booklet adobe photoshop cs6 lbv

8/13/2019 Booklet Adobe Photoshop Cs6 Lbv

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AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopCS6

LEARNBY VIDEOCORE TR AINING IN VIS UAL COMMUNICATION


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Adobe Photoshop CS6: Learn by Video: Core raining in Visual Communicationvi2in GmH Kll McChn

Copyright 2012 by video2brain GmbH

Peachpit Press

1249 Eighth Street

Berkeley, CA 94710

510/524-2178 510/524-2221 (fax)

Find us on the Web at www.peachpit.comTo report errors, please send a note to [email protected]

Peachpit Press is a ivision of Pearson Eucation.

Adobe Photoshop CS6: Learn by Video: Core raining in Visual Communicationis published in

association with Adobe Press.

For the latest on Adobe Press books, go to ww w.adobepress.com

Acquisitions Editor: Victor Gavenda

Project Editor: Tracey Croom

Media Producer: Eric Geoffroy

Proofreaer: Liz Welch

Package design: Charlene Charles-WillPackage imagery: Provided by Adobe Systems Inc.

Book interior design: Danielle Foster

Notice o RightsAll rights reserve. No part of this v ieo training book may be reprouce or transmie in any form by any

means, electronic, mechanical, photocopying , recoring, or otherwise, without the prior wrien permis-

sion of the publisher. e soware an meia les on this i sc are copyrighte by the authors an Peachpit .You have the non-exclusive right to use these programs an les. You may use them on one computer at a

time. You may not transfer the les from one computer to another over a network . You may transfer the les

onto a single har isk so long as you can prove owner ship of the original isc . For information on geingpermission for reprints an excerpts, contact [email protected]

Notice o Liabilitye information in this vieo training book is is tribute on an As Is basis, without warranty. While

every precaution has been taken in the preparation of the vieo training book, nei ther the trainers nor

video2brain GmbH nor Peachpit shall have any liability to any person or entity with respect to any loss or

damage caused or alleged to be caused directly or indirectly by the instruction s contained in this video

training book or by the computer soware an harware proucts escribe in it.

rademarksAobe Photoshop is a traemark or registere traemark of Aobe Systems Incorporate in the Unite

States an/or other countries. All rights reserve. Many of the esignations use by manufacturers an

sellers to distinguish their products are claimed as trademarks . Where those designations appear in this

vieo training book, an Peachpit was aware of a traemark claim, the esignations appear as requeste bythe owner of the traemark. All other prouct names an services ientie throughout this vieo training

book are use in eitorial fashion only an for the benet of such companies with no intention of inf ringe-ment of the traemark. No such use, or the use of any trae name, is intene to convey enorsement or

other affiliation with this video training book.

ISBN-13: 978-0-321-84071-4

ISBN10: 0-321-84071-2

9 8 7 6 5 4 3 2 1

Printe an boun in the Unite States of America


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1 Introducing Photoshop CS6

1.1 Introduction

1.2 How to Launch the Files an Lessons

1.3 What Is Photoshop: Raster vs. Vector

1.4 Whats New in Photoshop CS6

(Overview)

1.5 e Photoshop Family

1.6 Touring the Interface an Managing

Document Windows

1.7 e Winow > Application Frame(Mac Only)

1.8 Zooming and Navigating

1.9 Advanced Zooming and Navigating

1.10 Creating, Opening, Eiting,

and Saving

2 Photoshop Project Explorations

2.1 Using Multiple Unos an theHistory Brush Tool

2.2 Redesigned Mini Bridge

2.3 Adobe Bridge and Batch Renaming

2.4 Removing Unwante Objects with

Content-Aware Fill

2.5 Content-Aware Move, Patch,

and History Brush Tools

2.6 Plug-ins a.k.a . Filters/Up in Smoke

2.7 Automatic Color Correction

2.8 Flawless Faces: Women

2.9 Flawless Faces: Men

2.10 Cropping and Straightening an Image

2.11 Content-Aware Scaling

2.12 Making Selections

3 Customizing Photoshop

3.1 Uner the Hoo: New Auto

Recovery, Customizing the Interface

an Hien Plug-ins (Filters)

3.2 Arranging Panels, Switching Screen

Modes, and Saving a Custom

Workspace

3.3 Customizing Keyboar Shortcuts

3.4 Customizing Photoshops Menus

3.5 Optimizing Photoshops

Performance: GPU, CPU, RAM,

VRAM and More

3.6 Rulers, Guides, and Grids

4 Image Editing Concepts

4.1 Resolution, File Size, an

Compression

4.2 RGB vs. CMYK

4.3 Importing Camera Images

4.4 Reviewing and Rating Images

4.5 Organizing Your Image Library

4.6 Nondestructive Editing

4.7 Selections: Rectangular and Elliptica

4.8 Selections: e Lasso an Polygona

Lasso Tools

4.9 Selections: e Magic Wan Tool

4.10 Selections: e Quick Selection Too

an Rene Ege

4.11 Using Rene Ege for Image

Extraction

4.12 Converting to Black-and-White

AdOBE PHOTOSHOP CS6: LEARN BY VIdEO

DVD Contents


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5 Ls n Msks

5.1 Removing Solid Backgrounds

5.2 Overview of Layers

5.3 Aing New Layers

5.4 Merging Two Images for One Perfect

Shot

5.5 Layer Masks, the Key to Flawless

Retouching

5.6 Creating Special Effects with

Layer Masks5.7 Correcting Color an Contrast Using

a Layer Mask

5.8 Using Layer Styles

5.9 Changing Colors Using Layers

6 Photo Retouching

6.1 Removing Red-Eye

6.2 Skin Perfection, Eye Brightening, an

Double-Chin Removal

6.3 Creating Hollywoo Skin

6.4 Realist ic Retouching Using the

History Panel

6.5 Dodging and Burning to

draw Aention

6.6 Differences in the Primary

Retouching Tools

6.7 Repairing Skin to New Layers

6.8 Did the Makeup Artist Go Too Far?

6.9 Drop 10 Pounds Without Dieting

Using the Liquify Tool

7 Creating Beautiul Digital

Images with Adobe Camera Raw

7.1 What Is Adobe Camera Raw and

What Files Can It Correct?

