Real World Adobe Photoshop CS2 : Industrial-Strength Production Techniques

by ;
Edition: 1st
Format: Paperback
Pub. Date: 2005-10-21
Publisher(s): Peachpit Press
List Price: $57.74

Rent Book

Select for Price
There was a problem. Please try again later.

New Book

We're Sorry
Sold Out

Used Book

We're Sorry
Sold Out

eBook

We're Sorry
Not Available

How Marketplace Works:

  • This item is offered by an independent seller and not shipped from our warehouse
  • Item details like edition and cover design may differ from our description; see seller's comments before ordering.
  • Sellers much confirm and ship within two business days; otherwise, the order will be cancelled and refunded.
  • Marketplace purchases cannot be returned to eCampus.com. Contact the seller directly for inquiries; if no response within two days, contact customer service.
  • Additional shipping costs apply to Marketplace purchases. Review shipping costs at checkout.

Summary

Fooling around with Photoshop to create interesting composite artwork is all well and good. But if you rely on Photoshop to meet tough production challenges in a fast-paced professional environment, fooling around won't cut it! You need results, and you need them now: This book delivers! In this copiously illustrated volume, best-selling authors David Blatner and Bruce Fraser offer scads of hands-on production techniques as well as clear explanations of the concepts that drive them, so that you can get the best results possible on your own Photoshop CS2 projects. You'll learn about managing color, getting great scans, correcting tones and colors, and more. You also find complete coverage of all of Photoshop CS2's newest features: integration with Adobe Bridge; Vanishing Point; super-tight integration with the rest of Adobe's Creative Suite 2; and more. Throughout, the emphasis is on efficiency: the time-saving tips and professional shortcuts that will allow you to work faster, smarter, and more creatively with Photoshop CS2.

Author Biography

David Blatner is an internationally known expert on Photoshop and QuarkXPress and is the author of numerous other books, including Real World QuarkXPress and Real World Adobe InDesign. David lectures on desktop publishing and multimedia at conferences and workshops around the world. Co-author, Bruce Fraser, is an internationally known authority on digital imaging and color reproduction. In addition to speaking and consulting on these topics, he is the author of Real World Camera Raw with Adobe Photoshop; the co-author of Real World Color Management, the definitive guide to color management systems; and a contributing editor for Macworld magazine and creativepro.com.

