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ARE YOU READY FOR AN AMAZING NEW VERSION OF THE PHOTOSHOP BOOK THAT BREAKS ALL THE RULES? Scott Kelby, the best-selling Photoshop author in the world today, once again takes this book to a whole new level as he uncovers the latest, most important, and most exciting Adobe Photoshop CS3
This major update to his award-winning, record-breaking book does something for digital photographers that's never been done before-it cuts through the bull and shows you exactly "how to do it." It's not a bunch of theory; it doesn't challenge you to come up with your own settings or figure it out on your own. Instead, Scott shows you step-by-step the exact techniques used by today's cutting-edge digital photog raphers, and best of all, he shows you flat-out exactly which settings to use, when to use them, and why. That's why the previous editions of this book are widely used as the official study guide in photography courses at colleges and universities around the world, and this new edition for Photoshop CS3 exposes even more of the top pros' most closely guarded secrets.
Each year Scott trains thousands of professional photographers on how to use Photoshop, and almost without exception they have the same questions, the same problems, and the same challenges-and that's exactly what he covers in this book. You'll learn: •
•
•
·
·
·
r
•
•
·
Professionals, Training Director for the Adobe Photoshop Seminar Tour, and one of the leading seminar instructors in the country today. Scott is an award-winning author on Photoshop, digital imag ing, and technology, and for the past three years straight,
The pros' tricks for fixing the most common digital photo
computer and technology
problems fast!
books. His other titles
The step-by-step setup for getting what comes out of your A whole chapter on the latest, most requested Photoshop How to color correct any photo without breaking a sweat. How to process RAW digital camera images (plus how to take advantage of all the new Camera Raw features in CS3!).
•
Association of Photoshop
best-selling author of all
special effects!
.2
Photoshop User magazine,
he has been the world's #1
The sharpening techniques the pros really use.
printer to match exactly what you see onscreen.
'Q-
Scott is Editor-in-Chief of
of more than 40 books
LEARN HOW THE PROS DO IT
j
. """ . ..1 , .'"' "' .' ' r.:: ' .• . .
President of the National
techniques for digital photographers.
§ ,:t
,
Photoshop Down & Dirty Tricks, The Photoshop Channels Book, Photoshop Classic Effects, and The Digital Photography Book. include
His easygoing, plain-English style of teaching makes learning Photoshop fun.
The portrait retouching secrets only the pros know about!
He trains thousands in
How to add real automation to your work.
his seminars each year and knows firsthand which tech
How to show your work like a pro! Plus a host of shortcuts, workarounds, ahd slick "insider" tricks to send your productivity through the roof!
niques are in hot demand, and he shares them here in this latest book.
If you're a digital photographer, and you're ready to learn the "tricks of the trade"- the same ones that today's leading pros use to correct, edit, sharpen, retouch, and present their work- then you're holding the book that will do just that.
Adobe Photoshop (S3 US $49.99
CAN $61.99
UK £30.99
for Macintosh & Windows
ISBN·13: 978·0·321·50191·2 0·321·50191·8 ISBN·l0:
Riders \
III II I 1 1 111 1 11111 54999
VO
I C E S THAT MATTERN
www.newriders.com
9 117 8 0 3 2 1 50 1 9 1 2
Design/Graphics
Intermediate -Advanced
for digital photographers
Scott Kelby
THE ADOBE PHOTO SHOP CS3 BOOK FOR DIGITAL PHOTOGR APHER S
The Adobe Photos hop
Published by
CS3 Book for Digital
New Riders
Photographers Team CREATIVE DIRECTOR Felix Nelson
Copyright ©2008 by Scott Kelby FIRST EDITION: July 2007
TECHNICAL EDITORS Kim Doty
All rights reserved. No part of this book may be reproduced or transmitted in any form
Cindy Snyder
or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from the publisher,
TRAFFIC DIRECTOR
except for the inclusion of brief quotations in a review.
Kim Gabriel PRODUCTION MANAGER Dave Damstra
Composed in Cronos and Helvetica by Kelby Publishing Trademarks
DESIGNER
All terms mentioned in this book that are known to be trademarks or service marks have
Jessica Maldonado
been appropriately capitalized. New Riders cannot attest to the accuracy of this information.