7.2 Reaing a Histogram an Using

the Info Panel

7.3 Reading and Applying Metadata

7.4 Creating Metadata Templates

7.5 Removing Color Casts and Improving

Contrast With ACR7.6 Correcting a Series of Photos an the

Image Processor

7.7 Cropping in Adobe Camera Raw

7.8 Boosting Color With Adobe

Camera Raw

7.9 Selective Color in Adobe Camera

Raw

7.10 Painting in Corrections with the

Adjustment Brush

7.11 Using the Targete Ajustment Tool

8 Working with ype andCing Mck-Ups

8.1 Typography in Photoshop

8.2 e Character Panel

8.3 e Paragraph Panel

8.4 Creating and Sharing Paragraph

Styles

8.5 Character Styles

8.6 Creating Mobile Buons

iv dV d CONTENTS

DVD Contents


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8.7 e Coolest Keyboar Shortcuts for

Formaing Text

8.8 Using Guies an Layer Groups to

Perfect the Layout

8.9 Avance Blening Options for Type

9 3D and Video Editing

9.1 Making Text 3d

9.2 Creating a 3d Object

9.3 Creating a 3D Title Sequence9.4 Video Editing in Photoshop

9.5 Adding Video Transitions

10Just or Fun

10.1 e Tourist & Car Remover

10.2 Creating Seamless Panoramic Images

10.3 Cropiy Crop, Crop, Crop

10.4 Cropping to Ratios, Fixe Sizes,

and Resolution

10.5 Perspective Crop Tool

10.6 Adaptive Wide Angle Correction

10.7 Blurring for Focus or Optical Illusion

10.8 Cool Lighting Eects

10.9 Warping Images

10.10 Puppet Warp

10.11 e Clone Stamp Tool

10.12 Merging High Dynamic

Range Images

10.13 Vanishing Point

10.14 Using Blening Moes an Aing

a Mask

11 Outputting Your Images

11.1 Building a Web Photo Gallery

11.2 Creating a Contact Sheet

11.3 Saving Images for the Web

11.4 Color Seings

11.5 Preparing Press-Quality Images

11.6 Printing Images

12Artistic Expression andSpecial Eects

12.1 Turn Your Photo Into a Work of Art

with Oil Paint

12.2 Creating Han-Painte Artwork from

a Photo with the Mixer Brush

12.3 Using Aobe Camera Raw for

Painterly Effects

12.4 Creating Abstract Artwork with

the Art History Brush

12.5 Using Actions for Special Eects

12.6 Record Your Hand-Drawn

Painting

12.7 Create a Cartoon Avatar Using the

Filter Gallery

12.8 Creating an Applying Paerns

13Closing houghts13.1 Closing oughts



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Introduction vii

Copyrighting Your Digital Images 1

Nondestructive Image Editing 5

Nondestructive Image Editing

with Ajustment Layers . . . . . . . . . . 6

Working with Smart Filters . . . . . . . . 9

Nondestructive Image Sharpening . . .12

Adjusting Shadows and Highlights . . .14

ips & ricks 17

Tips for Working with Rulers,

Guides, and the Grid . . . . . . . . . . . .18

Using the History Panel Feature . . . . .19

Saving Memory with Adjustment

Layers . . . . . . . . . . . . . . . . . . . .20

Enlarging JPEG Images . . . . . . . . . .21

Printing a Har Proof . . . . . . . . . . .22

Glossary 25

vi BOOKLET CONTENTS

Booklet Contents


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Introduction


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About Tis Book

e material in this booklet serves as a valuablesupplement to the vieo training. e rst chap-

ter explains what you nee to know about copy-

right and how it applies to your digital images.

e secon chapter looks at one of the most

important principles you need to understand

when working with Photoshop: nondestructive

image editing. Finally, the third chapter provides

some valuable tips and tricks to help make your

work in Photoshop CS6 easier.

Hw Us Tis Cus

e vieo2brain interface is easy to use, but it

also has a large number of options. Weve pro-

vie this brief guie to give you a tour of the

interface an make sure you ont miss out on

any of its features.

is course comes in a few ierent avors. You

can run the Mac application (labele Start or

Start .app) or the Winows application (.exe)

le, or you can open start .html in your browser.

Most people will use one of the application

versions of the course. If youre working with an

operating system that oesnt support one of

these two options, such as Linux, the browser

version is a great alternativeit works on

any browser with a current version of Aobe

Flash. e main ierence between running

the course as an application versus opening it

in your browser is that the application versions

include an option, discussed in more detail later

in this guide, called Watch-and-Work mode.

Watch-and-Work mode lets you watch the course

Welcome toAdobe Photoshop CS6Learn by Video

Aobe Photoshop CS6 is the most powerful

Photoshop yet, with remarkable video and

3D capabilities, new character and paragraph

styles, a reesigne interface, an many more

new an enhance features. In this vieo train-

ing course youll get comprehensive coverage

of all its features, ol an new.

e course begins with a series of Project Explo-rations that demonstrate what Photoshop CS6

can o. en youll get a tour of the interface,

see how to customize it to suit the way you

work, and learn core image editing concepts

like color modes, nondestructive editing, selec-

tions, layers, masks, and more.

Aer mastering these basics, youll have the

opportunity to learn avance skills for photo

retouching, aing an formaing type, work-

ing with video and 3D, and creating artistic

eects. An of course youll get lots of tips for

sharing your images by puing them on the

web or by making prints or contact sheets.

e lessons are wrappe in a feature-r ich

interface that lets you jump to any topic an

bookmark iniviual sections for later review.

Full-Screen moe provies a hi-ef, immersiveexperience, an Watch-an-Work moe shrinks

the video into a small window so you can play

the vieos alongsie your application. is

course also inclues project les so you can

follow along an try out new techniques as you

learn them.

viii INTROdUCTION

Introduction


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Entering a wor or phrase in the Search el

in the upper right of the screen will search

the courses titles an escriptive text to hel

you n what youre looking for.

Starting the Course

When youre ready to dive in, you have several

options for how to get star te:

To begin at the beginning and play all the

way through, click Play All Videos.

To access a list of every vieo available in thtraining, click Table of Contents.

To start with Chapter 1 (or any chapter that

appeals to you), click the chapter name on

the le of your screen.

You can navigate the Table of Contents an

Chapter views using your mouse, or using the

keyboar to arrow up an own, le an right.

When youve selected a movie, you can press

the right arrow to play that movie.

in a smaller winow while you follow along in

another application. is option oesnt exist in

the browser version of the course.

Whether youre using the application or brow-

ser version, when you rst launch the course,

you will see the Welcome screen.

he Welcome Screen

From here, there are a few ways you can

proceed:

Click the Play icon in the mile of the

screen to watch a video that introduces you

to the instructor(s) an gives you an over-

view of whats covere in the course.

For onscreen help and a users manual, click

either the Help item on the menu at the top

of your screen or the Nee Help item at theboom of the Content panel. You can also

access help by pressing F1 on your keyboard.


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x INTROdUCTION

Navigating Inside a Video

While watching a vieo, you can use the buonsalong the boom right of your screen to toggle

both Full-Screen mode 1 and video smoothing

2 on and off. You can adjust the volume 3

from here as well. You can also click an rag

the green line 4 in the timeline at the boom

of the screen to move aroun within the vieo.

When the vieo ens, click the Next Vieo but-

ton at the top right of the winow to go irectly

to the next lesson. (is will happen automati-

cally if you clicke Play All Chapter Vieos to

launch the chapter.) At the en of a chapter, this

option will change to Next Chapter. You can

also click Training Content at any time to leave

the player and choose another lesson or click

the navigation bar near the top of the screen to

access the table of contents.

In the Table of Contents or Chapter view, any

time you move your mouse over the name of a

chapter or vieo, text escribing the contents

of that item will appear on the right sie of your

screen. is area is known as the Siebar an is

iscusse in etail on the next page.

If you click the name of a chapter, youll see a

list of all the vieos in that chapter. Choose the

video you want to start with or click Play All

Chapter Vieos to start with the rst vieo in

the chapter and go all the way through.

