PP2 Tut1-2

PRACTICAL PHOTOSHOp
LEVEL 2
CS5
BARbARA HEIMAN WINDSOR GREEN C ORRINE HAVERINEN D ONALD LAIRD
Practical Photoshop CS5, Level 2 Barbara Zukin Heiman, Windsor Green, Corrine Haverinen, and Donald Laird Practical Photoshop PO Box 195, Vineburg, CA 95487 Find us on the Web at http://www.practical-photoshop.com. For inquiries or to report problems or errors, please send an email to bheiman@practical-photoshop.com. Copyright 2012 by Barbara Zukin Heiman, Windsor Green, Corrine Haverinen, and Donald Laird Notice of Rights All rights reserved. No part of this book or the accompanying electronic files may be reproduced or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwisewithout the prior written permission of the publisher. Students enrolled in SRJC Computer Studies 70.11B for Fall, 2011 may print one copy of each tutorial for their own use. Sharing materials with anyone who was not enrolled in that class is strictly prohibited. Trademark Adobe Photoshop and Adobe Bridge are registered trademarks of Adobe Systems, inc. in the United States and other countries. Notice of Liability The information in this electronic book are distributed on an as is basis, without warranty. While every precaution has been taken in the preparation of this book, none of the authors shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained herein, or by the computer software or hardware products described herein or provided on the DVD that accompanies the book. ISBN-13: 978-0-9822931-9-5
For Marilyn Kelly

Editor Extraordinare
PRACTICAL PHOTOSHOp CS5, LEVEL 2

TABLE OF CONTENTS
Tutorial 1: Overview & Guidelines . . . . . . . . . . . . . . . . . . . . 1 Tutorial 2: Mini Bridge & Camera Raw. . . . . . . . . . . . . . . . 25 Tutorial 3: A First Look at Masks . . . . . . . . . . . . . . . . . . . . 53 Tutorial 4: Type Layers & Type Masks .. . . . . . . . . . . . . . . . 76 Tutorial 5: Masking Layers . . . . . . . . . . . . . . . . . . . . . . . . 106 Tutorial 6: Image Evaluation . . . . . . . . . . . . . . . . . . . . . . 139 Tutorial 7: Color Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Tutorial 8: Adjusting Tones & Colors . . . . . . . . . . . . . . . . 177 Tutorial 9: Touching Up Photographs . . . . . . . . . . . . . . . 206 Tutorial 10: Adjusting Tone, Color, & Focus . . . . . . . . . . 225 Tutorial 11: Color & Shades of Gray. . . . . . . . . . . . . . . . . 255 Tutorial 12: Case Studies . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Tutorial 13: Fills, Vectors, & Shapes .. . . . . . . . . . . . . . . . 315 Tutorial 14: Filters .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Tutorial 15: Web Graphics. . . . . . . . . . . . . . . . . . . . . . . . . 393 Tutorial 16: Archival & Print File Formats . . . . . . . . . . . 422 Tutorial 17: Actions & Batch Processing.. . . . . . . . . . . . 443 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459
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TUTORIAL 1: OVERVIEW & GUIDELINES.................. 1

Tutorial Guidelines.................................................................................... 1 Using These Tutorials with Photoshop................................................. 1 The Photoshop Application.................................................................... 2 Hardware and Software Requirements......................................... 4 Creative Suite Requirements ........................................................ 5 Photoshop CS5 Installation. . ................................................................... 5 A Few Tips Before You Begin............................................................ 6 Help Menu Resources............................................................................... 6 Activation & Deactivation. . ............................................................... 6 Checking for Free Updates............................................................... 7 Adobe ID............................................................................................... 7 Uninstalling Photoshop CS5...................................................8 The Photoshop Settings File................................................................... 8 Modifier Key Identification and Location..................................... 8 To Reset the Adobe Photoshop Settings File.. ............................. 9 How Does Photoshop Tell You When Its Out of Working Space?.10 Customizing Photoshop Preferences. . ................................................ 11 Image Interpolation......................................................................... 11 File Handling Preferences............................................................... 12 Performance Preferences......................................................... 13 Memory Usage.. .......................................................................... 13 History States. . ............................................................................ 14 Scratch Disks............................................................................... 14 Units and Rulers................................................................................ 15 Type...................................................................................................... 15 Save For Web Review.............................................................................. 15 Guided Exercise 1.1:
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Review the Save For Web & Devices Command........................ 16 JPEG Compression and JPEG Quality........................................... 21 Adjusting JPEG Compression with Save for Web & Devices............................................................ 21 On Your Own............................................................................................. 23 Resources................................................................................................... 24
TUTORIAL 2: MINI BRIDgE & CAmERA RAW. ......... 25

Overview.................................................................................................... 25 Objectives.................................................................................................. 25 MiniBridge.......................................................................................... 25 Camera Raw........................................................................................ 25 Mini Bridge................................................................................................ 26 Semi-Guided Exercise 2.1: View and Use Mini Bridge.............. 27 Raw Format............................................................................................... 29 Advantages of Raw Format............................................................ 30 Disadvantages of Raw Format....................................................... 30 Adobes Digital Negative Specification (DNG)........................... 31 The Camera Raw Dialog Box.......................................................... 32 Camera Raw Dialog Box Landmarks. . ........................................... 33 Image Preview............................................................................ 33 The Camera Raw Tools Panel. . ........................................................ 34 Zoom and Hand Tools............................................................... 35 The White Balance Tool.. ........................................................... 35 The Crop and Straighten Tools............................................... 36 Spot Removal and Red Eye Removal Tools.......................... 36 The Histogram and the Adjustments Panel.. .............................. 36 The Adjustments Pane: Basic Tab. . ................................................ 37 The Auto & Default Buttons.. ................................................... 38
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White Balance............................................................................. 38 Temperature and Tint.. .............................................................. 39 Tonal Adjustments. . ................................................................... 39 Color Adjustments . . .................................................................. 40 Other Tabs.......................................................................................... 40 Reset the Image................................................................................ 41 Recognizing an Adjusted Image................................................... 41 Guided Exercise 2.2: Manipulate an Image in Camera Raw.. .. 41 The Adjustment Brush Tool ........................................................... 45 Image Adjustment Workflow......................................................... 45 Guided Exercise 2.3: Use the Adjustment Brush Tool.. ...... 46 Finishing Up....................................................................................... 48 G uided Exercise 2.4: Process Your Camera Raw Image..... 48 On Your Own............................................................................................. 51 Resources................................................................................................... 51 Mini Bridge......................................................................................... 51 Camera Raw Videos.......................................................................... 51 White Balance.................................................................................... 52
TUTORIAL 3: A FIRST LOOK AT MASKS................ 53

Overview.................................................................................................... 53 Objectives.................................................................................................. 54 Navigation Shortcuts.............................................................................. 55 Review Layers Panel Buttons................................................................ 55 Quick Mask Mode.................................................................................... 56 Standard Mode vs. Quick Mask Mode. . ........................................ 57 Quick Mask Tips. . ............................................................................... 57 Guided Exercise 3.1: Make and Refine a Quick Mask.. .............. 58
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Alpha Channels........................................................................................ 63 To save a selection as an Alpha Channel.. ................................... 64 To Load an Alpha Channel as a Selection................................... 65 Guided Exercise 3.2: Save and Load an Alpha Channel........... 65 Pixel Masks................................................................................................ 67 Pixel Mask Basics. . ............................................................................. 67 Guided Exercise 3.3: Use the Refine Edge Command to Make a Layer with a Pixel Mask..................................................... 68 Guided Exercise 3.4: Use the Masks Panel to Finish Your Image .. ............................... 69 Channels, Masks, and Document Size.. ........................................ 72 Layer Math................................................................................... 72 Use Layer Masks Like Alpha Channels.................................. 72 Delete Unnecessary Layers and Alpha Channels as You Work................................................................................. 72 Feathering Masks and Selection Edges....................................... 73 On Your Own............................................................................................. 74 Resources................................................................................................... 74 Refine Edge........................................................................................ 74 Masks Panel........................................................................................ 75
TUTORIAL 4: TYpE LAYERS & TYpE MASKS............ 76

Overview.................................................................................................... 76 Type Tools and Type Layers................................................................... 77 Guided Exercise 4.1: Use the Horizontal Type Tool.. ................. 77 Guided Exercise 4.2: Use the Vertical Type Tool........................ 82 Guided Exercise 4.3: Use the Horizontal Type Mask Tool........ 84 Guided Exercise 4.4: Use the Vertical Type Mask Tool.. ............ 86 Point Text and Paragraph Text.............................................................. 88
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Guided Exercise 4.5: Use Paragraph Text.................................... 88 A Further Look at Formatting Text.. ..................................................... 91 Type Tools Options Bar.................................................................... 91 The Character Panel......................................................................... 92 The Paragraph Panel........................................................................ 95 Editing Text in Type Layers.................................................................... 96 Selecting Type .................................................................................. 96 Point and Paragraph Text Revisited. . ............................................ 97 Transforming Type Layers .............................................................. 98 Rasterizing Type Layers................................................................... 98 To rasterize a Type layer.................................................................. 99 Smart Objects........................................................................................... 99 Guided Exercise 4.6: Convert a Type Layer to a Smart Object and Apply Smart Filters to the Smart Object.............100 On Your Own...........................................................................................104 Resources.................................................................................................104 Type....................................................................................................104 Smart Objects & Smart Filters. . ....................................................105
TUTORIAL 5: MASKINg LAYERS........................106

Overview..................................................................................................106 Create and Manipulate Layer Masks.................................................106 Simple Ways To Add a Layer Mask to a Layer...........................107 Use the Masks Panel to Add a Layer Mask................................107 The Masks Panel.....................................................................................108 Masks Panel Landmarks................................................................108 Guided Exercise 5.1: Combine Two Images with Masking..........................................110
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Applying Filters to Layer Masks.. ........................................................116 Quick Filter Review. . .......................................................................117 The Filter Menu........................................................................117 Filter Gallery Overview...........................................................117 Guided Exercise 5.2: Make a Type Layer with a Filtered Pixel Mask..........................119 Using Gradients as Layer Masks.........................................................121 Partly Guided Exercise 5.3: Gradient Layer Masks.. .................121 Layer Mask Tips...............................................................................123 Using Filters on Layer Masks...............................................................125 Guided Exercise 5.4: Filter a Layer Mask to Provide an Irregular Edge.. ...................125 Layer Mask Case Study..................................................................127 Clipping Masks.......................................................................................128 Layer Masks vs. Clipping Masks. . .................................................128 Guided Exercise 5.5: Clipping Mask Experimentation...........128 Guided Exercise 5.6: Make a Collage of Layers Inside a Clipping Mask...................132 Using Your Filled Type Document. . .............................................135 On Your Own...........................................................................................136 Make and Filter a Heart-Shaped Pixel Mask.............................136 Resources.................................................................................................137 Masking Basics.. ...............................................................................137 Differentiating Layer Masks and Clipping Masks....................137
TUTORIAL 6: ImAgE EVALUATION. ....................139