COVER PHOTOS BY Scott Kelby Dave Gales
Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark. Photoshop is a registered trademark of Adobe Systems, Inc. Windows is a registered trademark of Microsoft Corp.
STOCK IMAGES The royalty-free stock images used in this book are courtesy of iStockphoto.com
Warning and Disclaimer This book is designed to provide information about Photoshop for digital photographers. Every effort has been made to make this book as complete and as accurate as possible, but no warranty of fitness is implied. The information is provided on an as-is basis. The author and New Riders shall have neither the liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book or from the use of the discs or programs that may accompany it. THIS PRODUCT IS NOT ENDORSED OR SPONSORED BY ADOBE SYSTEMS INCORPORATED, PUBLISHER OF ADOBE PHOTOSHOP CS3. ISBN 13: 978-0-321-50191-2 ISBN 10:
0-321-50191-8
9 8 7654321
www.newriders.com www.scottkelbybooks.com
This seal indicates the content provided is created, and produced solely by the National Association
01 PhOloshop Professionals (NAPP). Additionally, it ensures
the content maintains the stringent standards set by NAPP, the world's leading resource for Adobel! Pholoshop� training, education and news.
For three people
who I absolutely adore:
Kalebra, jordan, and Kira. You make my life a joy.
A CKN OWL ED GMEN T S
irst, I want to thank my amazing wife Kalebra. We've been married nearly 18 years now, and just looking at her still makes my heart skip a beat, and again reminds me how m uch I adore her, how gen uinely beautiful she is, and how I couldn't l ive without her. She's the type of woman love songs are written for, and I am, without a doubt, the l uckiest man al ive to have her as my wife. Secondly, I want to thank my 1 0-year-old son jordan, who spent many afternoons pulling me away from writing this book so we could play Dragon Ball Z : Budokai Tenkaichi 2 or Guitar Hero" (a game I'm fi nally decent at). God has blessed our fam i ly with so many wonderful gifts, and I can see them all reflected in his eyes. I'm so proud of h im, so thrilled to be h is dad, and I dearly love watching him grow to be such a wonderful little guy, with such a tender and loving heart. (You're the greatest, little buddy.) I also want to thank my daughter Kira Nicole Kelby for being such a little sweetie. My wife and
F
I knew we were having a baby girl, we just didn't realize that she would in fact be "the cutest little baby in the whole wide world." I also want to thank my brother jeffrey for being such a positive influence in my life, for always taking the h igh road, for always knowing the right thing to say, and just the right time to say it, and for having so m uch of our dad in you. I'm honored to have you as my brother and my friend. My heartfelt thanks go to the entire team at KW Media Group, who every day redefine what teamwork and dedication are all about. They are truly a special group of people, who come together to do some really amazing things (on really scary deadlines), and they do it with class, poise, and a can-do attitude that is truly inspiring. I'm so proud to be working with you all. Thanks to my layout and production crew. In particular, I want to thank my friend and Creative Director Felix Nelson for his limitless talent, creativity, input, and just for h is flat-out great ideas. A heartfelt thanks goes to my Tech Editor Kim Doty, who did an amazing job keeping this project on track and organ ized (wh ile making sure I was organized, too, which is not easy to do). I am just so tickled to have you on our team, and working with you is really just a joy. Besides all your editing and management skills-you're going to make one really great mommy! Also, a big, big thanks to Cindy Snyder, who helps test all the techniq ues in the book and, as always, she caught lots of little things that others would have m issed. My thanks to "The Michigan Layout Machine" Dave Damstra and his amazing crew for giving the book such a tight, clean layout. We got truly lucky when we found you! Thanks to my best buddy Dave Moser (Hey You!), who makes darn sure everything we do is better than what we did last. Thanks to jean A. Kendra for all her support, and for keeping a lot of plates in the air while I'm writing these books. A very special thanks to my Executive
iv
