sharpen 554Add contrast and reduce contrast 554Use color to draw attention 554Summary 556

Chapter 17: Noise, Grain, Dust, Pixelization, and Jagged Edges  . .  557

Get Rid of Overall Pixelated Look 557Reducing noise 558Despeckle 558Median 558Reduce Noise 559Anti-aliasing an image 560Fix Undesirable Edges 562Remove unwanted edge pixels 562Smooth jagged edge pixels 563Dust Removal 564Blurring 566Gaussian blur 566Lens blur 567Blur tool 569Summary 570

Chapter 18: Retouching and Restoring Digital Images . . .  571

Core Retouching Tools 572Clone Stamp 572Clone Source panel 575The Healing and Spot Healing Brushes 577Healing Brush 578Healing Brush options 579Spot Healing Brush 580Patch tool 580Magic and Background Eraser tools 582Magic Eraser tool 582Background Eraser tool 584Dodge and Burn tools 585Dodge 586Burn 587Sponge tool 587Content Aware Scaling 588Lens Correction 590Sample Retouching Workflows 597Image retouching 597Image restoration 597Summary 606

Part VI: Painting and Special Effects 609

Chapter 19: Painting  . .  611

Brushes and Tools That Work Like Brushes 612Painting tools 612Editing tools 613Dodge/Burn 613Sponge 614Sharpen/Blur 615Smudge 615Color Replacement 615Eraser 617Brush tool Options Bar 618Presets panel 619Brushes Panel 620Brush options 621Brush presets 621Brush tip shape 622Dynamic brush tips 624Shape Dynamics 625Additional dynamic settings 627Other settings 629Custom brushes 629Predefined brush sets 629Creating and saving brush sets 630Downloading brush sets 632Brushes Used with Blending Modes 632Painting Techniques 639Painting straight lines 639Undoing your strokes 640Creating Special Effects with Painting 641Painting with the Path tool 641Creating a chalkboard effect 643Summary 646

Chapter 20: Filters and Layer Styles  . . .  647

About Filters 648Using filters 648Previewing filter effects 648Repeatedly applying filters 650Using the Filter Gallery 650Fading and blending filters 651Destructive vs Nondestructive Workflows 651

Applying filters, the Smart way 652Blending and masking 653

Blurring and Sharpening 654Blur 655Smart Blur 655Other blur filters 656Sharpen 661Why sharpen? 661Working with sharpening filters 661Alternative sharpening techniques 665The Custom filter 665Using the High Pass filter 666Special Effects Filters 669Creating Clouds and Fire 672Clouds 672Playing with fire 679Summary 685

Chapter 21: Distortion Effects  . .  687

Liquify 687Distortion tools 688Distortion options 690Tool options 690Reconstruction 691Protecting parts of your image 691View options 692Vanishing Point 693Warping Objects 698Warping with the Transform tool 698Creating a custom Warp 698Using Warp presets 699Warping multiple layers 700Warping with Filters 700Lens Correction 700Other distortions 704Waves 708Ocean Ripple vs Ripple 708ZigZag 709Wave 710Bump Maps 713Summary 719

Chapter 22: Text Effects  . . .  721

Wood burn effect 721Bevel and Emboss 727Flaming Type 730Glows 734Textures 739Summary 742

Part VII: Color Management and Workflow 743

Chapter 23: Color Management  . .  745

Color Accuracy and Consistency 745ICC color profiles 746Embedding color profiles 746Device-dependent versus device-independent 747Calibrating Devices, Such as Monitors and Printers 747Specifying and Using Color Settings 749Color Settings 750Using color settings presets 750Loading and saving custom presets 750Working Spaces 751RGB profiles 751CMYK profiles 752Color Management Policies 752Description 752Advanced options 753Conversion Options 754Advanced Controls 755Assigning, converting, and embedding color profiles 755Synchronizing color using Bridge 756Printing Using Color Management 757Summary 759