Table of Contents

Preface: Photoshop in the Real World xxi
Ask Your Printer xxii
Developing Your ``Spidey Sense'' xxii
The Step-by-Step Stuff xxii
History Is Important xxiii
Whither Photography? xxiii
The Depth of Understanding xxiv
How the Book Is Organized xxiv
This Edition xxv
A Word to Windows Users xxv
Thank You! xxvi
Building a Photoshop System
1(12)
Hardware
1(10)
Choosing a Platform
1(2)
RAM
3(3)
Virtual Memory
6(3)
Monitors
9(2)
The Power of Photoshop
11(2)
Essential Photoshop Tips and Tricks
13(82)
Upgrading to a New Version
13(3)
What's New in ``CS2''
14(2)
Windows
16(3)
Navigation
19(7)
Magnification
19(3)
Moving
22(3)
Navigator Palette
25(1)
Moving Pixels
26(7)
Guides, Grids, and Alignment
29(4)
Dialog Boxes
33(5)
Keystrokes in Dialog Boxes
34(1)
Previewing
35(1)
New Dialog Box
36(2)
Keyboard Shortcuts
38(2)
Menu Customization
40(1)
Workspaces
41(1)
Tools
42(19)
Tool Presets
45(2)
Eyedropper
47(1)
Gradient Tool
48(2)
Paint Brushes
50(2)
Cropping Tool
52(5)
Eraser Tool
57(1)
Measurement Tool
58(2)
Notes Tools
60(1)
Palettes
61(12)
Layers Palette
64(3)
Layer Comps Palette
67(4)
Info Palette
71(1)
Color Palettes
72(1)
Bridge
73(6)
Preferences
79(7)
When Things Go Worng
86(7)
The History Palette
87(6)
Easter Eggs
93(2)
Image Essentials: It's All Zeros and Ones
95(30)
Pixels and Paths
95(2)
Sidebar: Words, Words, Words
97(1)
Pixels and Images
98(4)
Dimension
98(1)
Bit Depth
99(2)
Image Mode
101(1)
Resolution
102(1)
How Much Is Enough?
103(1)
Sidebar: Terms of Resolution
104(8)
Line Art
105(1)
Grayscale and Color Halftones
106(4)
Grayscale and Color Inkjet Output
110(1)
Grayscale and Color Continuous-Tone Output
111(1)
On-Screen Output (Multimedia and the Web)
111(1)
Resampling
112(2)
Upsampling vs. Downsampling
112(2)
Sidebar: Image Size Dialog Box
114(2)
Image Mode
116(6)
Bitmap
117(1)
Grayscale
117(1)
Duotone
118(1)
Indexed Color
118(1)
RGB
119(1)
CMYK
120(1)
Lab
120(1)
Multichannel
121(1)
Bitmaps and File Size
122(3)
Figuring File Size
123(2)
Color Essentials: What Makes a Color
125(12)
Primary Colors
126(2)
Additive and Subtractive Color
127(1)
An Imperfect World
128(1)
The Color Wheel
128(3)
Figuring Saturation and Brightness
129(1)
Tristimulus Models and Color Spaces
129(2)
How Colors Affect Each Other
131(1)
Device-Independent Color
132(1)
Sidebar: Color Relationships at a Glance
133(4)
Lab Color
135(2)
Color Settings: Color Management
137(90)
Controlling Color
138(1)
Color Management Systems Explained
138(5)
CMS Components
139(1)
Conveying Color Meaning
140(3)
Color Management in Photoshop
143(2)
Working Spaces and Display Compensation
144(1)
The Conceptual Framework
145(1)
Working Spaces and Device Spaces
145(1)
Sidebar: Photoshop Color Management at a Glance
146(5)
Tagged and Untagged Images
148(2)
Proofing Simulations
150(1)
Photoshop and the Monitor
151(1)
Sidebar: Evaluating Your Monitor
152(1)
Sidebar: Creating a Consistent Environment
153(1)
Sidebar: How White Are Your Whites?
154(7)
Calibration Parameters
155(1)
Display Adjustments
155(2)
Profiling Tools
157(2)
Setting Aim Points
159(1)
Bad Monitor Profiles
160(1)
Color Settings
161(4)
Color Settings Presets
161(2)
Extra Presets
163(1)
Presets Are Only Starting Points
164(1)
The RGB Working Space
165(12)
Why Use RGB Working Spaces?
165(1)
Choosing an RGB Working Space
166(1)
Gamut Size Revisited
167(4)
Other RGB Working Spaces
171(3)
Custom RGB Spaces
174(3)
RGB Output
177(1)
Sidebar: Mac OS X and Profiles
177(1)
Choosing a CMYK Working Space
178(5)
Should You Use Custom CMYK?
179(1)
Editing Custom CMYK
180(3)
Sidebar: Printing to Desktop Printers
183(2)
Sidebar: Canned vs. Custom Profiles
185(2)
Sidebar: Dot Gain: Coping with Midtone Spread
187(7)
Typical Custom CMYK Setups
193(1)
Press Profile Families
194(1)
Choosing a Gray Working Space
194(3)
Custom Gray
195(2)
Spot Spaces
197(1)
Color Management Policies
198(9)
Profile Warnings