Assistant Kathy Siler for all her hard work and dedication, and for keeping the rest of business running l ike clockwork so I have time to work on books li ke th is. I don't know what I 'd do without you. (Oh, and thanks for the meatballs. Mmmm. Meatballs.) Than ks to my Publ isher Nancy Ruenzel, and the incredibly dedicated team at Peachpit/New Riders. You are very special people doing very special things, and it's a real honor to get to work with people who really just want to make great books. Also many thanks to the awesome Ted "The L Sh irt Connection" Waitt, Glenn Bisignani, and to marketing maverick Scott Cowlin. Thanks to Kevin Connor and John Nack at Adobe for their help, and for hearing my p leas, and to the wonderful Deb Whitman, Mala Sharma, and John Loiacono for all your contin ued support and great ideas. Thanks to my friends at Adobe Systems, including: Terry White, Addy Roff, Cari Gushiken, Russell Brady, Jul ieanne Kost, Tom Hogarty, Jenn ifer Stern, George Jardine, Dave Story, and Russell Preston Brown, and the amazing engineering team at Adobe (I don't know how you all do it). Gone but not forgotten: Barbara Rice, Rye Livingston, Bryan Lamkin, and Karen Gauth ier. Thanks to my "Photoshop Guys" Dave Cross and Matt Kloskowski, for being such excel lent sounding boards for the development of this book. You guys are the best! Also, thanks to Corey Barker (The Photoshop Lad), and to RC ( EI Bandito de Photoshop) for coming on board and making my life easier and more fun. I want to than k all the talen ted and gifted photographers wh o've taught me so m uch over the years, includi ng: Bill Fortney, Moose Peterson, Joe McNal ly, Anne Cah i l l, Vincent Versace, David Ziser, Helene Glassman, and Jim DiVitale. My personal thanks to Susan H ill, Matt Kloskowski, Ashley Gellar, Sarah Crist, Susan Thel well, Miguel Cairo, Jenna and Debbie Stephenson, Kalebra Kel by, Jordan Kelby, Lani Anderson, Tony Llanes, "Fiddles," Thomas, and Frank for lending me their wonderful faces for the book. I would l i ke to dedicate the "How to Show Your Work" chapter of this book to legendary wedding and portrait photograph er, and gifted photography i nstructor, Monte Zucker who passed away earlier this year after battling pancreatic cancer. He truly was a remarkable person whose passion for sharing, and gen uine love of people, could be seen by the twin kle in his eye, his warm caring smi le, and the magical images he created. Our i ndustry lost a true icon with his passing. He will be m issed. Thanks to my mentors whose wisdom and wh ip-cracking have helped me immeasurably, including John Graden, Jack Lee, Dave Gales, J udy Farmer, and Douglas Poole. Most importantly, I want to thank God, and His son Jesus Christ, for leading me to the woman of my dreams, for blessing us with two amazing c h ildren, for al lowing me to make a living doing something I truly love, for always being there when I need H i m, for blessing me with a wonderful, fulfi l l in g, and happy life, and such a warm, loving family to share it with.
v
OTHE R B OOK S B Y
S CO T T K E LB Y
The Adobe Photoshop Lightroom Bookfor Digital Photographers
The Photoshop Channels Book
Photoshop Down & Dirty Tricks
Photoshop Killer Tips
Photoshop Classic Effects
InDesign Killer Tips
The Digital Photography Book
Mac 05 X Killer Tips
Getting Started with Your Mac and Mac as X Tiger
The Photoshop Elements 5 Bookfor Digital Photographers
AB O UT THE
A UTHOR
Scott Kelby
Scott is Editor, Publisher, and co-founder of Photoshop User magazine, Editor and Publisher of Layers magazine (the how-to magazine for everything Adobe), and is the host of the top-rated weekly video podcast NAPP TV. Scott is President and co-founder of the National Association of Photoshop Professionals (NAPP), the trade association for Adobe" Photoshop· users, and he's President of the software training, education, and publishing firm KW Media Group. Scott is a photographer, designer, and an award-winning author of more than 40 books, including Photoshop Down & Dirty Tricks, The Adobe Photoshop Lightroom Bookfor Digital Photographers, The Photoshop Channels Book, Photoshop Classic Effects, and The Digital Photography Book.
Since 2004, Scott has been honored with the distinction of being the world's #1 best-selling author of all computer and technology books, across all categories. H is books h ave been translated into dozens of different languages, including Chinese, Russian, Span ish, Korean, Pol ish, Taiwanese, French, German, Italian, J apanese, Dutch, Swedish, Turkish, and Portuguese, among others, and he is a reci pient of the prestigious Benjam in Fran kl in Award. Scott is Training Director for the Adobe Photoshop Seminar Tour and Conference Technical Chair for the Photoshop World Conference & Expo. He's featured in a series of Adobe Photoshop training DVDs and has been training Adobe Photoshop users since 1 993. For more information on Scott, visit scottkelby.com.
www.scottkelbybooks.com
vii
TA B L E
oF
CON TE N T S
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CHAPTER 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
London Bridge Bridge Essentials
Getting Your Photos Into Bridge
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Contact Sheet for Your CD/DVD Jewel Case A Much Better View Is Just a Few Clicks Away . .