Chapter 24: Designing for the Web  . . .  761

Exploring Web Workflows 761Preparing Images for the Web 763Web image file formats 763Web work area 764The demise of ImageReady 765Units and document resolution 765Color settings 765RGB color mode 766The sRGB color space 766Proofing color displays 766Slices 766Types of slices 769User slices 769Layer-based slices 769No-image slices 770Auto slices 770Setting slice options 771Changing slice types 772Dividing slices 772

Save for Web & Devices 773Optimize settings 775Conversion options 776Metadata 777Resizing images 777Animation 777Slices 778Device Central 778Previewing optimized images in a Web browser 779Saving files 780Optimizing images for the Web 782Optimizing GIF and PNG-8 images 782Color reduction 783Dithering options 783Transparency and matte settings 785Transparency dithering 786Interlaced images 787Optimizing JPEG and PNG-24 images 787Compressing JPEG images 787Transparency and matte settings for JPEG and PNG-24 788Interlaced PNG-24 and progressive JPEG images 788Zoomify 789Creating a Web Banner 790Creating an animated banner 791Using Tweens 798Creating a Web Page 800Summary 804

Chapter 25: Digital Workflow Overview and Automating Processes  . .  805

Digital Workflow Overview 805Adobe Camera Raw 806Histogram highlight and shadow clipping previews 807Saving ACR presets 808Synchronize 808Noise reduction and sharpening 808Photoshop Workflow Setup 808Preferences — General 808Preferences — File Handling 809Preferences — Performance 810Color management considerations 812Keyboard shortcuts and menus 812Custom workspaces 813File saving and naming tips 815Important file formats 815Naming your files 815General workflow sequence 816

Leveraging Photoshop layers 817Use adjustment layers 817Use Smart Object layers 818Use iterative image layers to stay non-destructive 818Leveraging history 819General editing tips 819Use the Fade command 819Experiment with brush dynamics 820Experiment with blending modes 820Photoshop’s Web features 820Save for Web 821Adobe Output Module 821General printing and proofing tips 822Page Setup 822Handling print color issues 823Profiling your printer and paper type 823Soft-proofing 823Automating Photoshop Processes 824Using Actions 824Understanding the Actions panel 825Creating a New Action 827Playing Actions 828Creating Droplets 828Batch processing Actions 830Photoshop scripts 831Image Processor 831Export Layers To Files 833Load Files into Stack 833Tips for sharing images 834File-sharing setup tips 834Metadata and keyword tips 836Summary 837

Part VIII: Video, 3D Images, and Technical Images 839

Chapter 26: Working with Video  . . .  841

Video and Animation in Photoshop 842Video formats 842Photoshop’s video tools 843The Animation panel 844Customizing the Animation panel 845Working with Images for Video 846Creating images for video 846Frame rates and duration 847Aspect ratios 848Color managing video files 849

Preparing video for use in After Effects 850Importing Video 850Using video layers 850Importing image sequences 852Placing video 853Using the Interpret Footage command 853Editing video and animation layers 854Transforming video layers 854Painting, drawing, and cloning 854Working with filters 856Set Work Area 857Setting layer In and Out points 857Lift Work Area and Extract Work Area 858Split Layer 858Creating Timeline Animations 859Adding and removing keyframes 859Navigating between keyframes 860Using Onion Skin mode 860Creating Frame Animations 862Adding and deleting frames 862Editing frame content 863Setting frame duration 863Creating in-between frames 863Specifying looping options 864Previewing and exporting frame-based animations 864Converting to Timeline animation 865Saving Video and Animations 865Previewing video on a video monitor 865Rendering video 866Summary 868

Chapter 27: Working with 3D Images  . .  869

3D Files in Photoshop 870Supported 3D file formats 870Opening and placing 3D files 8713D layers and the 3D panel 871Creating 3D objects in Photoshop 873Using the 3D Camera 875Positioning the camera numerically 877Camera presets 877Perspective versus orthographic views 877Saving custom views 877Working with 3D Models 878Setting Scene options 878