Keyboard SHortCUtS for tHe PLayer

Spacebar:Play/pause

Right Arrow:Jump forwar

Lef Arrow:Jump backward

ab:Show/hide Sidebar

B:Add bookmark

M:Show/hide navigation bar

Esc:Turn off Full-Screen mode

4 3 2 1

Introduction


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About video2brain

vieo2brain (vieo2brain.com) has beenEuropes premier source for vieo training

since 2002. We produce high-quality English,

German, French, and Spanish video training

on a variety of soware topics, with a special

emphasis on graphics, web design, photogra-

phy, an programming. Our customers inclue

people just starting out, professionals, euca-

tional institutions, and global corporations as

well as home enthusiasts.

All of our courses are available in 1280 x 720

Hi-def vieo, with a full-screen moe that

creates an immersive learning experience. ey

also include an interactive, easy-to-use inter-

face; custom bookmarks that let you annotate

your course an remember where you le o;

an Watch-an-Work moe, so you can prac-

tice as you learn.

Were passionate about teaching and about

helping you buil exceptional skills so you can

create extraorinary work. Our mission is to

provide the best and most affordable video

training possible, an to oer you a feature-r ich

learning environment aimed at enhancing the

eectiveness of our training.

vieo2brain was foune by Gerhar Koren,

a v2b trainer himself. Our home oce isnestle among the mountains of the Austrian

Alps in the city of Graz, a stuent city with six

universities.

au Kll McChn

Kelly McCathran hasbeen teaching Adobe

applications since 1992

and computer classes

since 1989. Shes an

Aobe Certie Instruc

tor in InDesign, Photo-

shop, Illustrator,

Acrobat, an PageMaker. Kelly has travele

North America and abroad, teaching applica-tions to the largest printshops and ad agencies

in the world. In addition to creating video train

ing for vieo2brain.com, Kelly is the co-foune

of onlineinstruct.com.

AdOBE PHOTOSHOP CS6: LEARN BY VIdEO x

About the Authors


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Copyrighting YourDigital Images


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2 COPYRIGHTI NG YOUR dIGITAL IMAGES

Copyrighting Basics

Copyright is the exclusive legal right, grante to

you by law (title 17, U. S. Coe), to control

the reproduction, distribution, public display,

an erivative use of your original works of

authorship, an to sue for unauthorize use(infringement) of your work.

Copyright literally means the right to copy.

is right begins the moment your original work

is create in a xe, tangible form. In other

words, you automatically own the copyright

to your creative works. Copyright protection is

available for both publishe an unpublishe

works. Copyrightable works include anything

that ts into one of these categories:

Literary works (incluing computer pro-

grams)

Musical works (incluing any accompanying

wors)

dramatic works (incluing any accompany-

ing music)

Pantomimes and choreographic works

Pictorial, graphic, and sculptural works

Motion pictures and other audiovisual works

Sound recordings

Architectural works

Although many things are copyrightable, some

are not. To be copyrightable, the work must be

original. Originality is essential to copyright. For

example, if you copy a photograph, that copy

cannot be copyrighted since it is not original.

In fact, you woul nee the original photogra-

phers permission to copy their image.

e following types of works are not

copyrightable:

Ieas an concepts. Only the original expres-

sion of those ieas an concepts in some

tangible form, like a photograph, can be

copyrighte. You might have an iea for agreat photograph, but that idea cannot be

copyrighted.

Procedures, methods, systems, principles,

iscoveries, or evices. However, wrien

or recore escriptions, explanations, or

illustrations of such things are protecte by

copyright.

Works that have not been xe in a tangible

form, such as speeches or performances that

have not been wrien or recore.

Works that consist entirely of information

that is common property and contain no

original authorship, such as familiar symbols

and designs.

Titles, names, short phrases, and slogans.

However, some titles and words may be pro-

tecte uner traemark law if their use is as-sociated with a particular product or service.

How to Obtain a Copyright

e way in which you obtain copyright protec-

tion is oen misunerstoo. It is important to

understand that no publication, registration,

or other action in the U.S. Copyright Oce is

required to secure a copyright. Copyright is

automatically secured the moment the work is

create in tangible form. However, copyrights

can be formally registere with the U.S. Copy-

right Oce in Washington, dC (www.copyright.

gov), an there are fees involve.


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Even though registration is not a requirement

for protection, it oes establish a public recor

of the copyright an is require before an

infringement lawsuit can be le. You shoul

always seek legal avice from a qualie aor-

ney before threatening a copyright infringementaction.

Notice o Copyright

Copyright notice informs the public that your

work is protecte by copyright, ienties who

owns the copyright, an shows the year of rst

publication. It is a way of saying, is is my

work. If you want to use it, rs t ask my permis-

sion. A notice reinforces the asset value of yourwork and alerts people that you are prepared to

protect that value.

Uner U.S. law, you are no longer require to

use a copyright notice. is requirement was

eliminate when the Unite States ahere

to the Berne Convention. However, the use of

a notice is still require for works istribute

before March 1, 1989. e use of a copyright

notice is your responsibility; you are not re-

quire to get permission from, or register with,

the U.S. Copyright Oce.

For photographs an other types of visually

perceptible copies, the copyright notice con-

sists of the symbol , followe by the year of

rst publication of the work an the name of

the copyright owner.

Example: 2012 John doe

e wor Copyright, or the abbreviation

Copr. can be use instea of the symbol. Ei-

ther form is recognize, but use of the symbol

can provide additional international protection,

as can the wors All Rights Reserve.

Duration o the Rights

Uner current law, the copyright term for work

create by iniviuals is the life of the author

plus 70 years aer the authors eath. e copy

right term for works mae for hire is 95 years

from publication or 120 years from the ate ofcreation, whichever expires rs t. Works mae

for hire are works create by employees for

employers, as well as certain types of specially

commissioned works.

fi Us dcin

Anytime you make an unauthorize copy of a

copyrighted work or create derivative works

based upon the work without permission, youare technically violating or infringing on the

rights of the copyright owner. However, the

law oes permit some limite copying of copy-

righte works as a fair use of the works.

So is copying ene as fair use? e reprouc-

tion of a copyrighte work for purposes such as

criticism, commentary, news reporting, teach-

ing, scholarship, or research is generally not an

infringement of copyright. e fair use exemp

tion of U.S. copyright law was create to enable

educators, researchers, and journalists to reuse

copyrighted works without having to ask the

author for permission, because usually these

applications do not impinge on the commercia

value of the work.

ere are four factors that you nee to

consider when determining whether the useof someones copyrighte work is a fair use of

that work:

1. e purpose an character of the use, inclu

ing whether such use is of a commercial na-

ture or is for nonprot eucational purposes


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4 COPYRIGHTI NG YOUR dIGITAL IMAGES

2. e nature of the copyrighte work.

3. e amount an substantiality of the portion

used in relation to the copyrighted work as a

whole.

4. e eect of the use upon the potential mar-

ket for or value of the copyrighte work.e istinction between fair use an copy-

right infringement is not easily ene. For

every situation, all four factors must be weighe

by the courts to determine whether or not a

work qualies for fair use protection. In other

wors, there is no enitive yes or no to fair

usethere is no absolute metho of assessing

whether or not a use is fair until aer a juicial

ruling in an infringement suit.

e safest way to avoi copyright infringement

is to always get permission from the copyright

owner before using their copyrighte material.

Simply acknowleging the source of the copy-

righte material oes not substitute for obtain-

ing permission.