Overview..................................................................................................139 Objectives................................................................................................139 Image Evaluation...................................................................................140
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Evaluation via the Histogram Panel...........................................140 Guided Exercise 6.1: Use the Histogram Panel.................140 Guided Exercise 6.2: Analyzing Histograms......................143 Guided Exercise 6.3: Modify an Image and Observe How its Histogram Changes.................................145 Identifying Problems in Overall Image Contrast.. ...................148 Guided Exercise 6.4: Use the Histogram Panel to Evaluate Image Contrast....148 Color Channels................................................................................150 Differentiating Layers from Channels can be Very Confusing...................................................................................150 Guided Exercise 6.5: Examine Color Channels.. ......................150 Evaluating Image Color.. ......................................................................154 Color Cast..........................................................................................154 Guided Exercise 6.6 Use the Color Sliders in the Color Panel to Mix Neutral & Non-Neutral Colors............154 The Info Panel..................................................................................155 The Color Sampler Tool.................................................................156 Guided Exercise 6.7: Use the Info Panel with Color Samplers....................................157 Color Sampler Tips. . ........................................................................160 Guided Exercise 6.8: Evaluate an Image for Both Tone & Color.................................161 On Your Own...........................................................................................163 Resources.................................................................................................163 Histogram.........................................................................................163 Info Panel..........................................................................................163 Color Sampler Tool.........................................................................163
TUTORIAL 7: COLOR THEORY...........................164

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Overview..................................................................................................164 Objectives................................................................................................164 Vision, Color Wheels and Primary Colors.........................................165 Very Basic Color Theory.. ......................................................................165 The Color Wheel..............................................................................165 The Art Color Wheel..............................................................165 The Science Color Wheel.....................................................166 Color Models....................................................................................166 RGB Color Model.............................................................................167 CMYK Color Model. . ........................................................................167 Color Gamuts...................................................................................168 Out of Gamut............................................................................168 Web-Safe and Non Web-Safe Colors...................................169 Photoshop Image Modes.. ...................................................................169 Relating Image Modes to Color Channels................................170 One Color Channel..................................................................170 Three Color Channels. . ............................................................170 Four Color Channels. . ..............................................................171 How Color Channels Work...................................................................171 Bit Depth...........................................................................................171 The Purpose of Each Image Mode..............................................173 RGB Color...................................................................................173 Lab Color....................................................................................174 CMYK Color. . ..............................................................................174 Grayscale....................................................................................174 Bitmap........................................................................................175 Image Mode Conversion......................................................................175 Resources.................................................................................................176
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TUTORIAL 8: ADJUSTINg T ONES & COLORS.........177

Overview..................................................................................................177 Objectives................................................................................................177 Adjustment Layers and the Adjustments Panel.............................178 The Adjustments Panel Icons & Buttons...................................178 Guided Exercise 8.1: Use the Levels Adjustment Panel.........180 Using Levels to Adjust Individual Color Channels..................183 Guided Exercise 8.2: Improve an Image by Adjusting Individual Color Channels.. ....................................................183 The Levels Eyedroppers.......................................................................187 Guided Exercise 8.3: Use the Levels Eyedroppers...................187 Guided Exercise 8.4: Use Levels Eyedroppers to Neutralize a Color Cast................189 Guided Exercise 8.5: Use Levels to Adjust a Washed Out Image.. ..............................192 The Shadows/Highlights Adjustment Command..........................194 Guided Exercise 8.6: Use the Shadows/Highlights Command to Lighten Shadow Detail. . .......................................194 Layer Masks and Image Adjustment.................................................198 Guided Exercise 8.7: Use a Masked Adjustment to Brighten a Flower.....................198 Guided Exercise 8.8: Further Layer Mask Experimentation...202 On Your Own...........................................................................................203 Adjust the Spokane Image...........................................................204 Apply the Shadows/Highlights Adjustment.. ...........................204 Resources.................................................................................................204 Adjustments Panel.. ........................................................................204 Adjustment Layers. . ........................................................................204 Levels.................................................................................................204
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TUTORIAL 9: TOUCHINg Up PHOTOgRApHS.........206

Overview..................................................................................................206 Objectives................................................................................................206 The Clone Stamp Tool Revisited. . .......................................................207 Guided Exercise 9.1: Use the Clone Stamp Tool......................210 Touch-Up Tools.......................................................................................211 The Healing Brush Tool. . ................................................................211 Guided Exercise 9.2: Use the Healing Brush Tool.............212 Guided Exercise 9.3: Use the Healing Brush Tool to Remove or Diminish Wrinkles and Blemishes...................213 The Spot Healing Brush Tool........................................................214 Guided Exercise 9.4: Compare the Healing Brush Tool with the Spot Healing Brush and Clone Stamp Tools.. ....215 The Patch Tool..................................................................................218 Composite Layers...........................................................................218 To Make a Composite Layer.. .................................................218 Guided Exercise 9.5: Use the Patch Tool.............................219 Touch-up Tool Tips. . ........................................................................220 Guided Exercise 9.6: Repair a Color Photograph.. ...........221 On Your Own...........................................................................................223 Resources.................................................................................................223 Clone Stamp Tool. . ..........................................................................223 Healing Brush and Spot Healing Brush Tools.. .........................223 The Patch Tool..................................................................................224 Dodge, Burn and Sponge Tools...................................................224
TUTORIAL 10: ADJUSTINg T ONE, COLOR, & FOCUS..................225

Overview..................................................................................................225
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Objectives................................................................................................225 The Toning Tools....................................................................................225 Dodging and Burning....................................................................226 Guided Exercise 10.1: Use the Dodge and Burn Tools on a Grayscale Image.. ...226 Guided Exercise 10.2: Use the Dodge and Burn Tools on a Color Image............229 Dodge and Burn Tips.....................................................................230 The Sponge Tool.. ............................................................................231 Semi-Guided Exercise 10.3: Use the Sponge Tool to Whiten Teeth. . ...............................231 Content Aware Fill.................................................................................232 Guided Exercise 10.4: Compare Content-Aware Fill with the Patch Tool...................233 Digital Noise............................................................................................236 The Reduce Noise Filter. . ...............................................................237 Guided Exercise 10.5: Use the Reduce Noise Filter.. ........................................................237 Sharpening and Blurring.. ....................................................................239 The Focus Tools: Sharpen, Blur, and Smudge.. .........................240 Guided Exercise 10.6: Use the Sharpen Tool.....................241 Guided Exercise 10.7: Use the Blur Tool.. ............................242 Guided Exercise 10.8: Use the Smudge Tool.. ....................243 Focus Workflow ..............................................................................244 The Sharpen Filters.. ..............................................................................244 The Smart Sharpen Filter..............................................................245 The Smart Sharpen Dialog Box. . ...........................................245 Guided Exercise 10.9: Use the Smart Sharpen Filter to Improve Image Focus.. ............................................................247
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The Gaussian Blur Filter. . ...............................................................249 Guided Exercise 10.10: Use the Gaussian Blur Filter Selectively.............................249 The Add Noise Filter. . .....................................................................250 Guided Exercise 10.11: Use the Gaussian Blur Filter Selectively..................................................................................250 Editing with History..............................................................................251 The History Brush Tool Revisited. . ...............................................251 Guided Exercise 10.12: Use the History Brush Tool to Selectively Paint Back in a History State...................................251 Guided Exercise 10.13: Use a Layer Mask to Selectively Paint Back in History......................................................................253 On Your Own...........................................................................................253 Lab Color Image Mode Trick: Sharpening an Image..............253 Resources.................................................................................................254 Multiple Tools..................................................................................254 Sharpening.......................................................................................254
TUTORIAL 11: COLOR & SHADES OF GRAY..........255

Overview..................................................................................................255 Objectives................................................................................................255 Converting from RGB to Grayscale....................................................256 Guided Exercise 11.1: Explore RGB to Grayscale Conversion Techniques.. ................257 The Black & White Adjustment Panel................................................263 Guided Exercise 11.2: Use the Black & White Adjustment Panel. . ................................264 Black & White Adjustment Suggestions and Issues.. ..............265 Partly Desaturated Images..................................................................266 Guided Exercise 11.3: Make a Partly Desaturated Image......266
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Blending Desaturated Layers. . .....................................................267 Guided Exercise 11.4: Apply Layer Blend Modes to a Partly Desaturated Image...................................................268 Adobe Bridge: Output to PDF. . ...........................................................269 Guided Exercise 11.5: Use Adobe Bridge to Combine the Iris Images into a Single PDF File for Printing..................269 Guided Exercise 11.6: Use Adobe Bridge to Combine the Iris Images into a Single PDF File for Screen Viewing............274 Colorizing Grayscale Images. . .............................................................276 Guided Exercise 11.7: Convert from RGB to Grayscale and Back.................................276 Guided Exercise 11.8: Use Color, Gradient, and Pattern Fill Layers with Layer Blending Options....................................280 Guided Exercise 11.9: Colorize with Hue/Saturation Adjustment Layers with Masks....................................................285 Photo Filter Adjustment. . .....................................................................288 Guided Exercise 11.10: Experiment with the Photo Filter .. .............................................288 The Match Color Command................................................................289 Guided Exercise 11.11: Match the Colors of a Group of Images. . ...................................289 The Color Replacement Tool ..............................................................292 Guided Exercise 11.12: Use the Color Replacement Tool......292 On Your Own...........................................................................................293 Resources.................................................................................................294 RGB to Grayscale Conversion.......................................................294 Channel Mixer Adjustment Layer.. ..............................................294 Black & White Adjustment Layer.................................................295 Image Mode Conversion...............................................................295 Colorize Grayscale Images. . ..........................................................295
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Photo Filter.......................................................................................296 Match Color .....................................................................................296 The Color Replacement Tool........................................................296
TUTORIAL 12: CASE STUDIES. .........................297

Overview..................................................................................................297 Case Study 12.1: Restore a Color Photograph................................297 Case Study 12.2: Combine Two Similar Photographs.. ..................307 On Your Own...........................................................................................313 Resources.................................................................................................314
TUTORIAL 13: FILLS, VECTORS, & SHApES.........315