Transforming 3D models 882Using object position presets 883Using the 3D Axis widget 883Transforming meshes within a 3-D layer 884Colors and textures 886Types of textures 887Editing materials with the Layers panel 8883D Paint Mode 891Hiding and showing portions of a model 893Using materials presets 893Lighting 894Viewing and modifying a scene’s lighting setup 895Using Light Guides 896Light types 896Setting light attributes 897Using lighting presets 898Saving 3D files 899Generating high-quality renders 899Rasterize 3D layer 900Exporting meshes 900Summary 901

Chapter 28: Working with Technical Images  . . .  903

Using DICOM Medical Scans in Photoshop 903Opening DICOM files in Photoshop 904Open a DICOM image sequence 906Saving DICOM files 907MATLAB and Photoshop 908Enhanced Measurement and Counting 909Set measurement scale 909The Measurement Log panel 910Select data points 911Add a scale marker 911Counting 912Summary 914

Appendix A: Charts  . . .  917 Appendix B: Professional Resources  . . .  925 Appendix C: What’s on the CD?  . .  929 Index  . . .  933

Photoshop Professionals (NAPP), for continually providing learning opportunities and creative inspiration.

Special appreciation to the following artists/photographers who donated their work to this book: Simon Abrams

Brad Barker, 706-766-5158, zero22884@gmail.com

Christopher Angel Alasa, 404-869-6637, chris@sosyes.com

AJ Grier, www.theharleyartist.com, rtist@bellsouth.net

Bobby DeLane Poole, 706-266-8788, poole9005@comcast.net

Rod McClain, www.rodmcclainphotography.net

Will Cates

The Library of Congress and Carol Highsmith, the Carol Highsmith Collection

Simon Abrams: I would like to acknowledge the following people, places and things that provided

support, encouragement, and preservation of my sanity for the duration of this project:

Christopher Hayes, you really are the man, and I still want to be like you when I grow up.Evan Korth, thanks for the opportunities and the opened doors

Wii nights with the Harfenists

K-Dog Coffee Shop, for keeping the iced lattés and carrot cake in steady supply

My work family at Deutsch, Inc., the world’s greatest cheerleading squad

My entire family, thanks for the support You guys are the best

Dan Moughamian: I would like to especially thank my wife Kathy for her patience and love; my

parents for all the opportunities and support they have provide over the years; Len and Mike for helping a friend keep after his goals; Brian, for the opportunity to learn a lot about this business (and the road trips weren’t bad either — pass the carbs!); co-authors Stacy and Simon, as well as Stephanie, Chris, and everyone at Wiley who helped put this project together … thank you for the opportunity!

Wopportunity to author this edition, and we pay homage to the revered previous

Photoshop Bible authors: Photoshop-Hall-of-Famer Deke McClelland, the original author, and

Photoshop gurus Laurie Ulrich Fuller and Robert C Fuller

The Photoshop Bible traditionally has been the must-have comprehensive reference for Photoshop

users around the world It is the longest continuously published title on Photoshop, with more than 16 U.S Editions, dozens of translated editions, and more than a million copies in print worldwide

Who the Book Is For

This is an exciting time in the evolution of Adobe Photoshop, the world’s leading image-editing software, industry standard, and preventer of boredom I am convinced that you can never run out

of new things to do with Photoshop And if you need to do anything with images, especially on a professional basis, chances are you either already use or would benefit from using Photoshop It spans the gamut of users, from the home user retouching treasured family photos to the profes-sional user designing logos to the artist creating digital paintings for movies to NASA analyzing space mission photos And never before has Photoshop had so many features that make working with images easier, more productive, more creative, or more alluring

With this in mind, the Photoshop CS4 Bible is all new and includes information about the

Extended version of Photoshop, which has additional features that can help you do more with 3D images; video; and scientific, architectural, or geographic images We have endeavored to include

in this book all the most commonly used features, but unlike the style of Photoshop’s Help files,

we have incorporated our own experiences and opinions about features (whether positive or so-positive), put emphasis on the more important and useful aspects of features, and tried to describe features in a way that can be clear to even less-experienced users Hopefully, some of our perspectives will be helpful to you in gaining a better understanding of Photoshop and maybe even provide some ideas about new ways to use it No doubt, you also will discover your own unique ways to use this ground-breaking software

not-So, enjoy your trip into the world of Photoshop to learn about ways you can improve your work, hone your skills, and get things done But above all, take advantage of the creative possibilities of Photoshop, and have fun!