204(3)
Color Settings With More Options
207(3)
Conversion Options
207(2)
Advanced Controls
209(1)
Sidebar: Black Is Black (or Is It?)
210(1)
The Color Picker
211(1)
Applying Profiles Outside Color Settings
212(4)
Assigning and Converting
213(1)
Assign Profile
213(1)
Convert to Profile
214(2)
Soft-Proofing Controls
216(5)
Proof Setup Dialog Box
217(3)
Proof Setup Submenu
220(1)
Sidebar: CIE Limitations and Soft Proofing
221(1)
Converting at Print Time
222(5)
Print with Preview
222(3)
Print
225(2)
Image Adjustment Fundamentals
227(98)
Stretching and Squeezing the Bits
228(4)
Data Loss In Perspective
231(1)
Sidebar: Difference Is Detail: Tonal-Correction Issues
232(2)
Tonal-Correction Tools
234(1)
The Histogram Palette
235(3)
Endpoints
235(1)
How Much Information Is Present?
236(1)
Histograms Are Generalizations
237(1)
The Info Palette
238(3)
Palette Options
239(2)
More Tonal-Correction Tools
241(1)
Levels
241(5)
Input Levels
242(2)
Output Levels
244(2)
Sidebar: The Nonlinear Advantage
246(10)
Levels Command Goodies
247(2)
Levels in Color
249(3)
Auto Color
252(4)
Curves
256(6)
Color Concerns
262(5)
RGB or CMYK?
262(2)
When to Use CMYK
264(1)
When to Use RGB
265(2)
Hands-On Levels and Curves
267(1)
Sidebar: CMYK Myths
267(2)
Image Evaluation
268(1)
Sidebar: Why We Edit
269(14)
Evaluation Examples
270(13)
Sidebar: Info Palette for Color
283(5)
Levels and Curves Compared
286(1)
The Eyedroppers
286(2)
Sidebar: The Math Behind the Eyedroppers
288(6)
Freehand Curves
293(1)
Levels and Curves Redux
294(1)
Hue, Saturation, and Lightness
295(17)
Colorize
296(1)
The Master Panel Controls
296(3)
The Color Panel Controls
299(13)
Replace Color
312(1)
Selective Color
313(2)
Channel Mixer
315(1)
Photo Filter
316(1)
Shadow/Highlight
317(5)
Tools We Don't Use
322(3)
Color Balance
322(1)
Brightness/Contrast
322(1)
Match Color
323(1)
Gradient Map
323(1)
Exposure
323(1)
Invert, Equalize, Threshold, and Posterize
323(1)
Variations
324(1)
The Digital Darkroom
325(76)
Why Use Adjustment Layers?
326(2)
Why Not Use Adjustment Layers?
328(1)
Adjustment Layer Basics
328(6)
Creating Adjustment Layers
329(1)
Controlling Adjustment Layers
330(4)
Simple Adjustment Layers
334(2)
Selections, Masks, and Channels
336(7)
Why Digital Tape Is Better
337(3)
Digital Tape Is Convenient
340(3)
Advanced Adjustment Layers
343(7)
Copying Layer Masks
346(2)
Masking Techniques
348(2)
Beyond Adjustment Layers
350(28)
Using Layer Blending Modes
351(1)
Layer Blending Modes
352(5)
Layer Blending in Practice
357(7)
Complex Layer Blending
364(7)
Letting the Image Edit Itself
371(7)
Beyond Adjustment Layers
378(3)
Advanced Pixel Blending
381(7)
Combining the Pixel Layers
383(5)
History and Virtual Layers
388(13)
Virtual Layers
388(1)
History Tools
389(2)
Combining Blend Modes with History
391(3)
Print Optimization
394(7)
Making Selections
401(54)
Masking-Tape Selections
402(1)
Selection Tools
402(11)
Marquee
404(2)
Lasso
406(4)
Magic Wand
410(1)
Floating Selections
411(2)
Quick Masks
413(4)
Editing Quick Masks
415(2)
Anti-Aliasing and Feathering
417(3)
Anti-Aliasing
418(1)
Feathering
418(2)
Channels
420(6)
Alpha Channels
421(3)
Multidocument Channels
424(2)
Sidebar: Selections from Channels
426(2)
Color Channels
427(1)
The Select Menu
428(13)
Grow
428(2)
Similar
430(1)
Color Range
431(3)
Canned Colors
434(2)
Modify
436(5)
Selections and Layers
441(7)
Transparency Masks
441(1)
Layer Masks
442(4)
Layers as Masks
446(2)
Step-by-Step Selections
448(7)
A Simple, Hard-Edged Silhouette
448(1)
Pulling Selections from Channels
448(1)
Removing Spill with Preserve Transparency
448(4)
Enhancing Edges with Adjustment Layers
452(3)
Sharpness, Detail, and Noise Reduction
455(56)
Detail and Noise
456(1)
Lens Defects
456(1)
Sharpening
457(1)
Unsharp Masking
457(1)
How the Unsharp Mask Filter Works
458(5)
Amount
459(1)
Radius
460(1)
Threshold
461(2)
Everything's Relative
463(1)
