Preface: Photoshop in the Real World |
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xxi | |
Ask Your Printer |
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xxii | |
Developing Your ``Spidey Sense'' |
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xxii | |
The Step-by-Step Stuff |
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xxii | |
History Is Important |
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xxiii | |
Whither Photography? |
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xxiii | |
The Depth of Understanding |
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xxiv | |
How the Book Is Organized |
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xxiv | |
This Edition |
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xxv | |
A Word to Windows Users |
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xxv | |
Thank You! |
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xxvi | |
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Building a Photoshop System |
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1 | (12) |
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1 | (10) |
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1 | (2) |
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3 | (3) |
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6 | (3) |
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9 | (2) |
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11 | (2) |
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Essential Photoshop Tips and Tricks |
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13 | (82) |
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Upgrading to a New Version |
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13 | (3) |
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14 | (2) |
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16 | (3) |
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19 | (7) |
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19 | (3) |
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22 | (3) |
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25 | (1) |
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26 | (7) |
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Guides, Grids, and Alignment |
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29 | (4) |
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33 | (5) |
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Keystrokes in Dialog Boxes |
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34 | (1) |
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35 | (1) |
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36 | (2) |
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38 | (2) |
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40 | (1) |
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41 | (1) |
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42 | (19) |
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45 | (2) |
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47 | (1) |
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48 | (2) |
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50 | (2) |
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52 | (5) |
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57 | (1) |
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58 | (2) |
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60 | (1) |
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61 | (12) |
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64 | (3) |
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67 | (4) |
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71 | (1) |
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72 | (1) |
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73 | (6) |
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79 | (7) |
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86 | (7) |
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87 | (6) |
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93 | (2) |
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Image Essentials: It's All Zeros and Ones |
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95 | (30) |
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95 | (2) |
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Sidebar: Words, Words, Words |
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97 | (1) |
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98 | (4) |
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98 | (1) |
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99 | (2) |
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101 | (1) |
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102 | (1) |
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103 | (1) |
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Sidebar: Terms of Resolution |
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104 | (8) |
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105 | (1) |
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Grayscale and Color Halftones |
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106 | (4) |
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Grayscale and Color Inkjet Output |
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110 | (1) |
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Grayscale and Color Continuous-Tone Output |
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111 | (1) |
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On-Screen Output (Multimedia and the Web) |
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111 | (1) |
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112 | (2) |
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Upsampling vs. Downsampling |
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112 | (2) |
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Sidebar: Image Size Dialog Box |
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114 | (2) |
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116 | (6) |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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120 | (1) |
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121 | (1) |
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122 | (3) |
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123 | (2) |
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Color Essentials: What Makes a Color |
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125 | (12) |
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126 | (2) |
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Additive and Subtractive Color |
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127 | (1) |
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128 | (1) |
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128 | (3) |
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Figuring Saturation and Brightness |
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129 | (1) |
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Tristimulus Models and Color Spaces |
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129 | (2) |
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How Colors Affect Each Other |
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131 | (1) |
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132 | (1) |
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Sidebar: Color Relationships at a Glance |
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133 | (4) |
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135 | (2) |
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Color Settings: Color Management |
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137 | (90) |
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138 | (1) |
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Color Management Systems Explained |
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138 | (5) |
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139 | (1) |
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140 | (3) |
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Color Management in Photoshop |
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143 | (2) |
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Working Spaces and Display Compensation |
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144 | (1) |
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145 | (1) |
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Working Spaces and Device Spaces |
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145 | (1) |
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Sidebar: Photoshop Color Management at a Glance |
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146 | (5) |
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Tagged and Untagged Images |
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148 | (2) |
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150 | (1) |
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Photoshop and the Monitor |
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151 | (1) |
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Sidebar: Evaluating Your Monitor |
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152 | (1) |
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Sidebar: Creating a Consistent Environment |
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153 | (1) |
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Sidebar: How White Are Your Whites? |
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154 | (7) |
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155 | (1) |
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155 | (2) |
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157 | (2) |
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159 | (1) |
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160 | (1) |
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161 | (4) |
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161 | (2) |
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163 | (1) |
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Presets Are Only Starting Points |
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164 | (1) |
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165 | (12) |
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Why Use RGB Working Spaces? |
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165 | (1) |
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Choosing an RGB Working Space |
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166 | (1) |
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167 | (4) |
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171 | (3) |
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174 | (3) |
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177 | (1) |
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Sidebar: Mac OS X and Profiles |
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177 | (1) |
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Choosing a CMYK Working Space |
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178 | (5) |
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Should You Use Custom CMYK? |
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179 | (1) |
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180 | (3) |
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Sidebar: Printing to Desktop Printers |