Protecting Your Images on the Internet

Image the on the Internet is a growing an

intractable problem, but there are ways to

protect your images on the web.

e best security is to apply a watermark across

your image; in case of the, this shows where

the image came from. But of course this can

have a negative impact on the appearance of

your images. One alternative is to inclue the

images in a SWF (Flash) movie; this prevents

them from being ownloae irectly. How-

ever, keep in mind that even this method will

never fully protect your images. As soon as your

images are published on the Internet, there is

a possibility that they can be copied and used

elsewhere (for instance, someone can take a

screenshot of the SWF movie). e only way to

fully protect a valuable image is not to publish

it online.

Notice

U.S. copyright law is ever-changing. Every eort

has been mae to make this information asup to ate as possible. is information is not

intene to be legal reference material.


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NondestructiveImage Editing


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6 NONdESTRUCTIV E IMA GE EdITING

Working with Adjustment Layers

Anything you can do with an adjustment layer

can also one through the Image > Ajustments

menu. However, unlike adjustment layers, the

menu oes not oer the exibility of a none-structive workow. erefore it pays to get use

to working with ajustment layers right from

the beginning.

Photoshop CS6 includes a Properties panel that

allows you to easily create and edit adjustment

layers.

Creating an Adjustment Layer

1. To create an adjustment layer, activate the

Properties panel an click the icon for the

adjustment you want to add. Alternatively,

you can click the Create New Fill or Adjust-

ment Layer icon ( ) at the boom of the

Layers panel an select the esire com-

man from the pop-up menu.

2. e Properties panel will show the controls

an options for the selecte ajustment. Any

changes you make to the seings here will

be irectly visible in your image. (Note that

the Layers panel now contains an ajust-

ment layer with the appropriate icon, as well

Icon Adjustment

Brightness/Contrast

Levels

Curves

Exposure

Vibrance

Hue/Saturation

Color Balance

Black & White

Icon Adjustment

Photo Filter

Channel Mixer

Color Lookup

Invert

Posterize

reshol

Gradient Map

Selective Color

Nondestructive Image Editing with Adjustment Layers

One way to learn about image eiting is by experimenting with ierent seings an

ajustments through trial an error. However, you may n that your willingness to

experiment is sometimes hampere by the fear of ruining your images. is is whereajustment layers come in hanythey let you play aroun with the appearance of

your images without changing the original image data.


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as a layer mask. If you choose to rename

the adjustment layer, you will still be able to

ientify the ajustment by its icon. e table

on the previous page provies an overview.)

Constraining the Effects oAdjustment Layers

Every adjustment layer comes with its own

layer mask by efault. In some cases you might

not want to correct the entire image, but only

certain areas or subjects within the image. For

example, you might want to make the main

subject pop out more from the backgroun by

increasing its saturation while decreasing the

saturation of the backgroun, or vice versa. Or

you might want to selectively adjust the colors

in certain image areas, like the color of a sub -

jects eyes or hair in a portrait photo. In these

cases, you can limit the adjustment to certain

parts of the image. In the example shown here,

we want to use a Brightness/Contrast adjust-

ment to lighten only the rocks and the tree,

while the sky remains unchanged.

1. To achieve this effect , you would activate thelayer mask icon, select the Brush tool with

the foregroun color set to black, an paint

over any parts of the picture that you o not

want to be affected by the correction.

2. You would leave any image regions that you

do want to be affected by the adjustment in

white.


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3. If there were areas of the image you wante

to be only partially affected by the adjust-

ment, you could paint these in gray.

Alternatively, you can also select the part of the

image you want to be affected by your adjust-

ment prior to creating your adjustment layer.Photoshop will then automatically create the

appropriate black-and-white regions in the

layer mask when you add the adjustment layer.

Exaggerating the Adjustment

Sometimes it is useful to overo your ajust-ment, creating an exaggerate eect that can

then be iale back by reucing the opacity of

the ajustment layer. An if you are not satis-

e with a correction, you can change it at any

time by clicking the relevant adjustment layer in

the Layers panel an eiting the seings in the

Properties panel.

All of these changes will leave your original im-

age untouche; even aer closing an relaunch-

ing Photoshop you can continue editing, or you

can return to your original image by deactivat-

ing or eleting the ajustment layer(s). is is

what is known as nondestructive image editing.


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Working with Smart Filters

When you apply a lter irectly to an image, you permanently change the image.

is is not the case when you apply a lter as a Smart Filter.

Most lters can also be applie to Smart Objects

(like vector graphics importe from Illustrator).

e great avantage of this technique is that you

can still eit the parameters of a lter aer apply-

ing it, even aer having close an reopene the

le. is is not possible using stanar layers an

lters, which will irreversibly alter the images

pixels. e following example will emonstrate

the power an exibility of Smart Filters.

Converting a Layer into a Smart Object

When you apply a lter as a Smart Filter, the

eect is nonestructive. is means that you

can always go back and make adjustments to

the lter, hie it, or remove it, even aer saving,

closing, or reopening your document.

1. Before starting to work with Smart Filters,

you might want to create a uplicate of thelayer you want to apply the lters to. is can

be done quickly using the Ctrl/Command+J

keyboard shortcut. Now you have added

exibility, because you can reuce the layers

opacity later in the process in order to

weaken the eects of your lters.

2. To convert the layer into a Smart Object,

simply select the layer that you want to apply

the Smart Filter to, go to the Filter menu, andchoose Convert For Smart Filters. Alterna-

tively, you can right-click the layer name in

the Layers panel to open the context menu

an choose Convert to Smart Object. A small

symbol ( ) inicates that the layer is now a

Smart Object.


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3. Now you can safely apply a lter, know-

ing that youre not permanently changing

the pixels of the original image. Photoshop

provies an abunance of lters that you can

use to apply special effects to your images,

all of which you can n in the Filter menu.

Using h fil Gll

One easy way to apply lters in Photoshop is by

using the Filter Gallery, which can be accessed

by choosing Filter > Filter Gallery. Keep in min

that not every lter in the Filter menu can be

applie in the Filter Gallery. For example, the

sharpening lters foun in the Sharpen menu,

the effects in the Render menu, and the Blur

lters in the Blur menu are not available in the

Filter Gallery; you have to apply those lters

individually instead.

When you select a lter in the Filter Gallery, you

get a large preview of the lters eect an the

options in the right panel change to the relevant

options for that lter. Fine-tune your seings

for the best eect an click OK. e Smart Filter

shows up in the Layers panel, just below theSmart Object layer that youve applie it to.

All the lters in the Filter Gallery can be applie

one by one, or you can combine them to get

some really creative effects. To use multiple

lters, click the Create New icon at the boom

of the Layers panel. is creates a uplicate of

the active lter, which you can then change to

the lter of your choice.


25/48

AdOBE PHOTOSHOP CS6: LEARN BY VIdEO 1

Editing a Smart Filter

So far, working with Smart Filters is no ierent

from working with stanar lters. However,

the power of Smart Filters will become appar-

ent as soon as you decide that you dont really

like one or more previously assigne lter(s).You can click the eye icon next to a Smart Filter

to temporarily eactivate that lter an/or the

lter mask at any time. You can also rag the

lter to the trash icon to elete it, or you can

ajust the lter by simply ouble-clicking the

name of the Smart Filter in the Layers panel.

e Filter ialog box with your previous seings

opens up, allowing you to ajust the lter by

changing its seings.