Overview..................................................................................................315 Objectives................................................................................................315 Vectors vs. Pixels....................................................................................316 File Format Issues...........................................................................318 Fill Layers.................................................................................................318 Guided Exercise 13.1: Create & Manipulate a Color Fill Layer. . .....................................318 Using Document Rulers, Grid and Guides.......................................322 The View Menu................................................................................322 Extras..........................................................................................322 Macintosh Users Alert. . ...........................................................322 Pixel Grid....................................................................................323 Layer Edges...............................................................................323 Selection Edges........................................................................324 The Document Grid and Snap.....................................................324 Rulers.................................................................................................325 Guides................................................................................................326
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Guided Exercise 13.2: Set Up a Document with the Grid and Guides........................327 Ruler, Grid, and Guide Preferences.............................................331 Snap Revisited.................................................................................332 Paths & Shape Layers............................................................................333 Shape Tools ............................................................................................334 Usage.................................................................................................335 Guided Exercise 13.3: Use the Rectangle Tool to Create a Simple Shape Layer.......335 Shape Drawing Tips. . ......................................................................338 Pathfinder Buttons.........................................................................338 Geometry Options.. ...............................................................................339 The Rectangle Tool................................................................................339 Guided Exercise 13.4: Experiment with the Rectangle Tool. . ........................................340 Editing a Vector Mask...........................................................................341 Guided Exercise 13.5: Edit Vector Masks...................................341 The Rounded Rectangle Tool..............................................................343 Guided Exercise 13.6: Experiment with the Rounded Rectangle Tool.. ......................343 Rounded Rectangle Challenge.............................................346 The Ellipse Tool.......................................................................................348 Guided Exercise 13.7: Use the Ellipse Tool to Make a Vector Mask on a Pattern Fill Layer. . ........................................................348 The Polygon Tool ..................................................................................351 Guided Exercise 13.8: Experiment with the Polygon Tool.. ...351 The Line Tool...........................................................................................352 Custom Shapes Tool..............................................................................353 To Choose a Custom Shape..........................................................353 Shape Libraries. . ..............................................................................353
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Placing Documents into Photoshop.................................................354 Semi-Guided Exercise 13.9: Make the Vector Sampler..........354 On Your Own...........................................................................................357 Resources.................................................................................................358 Grids and Guides. . ...........................................................................358 Fill Layers..........................................................................................358 Blend Modes....................................................................................358 Vector Shape Layers.......................................................................359
TUTORIAL 14: FILTERS..................................360

Overview..................................................................................................360 Objectives................................................................................................360 Review Filter Basics...............................................................................361 Guided Exercise 14.1: Applying Artistic Filters........................364 Guided Exercise 14.2: Use Filters to Make Artwork from Scratch.......................................368 The Filter Gallery....................................................................................371 The Filter Gallery Dialog Box. . ......................................................372 Preview Settings.. .....................................................................373 Applying Multiple Filters.. ......................................................374 Filter Gallery Tips............................................................................375 Guided Exercise 14.3: Using the Filter Gallery.........................376 Guided Exercise 14.4: Working with the Filter Gallery.. .........380 Guided Exercise 14.5: Combining Filter Layers and Blending Modes.. .......................384 On Your Own...........................................................................................390 Resources.................................................................................................391 Adobe Help .....................................................................................391 Accented Edges Filter....................................................................391
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Bas Relief Filter................................................................................391 Cutout Filter.....................................................................................391 Crosshatch Filter.............................................................................391 Dry Brush Filter. . ..............................................................................391 Find Edges Filter.. ............................................................................392 Glowing Edges Filter......................................................................392 Paint Daubs Filter.. ..........................................................................392 Sketch Filters....................................................................................392 Poster Edges Filter..........................................................................392 Texturizer Filter...............................................................................392 Watercolor Filter.. ............................................................................392
TUTORIAL 15: WEB GRApHICS........................393

Overview..................................................................................................393 Objectives: ..............................................................................................394 Proprietary and Generic File Formats...............................................394 Comparing the Most Common Web File Formats.. ........................395 JPEG or Joint Photographic Experts Group..............................396 JPEG Properties........................................................................397 GIF, or Graphic Interchange Format...........................................397 PNG or Portable Network Graphic..............................................398 Save for Web & Devices Revisited......................................................399 Why use Save for Web & Devices?. . .............................................399 Guided Exercise 15.1: Use the Save for Web & Devices Command to Save a JPEG File. . ....................................................400 Indexed Color Mode.. ............................................................................404 Guided Exercise 15.2: Explore Indexed Color Mode.. .............405 GIF Optimization for the Web......................................................407 Guided Exercise 15.3:
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Set Up Save for Web & Devices to Preview Web Graphics on a Web Page..........................................................................................407 Guided Exercise 15.4: GIF Optimization....................................410 Guided Exercise 15.5: Preview GIF Optimization in a Browser and Fix It...........................................................................................413 Guided Exercise 15.6: GIF Optimization with a Drop Shadow. . ....................................416 Guided Exercise 15.7: PNG-8 Optimization..............................418 On Your Own...........................................................................................420 Resources.................................................................................................420
TUTORIAL 16: ARCHIVAL & PRINT FILE FORmATS.422

Overview..................................................................................................422 Objectives................................................................................................423 Lossless vs. Lossy File Compression..................................................424 Comparing the Most Common Print File Formats.........................424 JPEG or Joint Photographic Experts Group..............................425 PDF or Portable Document Format............................................425 TIFF or Tagged Image File Format..............................................................425 PDF Specifics...........................................................................................426 Guided Exercise 16.1: Save an Adobe Photoshop PDF File...........................................426 Guided Exercise 16.2: Save A file as a PDF/X-1a:2001.. ..........432 Opening and Editing PDF Files in Photoshop.. ........................433 Guided Exercise 16.3: Open an Adobe PDF File......................434 PDF Take-Home Message. . ............................................................435 TIFF............................................................................................................436 Guided Exercise 16.4: Save a Non-Layered or Flattened TIFF.4 36 EPS or Encapsulated PostScript.. ........................................................438
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Guided Exercise 16.5: Save an EPS File in Photoshop............439 TIFF vs. EPS vs. PDF. . ..............................................................................441 Resources.................................................................................................442
TUTORIAL 17: ACTIONS & BATCH PROCESSINg....443

Overview..................................................................................................443 Objectives................................................................................................443 The Actions Panel..................................................................................444 Guided Exercise 17.1: Use the Vignette (selection) Action...445 Make Your Own Action.........................................................................449 Guided Exercise 17.2: Make and Test an Action to Change Print Resolution.. ..........450 Saving and Loading Action Sets........................................................452 To Save an Action Set:.. ..................................................................452 To Load an Action Set....................................................................453 Batch Processing....................................................................................453 To Batch Process a Group of Images with the Same Action:.4 53 Guided Exercise 17.3: Batch Process a Folder of Images.. .....455 On Your Own...........................................................................................457 Resources.................................................................................................457 Download Actions..........................................................................457 Tutorials............................................................................................458
INDEX........................................................459
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TUTORIAL 1: OVERVIEW & GUIDELINES
Adobe Photoshop is the industry standard software for image editing. Practical Photoshop CS5, Level 2 is the second book in a series to guide you through the intricacies of digital image creation and editing. In this book you will develop more layer and adjustment skills, differentiate between pixel and vector based image components, and work with layers, channels, and especially masks to build complex Photoshop documents. You will need Photoshop CS5 or Photoshop CS5.5 (AKA CS 5.1) for either Mac or Windows to complete the majority of tutorials in this book. No support will be given for earlier software versions or for the Photoshop Elements application.
TUtORIAL GUIDELINES
At the beginning of each tutorial you will find an Objectives section so you know what you will accomplish by completing the tutorial. There will also be a list of practice files for you to download to follow along with the guided exercises. Graphics or computer terminology known as KEY TERMS are set off in all caps when they are defined. Computer menu commands and keystrokes are set off in boldface as are screen elements such as panels, bars, and buttons.
USINg ThESE TUtORIALS wIth PhOtOShOp

Photoshop menu commands often involve drilling down from a main menu to one or more submenus. We have used a greater-than sign
Tutorial 1: Getting Started Page 1
(>) to show you the sequence to follow. Thus, Image > Adjustments > Desaturate directs you to click first the Image menu, then the Adjustments submenu, and finally the Desaturate command. All Windows computers and modern Macintosh computers (except laptops) use computer mice or trackpads with (at least) two mouse buttons. If your mouse has two or more buttons, Click means to press and release the left mouse button. Right-click means to press and release the right mouse button. Drag means to press the (left) mouse button and keep it down as you move the mouse. If your computer only has a one button mouse or a single trackpad button (or click location), you will need to click and hold the control key and then click the single button to simulate a right-click. Press means to press one of the keys on the keyboard. Photoshop often uses MODIFIER KEYS on the computer keyboard along with mouse clicks to extend the capabilities of those keys. Windows typically uses the Ctrl, Alt, and/or Shift keys. Macintosh typically uses the Command ( ), Option, Ctrl, and/or Shift keys. The plus sign (+) indicates when a modifier key is required. For example, you might Alt + Click (Win) or Option + Click (Mac) to perform a particular function. When you use modifier keys, you are supposed to press the key(s) and click the mouse at the same time. Timing can be tricky. You may find it easier to first press the modifier key(s), then click or drag the mouse, and finally to release the mouse button before releasing the modifier key(s).
ThE PhOtOShOp AppLIcAtION

Adobe produces two image-editing applications: Adobe Photoshop
Elements and the full Adobe Photoshop. Photoshop Elements is a less expensive, consumer level graphics-editing application. Elements is terrific for simple image editing, but does not have nearly the range of capabilities as the full Photoshop application. Photoshop Elements offers a good training ground for moving into the professional application, as both applications use similar working environments and approaches to image production and editing. Adobe first acquired Photoshop in 1990. Since that time, there have been several improvements, or UPGRADES. The most current version of Photoshop, released in May 2011, is Photoshop CS5.1 (technically Photoshop 12.1). There are two versions of Photoshop, Standard and Extended. You can do all the lessons in this book using Photoshop CS5 Standard, but we have used the Extended version to make our screen pictures, so you might see some additional screen elements that are not on your screen. We have prepared these lessons for Photoshop CS5 Standard, not for earlier versions of Photoshop or for Photoshop Elements. CS stands for Creative Suite because you can either purchase Photoshop as a stand-alone application, or as part of a collection of graphics applications. Adobe Photoshop CS5 contains just the stand-alone Photoshop application, plus Adobe Bridge to help you manage your images. The Creative Suites bundle Photoshop with additional Adobe applications, depending on which suite you choose. You can get more information about which applications are bundled with the various suites on the Adobe Web site: http://www.adobe.com/products/creativesuite/design. If you are a student or an educator, be sure to take advantage of Adobes very generous academic prices: http://www.adobe.com/education/products/creativesuite/design. One caveat. Academic pricing does not include upgrades. Creative
Suite 6 is on the horizon, but Adobe has not yet announced the release date. Rumors report some time in the Spring of 2012.
HARDwARE AND SOFtwARE REQUIREMENtS