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183 | (2) |
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Sidebar: Canned vs. Custom Profiles |
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185 | (2) |
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Sidebar: Dot Gain: Coping with Midtone Spread |
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187 | (7) |
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Typical Custom CMYK Setups |
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193 | (1) |
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194 | (1) |
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Choosing a Gray Working Space |
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194 | (3) |
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195 | (2) |
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197 | (1) |
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Color Management Policies |
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198 | (9) |
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204 | (3) |
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Color Settings With More Options |
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207 | (3) |
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207 | (2) |
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209 | (1) |
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Sidebar: Black Is Black (or Is It?) |
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210 | (1) |
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211 | (1) |
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Applying Profiles Outside Color Settings |
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212 | (4) |
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213 | (1) |
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213 | (1) |
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214 | (2) |
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216 | (5) |
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217 | (3) |
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220 | (1) |
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Sidebar: CIE Limitations and Soft Proofing |
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221 | (1) |
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222 | (5) |
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222 | (3) |
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225 | (2) |
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Image Adjustment Fundamentals |
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227 | (98) |
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Stretching and Squeezing the Bits |
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228 | (4) |
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231 | (1) |
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Sidebar: Difference Is Detail: Tonal-Correction Issues |
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232 | (2) |
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234 | (1) |
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235 | (3) |
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235 | (1) |
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How Much Information Is Present? |
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236 | (1) |
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Histograms Are Generalizations |
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237 | (1) |
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238 | (3) |
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239 | (2) |
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More Tonal-Correction Tools |
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241 | (1) |
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241 | (5) |
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242 | (2) |
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244 | (2) |
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Sidebar: The Nonlinear Advantage |
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246 | (10) |
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247 | (2) |
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249 | (3) |
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252 | (4) |
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256 | (6) |
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262 | (5) |
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262 | (2) |
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264 | (1) |
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265 | (2) |
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Hands-On Levels and Curves |
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267 | (1) |
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267 | (2) |
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268 | (1) |
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269 | (14) |
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270 | (13) |
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Sidebar: Info Palette for Color |
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283 | (5) |
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Levels and Curves Compared |
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286 | (1) |
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286 | (2) |
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Sidebar: The Math Behind the Eyedroppers |
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288 | (6) |
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293 | (1) |
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294 | (1) |
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Hue, Saturation, and Lightness |
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295 | (17) |
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296 | (1) |
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The Master Panel Controls |
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296 | (3) |
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299 | (13) |
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312 | (1) |
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313 | (2) |
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315 | (1) |
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316 | (1) |
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317 | (5) |
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322 | (3) |
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322 | (1) |
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322 | (1) |
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323 | (1) |
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323 | (1) |
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323 | (1) |
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Invert, Equalize, Threshold, and Posterize |
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323 | (1) |
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324 | (1) |
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325 | (76) |
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Why Use Adjustment Layers? |
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326 | (2) |
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Why Not Use Adjustment Layers? |
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328 | (1) |
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328 | (6) |
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Creating Adjustment Layers |
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329 | (1) |
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Controlling Adjustment Layers |
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330 | (4) |
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334 | (2) |
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Selections, Masks, and Channels |
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336 | (7) |
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Why Digital Tape Is Better |
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337 | (3) |
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Digital Tape Is Convenient |
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340 | (3) |
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Advanced Adjustment Layers |
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343 | (7) |
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346 | (2) |
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348 | (2) |
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350 | (28) |
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Using Layer Blending Modes |
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351 | (1) |
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352 | (5) |
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Layer Blending in Practice |
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357 | (7) |
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364 | (7) |
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Letting the Image Edit Itself |
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371 | (7) |
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378 | (3) |
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381 | (7) |
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Combining the Pixel Layers |
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383 | (5) |
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History and Virtual Layers |
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388 | (13) |
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388 | (1) |
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389 | (2) |
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Combining Blend Modes with History |
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391 | (3) |
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394 | (7) |
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401 | (54) |
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402 | (1) |
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402 | (11) |
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404 | (2) |
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406 | (4) |
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410 | (1) |
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411 | (2) |
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413 | (4) |
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415 | (2) |
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Anti-Aliasing and Feathering |
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417 | (3) |
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418 | (1) |
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418 | (2) |
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420 | (6) |
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421 | (3) |
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424 | (2) |
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Sidebar: Selections from Channels |
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426 | (2) |
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427 | (1) |
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428 | (13) |
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428 | (2) |
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430 | (1) |
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431 | (3) |
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434 | (2) |