. . . . . . . . . . . . . . . . . . . .
How to View Other Photos, Plus Moving and Deleting Custom izing the Look of Your Bridge
. . . . . . . . . . . . . .
2 8
14
. . . . . . . . . . . . . .
22
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
Getting Each Photo's Background Info (Called Metadata)
. . . . . . . . . . .
32
Renaming Individual Photos
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
Rotating Photos
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
. .
..
Sorting and Arranging Your Photos
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting Files (and Folders) in Bridge CHAPTER 2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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43
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44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
.
36 41
The Bridge Advanced Bridge Techniques
Creating Full-Screen Slide Shows
Finding Your Photos Fast by Using Keywords Seeing and Editing a Photo's Metadata
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Maximize Your View by Using Two Monitors Batch Renaming Your Files
. . . . . . . . . . . . . . . . . . . . . . .
48 54
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58
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
Creating Metadata Templates
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stripping Out Metadata from Your Photos .
. . . . . . . . . . . . . . . . . . . . . .
66
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
. .
Stay Organized Using Stacks
64
CHAPTER 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Raw Deal Processing Your Images Using Camera Raw
Getting RAW, J PEG, and TIFF Photos Into Camera Raw The Essential Adjustments: White Balance
. . . . . . .
74
. . . . . . . . . . . . . . . . . . . . . . . . .
77
. . . . .
.
The Essential Adjustments #2: Exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Adding "Snap" to Your Images Using the Clarity Slider . . . . . . . . . . . . . . 90 Setting Your Resolution, Image Size, Color Space, and Bit Depth Cropping and Straightening
Editing Multiple Photos at Once Sharpening in Camera Raw
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The Adobe Photoshop CS3 Book for Digital Photographers
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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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91 94 98
101
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TAB L E
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C O N TEN T S
Calibrating for Your Particular Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Camera Raw's Noise Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Double-Processing to Create the Uncapturable . . . . . . . . . . . . . . . . . . . . 1 08 Fixing Chromatic Aberrations (That Colored-Edge Fringe) . . . . . . . . . . 1 12 Adjusting Contrast Using Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 4 Fixing (or Creating) Edge Vignetting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1 8 Saving RAW Files in Adobe's Digital Negative (DNG) Format . . . . . . . 120 Letting Camera Raw Auto Correct Your Photos . . . . . . . . . . . . . . . . . . . 12 1 Split Toning Effects Made Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Adjusting Individual Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 24 Converting to Black and White Using a Channel Mixer (of Sorts) . . . 1 26 Simple Retouching in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 30 Removing Red Eye in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 33 CHAPTER 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
137
Resized Resizing and Cropping Your Images
Just a Quickie About the CS3 Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 38 Cropping Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Cropping Using the "Rule of Thirds" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 44 Cropping to a Specific Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 The Trick for Keeping the Same Aspect Ratio When You Crop . . . . . 150 Creating Your Own Custom Crop Tools . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Custom Sizes for Photographers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Resizing Digital Camera Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 57 Resizing the Smart Way (Using Smart Objects) . . . . . . . . . . . . . . . . . . . . 1 60 Automated Saving and Resizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 66 Rule-Breaking Resizing for Poster-Sized Prints . . . . . . . . . . . . . . . . . . . . . . 1 68 Making Your Photos Smaller (Downsizing) . . . . . . . . . . . . . . . . . . . . . . . . 1 71 Straightening Crooked Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 74 Automated Cropping and Straightening . . . . . . . . . . . . . . . . . . . . . . . . . . 1 76 CHAPTER 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 81 Fit to Print Step-by-Step Printing and Color Management
Configuring Your Camera to Match Photoshop's Color Space . . . . . . 1 82 Configuring Photoshop for Adobe RGB ( 1 998) . . . . . . . . . . . . . . . . . . . . 184
The Adobe Photoshop CS3 Book for Digital Photographers
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TA B L E
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C O N TEN T S
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Calibrating Your Monitor (The Lame Built-In Freebie Method) . . . . . 1 87 The Right Way to Calibrate Your Monitor (Hardware Calibration). . . 192 The Other Secret to Getting Pro-Quality Prints That Match Your Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 95 Making the Print (Final ly, It All Comes Together) . . . . . . . . . . . . . . . . . . 200 CHAPTER 6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
