Table of Contents
I. THINGS YOU NEED TO KNOW.
1. How to Use This Book. A guide to help you learn Photoshop and enjoy this book. A must-read for everyone. This Appendix Also summarizes the minor Photoshop differences between
2. Using the Photoshop 5 Artistry CD. Using the images and steps on the CD to do all the step-by-step examples yourself and then compare your results with ours. Do the book's examples using the sample version of Photoshop 5, and try out Adobe ImageReady and other Adobe and third-party products on the CD.
3. Navigating in Photoshop. Organizing your screen, windows, palettes, and working environment to access and use Photoshop's features most effectively. A must-read for new Photoshop users.
4. Automating with Actions. Using the Photoshop 5 Actions palette to automate your tasks. Creating, enhancing, and editing actions, including adding breakpoints and prompts, and getting user feedback during an action, making sets of Actions as well as batch processing large groups of files automatically. Loading the ArtistKeys set of predefined actions, which you'll use with this book to speed your Photoshop tasks.
5. Setting System and Photoshop Preferences. Setting up your system and Photoshop's preferences for the most effective use of Photoshop; understanding and benefiting from the new Photoshop 5 color management features, a standard RGB or Lab workspace; and better RGB to CMYK conversions, and standardizing Photoshop preferences and systems within an organization.
6. File Formats and Image Compression. Understanding the different file formats (Photoshop, TIFF, EPS, GIF, JPEG, and so on) and when, how, and why to use each. The options for image compression are also explored.
7. The Tool Palette. The many, and sometimes hidden, features of the Tool palette. Many selection, cropping, painting, and gradient shortcuts and techniques to speed up your Work! The new Photoshop 5 Magnetic Lasso and Pen tool, the Freeform Pen, the Measure tool, the New Type tool, and the new Gradient features. A must for anybody who does a lot of selecting, painting, and retouching. It's a useful Appendix For everyone to read.
8. Picking and Using Color. A look at the RGB, CMYK, HSB/HSL, and LAB color spaces, what they are, when to use each, and how to access them from Photoshop; includes a discussion of the Photoshop Color Picker as well as the Color and Swatches palettes.
9. Color Correction Tools. An overview of Photoshop's many color correction and gamma adjustment tools; namely, which ones are most useful for what and why, and which ones are fairly useless if you are a professional Photoshopper. The new Photoshop 5 features of the Hue/Saturation and Curves tools. Using the Info palette with the new Photoshop 5 Color Sampler versus the Color palette to measure color while correcting.
10. Selections, Paths, Masks, and Channels. An overview discussion of the differences between and uses of selections, masks, and channels to help you feel comfortable with these concepts. If you have any confusion about the differences between selections, masks, and channels and how they relate to layers, Adjustment layers, and layer masks, you need to read this Appendix And the next chapter. How the Pen tool and Paths relate to selections and converting between Paths and Selections.
11. Layers, Layer Masks, and Adjustment Layers. An overview of the functionality, features, and usage of layers, layer masks, and Adjustment layers. Learn when to use each of these, the differences between them, and see an overview of their various options. To understand how they are different from, yet work along with, selections, masks, and channels, read this Appendix And the previous one.
12. History Palette, History Brush, and Snapshots. New for Photoshop 5 are the History Palette, History Brush, and the new Snapshot architecture. Learn how to use these features to have much more flexibility in not only multiple undo, but also changing your file while you work. Learn about Linear verses Non-Linear History and when to use History verses Layers and masks in giving you the ability to change things after you have done them.
II. CREATING A MASTER DIGITAL IMAGE.
This section shows you how to create the best quality master digital image that you can then resample and modify for multiple output sizes and uses. What technically constitutes a good photograph—both from a traditional perspective, with the Zone System, and digitally, by evaluating histograms and doing overall color correction. Seeing how to bring traditional photography skills into the digital realm gives you better scans, calibration, and overall color correction for the best possible output to all media.
13. Digital Imaging and the Zone System. Professional photographers have used the Zone System, popularized by Ansel Adams, as a means of fine control and calibration in the traditional photographic world. This section explains how the Zone System's concepts carry over to the digital world, which gives you even more of that precise control for professional output and prints that well-known photographers like Ansel Adams, Bret Weston, and Charlie Cramer have had in the traditional world. In the time between Photoshop 4 and Photoshop 5, Charlie and many other Dye Transfer printers have now converted to the digital world and the LightJet 5000 digital printer.