How the Book Is Organized

This book is organized into nine main parts

• Part I: Welcome to Adobe Photoshop CS4

• Part II: Working with Images

• Part III: Layers, Selections, Channels, and Curves

• Part IV: Paths, Shapes, and Text

• Part V: Enhancing, Correcting, and Retouching

• Part VI: Printing and Special Effects

• Part VII: Color Management and Workflow

• Part VIII: Video, 3D Images, and Technical Images

• Part IX: Appendixes

Each of these parts is broken down into several chapters

Part I

In Part I, Welcome to Adobe Photoshop CS4, four chapters are ready to introduce you to the damentals of the new incarnation of Photoshop:

fun-• Chapter 1: Working with Digital Images

• Chapter 2: The Photoshop Workspace, Preferences, and Tools

• Chapter 3: Finding and Processing Images with Bridge

• Chapter 4: Camera Raw Work Area

Part II

Working with Images, as Part II is called, contains three chapters that deal specifically with basic image treatment To get you started tweaking your images, check these topics out:

• Chapter 5: Creating New Images, Resizing, and Adjusting Resolution

• Chapter 6: Undoing Mistakes

• Chapter 7: Saving Files

Part III

Up the ante a bit with the more-involved information found in Part III: Layers, Selections, Channels, and Curves Three chapters in this Part will guide you through some essential tools to flesh out your basic knowledge:

• Chapter 8: Layers, Layer Masks, Blending Modes, and Smart Objects

• Chapter 9: Histograms, Levels, and Curves

• Chapter 10; Selections and Chanels

Part IV

Paths, Shapes, and Text are what Part IV is all about The three chapters here show you how to tweak vector shapes and text to suit the exact needs of your project

• Chapter 11: Working with Paths

• Chapter 12: Working with Vector Shapes

• Chapter 13: Working with Text

Part V

Part V, Enhancing, Correcting, and Retouching, contains five chapters with the image-editing niques you need to bring out the best in your photos and even salvage images that you may give

tech-up on otherwise

• Chapter 14: Lightening, Darkening, and Changing Contrast

• Chapter 15: Color Corrections and Color Changes

• Chapter 16: Transparency, Opacity, Silhouettes, and Image Collages

• Chapter 17: Noise, Grain, Dust, Pixelization, and Jagged Edges

• Chapter 18: Retouching and Restoring Digital Images

Part VI

In the sixth part of this book, Painting and Special Effects are the focus Four chapters walk you through techniques and effects that will lead you toward creating unique images

• Chapter 19: Painting

• Chapter 20: Filters and Layer Styles

• Chapter 21: Distortion Effects

• Chapter 22: Text Effects

Part VII

Color Management and Workflow, discussed in Part VII, is covered with three chapters The cesses discussed here will help you maximize your efficiency with workflows, and manage color and design appropriately for each project

pro-• Chapter 23: Color Mangement

• Chapter 24: Designing for the Web

• Chapter 25: Digital Workflow Overview and Automating Processes

Part VIII

Part VIII is appropriately entitled Video, 3-D Images, and Technical Images The last three chapters

of this book cover each of those topics, respectively

• Chapter 26: Working with Video

• Chapter 27: Working with 3-D Images

• Chapter 28: Working with Technical Images

Part IX

The ninth and final Part contains three appendixes of resources, letting you know what shortcuts and file formats that Photoshop supports, pointing you toward other sources for more specific information if by chance a specific question isn’t answered within this book, and a short explana-tion of what to expect on this book’s accompanying CD

• Appendix A: Charts

• Appendix B: Professional Resources

• Appendix C: What’s on the CD?