207
Local Color Color Correction Secrets
Two Things to Do Before You Color Correct Anyth ing . . . . . . . . . . . . . 208 Color Correcting Digital Camera Images . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Drag-and-Drop Instant Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1 8 Studio Portrait Correction Made Simple . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Dave's Amazing Trick for Finding a Neutral Gray . . . . . . . . . . . . . . . . . . 223 Adjusting RGB Flesh Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 Color Correcting One Problem Area Fast! . . . . . . . . . . . . . . . . . . . . . . . . . 228 Keeping Great Color When You Email or Post Photos to the Web. . . 230 CHAPTER 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Black & White World How to Create Stunning B&W I mages
The Lightness Channel Method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Using CS3's New Black & White Converter . . . . . . . . . . . . . . . . . . . . . . . . 238 Scott's Favorite High-Contrast B&W Technique . . . . . . . . . . . . . . . . . . . 242 Calculations Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 Black and White in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 CHAPTER 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 99 Problems Dealing with Common Digital Image Problems
Fixing Color in Indoor Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 When Your Subject Is in the Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 1 5-Second Fix for Under- or Overexposed Photos . . . . . . . . . . . . . . . . . 264 Dodging and Burning Done Right. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Instant Red-Eye Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Fixing Reflections in Glasses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
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The Adobe Photoshop CS3 Book for Digital Photographers
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The CS3 Secret to Fixing Group Shots
. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Fixing Spots or Sensor Dust on Multiple Photos at Once CHAPTER 9
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289
Faces Retouching Portraits
Removing Blemishes
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reducing a Double Chin . .
. . . .
..
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..
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Removing Dark Circles Under Eyes
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Reducing Wrinkles Enhancing Lips
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. 297
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Brightening and Whitening the Eyes Whitening Teeth . .
.
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301 305 309
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Removing Hot Spots
293
. . . 295
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Hollywood Highlights
290
Advanced Skin Softening . Digital Nose Jobs Made Easy
. . . . . . . . . . . . . . . .
317
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326
Slimming and Trimming
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.
Removing Love Handles
. .
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CHAPTER 1 0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Special Delivery Special Effects for Photographers
Quadtoning for Richer B&Ws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Taming Your Light. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Punching Up Drab Colors Using Lab Color Trendy High-Contrast Portrait Effect. Fake Duotone
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Creating Photo Collages Instant Infrared Effects
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Faking a Neutral Density Gradient Filter.
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Scott's Three-Step Portrait Finishing Technique . . . . . . . . . . . . . . . . . . . 363 Drawing the Viewer's Eye with Color
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Panoramas Made Crazy Easy
. 367
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Easier Retouching (and Collaging) Using the Clone Source Panel
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369 371
The Adobe Photoshop CS3 Book for Digital Photographers
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TA B L E
oF
C O N TE N T S
www.scottkelbybooks.com
CHAPTER 1 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 Look Sharp Sharpening Techniques
Sharpening Essentials . . . . Lab Color Sharpening
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Making Photos Look Sharper Than They Really Are
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When to Use the Smart Sharpen Filter Instead . . . . . . . . . . . . . . . . . .404 .
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CHAPTER 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 1 Best in Show e6e
111 Fint All � lO�(Window 80x CollKlion. RCB/II
How to Show Your Work
Watermarking & Adding Your Copyright Info . . . . . . . . . . . . . . . . . . . . . 412 Turning Your Signature Into a Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 1 7 Creating a n Online Photo Gallery (Perfect for Client Proofing) . .
. .
.420
The Trick to Putting High-Resol ution Photos on the Web. . . . . . . . . . 424 Getting Multiple Copies of Your Photo on One Page . . . . . . . . . . . . . . 426 How to Email Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 .
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Fine Art Poster Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .432 Simple Three-Photo Balanced Layout .