All the changes you make in the Filter Gallery

will be applie nonestructively. In fact, since

this layer is now a Smart Object, you can also

transform the image without actually harming

its pixels.


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To apply sharpening as a Smart Filter:

1. Open the esire image.

2. Choose Layer > Smart Objects > Convert to

Smart Object or Filter > Convert for Smart

Filters.

3. Go to the Layers panel (F7). e thumbnail ofthe image layer now displays a special Smart

Object icon.

4. Choose Filter > Sharpen > Unsharp Mask

from the menu.

5. Check the Preview checkbox an enter the

esire seings. dont be afrai to choose

high values; you can compensate for this

later by reucing the opacity of the layer.

6. Click OK to close the ialog box an apply

the image correction.

Nondestructive Image Sharpening

Most commans for optimizing images are also available as ajustment layers in

Photoshop. is enables you to seamlessly ajust your eits, if necessary, or to

a a mask to them. is is not the case for the all-important sharpening features,however. But not to worryyou can also apply sharpening as a Smart Filter.


27/48


You can subsequently alter the sharpening

values you entered, just as with an adjustment

layer:

1. In the Layers panel, ouble-click Unsharp

Mask. is will bring up the Unsharp Mask

ialog box, where you can ajust your set-tings an click OK to apply the changes.

2. To weaken the sharpening effect, go to the

Layers panel an click the icon ( ) to the

right of Unsharp Mask.

3. Reuce the opacity in the Blening Options

ialog box. e more you reuce it, the more

the sharpening eect will fae.

4. Click OK.

To weaken the sharpening effect locally:

1. Activate the Brush tool and choose black as

your foregroun color.

2. In the Layers panel, click to activate the mask

of the Smart Filter.

Paint any areas you dont want to sharpen

black. Or, you can ll the entire Smart Filtermask with black as a rst step, an then over-

paint areas you want to sharpen using white as

the foregroun color.


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To apply a Shadows/Highlights adjustment

nondestructively:

1. Open the esire image.

2. Choose Layer > Smart Objects > Convert to

Smart Object.

3. In the Layers panel, you will see that a SmartObject icon has been ae to the layers

thumbnail.

4. Choose Image > Ajustments > Shaows/

Highlights.

5. Choose the esire seings an feel free to

exaggerate them a lile bit; you can com-

pensate for this later by reucing the opacity

of the layer.

: To see the avance seings for this

ajustment, check the Show More Options

checkbox at the boom of the Shaows/

Highlights ialog box.

Adjusting Shadows and Highlights

e Image > Ajustments > Shaows/Highlights comman is one of Photoshops

best features when it comes to quickly improving the bright an ark portions of a

photograph. Unfortunately, it is not available as an ajustment layerbut you canstill apply it nondestructively.


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6. Click OK to close the ialog box an assign

your adjustment to the image.

7. If you want to change the ajustments set-

tings aerwar, you can simply ouble-click

Shaows/Highlights in the Layers panel .

To make additional adjustments to your Shad-

ows/Highlights Smart Filter, procee as follows:

1. To reuce the overall eect of the assigne

Shadow/Highlights adjustment, double-click

the icon ( ) to the right of the Shaows/

Highlights label in the Layers panel.

2. In the Blening Options ialog box, reuce

the opacity value. e more you reuce this

value, the weaker the eect of the Shaows/

Highlights command will be on your image.

: For certain purposes you may want

change the blend mode, which you can do via

the Mode drop-down menu.

3. Click OK.


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If you only want to weaken the lter in certain

areas of the image, go to the Layers panel an

click the mask for the Smart Filter to activate it.

Choose the Brush tool from the Toolbar, select

black as the foregroun color, an paint any

areas you want to exclue from the eect inblack. For smooth transitions, reduce the hard-

ness of your brush tip.


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Tips & Tricks


32/48

18 T IPS & TR ICKS

ips or Working with Rulers, Guides, and the Grid

In this section well look at Photoshops rulers, grids, and guides, which can be very

helpful in situations where precise alignment is require. Youll get some valuable

tips on seing up an working with these tools.

dmining h ruls Uni

ere are several ways to change the measure-

ment unit for the rulers . e quickest way is to

ouble-click one of the rulers in the ocument

winow (you can show both rulers by select-

ing View > Rulers). is brings up the Prefer-

ences ialog box with the category set to Units

& Rulers. Now you can go to the Units section

to change the unit of measurement. You can

choose among pixels, inches, centimeters, mil-

limeters, points, picas, and percent.

Enabling Snapping

Snapping is a feature that allows you to align

layers, shapes, text, etc. with other objects,

guides, or the grid. To enable snapping, choose

View > Snap To, an make sure the esire

items are checked in the submenu that appears.

You should now be able to align objects easily

an precisely. If youre using the Shape tools to

raw accurate shapes for screen an web use,

you can enable the Snap To Pixels checkmark

uner the Shape Options.


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Using h His Pnl fu

Retouching in Photoshop can be tricky. is section looks at using the History panel

to gain greater control over your work.

Te History Panel

e Uno an Reo buons are frequently use

to undo or redo the most recent image editing

steps. Or you can use Ctrl/Comman+Z an Ctrl/

Comman+Y, which enable you to work even fast-

er. But Photoshop also includes a handy History

panel that keeps track of every step youve taken

uring your eiting session. If you ecie that you

want to return to any earlier version of your work,you can just click that version in the History panel.

Note that any steps that were taken aer this will

be grayed out, but still remain accessible.

Changing History Preerences

By efault, Photoshop remembers 20 eit-

ing steps. For extensive retouching work that

involves many Brush tool clicks, 20 wont be

enough. Choose Eit > Preferences > Perfor-

mance. In the History & Cache section, click the

arrow next to History States to access a slier

that allows you to ajust the number of recore

history states all the way up to a value of 1000.

Please note: e more history states you choose,

the more RAM the soware will require.

Purging the History

If you are absolutely satise with the current

state of your image, you can empty your History

panel by choosing Eit > Purge > Histories. is

means that you can no longer recover your previ-

ous editing steps, but more RAM will be available

on your computer an Photoshop may spee up if

your memory was clogged previously.


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20 T IPS & TR ICKS

Sving Mm wih ajusmn Ls

Photoshop les containing numerous layers can take up a consierable amount of

har isk space an RAM. In this section, youll learn a simple way to reuce your le

sizes by using ajustment layers.

duplicate layers are use quite frequently in

Photoshop. For example, to increase the

contrast in a photo, you can duplicate the

image layer an assign the Overlay or Color

Burn blen moe to the uplicate. (If the eect

is too crude, you may choose to reduce the

layers opacity in the Layers panel.)

e only problem with this is that the uplicate

layer oubles the pixel count in the ocument,

therefore oubling the size of your PSd le. You

can easily solve this problem by using an adjust-

ment layer instea of the uplicate layer:

1. Go to the menu an choose Layer > New

Ajustment Layer. From the submenu that

appears, select any type of ajustment layer,

for example Levels.2. Click OK to close the New Layer ialog box.

Do not make any adjustments in the Proper-

ties panel.

3. Return to the Layers panel an set the

desired blend mode and opacity value.

e result is the same as with the uplicate lay-

er, but the increase in le size is much smaller.