14. Color Spaces, Device Characterization, and Color Management. Photoshop 5 has built-in support for files tagged with ICC profiles as well as built in RGB, CMYK, Grayscale, and Lab viewing of your images in a color calibrated environment. To get the most out of these new features, the advanced user will need to understand how different color spaces, color gamut, device characterization, and color management systems work. We will discuss finding the best RGB, CMYK, Lab, or Grayscale color space for you to work in.
15. Calibration. After you decide the Color Space (or Spaces) you want to work in, we explain one of the most essential parts of digital imaging, the calibration of your output devices themselves and the calibration of images on your monitor so that they look as close as possible to the printed results on those devices. We show you how to use our calibration images and how to create your own to calibrate with the tools and software that come standard with Photoshop 5.
16. Scanning, Resolution, Histograms, and Photo CD. Scanning to produce a Master Image that can then be resampled to accommodate all the sizes, RGB film and printer output, Video and Web screen use, and CMYK print output uses you might have for that image. Simplifying bits, bytes, resolution, dpi, percentage, and all the scanning jargon. Using levels and histograms to evaluate and improve your scans with any scanner. Getting the best results from Photo CD scans.
17. Transformation of Images, Layers, Paths, and Selections. Using all the new Photoshop 5 transformation features to scale, resize, and distort your images. Free Transform, Scale, Rotate, Skew, Distort, Numeric Transform, Transform Selection, Transform Layer, and Transform Points will all be discussed and compared so you know which feature to use when and where.
18. Steps to Create a Master Image. An overview of the optimal steps and color correction techniques for moving your Master Image from initial scan to final master image, which you can then resample and customize for your different final screen, film and print output uses. Here, we focus on the process for overall color correction and retouching of your scan or Photo CD and then converting from your Master RGB or Lab image to each final version. Read this for the big picture and a detailed understanding of the entire process.
19. Grand Canyon (Overall Color Correction of a Normal Image). The first things you do to a normal image after scanning it: using a Levels for overall color correction to set highlights and shadows, overall brightness and contrast, and to correct for color casts; using Hue/Saturation to saturate overall and adjust specific colors; and using Curves to learn the art of tweaking certain color and brightness ranges. This chapter includes a complete introduction to Levels and Curves.
20. Kansas (Overall Color Correction of a Problem Image). Overall color correction using Levels, Hue/Saturation, and Curves Adjustment layers on a problem image that has unbalanced colors and lacks a good highlight or shadow position. Using the new Photoshop 5 Hue/Saturation features along with the new Color Sampler tool to more accurately measure colors.
21. Burnley Graveyard (Duotones). Using the Photoshop 5 enhanced Duotone features in Photoshop with custom curves, looking at separate duotone and tritone channels, printing duotones as EPS, and converting duotones and tritones to RGB and CMYKfor final output.
III. IMPROVING COLOR AND MOOD WITH SELECTIONS, LAYERS, ADJUSTMENT LAYERS, AND LAYER MASKS.
22. The Car Ad (Detailed Lasso, Quick Mask, and Color Selection Techniques). Selecting a complex object within an image using the Magic Wand, Lasso, and Quick Mask and then changing its color with Hue/Saturation to create an advertising quality final hi-res image. Other Photoshop 5 approaches to this process are explored, including using the new Magnetic Lasso with the new Hue/Saturation Eyedroppers to simplify the selection and color change process.
23. Grand Canyon Tweaks (Selected Area Modifications, Sharpening and Spotting, Print and Web Output). Now that overall color correction is complete, fine-tune the Grand Canyon image using selections and Adjustment layers with Curves and the new Photoshop 5 Color Sampler to burn and dodge light and dark areas and remove the spots and scratches. Saving your Master RGB image then resampling and sharpening it separately for a CMYK print and a Web image.
24. Kansas Tweaks (Advanced Selections and Masks for Color, CMYK Preview and Conversion). Make final improvements to specific off-color and dark areas using manual and threshold selections, Adjustment layers and Hue/Saturation tricks, dealing with out-of-gamut colors when converting to CMYK, and the details of using the Unsharp Mask filter to sharpen an image.
25. Yellow Flowers (Replace Color, Color Range, and Mask Blur for Selection and Color Change). Using Color Range and Replace Color to easily isolate all the yellow flowers and change their colors. Using Selective Color to fine-tune those colors after RGB to CMYK conversion. Moving Replace Color or Color Range results into an Adjustment Layer layer mask so you can soften or edit the mask, as well as change the color as many times as you like, without degrading the image.