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Multi-Photo Look from J ust One Photo
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SCOTT KElBY ' STOCKHOI.M. SWEDEN
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Instant Pano Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 CHAPTER 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .453 Working for a Livin' My Step-by-Step Workflow
My Digital Photography Workflow. IN DEX
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The Adobe Photoshop CS3 Book for Digital Photographers
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AN
UN EXPE C TE D
Q&A
S E C TI ON
Q. I didn't expect to see the book start with a Q&A section. Don't Q&A sections normally come after a chapter, rather than before the first chapter?
Normally they do. That's why this one is so unexpected. Back in the C52 edition of this book, rather than an unexpected Q&A here, instead I interviewed myself. Basically, I asked myself questions about the book and then I answered them. (Luckily, I knew most of the answers. Well, except for two, but they were really hard.)
A.
Q. So how did the interview with yourself go? A. I have to tell you-I found me absolutely fascinating. But as engaging as I found myself, this time I thought I'd go with something different, and incorporate an idea from my book The Adobe Photoshop Lightroom Bookfor Digital Photographers, which is the "Unexpected Q&A" you're reading now. I've received a lot of great emails from readers who told me they liked this "Unexpected Q&A" because: (a) it was unexpected, (b) it wasn't me interviewing myself (apparently, they don't find me nearly as riveting as I do), and (c) they were just so happy to read anything up front that wasn't the introduction of the book.
Q. So, do people not like reading the introduction section of books?
Are you kidding? They hate it. As best as I can tell, most people would rather endure an invasive, non-elective, medically unnec essary surgical procedure than take the few short minutes it takes to read a book's introduction.
A.
Q. How do you know?
It's because each year a large number of people actual ly schedule, and pay in advance, for invasive, non-elective, medically unnecessary surgical procedures. Contrast that with the most recent figures gathered by the Mintz/Lawler Data Group (the leading book publishing industry statistical research firm), which shows that between the years 2005 and 2007, only 1 4 people in the u.s. (15 if you incl ude data collected in the U.K.) have actually read a computer book's introduction.
A.
Q. Are you serious? A.
Of course not. It's more like 1 6 people.
Q. So why don't people read the introductions?
I think it's because these days a lot of book introductions just try to convince you to buy the book, so they think "Oh, that's another one of those," and they skip it. But my introductions are noth ing like that.
A.
Q. Why not?
It's because I figure if you're reading this, you've already bought the book, right? Here's the thing: if we (as authors) can't get people who've actually bought the book to read the introduction, imagine how few people read it that haven't bought the book. The number has to be next to nil. Actually, thanks to years and years of made up analytical studies, we in fact know the exact number. It's two (but only one of them is still living). A.
Continued
The Adobe Photoshop CS3 Book for Digital Photographers
xiii
AN
UN EXP E C TED
Q&A
S E C TI ON
(continued)
Q. So, are you saying what I think you're saying?
Yes, that's what I'm saying. Look, I'm not going to lie to you. We've been through too much together for that, so I'm going to be straight with you. You're reading the book's introduction right now. Oh sure, it's called "An Unexpected Q&A Section" but come on, have you ever heard of an unexpected Q&A section? Especially one that comes before the first chapter? The sad part is you knew this was just a ruse to get you to read the introduction, but yet you kept on going. A lot of people would have bolted for the first chapter as soon as they realized what was going on, but not you. You're different. You're special. People like you. I like you. (Buy this book.) Strangers find you attractive. (Buy this book.) Deer and other small animals in the woods are drawn to you. (Buy this book.) You are successful and energetic. (Buy this book.) Buy this book. (Whoops!) A.
Q. Ah ha-so you were trying to sell me on this book all along!
Absolutely not. But it's only because if you're reading th is, concocted industry statistics clearly show that you've already bought the book.
A.
Q. Rats! A.
That's not a q uestion.
Q. Is the rest of the book like this?
Than kfully, no. The rest of the book is pretty straightforward, and pretty much just step-by-step instructions, without the powerful lure of these extraneous comments (my friend and editor Chris Main calls it stream-of-consciousness writing. Rem ind me to fire him). Here's the thing: when you write step-by-step books like this, there's no room for your own writing style to come through. It's pretty much: "Go under this menu for this" and "click on that button for that." So, in a step-by-step book like th is, I only get two spots where I can inject any of my own personal ity and style (or lack thereof) into the book. They are ( 1 ) this unexpected Q&A, and (2) the chapter intros that start each chapter, which by the way, have little if anything to do with what's actually in said chapter.