Photoshop works equally well with either Macintosh or Windows computer systems. Image editing requires lots of processing power, and Photoshop works much more swiftly on newer, faster computers. Before purchasing Photoshop, make sure that your computer hardware and software are adequate. To use Photoshop effectively, you will need a fast computer, a modern operating system, and enough RAM and hard disk space to manipulate your images as you edit and save them. And, of course, you will need the Photoshop application itself. Lets look at each of these requirements in more detail. 1. A fast, powerful computer with a current operating system: Macintosh Intel-based Macs only (no Power PCs) 2 GB of available hard-disk space Mac OS X v. 10.5.7 minimum, Mac OS X v. 10.6.2 recommended Windows Intel Xeon, Xeon Dual, Centrino, or Pentium 4 processor; AMD equivalents 1 GB of available hard-disk space Win: Microsoft Windows XP with Service Pack 3 or higher; Vista Service Pack 1; Vista 64-bit; Windows 7 2. Enough RAM (random access memory) and hard disk space to manipulate your images as you edit and save them.
1GB of RAM is what Adobe says. In our experience, 2 GB of RAM should be the minimum, and more is better. 3. Additional requirements: 1,024x768 display (1,280x800 recommended) with 16-bit or greater video card DVD-ROM drive Some GPU-accelerated features require graphics support for Shader Model 3.0 and OpenGL 2.0 QuickTime 7.2 or higher required for multimedia features Internet or phone connection for product activation (but not for ongoing use) Broadband Internet connection required for online services
CREAtIVE SUItE REQUIREMENtS

If you are installing one of the Creative Suite bundles, not just Photoshop and Bridge, the hardware requirements are somewhat greater. For either platform, you will need at least 1 GB of RAM, and between 9 and 10 GB of free, contiguous hard disk space. The specifics are listed on the Adobe Web site: http://www.adobe.com/products/creativesuite/design/systemreqs.
PhOtOShOp CS5 INStALLAtION

There are two versions of Photoshop CS5, Standard and Extended. The extended version adds tools both for editing 3D and motionbased content and for performing image analysis. These tutorials focus on the standard version of CS5. Whether you install just Photoshop CS5 and Bridge CS5, or one of the Creative Suites, you will use your DVD drive to install the software. Once you place the (first) installation disk into your DVD drive, follow the on-screen prompts.
A FEw TIpS BEFORE YOU BEgIN

If you are upgrading from a previous version of Photoshop, keep your serial number handy; you will need it to complete the software installation. No Adobe applications or Web browsers should be open on your computer as you install. If necessary, remove earlier versions of Photoshop and Bridge before you install CS5 or higher. You can run Photoshop CS5 on the same computer as earlier versions of Photoshop, Bridge, or Elements, if you so desire. However, those older versions take up valuable hard drive space, and you can get confused about which version of the software you have open. Unless you will need the older versions, remove them before you install CS5. Windows: Use the Adobe Photoshop Uninstaller in the Add or Remove Programs utility in Windows to remove Photoshop from the computer. If that does not work, you can uninstall manually using these instructions from Adobe: http://www.adobe.com/ cfusion/knowledgebase/index.cfm?id=331405. Macintosh: Use the uninstaller in the Applications > Utilities> Adobe Installers folder. To uninstall Photoshop CS3-4 or one of the CS3-4 suites. For earlier versions of Photoshop, follow Adobes non-automatic instructions: http://www.adobe.com/cfusion/ knowledgebase/index.cfm?id=331296
HELp MENU RESOURcES

ActIVAtION & DEActIVAtION
Single-user licenses of Photoshop CS5 require that you activate the
software online before using it for more than 30 days after its first use. According to Adobe, http://www.adobe.com/go/activation, this is a simple, anonymous process. A single-user license allows you to place Photoshop CS5 onto two computers, such as at work and at home or on a desktop and laptop computer, with the assumption that you will only use Photoshop on one machine at a time. If you want to install the software on an additional computer, you must first deactivate it on one of the original computers. Within the Photoshop application, choose Help > Deactivate.
ChEcKINg FOR FREE UpDAtES

The Creative Suite applications are quite complicated, and although Adobe works hard to make them perfect, problems sometimes arise. When Adobe can fix these problems, or can add features that were not included in the shipped software, then updates become available for download and installation. From within any of the Creative Suite applications, Help > Updates takes you online to the Adobe Updater to check your computer and see if any updates are available. If they are, you will be instructed to download and install them. You probably will not be able to do this if you are working in a computer lab or network.
ADObE ID
An Adobe ID, plus your password, gives you access to special membership benefits on Adobe.com. it is essential for viewing special training and help features for Creative Suite 5 applications. For more information see http://kb2.adobe.com/cps/167/tn_16721.html.
UNINStALLINg PhOtOShOp CS5

When you install your software, uninstallers are placed in your system. In Windows, the Add or Remove Programs control panel should allow you to uninstall Photoshop or other Creative Suite applications. On the Mac, by default, the uninstallers are placed inside the Applications > Utilities > Adobe Installers folder.
ThE PhOtOShOp SEttINgS FILE

Application PREFERENCES are settings for window and palette locations, tools, dialog boxes, and color settings. Each time a tool, palette or command setting is changed, Photoshop saves the new configurations in the Adobe Photoshop Settings File on the computers hard disk. Application DEFAULTS are the original settings created when the program was first installed. As you learn Photoshop, you may want to restore these defaults each time you launch the program so that your working environment is consistent, and it matches the environment described in these notes. Occasionally, the Adobe Photoshop Settings File becomes corrupted, and Photoshop works very slowly or otherwise misbehaves. Resetting the Adobe Photoshop Settings File will often solve these problems.
MODIFIER KEy IDENtIFIcAtION AND LOcAtION

Before you can reset the Adobe Photoshop Settings File, you need to identify the modifier keys you will need to press when you reset. Some keyboards capitalize the names of these keys, and others do not. The Windows keyboard modifier keys are the Ctrl, Alt, and Shift keys. The Macintosh modifier keys are the command, option, control, and shift keys. On some Mac keyboards, you will not see the command
label. Instead you will see the cloverleaf symbol and sometimes the Apple logo. Some keyboards may also have a fn or function key.
TO RESEt thE ADObE PhOtOShOp SEttINgS FILE

1. Check to be sure that Photoshop is not already open; exit or quit the application if necessary. If Photoshop is open, you will see its name on the Windows Taskbar, or its icon in the Mac OS X Dock with a triangle beneath it. 2. Locate the Photoshop application icon in the Start menu (Windows) or the Applications folder (Mac) on your hard drive. 3. Position your fingers just over the modifier keys, but do not press the keys. 4. Start Photoshop and then immediately press the modifier keys and keep them pressed until you see this confirmation dialog box. If you dont see the confirmation box, your keystroke timing was off. Quit or Exit Photoshop and try again. On the Mac, you can alternately press the modifier keys, and then launch Photoshop; this is easier. 5. Click Yes to delete the (old) Adobe Photoshop Settings File and replace it with the default settings file. 6. If you see a dialog box asking to configure your color settings, click No to retain the default color settings.
Tutorial 1: Getting Started
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H Ow DOES PhOtOShOp TELL YOU WhEN ItS OUt OF WORKINg SpAcE?

Not Enough Memory is an error statement that says there is not enough memory to do something. This means that the computer has run out of true RAM. So, what should you do? In this order: 1. Quit any open applications other than Photoshop. 2. Close any open Photoshop documents that you are not using. 3. Save your document (if you can). 4. Clear your History from RAM by pressing the History panel popup menu and choosing Clear History. This will clear the history for just the current document. If you need to clear the history from all open documents, choose Edit > Purge > Histories. You cannot undo the Purge command but you can undo the Clear History command. 5. Choose Edit > Purge > Clipboard to remove anything that is kept in the Clipboards RAM. 6. Reboot the computer. RAM fragments just like disks, and restarting the computer defragments the RAM. 7. Install more RAM. Your Scratch Disk is Full really means that your hard disk, or combination of scratch disks, does not have enough room for additional, virtual RAM. It is important not to use up most of your hard disk space for storing your files. Back up to removable media on a regular basis and then delete files to free up space. To avoid getting in to this mess again, back up and clean out your hard drive, or add an additional fast hard drive to your system.
CUStOMIZINg PhOtOShOp PREFERENcES

PREFERENCES are application settings that allow you to customize the appearance of your Photoshop application, and change the way some features work. They can be set under the Photoshop menu in Mac OS X or in the Edit menu in Windows, organized by category. Each preference setting has a tool tip to briefly explain its function. Each time you change a tool, a panel, or a command setting, Photoshop saves the new configurations in its Preferences file on the computers hard disk. All but the Plug-ins and Scratch Disk settings and a few General settings such as Export Clipboard can be changed without closing and reopening Photoshop. Photoshop Preferences are organized into the topical categories shown in the Preferences submenu. If you are using Photoshop Standard, you will not have 3D preferences. Here we will discuss a few preferences that are important for the topics covered in this book.
IMAgE INtERpOLAtION
IMAGE INTERPOLATION describes the method used when scaling, resizing, rotating, or otherwise transforming images and selections. Command + K or Ctrl + K displays the General Preferences dialog box.
The Image Interpolation options are third down from the top of the (huge) dialog box). Since interpolation can degrade image quality, it is important to pick the method that will do the best job. Nearest Neighbor gives the fastest but least precise resizing. Bilinear gives a medium-quality resizing. Bicubic gives slower but more precise resampling, resulting in the smoothest tonal gradations. Bicubic Smoother is designed for minimizing artifacts when upscaling images. Bicubic Sharper to minimize softening of images when downsampling. Sometimes Bicubic Sharper will over-sharpen image areas. If that happens, undo and use plain Bicubic instead.
FILE HANDLINg PREFERENcES