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436 | (5) |
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441 | (7) |
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441 | (1) |
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442 | (4) |
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446 | (2) |
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448 | (7) |
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A Simple, Hard-Edged Silhouette |
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448 | (1) |
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Pulling Selections from Channels |
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448 | (1) |
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Removing Spill with Preserve Transparency |
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448 | (4) |
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Enhancing Edges with Adjustment Layers |
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452 | (3) |
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Sharpness, Detail, and Noise Reduction |
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455 | (56) |
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456 | (1) |
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456 | (1) |
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457 | (1) |
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457 | (1) |
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How the Unsharp Mask Filter Works |
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458 | (5) |
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459 | (1) |
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460 | (1) |
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461 | (2) |
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463 | (1) |
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463 | (1) |
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Sharpening---Why, How, and When? |
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464 | (2) |
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465 | (1) |
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Sidebar: Image Detail and Sharpening Radius |
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466 | (4) |
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466 | (4) |
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Sidebar: Sharpening and the Display |
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470 | (1) |
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471 | (1) |
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471 | (9) |
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471 | (1) |
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472 | (4) |
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Controlling the Tonal Range |
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476 | (1) |
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476 | (4) |
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Sharpening Without Unsharp Mask |
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480 | (4) |
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481 | (3) |
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Techniques in the Workflow |
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484 | (3) |
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The First Sharpening Pass |
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484 | (1) |
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484 | (1) |
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485 | (2) |
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487 | (7) |
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Light Noise Reduction with Despeckle |
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487 | (2) |
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489 | (3) |
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492 | (2) |
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494 | (8) |
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Smart Sharpen Remove Modes |
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494 | (1) |
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495 | (1) |
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496 | (6) |
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502 | (8) |
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503 | (7) |
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510 | (1) |
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511 | (40) |
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Spot Colors from Photoshop |
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512 | (1) |
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513 | (9) |
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515 | (2) |
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Knocking Out vs. Overprinting |
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517 | (1) |
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518 | (3) |
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Saving Images with Spot Colors |
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521 | (1) |
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522 | (1) |
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Expanding the Tonal Range |
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522 | (1) |
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523 | (1) |
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523 | (4) |
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527 | (2) |
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527 | (1) |
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528 | (1) |
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529 | (3) |
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Expanding Highlights and Shadows |
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529 | (3) |
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Sidebar: Curves Is Curves |
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532 | (5) |
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532 | (1) |
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533 | (2) |
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535 | (1) |
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Compressing Tones for Targeting |
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536 | (1) |
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Turning Grayscale to Color |
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537 | (6) |
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Converting Grayscale Images to Color |
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541 | (2) |
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Simulating Spot Colors in CMYK |
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543 | (2) |
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545 | (1) |
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Sidebar: Converting from Duotone to CMYK Mode |
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546 | (5) |
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546 | (1) |
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547 | (1) |
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Printing Proofs of Spot-Color Images |
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548 | (3) |
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Building a Digital Workflow |
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551 | (120) |
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552 | (2) |
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552 | (1) |
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553 | (1) |
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Sidebar: The Digital Raw Workflow Quick Start |
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554 | (2) |
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Camera Raw, Photoshop, and Bridge |
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556 | (2) |
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557 | (1) |
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Camera Raw Static Controls |
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558 | (7) |
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558 | (4) |
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562 | (1) |
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The Histogram and RGB Readout |
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563 | (1) |
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564 | (1) |
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565 | (7) |
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566 | (3) |
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Loading and Saving Settings |
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569 | (1) |
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569 | (1) |
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570 | (1) |
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571 | (1) |
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572 | (2) |
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Camera Raw Workflow Controls |
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574 | (1) |
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Sidebar: Camera Raw and Color |
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575 | (1) |
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Camera Raw Image Controls |
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576 | (26) |
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577 | (7) |
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Working in the Adjust Tab |
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584 | (8) |
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592 | (3) |
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595 | (3) |
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598 | (3) |
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601 | (1) |
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602 | (4) |
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Saving Images in the Background |
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604 | (2) |
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606 | (1) |
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606 | (1) |
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607 | (8) |
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609 | (4) |
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613 | (2) |
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Sidebar: All About Metadata |
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615 | (1) |
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616 | (18) |
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Preferences and the Bridge Menu |
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616 | (4) |
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File Info and the File Menu |
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620 | (2) |
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Select, Find, and Edit with the Edit Menu |
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622 | (5) |
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Automation, the Cache, and the Tools Menu |
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627 | (1) |
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Labeling, Rating, and the Label Menu |
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628 | (2) |
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Bridge Display and the View Menu |