Working the Controls
463(1)
Sharpening---Why, How, and When?
464(2)
Why We Sharpen
465(1)
Sidebar: Image Detail and Sharpening Radius
466(4)
When We Sharpen
466(4)
Sidebar: Sharpening and the Display
470(1)
The Sharpening Workflow
471(1)
Sharpening Techniques
471(9)
Sharpening Layers
471(1)
Edge Masking
472(4)
Controlling the Tonal Range
476(1)
Sharpening Brushes
476(4)
Sharpening Without Unsharp Mask
480(4)
High-Pass Sharpening
481(3)
Techniques in the Workflow
484(3)
The First Sharpening Pass
484(1)
Creative Sharpening
484(1)
Output Sharpening
485(2)
Noise Reduction
487(7)
Light Noise Reduction with Despeckle
487(2)
The Reduce Noise Filter
489(3)
Using Reduce Noise
492(2)
Smart Sharpen
494(8)
Smart Sharpen Remove Modes
494(1)
Advanced Mode
495(1)
Smart Sharpen in Action
496(6)
Lens Correction
502(8)
Lens Filter Controls
503(7)
Avoiding the Crunchies
510(1)
Spot Colors and Duotones
511(40)
Spot Colors from Photoshop
512(1)
Spot-Color Channels
513(9)
Applying Spot Colors
515(2)
Knocking Out vs. Overprinting
517(1)
Building Traps
518(3)
Saving Images with Spot Colors
521(1)
Multitone Images
522(1)
Expanding the Tonal Range
522(1)
Colorizing Images
523(1)
Photoshop's Duotones
523(4)
Adjusting Screen Colors
527(2)
Adjusting Colors
527(1)
Overprint Colors
528(1)
Setting Curves
529(3)
Expanding Highlights and Shadows
529(3)
Sidebar: Curves Is Curves
532(5)
Creating the Curves
532(1)
The Info Palette
533(2)
Unthinkable Curves
535(1)
Compressing Tones for Targeting
536(1)
Turning Grayscale to Color
537(6)
Converting Grayscale Images to Color
541(2)
Simulating Spot Colors in CMYK
543(2)
Saving and Outputting
545(1)
Sidebar: Converting from Duotone to CMYK Mode
546(5)
Screen Angles
546(1)
Printing Order
547(1)
Printing Proofs of Spot-Color Images
548(3)
Building a Digital Workflow
551(120)
Digital Raw Formats
552(2)
What Is a Raw Capture?
552(1)
Why Shoot Raw?
553(1)
Sidebar: The Digital Raw Workflow Quick Start
554(2)
Camera Raw, Photoshop, and Bridge
556(2)
Camera Raw Anatomy
557(1)
Camera Raw Static Controls
558(7)
The Tool Palette
558(4)
The Preview Controls
562(1)
The Histogram and RGB Readout
563(1)
The Settings Menu
564(1)
The Camera Raw Menu
565(7)
Preferences
566(3)
Loading and Saving Settings
569(1)
Export Settings
569(1)
Use Auto Adjustments
570(1)
Setting Camera Defaults
571(1)
The Main Control Buttons
572(2)
Camera Raw Workflow Controls
574(1)
Sidebar: Camera Raw and Color
575(1)
Camera Raw Image Controls
576(26)
The Adjust Tab
577(7)
Working in the Adjust Tab
584(8)
The Detail Tab
592(3)
The Lens Tab
595(3)
The Curve Tab
598(3)
The Calibrate Tab
601(1)
Filmstrip Mode
602(4)
Saving Images in the Background
604(2)
Adobe Bridge
606(1)
Launching Bridge
606(1)
Bridge Windows
607(8)
Bridge Tools and Buttons
609(4)
Bridge Palettes
613(2)
Sidebar: All About Metadata
615(1)
Bridge Menu Commands
616(18)
Preferences and the Bridge Menu
616(4)
File Info and the File Menu
620(2)
Select, Find, and Edit with the Edit Menu
622(5)
Automation, the Cache, and the Tools Menu
627(1)
Labeling, Rating, and the Label Menu
628(2)
Bridge Display and the View Menu
630(2)
The Window Menu and Bridge Configuration
632(2)
Working in Bridge
634(1)
Workflow Principles
635(2)
Doing Things Once
635(1)
Do Things Automatically
636(1)
Be Methodical
636(1)
Planning and Strategy
637(4)
Bridge Cache
637(1)
Strategies for Settings
638(1)
What's in a Name?
639(1)
Ratings and Labels
640(1)
Simplicity Is Its Own Strategy
640(1)
Workflow Phases
641(1)
Image Ingestion
641(1)
Image Verification
642(4)
Feeding the Cache
643(2)
Interrupting the Cache
645(1)
Caching Multiple Folders
646(1)
The Preproduction Phase
646(10)
Selecting and Editing
646(3)
Rating and Labeling
649(2)
Applying Camera Raw Settings
651(3)
Sorting and Renaming
654(1)
Applying Keywords and Metadata
655(1)
The Production Phase
656(1)
Background Processing
656(1)
Automated Conversions