These preferences tell Photoshop how to save all or specific kinds of files. The important preference to change here is the bottom one. The native Photoshop format, PSD, was limited to 30,000 by 30,000 pixels per image. Large document format, PSB, supports documents
up to 300,000 pixels in any dimension, and up to 6 GB in size. This format is designed for huge, high resolution printed documents, like billboards. When checked, Maximize PSD and PSB File Compatibility lets you save .psd files that can be opened in earlier versions of Photoshop as well as in .psb format. Change this setting from Ask to Always. In order to edit files that contain Smart Object layers, Photoshop uses PSB as an intermiary format. Also, if you need to place PSD files into Adobe InDesign documents, PSD images import more reliably with Maximize PSD and PSB File Compatibility. Performance Preferences Performance Preferences can both diagnose system hardware or setup issues, and let you tweak them.
You may need to exit and reopen Photoshop for changes to take effect. Memory Usage Memory usage examines how much random access memory (RAM) is theoretically available to Photoshop, specifies the ideal range for your system, and then gives you a slider to adjust the RAM. The computer in the screen shot above has 6 GB of RAM installed, but after system usage, only 4+ GB are available, and Photoshop uses 3 GB,
leaving some RAM for other programs. That is why Adobe recommends setting no more than 70% of your available RAM to Photoshop. History States By default, Photoshop saves 20 automatic History States in the History panel as you work on a document. If the RAM in your system is marginal, and you work on documents bigger than, say 5MB,, you may want to lower the number to 10 History States and see if performance improves. Scratch Disks If Photoshop runs out of RAM while processing a command, it can use free, contiguous hard disk space for additional processing. This space is called a SCRATCH DISK.
If your computer system has more than one hard disk attached to it, additional drives can become extra scratch disks. This system has two additional drives attached, but only the internal drive (MacintoshHD) is assigned as a scratch disk (checked). The cursor was over the Scratch Disk region of the Preference window when this screen picture was taken. Note the contextual Description at the bottom. With so many preference options, the Description section can be quite helpful. The Scratch Disk region can be used to diagnose another system problem. Photoshop requires 1-2 GB of free disk space to install the
software, but you realistically need at least 15-20 GB of free contiguous space, and more if you edit files with lots of layers, like you will do for this course. If you find Photoshop crashes a lot, you may need to clean off your hard disk, or add an additional one. Adobe recommends that, if your computer has more than one hard disk, you set your primary scratch disk to a drive other than the one that contains the Photoshop application. (We have not done that here.)
UNItS AND RULERS

Well examine these in the vector tutorial along with rulers, grids, and guides.
TypE
We like the Type options as shipped, but you may want to enable Asian Text Options if you work in Asian languages.
SAVE FOR WEb REVIEw

For any image you work with, it is a good idea to check that image in the Image Size dialog box, or in the File Properties panel in Bridge (not Mini Bridge) to be sure your image will print properly, assuming you
eventually plan to print the image. For this example and the guided exercise that follows, you will be using a version of an image that you will be working on in Tutorial 3. This image has print dimensions of 5" x 5" and a resolution of 300 ppi, which means it should print well. But with a file size of 6.55 MB flattened and pixel dimensions of 1500 x 1500, it is too large to be a useful image to email to someone or to use on a web page. Photoshop has a special command, File > Save for Web and Devices that helps you to save a Web or email-ready copy of your image without harming your original source image. This copy is known as an OPTIMIZED version of the file. DEVICES are small hand-held electronic objects such as cell phones and PDAs.
GUIDED EXERcISE 1.1: REVIEw thE SAVE FOR WEb & DEVIcES COMMAND
In this guided exercise you will save a Web copy of 01-glass-circle.jpg, the print-sized image provided for you. 1. Open Photoshop and 01-glass-circle.jpg. 2. Choose File > Save for Web and Devices. This command opens a huge dialog box, shown on the next page. The dialog box will show one of four different (pre)views on the left side, identified by the highlighted tab in the upper left region of the dialog box.
Original shows only the original file. Optimized, the default, shows only the preview of the Web file
with its current optimization settings.
2-Up splits the image preview into two panes, either side by side or top and bottom depending on the pixel dimensions of the original file. The left or top preview shows the original file, and the right or bottom view shows the optimized view for easy comparison. 4-Up displays four versions of the image. The upper left image is the original. The upper right image is highlighted, as indicated by the colored line (Mac) or box (Win) around its preview. You can click any other panel to activate it. 3. Choose the 2-up view, if it is not already chosen. 4. Identify the other major regions of the Save for Web and Devices dialog box. a. The tools are in the upper left corner of the dialog box with the Hand Tool chosen by default.
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When a document is too large for the whole image to fit in its preview, only its upper left corner appears in the preview panel. It is difficult to tell the quality of your Web optimization in the dark corner of this image. You can use the Hand Tool to move about in the image to an area with more detail. When you drag the Hand Tool in one pane, all the other panes also move, so that your preview regions stay comparable. b. The settings region is used to adjust the optimized Web file format settings, to get a decent quality image with the smallest file size. c. The Image Size region lets you lower the total number of pixels in your Web copy so that it will load more quickly and look better on a Web page. We call this process putting an image on a pixel diet. d. Check your settings to be sure the image will save in JPEG format, which is best for continuous tone images like photographs. You can change it from the drop-down menu if it is not correct.
e. Underneath each preview is information about that version of the image. Here, we can see that with the default settings, this image will be reduced from the original 6.44 M (the size of the file without layers) to 313.4 K, and that on a dialup modem (56 kb) it will take 58 seconds, or almost a minute, to receive. NOTE: your file and speed numbers may differ slightly from ours. This transmission time is better, but the image is still too big for fast Web transmission; studies show that viewers tend to leave Web pages that take more than 30 seconds to view. So, lets keep that 30 seconds as our target download speed. 5. Reduce the number of pixels in the Web copy of the image to reduce its file size and make it fit better on screen. Currently, the image is so big that you barely see the glass circle in the Save for Web and Devices preview window. a. Locate the Image Size tab near the bottom of the right side of the dialog box. Since this image is square, you can change either dimension to 600 pixels and then press the Tab key to move the cursor to the next box. b. When you type in the new width, the other values in the Image Size tab recalculate, and the preview changes on screen. This image will become 40% of its original size, and you will be able to see half of the circle in the Preview pane. c. Choose the Quality Photoshop should use to change the Image Size. Bicubic Sharper, shown here, will usually give the best results when you shrink an image. And, to avoid getting totally confused, be aware that Save for Web and Devices uses
Quality in two different ways: for resampling method here and also for JPEG quality when compressing the duplicate image. 6. Check your file size at the bottom of the optimization preview. With fewer pixels it loads much more quickly. BTW, the 60 quality here is the JPEG compression, not resampling. 7. Adjust JPEG compression, or Quality in the Settings part of the dialog box. a. From the Presets menu, choose JPEG High, if it is not already chosen. The Presets menu gives many common image settings. JPEG High is a good starting point because it sets the file format to JPEG, and in many cases the High quality of 60 compresses the image nicely without causing too much JPEG artifacting. You will read more about JPEG artifacting shortly. b. Leave the other settings in the dialog box alone, as they are for more advanced users. 8. Save the file a. Click Save to save the Web copy of your image using your chosen settings. In the Save Optimized As dialog box that pops up next, notice that the image is already appended with .jpg, the three character extension for JPEG files.
b. Name your file, making sure you are saving the file in the correct location by using the top drop down menu. In this case, name the file circle1.jpg. c. Click Save. When you name files for this Web or email use, please keep the names short (under 10 characters) and avoid spaces or punctuation in the file names. The web-sized copy, in JPEG format, will be saved to the place you designated with the original, unchanged, document still open.
JPEG COMpRESSION AND JPEG QUALIty

JPEG compression is LOSSY COMPRESSION, meaning that JPEG uses a COMPRESSION ALGORIGHM to examine the color transitions in the source image, and then to reduce the file size by remapping the color transitions mathematically rather than using the actual image pixels. The lower the Quality of the compression, the smaller the file size becomes. But that file reduction comes at a price: image distortion. The extent to which the image distorts depends upon the color transitions of the original image, and are most noticeable with abrupt color changes . The distortion is called JPEG ARTIFACTING. The 4-up view of Save for Web and Devices, zoomed in, lets you examine the effects of JPEG artifacting with different Quality settings. It may not be really clear on the screen shot on the next page, but for the circle image, 80 quality has very little artifacting, viewed here at 400% magnification. 60 quality has a bit of artifacting, and 0 quality (the lower right corner) has strange pixel scattering inside the inner black circle, and the edge of the flower. Adjusting JPEG Compression with Save for Web & Devices After you set your pixel dimensions, you should then make the file size
on disk larger or smaller by adjusting the JPEG QUALITY, which is actually a measure of compression.
If you change your view from 2 up to 4 up, the additional previews will show your image with increasingly strong amounts of jpeg artifacting, and also decreasing file sizes (trading off time for quality). JPEG artifacting becomes more apparent if you raise the default 100% view to 400% at the bottom of the dialog box. In our experience, for images that are about 600 pixels in their larger dimension, adjusting the Quality until the file is between 85 kb and 99 kb will give a professional quality Web file that still loads quickly.
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For circle.jpg, because so much of it is the solid background, the file compresses to less than 85 kb with JPEG High quality. How small an image becomes at each setting, and how noticeable the compression will be varies from image to image. Changing the glass circle to Maximum Quality or 100% increases the circle.jpg file size to 119 kb, which is not a huge file. NOTE: If you are taking an specialized image correction course, your instructor may ask that you use Maximum Quality so that he/she may assess the quality of your retouching work. This setting is designed to compress big, print sized files, to send to commercial print houses for publicationnot for images designed for internet display.
ON YOUR OwN
Experiment with Save for Web & Devices settings. 1. Open 03-glassCircle.jpg. This image still has the original background. 2. Follow the same Save for Web & Devices steps you used in Guided Exercise 1.1. 3. Experiment with different JPEG Quality settings. Not only can you pick presets, but you can also use the Quality slider to fine-tune the Quality, looking for the best trade off between quality and image size. Notice that with the entire image filled with detail, not solid color, the file sizes are quite a bit larger than the first image you looked it. Thats the nature of JPEG compression. You can see our results on the next page.
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RESOURcES
The Save for Web & Devices Dialog Box http://www.youtube.com/watch?v=xLs2Qqa1mJw Save for Web (& Devices), Deke McClelland http://www.deke.com/content/photoshop-top-40-feature-34save-web-and-devices
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TUTORIAL 2: MINI BRIDgE & CAmERA RAW
OVERVIEw
Knowing what to include in the first tutorial of an intermediate Photoshop book is a tough challenge. Photoshop is such a huge application that it is very easy to forget basic skills. But this being Photoshop, we know you want to do fun things right away. So, what we have decided to do here is to intersperse review with three new topics: The MiniBridge panel for previewing and opening files from within Photoshop The RAW file format and the Camera Raw plug in
ObjEctIVES
MINIBRIDgE
Differentiate between the Adobe Bridge the application and Mini Bridge in a panel. Identify and use the Navigation and Content pods (Yes, thats what Adobe calls them...) Customize Mini Bridge to be more useful. Browse, rename, and open images both in Photoshop and in Camera Raw.
CAMERA RAw
Evaluate the pros and cons of the Raw format and DNG. Identify the major sections of the Camera Raw dialog box.
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Tutorial 2: Mini Bridge & Camera Raw
Improve image tonality and color with the Basic tab settings Observe how the Histogram, especially with Highlights and Shadows Clipping turned on, can help diagnose problems with image tonality as you adjust an image. Experiment with the White Balance settings in the Basic tab, including the Temperature and Tint sliders. Selectively lighten and/or darken parts of images with the Exposure, Recovery, Fill Light, and Black sliders. Adjust image tonality with the Brightness and Contrast sliders. Differentiate among the Clarity, Vibrance, and Saturation sliders, and observe the effects of each slider.
Identify and use these tools in the Camera Raw Tools panel: Zoom and Hand Tools White Balance Tool Crop and Straighten Tools Adjustment Brush Tool
Explore the various ways to finish your adjustment: Save Image, Open Image, Cancel, or Done.
MINI BRIDgE
Adobe Bridge is a stand-alone browsing application shipped with any of the Adobe Creative Suites or with Photoshop Standard or Extended. Bridge lets you examine and manipulate the images on your computers hard disk(s), optical drives, flash drives, camera cards, etc. With the CS5 suite, Adobe introduced Mini Bridge as an extension in Photoshop, InDesign, and InCopy so that you can work with your
Tutorial 2: Mini Bridge & Camera Raw Page 26
assets in a panel in the host application. Mini Bridge communicates with Adobe Bridge to create thumbnails, keep files synchronized, and perform many other tasks. Bridge must be open in the background for Mini Bridge to work.
SEMI-GUIDED EXERcISE 2.1: VIEw AND USE MINI BRIDgE