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Enlarging JPEG Images

If you try to print an image that was ownloae from the Internet, you will oen

n that these images have poor resolution an may inclue blocky artifacts result-

ing from JPEG compression. If you want to use an image like this for print output,you usually nee to severely scale it own to prevent the artifacts from showing.

e following process allows you to ouble the

pixel size of a JPEG image in a way that makes it

still printable. Its certainly not going to become

crisp an etaile, but at least the artifacts

wont be visible.

1. Go to the menu an choose Image > ImageSize.

2. In the document Size section of the Image

Size ialog box, enter 200%into the Width

an Height els.

3. Check the Resample Image checkbox at the

boom of the ialog box an make sure

the Bicubic Automatic option is selected

from the rop-own list below. Click OK to

conrm.

4. Go to the menu an choose Filter > Noise >

despeckle. e image will be soene.

5. Repeat the above steps (except for the

despeckle lter) to ouble the image size.

6. Choose Filter > Stylize > diuse from the

menu.

7. Select Anisotropic moe from the diuse

ialog box an click OK.8. Go back to the Image Size ialog box an

reduce both image width and height to 50%

this time.

9. Choose Enhance > Unsharp Mask from the

menu. Your image is now reay for print

output.


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22 T IPS & TR ICKS

Printing a Hard Proo

e Photoshop Print Seings ialog box contains several options for color manage-

ment. To make use of these, expan the Color Management area in the right column

of the Photoshop Print Seings ialog box an choose your esire seings.

You can print the image using its current color

prole by choosing Normal Printing from the

pop-up menu. Alternatively, you can print a

proof of your ocument to see how it will look

under different output conditions, such as

the CMYK moe for oset printing. To o so,

choose Har Proong from the pop-up menu.

e seing you selecte uner View > Proof

Setup will be use as your proof prole. To get

the most precise proofs, you might want to

check the Simulate Paper Color and Simulate

Black Ink checkboxes.

In the Color Handling pop-up menu, choose the

Photoshop Manages Colors option if you want

to use a printer prole for your evice. en

you can choose a prole from the Printer Prolepop-up menu below.

If you ont have a eicate prole for your

printer, choose the Printer Manages Colors

option instead.


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Te Photoshop ool Panel

5 6

87

9 10

1615

17 18

21

22

2019

1413

1211

3 4

2 1

1 Move Tool e Move tool is use for moving selec-

tions, layers, and guides.

2 Recangular Marquee Tool, Ellipical Marquee Tool,

Single Row Marquee Tool, and Single Column Marquee

Tool e marquee tools are use for making rectangu-

lar, elliptical, single row, and single column selections.

3 Lasso Tool, Polygonal Lasso Tool, Magneic Lasso

Tool e lasso tools are use for making freehan,

polygonal (straight-ege), an magnetic selections.

4 Quick Selec ion Tool and Magic Wand Tool e

Quick Selection tool is use for painting a selection

with a resizable brush. e Magic Wan tool is use for

selecting similarly colored areas in an image.

5 Crop Tool, Perspecive Crop Tool, Slice Tool, and

Slice Selec Tool e Crop tool is use for cropping

or trimming images. Use the Perspective Crop Tool to

crop images in perspective. e Slice tool allows you to

divide an image into multiple sections that are reas-

semble on a web page. e Slice Select tool is use fo

selecting an moifying existing slices.

6 Eyedropper Tool, 3D Maerial Eyedropper Tool,

Color Sampler Tool, Ruler Tool, Noe Tool, and Coun

Tool e Eyeropper an Color Sampler tools are use

to sample colors in an image. e 3d Material Eyerop-

per Tool is use to sample 3d materials alreay existing

in your image. e Ruler tool is use for measuring is-

tances, locations , an angles. e Note tool allows you

to aach notes to an image. e Count tool (Photoshop

Extene only) is use for counting object s in an image

7 Spo Healing Br ush Tool, Healing Brush Tool, Pach

Tool, Conen-Aware Move Tool, and Red Eye Tool e

Spot Healing Brush tool is used to remove unwanted ob

jec ts an blemishes. e Healing Brush tool allows you

to paint with a sample or paern to x imperfections in

an image. e Patch tool allows you to x imperfections

in a selecte area of an image using a sample or paern

e Content-Aware Move Tool allows you to move a

previously selected image area while automatically

adjusting the background. e Re Eye tool is use to

remove the re reection cause by a cameras ash.


38/48

24 THE PHOTOSHOP TOOL PANEL

14 Dodge Tool, Burn Tool, and Sponge Tool e doge

tool makes areas of an image lighter. e Burn tool

makes areas of an image arker. e Sponge tool can

either saturate or desaturate the colors in an image.

15 Pen and Anchor Poin Tools ese tools are use for

rawing smooth-ege paths an shapes . ey are also

use to eit existing paths.

16 Horizonal and Verical Type Tools, Hor izonal and

Verical Type Mask Tools e type tools are use for

creating horizontal an vertical type on an image. e

type mask tools are used to create a selection in the

shape of type.

17 Pah Selecion Tool and Direc Selecion Tool e

Path Selection an direct Selection tools are use for

selecting, moving , an moifying the shape of vector

paths.

18 Shape Tools, Line Tool, and Cusom Shape Tool e

Shape tools an Line tool are use for rawing ierent

shapes and lines in either a normal layer or a shape

layer. e Custom Shape tool allows you to create cus -

tom shapes.

19 Hand Tool, Roae View Tool e Han tool is

use for moving an image aroun within the ocument

winow. e Rotate View tool allows you to nonestruc-

tively rotate the canvas.

20 Zoom Tool e Zoom tool is use to magnif y an

reuce the view of an image.

21 Foreground and Background Color Boxes e cur-

rent foregroun color appears in the upper color box

and the current background color appears in the lowerbox. e color boxes also allow you to change the fore-

ground and background colors.

22 Quick Mask Mode Quick Mask moe allows you to

create a temporary mask, which becomes a selection

when you exit Quick Mask moe. It s oen use for ne-

tuning an existing selection.

8 Brush Tool, Pencil Tool, Color Replacemen Tool,

and Mixer Brush Tool e Brush tool is use for painting

various brush strokes. e Penci l tool allows you to paint

har-ege strokes. e Color Replacement tool is use

to replace a selecte color with a new color. e Mixer

Brush Tool is used to define multiple colors on a single

tip in order to paint with subtle color blends or to blend a

photos colors to create a beautiful painting.

9 Clone Samp Tool and Patern Samp Tool e

Clone Stamp tool is use for cloning par ts of an image or

removing unwante objects. e Paern Stamp tool is

use to paint with part of an image as a paern.

10 Hisory Brush Tool and Ar Hisory B rush Tool e

History Brush tool is use to paint a copy of the selecte

history state or snapshot. e Ar t History Brush tool lets

you paint with st ylize strokes that simulate the look of

different painting styles, using a selected history s tate or

snapshot.

11 Eraser Tool, Background Eraser Tool, and Magic

Eraser Tool e Eraser tool allows you to erase pixels

an restore parts of an image to a previously s ave

history state. e Backgroun Eraser tool allows youto erase areas of an image to transparency. e Magic

Eraser tool allows you to erase soli areas of an image to

transparency with a single click.