26. Buckminster Fuller (Making a Great B&W Image, Colorizing B&W). Making a fine black-and-white print, using Color Samplers to assist with detailed dodging and burning, darkening the edges of the print using a Curves Adjustment layer with a feathered oval mask, doing detailed retouching to remove unwanted blemishes and facial objects, and colorizing the final image. Using the new Photoshop 5 History palette and History Brush to give you more control when retouching.
27. Color Matching Images. Using Hue/Saturation, Levels, and Selective Color along with the Color palette and new Color Sampler to make sure the colors, tones, and moods match between several photos of the same object(s) on a multipage spread. How to make a series of studio photos match even if they start out as different colors.
28. Desert Al (Complex Color Correction and Retouching). Doing overall and final color correction and retouching of an image that has serious saturation and color problems in facial shadows, using one good channel and the new Channel Mixer to fix the others, using layer masks and Adjustment layers to tweak color between several layers, retouching using Blend modes to balance facial colors, sharpening, and final spotting.
29. Bryce Stone Woman (Lab Color Correction, Using Layers to Tune Opposite Color Areas). Working with an image in the Lab color space involves a different perspective as we use some of the same and also some new color correction tools and techniques. Lab, Threshold, many more layers, Adjustment layers, and layer masks are used to combine Red, Green, and Highlight Bryce Stone Woman areas creating a final image with a great red canyon as well as wonderful green bushes and trees. This example has been refined and enhanced to produce a much more impressive image.
IV. COMPOSITING MULTIPLE IMAGES WITH LAYERS, ADJUSTMENT LAYERS, AND LAYER MASKS.
30. Bob Goes to...(Pen Tool Selections, Compositing, and Transformations). After an introduction to the Pen tool and Paths, we use them to trace the outline of Bob, and then convert to a selection and layer mask to create a knock-out of Bob. We then use Free Transform to send Bob on journeys to Las Vegas, Miami, and other locations as we look into using Levels to create a hair mask and hand editing with the Paintbrush and Airbrush tools to fine-tune his layer mask.
31. Bob and the Kestrel (Threshold, Hard and Soft Edge Masks). Automatically creating a knock-out of the bicycle using Threshold on a channel and then editing that mask and adding a blend using the Gradient tool. Using this knock-out as a layer mask to place Bob behind the bicycle and seamlessly blend the two together.
32. Versailles (Two Scans to Increase Dynamic Range). Using layers and layer masks to seamlessly combine two different scans of the same high-contrast original (one to get shadow detail and the other to get highlight detail), color correcting this difficult, yet exciting image with multiple Adjustment layers and the new Curves and Color Sampler features; then finally, using several effects layers, each with its own opacity and filter effect, to achieve a dramatic result.
33. The Band (Gradient Composites, Correcting Problem Photographs). Combining images using gradient layer masks, blending color channels to correct a badly exposed image, color correcting after compositing with the new Photoshop 5 Curves features and the Color Sampler, and then using Adjustment layers to increase final color correction flexibilities.
34. The McNamaras (Seamless Composites and Color Correction of People). Try the ultimate retouching and color correction challenge as you move six smiling heads from other exposures into this initially imperfect family portrait to end up with everyone smiling. Resizing and rotating the heads with Free Transform, blending them together using layer masks, and using Adjustment layers with the new Color Sampler so you can continue to tweak the color of each head and the original group shot until they all match.
35. South Africa in Focus (Considerations for Multimedia, Premiere, Director, After Effects, and the Web). Using layers to set up your Photoshop files to show unlimited variations of a composite or effect quickly, without losing any of those variations. Using the Layers palette and Layer options, including Clipping Groups, Linking, layer masks, Blend modes, opacity, Layer effects and the new Text tool. Using the History Brush, History palette, and snapshots to mix effects. Filters for texture and edges. Using guides and zero origin to set safe areas. Actions to speed production tasks. Special considerations as you prepare images for eventual use in Premiere, Director, After Effects and the Web.
V. CALCULATIONS, PATTERNS. FILTERS, AND EFFECTS.
36. Blend Modes, Calculations, and Apply Image. Detailed explanations and examples of using the Blend modes in all the tools (painting tools, the Fill command, Layers, Calculations, and Apply Image); the many variations and uses of the Apply Image and Calculations commands demonstrated and demystified.