We are only going to cover a few aspects of Mini Bridge here. Examine the Mini Bridge resources at the end of the tutorial for more information. 1. Open the Photoshop application. 2. Set up your workspace so it is consistent with ours. We recommend you follow this procedure at the beginning of each new Guided Exercise sequence as you work through the tutorials. We will not repeat these instructions. a. Locate the Application bar at or near the top of the Photoshop window and review the major Application bar components.
b. Click the Essentials workspace button. c. Click the double arrow at the right end of the Workspace Switcher and choose Reset Essentials from the Workspace menu that appears. d. To reset colors, locate the Color Controls towards the bottom of the Tools panel and click the black and white boxes to reset your foreground and background colors to the default black and white.
e. While you are here, review the other components of the Color Controls. The upper left color swatch is the foreground color-blue here--and the lower color swatch--white here-- is the background color. The double arrow switches the foreground and background colors. f. Reset your tools: 1) Activate the Zoom tool. (You can do this with any tool, but the Zoom tool is a good choice because using it will not accidentally change document contents.) 2) In the upper left corner of the Options bar, right-click or control + click if you have a one-button trackpad. 3) Choose Reset All Tools from the context menu that appears. 3. Launch Mini Bridge. There at least three ways to do this: Click the Mini Bridge button in the Application bar. Click the Mini Bridge button in its panel group on the right side of the application frame. Choose File > Browse in Mini Bridge.
4. Identify the major parts of the Mini Bridge panel shown on the next page. 1 Minimize 2 Mini Bridge menu 3 Back 4 Forward 5 Go to parent, recent items, or favorites button 6 Home, which will return you to this view of Mini Bridge
7 Bridge button to switch you to the full Bridge application. 8 Panel View, where you can turn on or off the Path Bar, Navigation Pod, and Preview Pod which are hidden by default to keep Mini Bridge mini. 9 Search tool, to locate images by name or other criteria. 10 Browse Files button. Click it to show the Content pod. When you do, the full Bridge application will open in the background. 11 Resize box in the lower left corner of the panel. Use it to make your panel longer or shorter. You can also drag the left edge of the panel to make Mini Bridge wider or narrower. 5. Watch this Adobe TV Tutorial to see Mini Bridge in action. http://tv.adobe. com/watch/ learn-adobebridge-cs5/ use-minibridge-in-cs5applications/ 6. Experiment with Mini Bridge on your own. The best way to figure it out is to play with it.
RAw FORMAt
Professional and many consumer-level digital cameras allow you to save
your images in RAW or unprocessed format, to provide considerable control over how each image is processed, or to process the same image in multiple ways for varying effects. Here is an excellent description from Adobe Evangelists Julianne Kost & Daniel Brown. It was written quite a while ago, but the content is still current. http://www.jkost.com/pdf/photoshop/cs2/AdobeCameraRaw.pdf
ADVANtAgES OF RAw FORMAt

Far greater control of image processing than other formats such as TIFF or JPEG. Raw files are typically smaller than uncompressed TIFFs. Raw files avoid the artifacts found in compressed JPEGs. Camera settings such as White Balance can be adjusted after the image is taken. Creation of high bit images, for greater detail and for more subtle editing and color correction. Restoration of overexposed areas of an image using Adobes Camera Raw.
DISADVANtAgES OF RAw FORMAt

Raw images must be processed before they can be viewed or edited, adding an extra step to using these images. Many cameras require that Raw images be shot at the cameras maximum resolution, making larger files than may be needed. And without JPEG compression, these files are really large. From a typical 8 megapixel camera, a Raw file takes 8 MB of storage, and a maximum-quality JPEG only 3 MB. Not only do the large Raw files gobble card space, but they also take longer to write to the card which can cause a slight delay from
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one shot to another. The Raw format is not standardized. Each camera maker has defined its own proprietary Raw format, and sometimes there are even different formats between cameras made by the same manufacturer.
ADObES DIgItAL NEgAtIVE SpEcIFIcAtION (DNG)

Without a standardized Raw format, you can have trouble converting images if you change cameras. If you cannot open your cameras Raw files into Photoshop, Adobes Digital Negative Converter or DNG will let you convert those files to the DNG format, an open format for anyone to use. You can read more about Camera Raw and download the converter for free from Adobe at: http://www.adobe.com/products/photoshop/ extend.html. Here is what Adobe lists as the key benefits of the DNG format for photographers: The DNG format helps promote archival confidence, since digital imaging software solutions will be able to open your Raw files more easily in the future. A single Raw processing solution enables a more efficient workflow when handling Raw files from multiple camera models and manufacturers. A publicly documented and readily available specification can be easily adopted by camera manufacturers and updated to accommodate future technological changes.
The Camera Raw plug-in that ships with Photoshop can be used nondestructively to edit not only Raw but also JPEG images, which greatly expands its versatility. When you open a Raw image in one of the Adobe applications,
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the Camera Raw Plug-in takes over, and displays the Camera Raw dialog box so that you can control how the image should appear when it opens in that application, such as in Photoshop. The image that opens is a duplicate, so that you can keep the original, or archival version, untouched.
Adobe has been constantly updating the Camera Raw plug-in since its inception. There are major behind the scenes improvements in Camera Raw CS5 compared with CS4, especially in image sharpening and digital noise removal. You will work with those features later in the course.
ThE CAMERA RAw DIALOg BOX

When you open a Raw image from Adobe Bridge or Mini Bridge, it automatically launches the Camera Raw plug-in with a huge dialog box where you can manipulate the data that the camera captured along with its associated metadata. You can also open JPEG and TIFF files, the other common formats that digital cameras save in, with Camera Raw. However, you cannot open PSD or PDF files in Camera Raw. Raw does not support layers. You can use either Bridge or Mini Bridge to open JPEG and TIFF files. In Bridge, highlight any JPEG preview in the Content pane, and then choose File > Open in Camera Raw. In Mini Bridge, highlight the JPEG preview and then right click or control + click on the thumbnail and choose Open in Camera Raw from the context menu that appears.
JPEG and TIFF files open directly into Photoshop unless you derail them into Camera Raw first.
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However, if you find that you want to open all your JPEG and/or TIFF images in Camera Raw first, you can do so by changing your Camera Raw preferences in Bridge (not Mini Bridge). You may want to do this temporarily when you have a lot of camera JPEGs to import, and then change the preference back when you are done. We are also showing the process here in case you dont want to routinely open all JPEGs and or TIFFs in Camera Raw, but Photoshop insists on doing it. 1. Launch Bridge, if it is not already open. 2. Choose one of the following to open Camera Raw Preferences: Mac: File > Camera Raw Preferences... Windows: Edit > Camera Raw Preferences... 3. Locate the JPEG and TIFF Handling preferences at the bottom of the dialog box.
4. Change the preference to Automatically open all supported JPEGs. If instead you want JPEGs and/or TIFFs to skip the Camera Raw step, change this setting to the default Automatically open JPEGs with settings. Now only JPEG or TIFF files that have already been processed in Camera Raw will open directly into the Camera Raw dialog box.
CAMERA RAw DIALOg BOX LANDMARKS

Image Preview When Camera Raw first opens, you may see a yellow exclamation symbol in the upper right corner of the image preview. Because Raw files are so large, the caution symbol informs you that Camera Raw
is still loading the preview, and to wait until it goes away so that your preview will be accurate.
ThE CAMERA RAw TOOLS PANEL

The Camera Raw Tools panel is at the top left corner of the Camera Raw dialog box, above the image preview. As you adjust your image, you can toggle Preview on and off to compare the document with and without the Camera Raw adjustments you have made on the current tab, not the adjustments for the entire image. The Full Screen button to the right of Preview will expand the Camera Raw dialog box to cover the entire screen, and give a bigger area for the image preview. The actual size depends on your screen resolution. Lets look at some of the other tools, from left to right. Here we will only describe what they do, but you will get to use them shortly.
Zoom and Hand Tools The Zoom tool and the Hand tool work similarly to their Photoshop counterparts, and they use the same keystrokes to increase their functionality: Activate the Zoom tool and then click on the image preview to zoom in. Alt/Option + Click the Zoom tool to zoom out. Double click the Zoom tool to view at 100%. Activate and drag the Hand tool to pan the image preview within its pane. Double click the Hand tool to Fit in View. When another tool is active, you can press the space bar and drag the preview to temporarily use the Hand Tool.
You can also press and drag the Zoom tool over a particular part of an image to enlarge the region to fill the Image Preview pane. Just below the left corner of the Image preview are more Zoom controls. The center box displays the current zoom level, 33.3% here. The minus and plus buttons zoom out or in set increments. Alternately, you can click in the zoom level box and choose your zoom level from the Zoom menu. The White Balance Tool A COLOR CAST is a non-neutral tint of a particular color, usually unwanted, which affects an entire photographic image evenly. WHITE BALANCE adjustments remove unrealistic color casts so that objects which appear white in nature are rendered white in the photo.
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The White Balance Tool lets you click on a neutral area (light, gray, or dark) in your image to set it as the Custom white point. All the other colors in the image are then based on this value. The White Balance Tool provides a precise way to eliminate the color cast in an image. The Crop and Straighten Tools When you choose the Straighten Tool and drag across an area of the image that should be a straight horizontal or vertical line, the image will rotate to straighten when you release the mouse. Then the Crop Tool will become active so that you can crop off any missing regions of the image. The Crop Tool works like in Photoshop, but it does not actually trim off the cropped areas until the image is opened or saved. Spot Removal and Red Eye Removal Tools The Spot Removal Tool is kind of a blend between the Clone Stamp and Healing Brush tools in Photoshop. Although originally designed specifically to remove dust specks that are found on many SLR sensors, the Spot Removal Tool can be used to do other kinds of retouching, non-destructively of course. The Red Eye Tool is similar to the Red Eye Tool in Photoshop, but nondestructive.
ThE HIStOgRAM AND thE ADjUStMENtS PANEL