12 Gradien Tool, Pain Bucke Tool, and 3D Maerial

Drop Tool e Graient tool is use to create blens

between colors. e Paint Bucket tool allows you to

ll similarly colore areas with the current foregroun

color. e 3d Material drop tool is use to rop a loae

material to another part of a moel, another 3d mesh,

or another 3D layer.

13 Blur Tool, Sharpen Tool, and Smudge Tool e Blur

tool allows you to soen har eges an reuce etail

in specic areas of an image. e Sharpen tool sharpens

specic areas of an image. e Smuge tool simulates

the eect you see when you rag your nger through

wet paint.

Te Photoshop ool Panel


39/48

Glossary


40/48

26 GLOSSARY

is

rendering intent reproduces in-gamut colors

exactly an clips out-of-gamut colors to the near-

est reproucible hue, sacricing saturation an

possibly lightness. See also renering intents.

A reproduction pro-

cess that mixes re, green, an blue light emie

from a source to prouce a wie range of colors.

See also subtractive color.

Image information that enes

which parts of the image will be transparent orsemitransparent. Applications like Adobe Illus-

trator, Photoshop, Premiere Pro, an Aer Eects

support alpha channels.

A-A A pixel-processing technology

that eliminates or soens the jaggeness of

low-resolution curved edges. For the Photoshop

selection tools, the Options bar contains an

Anti-alias checkbox to help you create smooth

selection borer contours. is will prevent your

selection f rom looking jagge or pixelate. e

Anti-alias option is very useful for photomon-

tages, image corrections, and so on. Make sure

to keep it always on in those cases an for any

selection tool you might be using; however, for

selecting line art, screenshot areas, etc., this op-

tion shoul be switche o. See also feathering.

Color faults or line faults that have a

negative visual impact on the image. Artifacts are

oen the result of excessive image compression.

Who is your audience? Always keep

in mind that your images may be seen by a wide

audience. Dont assume a common cultural

background, social class, education, or native

language. erefore, you shoul also analyze the

target auience an ene their gener, age,

ethnic background, education, buying behavior,

an personal preferences. Fin out what maga-

zines your target auience reas an what TV

shows it watches. Your design should not only

look good, it should also match the target audi-

ence as closely as possible in terms of layout,

color scheme, fonts, an visual language. is

is a prerequisite for successful an ecient

communication.

e smallest unit of infor-

mation in a computer. Bits can have only twovalues: 0 or 1.

A igital image le that uses spatially

arrange pixels to store the image information.

Sometimes, the term bitmap implies a color

epth of one bit per pixel only, resulting in a

two-color image.

e arkest point in a color space.

Black points in RGB color spaces usually describe

a perfect black (lightness 0). In print, the ark-

est possible color value will never be completely

black. erefore, black points in printer color

spaces are always brighter than a perfect black.

e process of aing fuzziness to or e-

creasing the focus of an image or a certain image

region for a soer appearance or to camouage

a efect.

With the Brush tool, you can selectfrom a variety of ierent brush tips in orer to

create your artwork . You can also moify the

preset seings for iameter, shape, spacing,

roundness, hardness, angle, drawing mode,

opacity, and more.

Glossary


41/48


A component of a igital image that

carries information for one color parameter of

the color moe use (RGB, CMYK, HSB, or LAB).

e combination of all channels yiels a full-

color composite image.

e core

soware component of a color management

system.

A pro-

gram that helps to match the color of input an

output evices throughout the workow in orerto produce predictable results.

Cyan, magenta, yellow, an black: e

process colors use in four-color printing. See

also subtractive color.

e process of changing

the color moe of an image. See also conversion

options.

e process of moifying

the color of the pixels in a igital image in an

eort to improve the appearance of the image

or to correct obvious efects.

A measure of how many colors

can be in a pixel of an image. Also calle bit

epth. 1 bit equals two colors (21), 8-bit color

equals 256 colors (28), an so on. One pixel of an

RGB image, which is represented by three 8-bit

color channels, has over 16 million possible color

values (28re channel x 28green channel x 28

blue channel). RGB images using 8 bits per color

channel are sometimes referre to as 24-bit im-

ages (8 bits per channel x 3 channels = 24 bits).

e range of colors that can be

reprouce by all possible combinations of a

given systems colorants, such as the colors that

can be reproduced using process colors in com-

mercial printing.

Color manage-

ment policies specify how Photoshop hanles

les that are not in the preferre working space.

Each color space has its own policy. Photoshop

oers three choices. O ignores any embee

color prole, an the colors of the image are not

converte to the working space. is is therefore

a risky choice that should only be applied on

rare occasions. Preserve Embee Prolespreserves any color prole save along with the

image. Convert to Working (color space) forces

Photoshop to take your custom RGB an CMYK

proles into account. In most cases, it is avis-

able to convert RGB an CMYK images to your

working prole. However, this oes not always

apply. For an image that is moie on ierent

computers an then nalize on the rs t com-

puter, it makes sense to preserve the embedded

prole. e checkboxes in the color managemen

policies give you the option to choose whether

or not you will be prompted when a color con-

version is required.

A mathematical moel for the

escription of color, such as RGB, LAB, or CMYK

e process of transform-

ing color artwork into components that cor-

respond to separate color channels, such asprocess colors or spot colors, or a combination o

the two. Each ink color is reproduced as a uniqu

piece of lm or printing plate.

Color spaces are abstract

formations. Colors can be escribe very well


42/48

28 GLOSSARY

conversion, while the Rendering Intent controls

how the colors are converte from one color

space to another.

A form of intellectual property. Per-

mits the creator of an or iginal work to prevent its

use without express permission or acknowlege-

ment of the originator. Copyrights may be sol,

transferre, or surrenere contractually.

e portion of a scene that

appears sharp in a photograph. Only one

istance can be precisely in focus, an theecrease in sharpness is graual. e epth of

el also escribes the range of istance still

perceived as being sharp.

e growth of a halone ot that

occurs because of ink spreaing across the paper

as it is soaked in. Dot gain varies with paper type.

Failure to compensate for this eect can result in

very poor results during printing.

A measurement unit forthe resolution of page printers, phototypeseing

machines, and graphics screens.

A uplicate of a graphic element

or type that is placed behind and slightly offset

from the original element, creating the eect that

the object is raised above the objects behind it.

e range between the l ight-

est an arkest area of an image. Also use to

escribe the limits of luminance range that a

igital camera, scanner, or lm can capture.

e total amount of light that a

photographer allows to fall on the lm or sensor

when capturing an image.

using three numeric values. Each visible color

is assigne a istinct position in terms of coor-

inates. e total of all possible colors insie a

given color system (like RGB or CMYK) as up

to a virtual shape insie this coorinate system;

this shape is called a color space. Reproduction

media like computer screens cannot display all

visible colors. Printing or photographic reproduc-

tion technologies also have various intrinsic limi-

tations of color reprouction. If colors are to be

reproduced, which means they are transported

from one meium to another, you nee to know

the color limitations of the ierent meia. is

is exactly what color spaces an gamuts are all

about: ey are mathematical escriptions of the

total number of isplayable colors. Color spaces

are vital components of the information being

save in color proles.

Printing processes

inclue oset lithography, exography, gravure,

an screen printing. Oset printing is the most

widely used commercial printing process.

e process of reucing le size

using various mathematical algorithms. Depend-

ing on the technology, compression can be loss-

less or lossy, with the laer resulting in a loss of

image quality and/or resolution.