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630 | (2) |
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The Window Menu and Bridge Configuration |
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632 | (2) |
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634 | (1) |
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635 | (2) |
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635 | (1) |
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636 | (1) |
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636 | (1) |
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637 | (4) |
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637 | (1) |
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638 | (1) |
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639 | (1) |
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640 | (1) |
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Simplicity Is Its Own Strategy |
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640 | (1) |
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641 | (1) |
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641 | (1) |
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642 | (4) |
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643 | (2) |
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645 | (1) |
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646 | (1) |
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646 | (10) |
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646 | (3) |
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649 | (2) |
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Applying Camera Raw Settings |
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651 | (3) |
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654 | (1) |
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Applying Keywords and Metadata |
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655 | (1) |
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656 | (1) |
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656 | (1) |
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657 | (1) |
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657 | (4) |
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659 | (2) |
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661 | (7) |
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Simple Action---Save as JPEG |
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661 | (4) |
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Complex Action---Save for Edit |
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665 | (3) |
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668 | (1) |
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669 | (2) |
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Essential Image Techniques |
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671 | (112) |
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Taking Care of the Basics |
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671 | (1) |
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672 | (6) |
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678 | (6) |
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678 | (1) |
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679 | (2) |
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681 | (1) |
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682 | (2) |
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684 | (4) |
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686 | (2) |
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688 | (8) |
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689 | (3) |
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692 | (4) |
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696 | (17) |
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697 | (1) |
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The Healing Brushes and the Patch Tool |
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698 | (5) |
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703 | (3) |
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706 | (3) |
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709 | (1) |
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710 | (3) |
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713 | (11) |
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Extract: Quick `n' Dirty Masking |
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716 | (5) |
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721 | (3) |
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724 | (22) |
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725 | (2) |
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727 | (3) |
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Creating and Editing Paths |
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730 | (5) |
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735 | (1) |
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736 | (1) |
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736 | (1) |
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737 | (4) |
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Layer Clipping Paths and Shapes |
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741 | (5) |
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746 | (13) |
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751 | (8) |
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759 | (2) |
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Actions, Automate, and Scripting |
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761 | (22) |
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762 | (1) |
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763 | (2) |
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765 | (4) |
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769 | (1) |
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770 | (5) |
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775 | (2) |
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777 | (6) |
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783 | (80) |
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|
783 | (1) |
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784 | (2) |
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|
785 | (1) |
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Sidebar: Saving and Opening Images |
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|
786 | (5) |
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|
788 | (1) |
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|
789 | (2) |
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791 | (1) |
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|
791 | (1) |
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Sidebar: One File or Two? |
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792 | (2) |
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|
794 | (2) |
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796 | (17) |
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796 | (5) |
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Encapsulated PostScript (EPS) |
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|
801 | (5) |
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|
806 | (3) |
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PDF (Portable Document Format) |
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809 | (4) |
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File Formats for Multimedia and the Web |
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813 | (2) |
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813 | (1) |
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814 | (1) |
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|
814 | (1) |
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815 | (8) |
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|
823 | (5) |
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|
823 | (1) |
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824 | (2) |
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To Compress or Not to Compress |
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826 | (1) |
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|
827 | (1) |
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|
828 | (3) |
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|
831 | (1) |
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|
831 | (3) |
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|
832 | (2) |
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Sidebar: Overriding Screen Settings |
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|
834 | (6) |
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836 | (1) |
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|
837 | (3) |
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Sidebar: Making Halftones in Photoshop |
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840 | (2) |
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842 | (3) |
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|
845 | (14) |
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|
845 | (3) |
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|
848 | (6) |
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854 | (5) |
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859 | (1) |
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Imaging from a Page-Layout Program |
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|
859 | (3) |
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QuarkXPress, InDesign, and PageMaker |
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859 | (3) |
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862 | (1) |
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863 | (48) |
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864 | (7) |
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|
864 | (3) |
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|
867 | (2) |
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|
869 | (2) |
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|
871 | (17) |
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|
871 | (2) |
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|
873 | (1) |
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|
874 | (3) |
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|
877 | (7) |
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|
884 | (1) |
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|
885 | (1) |
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Other Save For Web Controls |
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|
886 | (1) |
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Let Photoshop Write Your HTML |
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|
887 | (1) |
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|
888 | (22) |
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|
888 | (9) |
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|
897 | (5) |
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|
902 | (2) |
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|
904 | (4) |
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|
908 | (2) |
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|
910 | (1) |
Production Notes |
|
911 | (3) |
Author! Author! Where to Reach Us |
|
914 | (1) |
Image Credits |
|
915 | (4) |
Index |
|
919 | |