A HISTOGRAM is a graphical representation of the colors and tones in your image. When you adjust an image, the graph changes. A color image, straight from a digital camera, has its colors arranged into red, green, and blue COLOR CHANNELS. The colorful Camera Raw histogram superimposes the red, green, and blue channel graphs. When pixels contain all three color channels, the histogram is white.
Cyan is the combination of blue and green pixels. Yellow is the combination of red and green pixels. Magenta is the combination of red and blue pixels. CLIPPED COLORS are so close to either pure black or pure white that they wont print with any detail. The Shadows clipping warning, activated by clicking the small triangle in the top-left of the histogram) covers those image areas that are clipped to pure black with a bright blue overlay, as you can see in this over-adjusted gull.
The Highlight clipping warning (small triangle in the top-right of the histogram) covers areas that are getting close to white with a red overlay. With clipping on, you can decide if losing the detail in the affected areas will adversely affect your image. Plus, as you make adjustments, you can see how those adjustments affect clipping.
ThE ADjUStMENtS PANE: BASIc TAb

The Adjustments pane is where you will make most of your Camera Raw adjustments. It has ten tabs at its top, and each has a great many settings. In this course we will only work with the Basic tab settings now, and the Detail settings later in the course.
The Basic tab is where you will do most of your image adjustments. The Auto & Default Buttons In the second section down, there are two buttons, Auto and Default. Click Auto to perform an automatic correction. Sometimes Auto provides a fine starting point and at other times Auto does not. Try it and if Auto does not improve the image, click Default to return to the White Balance of the unadjusted image. Default can be very helpful if your corrections get out of control. White Balance You already saw the White Balance tool, which gives very precise control over which pixel sets the White Balance. In the Basic tab, the White Balance flyout menu lets you choose from White Balance presets. Here you set the neutral point of the image, to hopefully remove any inappropriate color cast. You can also change the overall feel of the image, to make it feel warmer, cooler, or neutral. NOTE: JPEG and TIFF images opened in Camera Raw will not have all these present, only As Shot, Auto, and Custom. As Shot sets the White Balance to what the camera used when the image was captured. Auto lets Camera Raw use pixel math to calculate the White Balance to give the best image, based on the overall image pixels. Note that the White Balance Auto setting does not give the same results as the Auto button we looked at earlier. Daylight, Cloudy, and Shade adjust White Balance based on
those exposure conditions. If you know you took the image on a cloudy day, for example, you might choose Cloudy. Tungsten, Fluorescent, and Flash adjust based on those secondary light sources. Temperature and Tint Each White Balance setting changes the position of the Temperature and Tint sliders. Temperature adjusts from cooler blue to warmer yellow. Tint adjusts from green to magenta. If you begin with one of the built-in White Balance settings, and then fine tune it with the Tint and/or Temperature sliders, the White Balance menu setting will become Custom. Using the White Balance tool will also produce a Custom (White Balance) setting. You can also drag the sliders manually to adjust overall image color. If you drag both the White Balance sliders to the left, you shift the image towards both blue and green, or cyan. If you drag both sliders to the right, you increase both yellow and magenta, making the image more red. Tonal Adjustments After you set your White Balance, you can use these additional sliders to enhance the tonality of your image. Exposure adjusts the overall image brightness. Recovery recovers details from blown-out highlightsit can help to counteract extreme shifts from the Exposure slider. Fill Light recovers details from blown out shadows. Blacks adjusts what values are mapped to black, similar to the shadow slider in the Levels dialog box.
Brightness lets you non-destructively adjust the midtone values of the image without clipping either the highlights or shadows. Contrast applies an S curve to lighten the highlights and darken the shadows without clipping the images extreme lights and darks. Clarity increases contrast in the image, sharpening like Unsharp Mask using a large radius setting. Color Adjustments Vibrance adjusts the saturation, with minimal clipping. Saturation works like the Hue/Saturation adjustment within Photoshop, adjusting all colors equally.
OthER TAbS
Although we will only discuss the Detail tab later in the course, here is a quick rundown of the other Adjustment tabs: The Tone Curve tab allows you to apply a Curves command to the overall image tonality. The Detail tab contains sections for sharpening and noise reduction. The HSL/Grayscale tab is for making color adjustments, as well as converting to grayscale. The Split Toning tab is used for adding color to grayscale images. The Lens Correction tab contains options for reducing chromatic aberration and lens vignetting. The Camera Calibration tab can be used for adjusting the color profiles associated with a given camera. The Presets tab is where you can store your favorite settings.
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RESEt thE IMAgE

As you experiment with all the Camera Raw settings, it is easy to get things out of control. To revert to the image as opened (more powerful than the Default button for white point) press alt or option to temporarily change the Cancel button to the Reset button. With alt or option still pressed, click Reset to revert to the original settings without closing the Camera Raw dialog box.
REcOgNIZINg AN ADjUStED IMAgE

If you view an image that you adjusted in Camera Raw inside of the Bridge Content pane, it will show one or more symbol in the upper right corner of its preview. Here the crop symbol shows that the image was cropped, and the other button shows that it was adjusted. One of the tremendous strengths of Camera Raw manipulations is that they are NON-DESTRUCTIVE, or reversible. To restore an image to its original state, highlight it within the Bridge Content pane, and the choose Edit > Develop Settings > Clear Settings.
GUIDED EXERcISE 2.2: MANIpULAtE AN IMAgE IN CAMERA RAw

In this guided exercise, you will open a JPEG file into Camera Raw, manipulate it to improve it, and open it in Photoshop, and save an adjusted copy in PSD format. 1. Launch Photoshop if necessary. 2. Download 02-TrollStart.jpg and save it in the location of your choice. Your instructor will give you specific download instructions. 3. Launch Photoshop if necessary and reveal the Mini Bridge panel.
4. Navigate to 02-TrollStart.jpg in Mini Bridge, right click or control + click on its thumbnail and choose Open in Camera Raw from the context menu that appears. 5. Wait until the yellow exclamation triangle disappears to be sure you can view all your image pixels. 6. Identify the following regions of the Camera Raw dialog box: Tools panel Image Preview pane Preview check box Histogram with Clipping Warning triangles Basic tab Control buttons (Save Image, Open, etc.)
7. Click the Full Screen button to enlarge your preview. The more of the image you can see as you zoom in, the more precisely you can make your adjustments. 8. Turn the Highlights and Shadows Clipping Warnings on and with Preview checked see if you have clipping in any areas of your image where detail loss will be detrimental. The shadow clipping is in insignificant shadow areas of the background, that you will soon crop off. No problem there. But the trolls hat has a large clipped area of pretty solid light yellow. You will need to keep an eye on that area as you adjust the image. 9. Click the Auto button just above the Exposure slider. Your image gets lighter, and the white in the flag is less blue.
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10. With Highlights Clipping Warning on, toggle the Preview check box on and off, examining both the preview and its histogram in each state. With the Auto adjustment, the clipped area of the hat increases. With the clipping warning turned off, it becomes harder to read Bergen on the hat. 11. Click the Default button to restore the original White Balance. 12. In the Adjustments pane, change the White Balance from As Shot to Auto (this is a different Auto from step 10). a. Toggle the Preview on and off to compare the image preview and the histogram. b. Turn the Highlights and Shadows Clipping Warnings on and toggle the preview again to see if you have clipping in any areas of your image where detail loss will be detrimental. If this was a Raw image rather than a JPEG there would have been more White Balance presets. See Resources at the end of the tutorial for more information on the additional White Balance presets. 13. When you are done, go back to As Shot. (None were great.) 14. Crop the image so that it focuses on the troll. a. Choose the Crop Tool. b. Press the lower right corner of the Crop Tool icon to view the Crop Tool menu, and choose Custom near the bottom of the menu. c. From the Custom Crop dialog box, choose Inches so that you can set the size of the printed document in inches. d. Since the troll is about as wide as he is tall, type 5 and 5 and click OK.
e. Drag in the Preview area to make a cropping rectangle, and drag the corners of the rectangle until you are pleased with your results. To focus on the troll and not his distracting background, you will remove quite a bit of the image as you resize it to become a 5" x 5" document. NOTE: we are cheating a bit here. The Canon Digital Rebel that shot the picture shot it at full 12 megapixel resolution. We downsampled the image to make a smaller file to speed its download time. The area you will crop off is now SHIELDED or partially obscured. The shielded area will be cropped off once the image is opened in Photoshop, but it is not removed within Camera Raw. Non destructive cropping is a plus in case you accidentally remove more of an image than you intended to, but it does keep the file sizes large. 15. Adjust the image tones. a. Choose the White Balance tool. When you do, the preview automatically zooms in to show just the non-cropped part of the image With the White Balance tool, click on different areas of the troll that might be neutral, such as the white in the flag, the gray troll himself, or one of the dark shadow areas. As you do keep an eye on the highlight clipping. We got our best results by clicking on a light area in his big tooth. b. Everything looks good except that hat, so lets fix it with a tool you havent seen yet, the Adjustment Brush tool.
16. Click the Done button to save the changes you made so far, and exit the Camera Raw dialog box.
ThE ADjUStMENt BRUSh TOOL

The Adjustment Brush Tool lets you paint an adjustment selectively onto an image with one or more of the sliders in the Basics tab. When you choose the Adjustments Brush Tool, the Basic tab changes so that you can configure your adjustment brushes. There is a lot of power in the Adjustments Brush Tool. You will just do a simple adjustment, to lower the exposure of the trolls yellow hat. Before you do, watch this excellent video tutorial from Matt Kloskowski that shows how to use it. The tutorial was done is on Photoshop CS4, but no problem. It is still relevant. http://layersmagazine. com/photoshop-cs4-camera-rawadjustment-brush.html.
IMAgE ADjUStMENt WORKFLOw