A.
Q. So, this "silly" stuff, this "stream-of-consciousness" stuff is pretty much limited to this intro and the chapter intros, right?
Right! Here's the thing: I've been trying different devices, different tricks, and un ique ways to somehow fool my readers into reading these introductions for years now. That's because (in my books anyway) there is a real value in reading the introductions. (Buy this book.) For one thing, this is the only place in the book where I give the Web address where you can download the same photos I used in the book, so you can do the lessons, and try them right along with me. But there's a bigger issue. I genuinely want you to get the most out of this book, or any book I write, so in the introduction I try to give you some tips to help steer you in the right direction. To me, that's important, and since you've invested your time and money in this book, I hope it would be to you too. (Right about now you're probably missing that stream-of-consciousness stuff, aren't you?) That's why I keep com ing up with these devices, like interviewing myself, and the unexpected Q&A. In one book I actually made the introduction look like a chapter (I even named it "Chapter 0"), complete with fake screen captures that didn't relate to the introduction in any way-but it worked. I got loads of emails from people who read the whole thing, and got a lot out of it. I also got some really angry email, too. A.
Q. Seriously-angry email?
Apparently, if you don't l ike my offbeat sense of humor, you don't like it in a big, big way. You hate it with a burning fire that knows no bounds. In fact, so much so that these folks (not you, of course) will either email me, or my publ isher, or they'll write an
A.
xiv
The Adobe Photoshop CS3 Book for Digital Photographers
exhaustive review online about just how m uch they hate it. And me. They'll sometimes mention my mother. My upbringing. My lineage. It gets pretty brutal sometimes, but I've learned to deal with it by drinking very heavily. I'm kidding. (See, if you're one of those people, you really, real ly hated those last two l ines, and you're filled with rage. I await your email.) Q. So, this is now the fourth edition of this book. What are the key things that are new in this edition?
Actually, I'm surprised at how much new content there is in this edition, as opposed to earlier updates of the book, especially since most of the new CS3 features (for photographers anyway) are contained within five areas: ( 1 ) the new Bridge CS3, which is so different and vastly updated that I pretty much had to rewrite both chapters pertaining to it; (2) the amazing new Camera Raw, which I pretty much rewrote from scratch and you'll see why shortly; (3) the whole Panorama!Photomerge thing (including Auto-Blend Layers and Auto-Align Layers), which is now so easy and automated I actually wound up writing less for it; (4) the new Black & White conversion feature; and (5) and the new printing features (I wound up rewriting that chapter too).
A.
Q. So you've added other new stuff besides covering the new features for photographers in (S3?
You betcha! I've added lots of new techniques, including new, faster, and easier ways to do some of the things that I showed back in the last edition of the book, plus I've incl uded a number of brand new techniq ues that I've never shown anywhere. Also, I've made time for a lot more shooting since I wrote the last edition of this book and I've learned loads of new Photoshop techniques since the last edition too (which was published back in April 2005). So, basically I added lots of new stuff I've learned in the past two years or so, but I also added something totally different. At the end of the book, I added a special workflow chapter that shows my own personal Photoshop workflow (exactly what I do, in the exact order I do it). I felt it was needed because, although the rest of the book shows you how to use everything from Curves to sharpening to how to create your own custom Black & White conversions, I thought it needed one place where it "all comes together" and that workflow chapter is it. I hope you find it useful. Of course, like always, the entire book is riddled with new little tricks, new features, new tips, and some helpful shortcuts and workarounds I've learned since the last book. See, I care.
A.
Q. If you keep adding all this new stuff, this book should be around 900 pages, right?
That's right, Timmy, it should be, but it's not phonebook-sized by design. In fact, the book you're holding is actually a bit longer than I'd like, but choosing which content stays and which goes is really, really hard. In fact, it's almost harder than writing it. Here's the problem: this is the fourth edition of the book. If every time Adobe came out with an update to Photoshop, I did nothing other than add the new features (and I left everything else alone), it would already be over 900 pages, and this book would cost around $79. The problem is that virtually nobody buys 900-page books anymore, especially if they cost $79. (Personally, I wouldn't buy a 900-page book on any topic. Well, maybe if it was an in-depth study of the lyrical stylings of The Backstreet Boys, but even then, I'd be hard-pressed to pay $79. $65 maybe, but $79 . . . 1 dunno.) The good part is-by pruning the low-hanging fruit (so to speak), each edition of the book gets progressively better and better, without it getting bigger and bigger. A.