An image that contains

continuous shaes of color or gray tones, such

as a photograph.

e relationship an egree of ier-

ence in color an light between parts of an image.

ese options are set in

the Color Seings ialog box. e Engine option

tells Photoshop what soware will hanle the

Glossary


43/48


A useful alignment tool in Photoshop. To

enable the gri, choose View > Show > Gri. To

be able to align objects perfectly along the gri

lines an subivisions , choose View > Snap to >

Gri. If you want to change the units use for

ivisions an subivisions an the color of the

gri, go to Preferences > Guies, Gri & Slices.

When you create an HdR (high

ynamic range) image in Photoshop, you nee

a series of images of the same subject taken at

various shuer spees (this is calle brackete

exposure). Each of these iniviual imageswill contribute its specic shaow, mitone, or

highlight etails to the nishe HdR le, captur-

ing the entire dynamic range in one single image

You can output the composite image as a 32-,

16-, or 8-bit le. However, only a 32-bit le will

be able to hold and save the complete HDR

image data.

e lightest areas in an image.

A bar graph representation of the

tonal values (brightness or color) in an image

base on the frequency of occurrence of each

value.

A lossy compression algorithm that re-

uces the le size of igital images. Image qualit

is reuce in irect proportion to the amount of

compression. Typically, about 10:1 compression

is possible with lile perceptible loss in image

quality.

A function of graphics soware in which

elements are isolate from each other so they

can be hidden, reordered, or otherwise manipu-

lated without affecting other elements in the

composition.

An eiting technique that soens

the eges of a selection by aing a shi zone of

variable width. Collages and photo compositions

frequently require such so selec tions to allow

for a graual transition between selecte an

unselecte areas. is eect can be achieve by

using the Feather input el in the Options bar of

most selection tools in Photoshop. Enter a pixel

value ening the selection borer sharpness;

the higher the pixel value, the less sharp the

borer will be. See also anti-aliasing.

In Photoshop, a routine that containsalgorithms to moify igital images by changing

the values or arrangement of specie image

areas.

e istance from the optical

center of a lens to the focal point that is locate

on the sensor or lm if the subject is in focus. e

focal length also etermines the el of view of

a given lens.

e complete character set (numbers,

uppercase an lowercase leers, an, in some

cases, small caps an symbols) of a particular

typeface in a specic style, such as Verana Bol.

In igital imaging, gamma refers to the

encoing of linear brightness values capture by

a evice (such as a camera) to match the contrast

an brightness of human perception.

See color gamut.

An image compose exclusively of

shaes of gray, varying from black of the weakest

intensity to white of the strongest, usually using

256 different tones.


44/48

30 GLOSSARY

it look as it will appear on the vieo screen. If

desired, you can change this behavior by deacti-

vating the View > Pixel Aspect Ratio Correction

option; then your images will be shown in their

actual proportions. If you want to create images

for vieo prouctions, you can etermine a suit-

able pixel aspect ratio in the File > New ialog

box: From the Preset pop-up menu, choose the

Film & Vieo option, then procee to the Size

pop-up menu and choose the desired image

imensions. In the boom part of the ialog box,

the correct pixel aspect ratio will then automati-

cally be lle in.

e four semitransparent inks

(cyan, magenta, yellow, an black) use in four-

color process printing to reprouce a full range

of colors using halone ots. See also color

separation, CMYK.

is ren-

dering intent is similar to absolute colorimetric

renering. e ierence is that relative colori-metric scales the white point of the source to the

white point of the target. L ike absolute colori-

metric renering , it clips out-of-gamut colors to

the nearest reproucible hue. See also rener-

ing intents, absolute colorimetric renering.

Rendering intents are

methos for converting colors f rom one color

space to another. e renering intent enes

how out-of-gamut colors are mappe (or not) tocolors that exist in the es tination color space.

e ICC prole specication enes four ierent

rendering intents: absolute colorimetric render-

ing, relative colorimetric rendering, perceptual

rendering, and saturation rendering. See also

absolute colorimetric renering , perceptual

A technique used to hide certain areas

of an image or esign or to exempt them from

manipulations.

e tonal range between highlights

and shadows.

Any color absent of hue, or having the

same value in all three RGB channels, such as

white, gray, or black.

O-- Color that cannot be re-

prouce by a specic color moel . For example,

some RGB colors fall outsie the CMYK gamut.

is renering intent

aempts to compress the gamut of the source

space into the gamut of the target space.

Typically, perceptual rendering desaturates all

colors to bring the out-of-gamut colors into the

target gamut while more or less maintaining the

overall relationship between colors. is helps

preserve the appearance of images. See also

renering intents.

Picture element: the smalles t unit of

information in a igital image. Pixels are usually

arranged in a two-dimensional grid. Depending

on the output evice, they are oen represente

using squares or dots.

When preparing images

for vieo use, is sues like color spaces or image

resolution are suborinate; its much more

important how the nishe prouct will look like

on a common TV screen. DV material is based

on rectangular pixels. When you open an image

with non-square pixels in Photoshop, it will be

isplaye using pixel aspect ratio correction by

efault, scaling the image in a way that makes

Glossary


45/48


Color that is observed

when light strikes pigments or dyes, caused

by the mixture absorbing certain wavelengths

of light an reecting others. e light that is

reecte back is perceive as a color. See also

CMYK, process colors.

e quality of an image ele-

ment with an opacity value below 100 percent

that allows parts of backgroun elements or

entire elements to show through.

A digital image manipula-tion technique that increases the acutance, or

apparent sharpness , of photographic images. It

locates the ege between sections of iering

lightness an exaggerates the ierence across

that edge, thereby increasing the edge contrast.

Graphics consisting of co-

ordinate points and mathematically drawn lines

an curves rather than iscrete pixels. Vector

graphics can be freely scale an rotate withou

image degradation. Its also very easy to edit vec

tor graphics. With the Direct Selection tool, you

can access the individual points that make up th

objects path and click and drag the handles to

reshape the object.

A mask that hides or displays a

distinct shape on a layer based on a path. See

also masking.

e blank area between writ-ten characters or graphic regions. Proper use of

white space is critical to a well-balanced design.

renering, relative colorimetric renering, an

saturation renering.

Recalculating the pixels of an

image to change the physical size of the le.

e etail level of an image

escribe as ensity of graphic information in

ots per inch (pi) or pixels per inch (ppi).

e process of making selective

manual or electronic corrections to images.

An additive color model that uses red,green, and blue as primary colors to describe the

RGB color space, which is a subset of the visual

color spectrum. RGB values are numeric triples

(re, green, an blue) representing how much of

each primary color is use to escribe a specic

color in the RGB color space. Please note: RGB

values do not describe colors device-indepen-

dently without color management.

e intensity or purity of a specic

color; a completely esaturate color is gray.

is renering intent

maps the saturated primary colors in the source

space to the saturated primary colors in the tar-

get space. It does not address differences in hue,

saturation, or lightness. is renering intent is

esigne for renering business graphics where

you want vivid colors and arent particularly con-

cerne about exactly what those colors are. See

also renering intents.

e subjective ensity ierence

between two tones at their boundary, interpret-

e as neness of etail.


46/48

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