Once you see how easy it is to use the Adjustment Brush Tool, you may be tempted to use it as your first step to fix problem area in images. That is not the most efficient way to work. Before proceeding, lets review the image adjustment workflow followed by most Photoshop professionals: 1. Obtain a digital image by either transferring it from your camera, or scanning it from film or from a printed photograph. ]
2. Open the digital image within Photoshop, and choose File > Save As to save a working copy of the image with a slightly different name. Do not alter the original, known as the ARCHIVAL VERSION, to preserve the original in its pristine state. 3. Crop the working copy to reduce unwanted pixels from its perimeter, and straighten it if necessary. 4. Improve image tone and color as appropriate. 5. Fix localized problems. 6. Make artistic changes as desired. 7. Sharpen the image as appropriate. 8. Save and print. 9. Make a Web version if desired. The Camera Raw workflow is a bit different. If you shoot in Camera Raw, that version is by its nature the archival version of your image because the edits you make within the Raw dialog box are nondestructive. If you are going to process a JPEG, however, consider making and saving a copy, to keep the original untouched in a different folder than your edited images. You will be able to do steps 3-5 within the Camera Raw dialog box. Since you can only process single layer images in Camera Raw, upon completion of your adjustments phase, you should click Save and make a working .psd version of your image which you can then open in Photoshop proper to layers, apply filters, etc.
Guided Exercise 2.3: Use the Adjustment Brush Tool In this tutorial you will use the Adjustment brush to fix the exposure of the Trolls hat.
1. Reopen 02-TrollStart.jpg. Since it has already been processed, double clicking its preview in Mini Bridge will open it in Camera Raw. 2. Make sure that Preview is checked and Highlights Clipping is turned on. 3. Choose the Adjustment Brush tool. 4. Click the minus button to the left of the Exposure slider on the Adjustment Brush tab. Your Exposure changes to -0.50. Painting with this brush will lower your exposure slightly. 5. Move the Adjustment Brush over the yellow hat. You will see two concentric circles to show the brush size and the amount of feathering (gradual reduction of its effect) on the outside. When you release the mouse, there will be a pin to show the center point of your adjustment. You will need to lower the adjustment by dragging the slider more to the left to darken the hat enough to eliminate the highlight clipping. The clipped hat detail is restored, and the hat itself looks less washed out. 6. Click the Done button to update the changes you just made, and exit Camera Raw.
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FINIShINg Up
After you manipulate your image, you have four processing choices along the bottom edge of the dialog box.
Save Image saves the image in one of four file formats: DNG (digital negative), JPEG, TIFF, or PSD, without closing the Camera Raw dialog box. Open Image saves the settings, like Done, and then processes the image and opens it in Photoshop. Cancel closes the Camera Raw dialog box without making any changes to the original image. Done saves the image settings as an associated file without processing the file. This is convenient for batch processing Guided Exercise 2.4: Process Your Camera Raw Image Here you will experiment with the processing choices for your image, and end up with a PSD working copy of your adjusted image. 1. Reopen 02-TrollStart.jpg. 2. Examine the Workflow Options, underlined in purple at the bottom of the Camera Raw dialog box, and adjust if needed.
The Workflow Options specify the settings that Camera Raw will use to process the image when it Saves or Opens it. a. Click the Workflow Options to display the Workflow Options dialog box. b. Notice that the document size is already set to the crop size.
c. Confirm that the resolution is appropriate for your printer. It is set to 240 ppi above, which is the resolution required to print photographs on low end ink jet printers. If you have a higher end color ink jet printer, a color laser printer, or are going to use a photographic service to print your image, it probably should be increased to 300 ppi. We changed the resolution by highlighting 240 in the Resolution box , typing in 300, and clicking OK.
3. Follow these steps to save a PSD copy of your image: a. Click the Save Image... button view the options to convert and save a copy of your image.
Page 49
b. Begin by choosing your destination. It should be Save in New Location unless you want your original and copy images to be in the same folder. The Select Folder button will let you navigate to the desired location. c. Name your file. Most digital cameras give sequence names to their images, like image2956.jpg. You will probably want to change this to a more meaningful name. d. Choose your format at the bottom of the dialog box. Your choices are PSD, JPEG, TIFF, and DNG. e. If you are worried that your crop may be too severe, check Preserve Cropped Pixels. (It will make a larger image than the cropped version.) f. Click Save. Although you saved a copy of your file, the source still stays open in Camera Raw for you to adjust a second version in a different way, and save it, if desired. 4. Open your adjusted image in Photoshop by clicking the Open Image button. It may take a while, because Camera Raw needs to save your adjustments to the source image, close the Camera Raw dialog box, and then open a copy of your adjusted image in Photoshop. 5. Choose File > Save As and save the working copy in PSD format in the location of your choice. 6. Think about the function of the two buttons we did not use: Done processes your original image and closes the Camera Raw dialog box. Cancel discards all the processing made in the current Camera Raw session, and closes both the image and the Camera Raw dialog box.
ON YOUR OwN
Experiment with Mini Bridge until you feel comfortable using it to browse, rename, and rearrange images. Open 02-gull.jpg in Camera Raw. With Highlights and Shadows clipping turned on, Zoom in on the gull and then play with the Basic tab to clip image highlights and shadows. Turn clipping on and off, so you can see the loss of detail that clipping causes. Open a Raw or JPG image of your own in Camera Raw and improve it by changing its white point if needed, and other adjustments in the Basic tab as desired. When you are done, save a PSD version.
RESOURcES
MINI BRIDgE
Adobe TV Tutorial http://tv.adobe.com/watch/learn-adobe-bridge-cs5/use-mini-bridgein-cs5-applications/ Mini Bridge tutorial by By Steve Patterson http://www.photoshopessentials.com/basics/cs5/mini-bridge/ Adobes Mini Bridge Help pages http://help.adobe.com/en_US/creativesuite/cs/using/ WS4bebcd66a74275c33c28e88f1235296fe93-8000.html
CAMERA RAw VIDEOS

How to use Camera Raw with JPEGS: http://tv.adobe.com/watch/ creative-suite-podcast-photographers/how-to-use-jpg-files-in-adobecamera-raw/
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Lots more Raw information from Deke McClelland, on an earlier version, but still useful: http://tv.adobe.com/watch/learn-photoshopcs4/getting-started-07-developing-raw-photographs/
WhItE BALANcE
Adobe Help: White balance controls in Camera Raw http://help.adobe.com/en_US/Photoshop/11.0/WSC882A0B5-25E1447d-8386-B5D60F24AE02.html Setting the White Balance in Camera Raw, Chris Orwig, CS4 http://www.peachpit.com/articles/article.aspx?p=1326506
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PP2 Tut1-2

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PRACTICAL PHOTOSHOp

BARbARA HEIMAN WINDSOR GREEN C ORRINE HAVERINEN D ONALD LAIRD

For Marilyn Kelly

PRACTICAL PHOTOSHOp CS5, LEVEL 2

TUTORIAL 1: OVERVIEW & GUIDELINES.................. 1

TUTORIAL 2: MINI BRIDgE & CAmERA RAW. ......... 25

TUTORIAL 3: A FIRST LOOK AT MASKS................ 53

TUTORIAL 4: TYpE LAYERS & TYpE MASKS............ 76

TUTORIAL 5: MASKINg LAYERS........................106

TUTORIAL 6: ImAgE EVALUATION. ....................139

TUTORIAL 7: COLOR THEORY...........................164

TUTORIAL 8: ADJUSTINg T ONES & COLORS.........177

TUTORIAL 9: TOUCHINg Up PHOTOgRApHS.........206

TUTORIAL 10: ADJUSTINg T ONE, COLOR, & FOCUS..................225

TUTORIAL 11: COLOR & SHADES OF GRAY..........255

Photo Filter.......................................................................................296 Match Color .....................................................................................296 The Color Replacement Tool........................................................296

TUTORIAL 12: CASE STUDIES. .........................297

TUTORIAL 13: FILLS, VECTORS, & SHApES.........315

TUTORIAL 14: FILTERS..................................360

TUTORIAL 15: WEB GRApHICS........................393

TUTORIAL 16: ARCHIVAL & PRINT FILE FORmATS.422

TUTORIAL 17: ACTIONS & BATCH PROCESSINg....443

PRACTICAL PHOTOSHOp CS5, LEVEL 2

USINg ThESE TUtORIALS wIth PhOtOShOp

ThE PhOtOShOp AppLIcAtION

HARDwARE AND SOFtwARE REQUIREMENtS

CREAtIVE SUItE REQUIREMENtS

PhOtOShOp CS5 INStALLAtION

A FEw TIpS BEFORE YOU BEgIN

HELp MENU RESOURcES

ChEcKINg FOR FREE UpDAtES

UNINStALLINg PhOtOShOp CS5

ThE PhOtOShOp SEttINgS FILE

MODIFIER KEy IDENtIFIcAtION AND LOcAtION

TO RESEt thE ADObE PhOtOShOp SEttINgS FILE

Tutorial 1: Getting Started

H Ow DOES PhOtOShOp TELL YOU WhEN ItS OUt OF WORKINg SpAcE?

CUStOMIZINg PhOtOShOp PREFERENcES

FILE HANDLINg PREFERENcES

UNItS AND RULERS

SAVE FOR WEb REVIEw

with its current optimization settings.

Tutorial 1: Getting Started

JPEG COMpRESSION AND JPEG QUALIty

Tutorial 1: Getting Started

Tutorial 1: Getting Started

Tutorial 1: Getting Started

PRACTICAL PHOTOSHOp CS5, LEVEL 2

Tutorial 2: Mini Bridge & Camera Raw

SEMI-GUIDED EXERcISE 2.1: VIEw AND USE MINI BRIDgE

ADVANtAgES OF RAw FORMAt

DISADVANtAgES OF RAw FORMAt

Tutorial 2: Mini Bridge & Camera Raw

ADObES DIgItAL NEgAtIVE SpEcIFIcAtION (DNG)

Tutorial 2: Mini Bridge & Camera Raw

ThE CAMERA RAw DIALOg BOX

Tutorial 2: Mini Bridge & Camera Raw

CAMERA RAw DIALOg BOX LANDMARKS

ThE CAMERA RAw TOOLS PANEL

Tutorial 2: Mini Bridge & Camera Raw

ThE HIStOgRAM AND thE ADjUStMENtS PANEL

ThE ADjUStMENtS PANE: BASIc TAb