37. Bike Ride in the Sky! (Blend Mode Composites and New Text Effects). Using the new Photoshop 5 Text editing, Layer effects, Bevel, Shadow, and transformation abilities. Combining positive and negative versions of the same image using Multiply, creating neon text with the Blend modes and placing it using Layer options, combining Illustrator text with Photoshop drop shadows, and saving as EPS from Illustrator for more creative control and higher-quality PostScript text output.
38. Posterize, Bitmaps, Textures, and Patterns. Creating texture and pattern effects using Posterize, Diffusion Dither bitmaps, layers, Layer options, Mezzotint, and Streak Patterns, and 3-D color embossed effects—cool stuff!
39. Photoshop Filters and Effects (Many Great Techniques for Using the Built-in Filters). Getting the most from the standard Photoshop filters by combining filters and effects using layers, layer masks, opacity, Blend modes, levels, and other techniques to get many more combination effects. Demonstrating great uses of some more complex filters like Wave, Displace, Lighting Effects, Emboss, Find Edges, Minimum, Maximum, and others. Techniques to turn photographs into line drawings and get painterly effects, using a 50% gray layer for burning and dodging, the Fade command, and the Photoshop 5 Artistic, Brush Stroke,and Sketch filters.
40. The Portable Computer Ad (A Complex Composite Production Ad). Creating a color add for a portable computer from a black-and-white shot of the computer with nothing on the screen. Placing an Illustrator created cereal box, creating shadows and a textured background on the screen as well as screen grabs of a Tool palette and menu bar. The image is composited with layers in such a way that the background, color of the computer, and image on the computer screen can easily change as you show the ad and its variations to your clients. Here we use the new Measure tool to measure angles, move linked layers from one document to another, and then Free Transform them to fit within an angled window.
41. Creating Shadows. Using the new Photoshop 5 Drop Shadow options to create drop shadows. We also go into more traditional and flexible Photoshop techniques using layers, Blend modes, opacity, and the painting tools to create drop shadows and cast shadows against both white and colored backgrounds and to properly blend them into RGB and CMYK images.
VI. PHOTOSHOP 5, 5.5 AND IMAGEREADY 2 IMAGES FOR THE WEB AND MULTIMEDIA.
42. Differences in Creating for the Web and 8-Bit Color. Understanding the differences in creating images for the Web and multimedia. Knowing why 8-bit color is important and understanding how it works. Working with JPEG, GIF, PNG-8 and PNG-24 files and knowing when to use each. Creating the images for your site so they look best to the users you care about most.
43. Using Photoshop 5.5 and ImageReady 2 to Optimize Web Images. Using the ImageReady 2 and Photoshop 5-5 4-Up Dialogs or using Photoshop 5 to create GIF, JPEG and PNG files. Creating and comparing GIF, JPEG and PNG files and seeing how they look on 8-bit versus 24-bit systems. Looking at the Photoshop Versus ImageReady Web options to decide which ap to use for creating your Web images. Understanding all the JPEG options (Optimized, Progressive, ICC Profile, Blur and Matt) and the GIF Options (Lossy, Color Reduction Algorithum, Dither, Transparency, Interlaced, Matte and Web Snap).
44. Creating Small, Transparent GIF Composites. Scanning images at a larger than Web size and then color correcting, sharpening, and creating knock-outs to composite a jacket with a separate collar image and create the “invisible man” look. Comparing Photoshop 5.5, ImageReady 2 and the Photoshop 5 GIF89a filter as we downsample the composite, sharpen again, create transparent GIFs, then test and correct them with various Web page backgrounds. Learning when to have aliased versus anti-aliased edges on transparent GIFs and how to convert between the two with either Photoshop 5, 5.5 or ImageReady.
45. New Photoshop 5.5 and ImageReady 2 Features. Photoshop 5.5 and ImageReady color management and image display as well as the new type features. Jumping between Photoshop & ImageReady. In Photoshop 5.5—creating automated Contact Sheets, Picture Packages and Web Photo Galleries, the new Magic Eraser, Background Eraser and Extract Image tools; in ImageReady using the Shape tools, Layer Effects and Layer Styles, opening and editing QuickTime movies as animations, saving animations as QuickTime movies, creating image maps and creating Master Palettes.
46. Creating Animations, Slices and Rollovers in ImageReady 2. Making a Web page using ImageReady, setting up the page and guides, creating slices and optimizing each slice within a page, adding the text information to your page and animations, creating animations between different images and also image positions, adding rollover states to your slices, tweening between frames of an animation, cleaning up animation and rollover interactions.
Chart of Print Display Longevity. Bibliography. Index. Colophon. About Author's New Books and Workshops.