How to use this book

At over 1000 pages, this book may be intimidating! Don’t feel obligated to read it from front to back…it’s designed with desktop reference in mind Simply take a look at the Table of Contents or the Index for the topic you have in mind, and skip right to the chapters, even the sections, you need when you need them

Of course, if you’re brand-new to Photoshop (and CS4 is a wonderful time to begin) and feeling a bit lost, the beginning is a good place to start This book is written as a desktop reference, but the chapters do escalate in difficulty as their title numbers get higher The four chapters in Part I serve

as an excellent jumping-off point for newcomers, where you can familiarize yourself with

Photoshop’s workspace, enough tools to get you started, and customizing your own preferences so you can take charge of this robust program on your own terms

Don’t forget that you have access to the original files from some of the image-heavy chapters, such

as Chapters 6, 14, and 20 to name a few! The CD that accompanies this book contains digital images used in the book’s examples, so you can test out the techniques and experiment on files as soon as you put the CD into your computer and see exactly how we created the images shown in the book

Camera film and photographic prints are not yet things of the past,

and hopefully, there will always be a place for these beloved

medi-ums But humans continue to be endowed with certain irresistible

compulsions, not the least of which is the pursuit of convenience The

instant gratification of digital imaging, along with the improvement of its

quality, has contributed to making it the standard of today

On the downside, the convenience of this new technology comes with the

inconvenience of having to learn new things Thankfully, the eye-candy of

imagery — and, of course, the anticipation of knowing how to nefariously

alter friends’ photos — dulls the unpleasantness Some might even say it

makes it fun

About Digital Images

You can save digital images in many different file formats — for example,

JPEG and TIFF — but there are formats and types within the file formats

The characteristics and types of digital images are discussed in this chapter

so you can learn how to create the kind of images you need for specific

purposes

First, it is important to know that all digital images contain pixels, usually

square in shape, that describe their colors and brightness levels You can see

an image’s individual pixels on-screen if you zoom in and look at a

magni-fied version, as shown in Figure 1.1

IN THIS CHAPTER

About digital images Getting images into Photoshop Storing digital images

FIGURE 1.1

Some of the individual pixels in an image are magnified and shown here

Color and lightness qualities of digital images

The following terminology is helpful to know when learning about the types of digital images:

n Tonal range (or dynamic range) This term refers to the range of dark to light values in

an image, usually referred to as shadows, midtones, and highlights An image that tains all or most of the possible tones, rather than a smaller portion of the possible tones, usually appears more detailed and is said to have a large tonal range, or dynamic range Tones also may be referred to as levels or intensities

con-n Brightcon-ness, lightcon-ness, lumicon-nosity, lumicon-nacon-nce These terms refer to dark to light tocon-nal

characteristics, as opposed to color characteristics They can be thought of as describing the image as if the colors had been converted to blacks, grays, and whites

n Hue Hue is identified by the name of the color, such as red, orange, or green The

light-ness or darklight-ness of a color is thought of as separate from the hue Hue can be measured

on a location on the standard color wheel and expressed as a degree between 0° and 360°

n Color In many instances in Photoshop, color refers to the hue, as a separate quality from

dark to light tonal qualities For example, it is common to say, “The color in this image is good and needs to stay the same, but I need to make changes to the luminosity.”

But sometimes color refers to the overall qualities of a color — the hue component together with the lighter or darker components of the color For example, it is just as cor-rect to say, “I will use a darker blue color fo the type,” as it is to say, “I will use the same blue color but one that has a darker luminosity for the type.”

n Saturation The strength or purity of the color, or chroma, saturation represents the

amount of hue in the color compared to the amount of black, gray, or white in the color If

a color contains some black or gray, it may look darker, and/or muted; if iti contains some white, it may look lighter, muted, and/or pastel The maximum amount of hue, with no black, gray, or white mixed in, would be fully saturated and look like pure vivid color

NOTE In Photoshop, color is sometimes, and hue is always, thought of as a separate char- acteristic from the dark to light characteristics of an image.