657(1)
Using Batch
657(4)
Rules for Batching Files
659(2)
Recording Batch Actions
661(7)
Simple Action---Save as JPEG
661(4)
Complex Action---Save for Edit
665(3)
Running Batch
668(1)
Make the Work Flow
669(2)
Essential Image Techniques
671(112)
Taking Care of the Basics
671(1)
The Color of Grayscale
672(6)
Line Art
678(6)
Scanning in Grayscale
678(1)
Resolution
679(2)
Sharpening
681(1)
Thresholding
682(2)
Rescreens
684(4)
Frequency Considerations
686(2)
HDR Imaging
688(8)
Merge to HDR
689(3)
Downsampling HDR Images
692(4)
Retouching
696(17)
Dustbusting
697(1)
The Healing Brushes and the Patch Tool
698(5)
Dust and Scratches
703(3)
The Clone Stamp Tool
706(3)
Red-Eye
709(1)
Perspective Retouching
710(3)
Compositing Images
713(11)
Extract: Quick `n' Dirty Masking
716(5)
Photomerge
721(3)
Vectors vs. Pixels
724(22)
Open vs. Place
725(2)
Smart Objects
727(3)
Creating and Editing Paths
730(5)
Paths to Selections
735(1)
Selections to Paths
736(1)
Rasterizing Paths
736(1)
Clipping Paths
737(4)
Layer Clipping Paths and Shapes
741(5)
Text and Typography
746(13)
Text Formatting
751(8)
Filters and Effects
759(2)
Actions, Automate, and Scripting
761(22)
Actions
762(1)
Keep in Mind
763(2)
Actions Basics
765(4)
Troubleshooting Actions
769(1)
Automated Workflows
770(5)
Using Variables
775(2)
Scripting Photoshop
777(6)
Image Storage and Output
783(80)
Storing Images
783(1)
Save As Options
784(2)
Save Options
785(1)
Sidebar: Saving and Opening Images
786(5)
Color Options
788(1)
Image Preview Options
789(2)
File Formats
791(1)
Photoshop
791(1)
Sidebar: One File or Two?
792(2)
Sidebar: TIFF vs. EPS
794(2)
File Formats for Print
796(17)
TIFF
796(5)
Encapsulated PostScript (EPS)
801(5)
DCS
806(3)
PDF (Portable Document Format)
809(4)
File Formats for Multimedia and the Web
813(2)
PICT
813(1)
CompuServe GIF
814(1)
JPEG
814(1)
Niche File Formats
815(8)
Compressing Images
823(5)
Lossless Compression
823(1)
Lossy Compression
824(2)
To Compress or Not to Compress
826(1)
Archiving
827(1)
File Metadata
828(3)
Output Methods
831(1)
Contone vs. Halftone
831(3)
Halftones
832(2)
Sidebar: Overriding Screen Settings
834(6)
Contone Output
836(1)
Hybrid Color Screening
837(3)
Sidebar: Making Halftones in Photoshop
840(2)
Image Differences
842(3)
Imaging from Photoshop
845(14)
Print with Preview
845(3)
Output Options
848(6)
Color Management Options
854(5)
Using an Online Service
859(1)
Imaging from a Page-Layout Program
859(3)
QuarkXPress, InDesign, and PageMaker
859(3)
Getting It Out
862(1)
Multimedia and the Web
863(48)
Preparing Images
864(7)
Tone
864(3)
Color
867(2)
Resolution
869(2)
Saving Your Images
871(17)
On-Screen File Formats
871(2)
Save For Web
873(1)
JPEG
874(3)
GIF
877(7)
PNG Images
884(1)
WBMP Images
885(1)
Other Save For Web Controls
886(1)
Let Photoshop Write Your HTML
887(1)
MoreWebTools
888(22)
Slices
888(9)
Indexed Colors
897(5)
Web Colors
902(2)
Web Photo Gallery
904(4)
The Animation Palette
908(2)
The Future of Publishing
910(1)
Production Notes 911(3)
Author! Author! Where to Reach Us 914(1)
Image Credits 915(4)
Index 919

An electronic version of this book is available through VitalSource.

This book is viewable on PC, Mac, iPhone, iPad, iPod Touch, and most smartphones.

By purchasing, you will be able to view this book online, as well as download it, for the chosen number of days.

Digital License

You are licensing a digital product for a set duration. Durations are set forth in the product description, with "Lifetime" typically meaning five (5) years of online access and permanent download to a supported device. All licenses are non-transferable.

More details can be found here.

A downloadable version of this book is available through the eCampus Reader or compatible Adobe readers.

Applications are available on iOS, Android, PC, Mac, and Windows Mobile platforms.

Please view the compatibility matrix prior to purchase.