Q. So what happens to all that stuff you took out?
I let my hamster tear it into a million pieces (it was one of the happiest days of my life). Actually, I've posted those bonus chapters in PDF format just for readers of this book, and you can go and download them from the book's website at www .scottkelbybooks.com!cs3book. You'll find entire chapters that were in the old version of the book, but updated for CS3. So, you still get that content, but without the needless bulk, and more importantly-without the added cost. However, if you feel somewhat guilty and are then compelled to send me a check, that's totally fine by me-I j ust want you to feel comfortable. A.
Continued
The Adobe Photoshop CS3 Book for Digital Photographers
xv
AN
UN E XPE C TE D
Q&A
S E C TION
(continued)
(By the way-you wouldn't even know about these bonus chapters had you skipped this intro and gone straight to Chapter 1. I feel bad for those people who did. Those are also some of the same people who will read the stream-of consciousness chapter opener to Chapter 1 and think, "I really, really hate this guy's sense of humor," and then they'll fire up their emai l and. . . well, you can see where this is going.) Q. Isn't calling those chapters you took out "bonus chapters" just marketing hype concocted by big oil and the government to divert my attention from what's happening in the Middle East? A.
Yes.
Q. That's a surprisingly frank and honest answer from a guy who tricked me into reading this whole unexpected Q&A. A.
I've gotta tell ya-I'm j ust amazed you're still reading it.
Q. Do I need to read this book in order, starting with Chapter 1, then on to Chapter 2, and so on, or can I skip around?
I specifically designed this book to be in "jump in anywhere" book, and although the chapters are in the order of a pro fessional's workflow, everything is spelled out in every chapter, so you can turn to the technique you want to learn first and start right there-you'll be able to follow along, no sweat.
A.
Q. How did you develop the original content for this book?
Each year I'm fortunate enough to train literally thousands of professional digital photographers around the world at my live seminars, and although I'm doing the teaching, at every seminar I always learn something new. Photographers love to share their favorite techniq ues, and during the breaks between sessions, or at lunch, somebody's always showing me how they "get the job done." It's really an amazing way to learn. Pl us, and perhaps most importantly, I hear right from their own lips the problems and challenges these photographers are facing in their own work in Photoshop, so I have a great insight into what p hotographers real ly want to learn next. Pl us, I'm out there shooting myself, so I'm constantly dealing with my own problems in Photoshop and developing new ways to make my digital workflow faster, easier, and more fun. That's because (like you) I want to spend less time sitting behind a computer screen and more time doing what I love best shooting! So, as soon as I come up with a new trick, or if I learn a slick new way of doing something, I just can't wait to share it with other photographers. It's a sickness. I know. A.
Q. So, what's not in this book?
I tried not to put things in this book that are already in every other Photoshop book out there. For example, I don't have a chapter on the Layers panel, or a chapter on the painting tools, or a chapter showing how each of P hotoshop's 110 filters look when applied to the same photograph. I just focused on the most important, most asked-about, and most useful things for digital photographers. In short-it's the funk and not the junk. A.
Q. Does it matter whether I use Mac OS or Windows?
Not one l ittle bit. That's because Photoshop is pretty much identical on a Windows PC and on a Mac, so the book is designed for both platforms. However, the keyboard on a PC is slightly different from the keyboard on a Mac, so anytime I give a keyboard shortcut in the book, I give both the PC and Mac keyboard shortcuts.
A.
xvi
The Adobe Photoshop CS3 Book for Digital Photographers
Q. What advice would you give to more advanced Photoshop users who read this book?
Actually, I would just tell them one thing to look out for. I wrote this book so anyone at any level of the Photoshop experience could jump right in, so if you've been using Photoshop for years, don't let it throw you that I spell everything out. For example, in the tutorials, rather than writing "Open Curves" (which a pro instinctively knows how to do), I usu ally write, "Go under the Image menu, under Adjustments, and choose Curves." That way, everybody can follow along, and this is particularly important for photographers who are just now switching to digital (there are more holdouts than you'd think). Many of these traditional film photographers are brilliant, talented, amazing photographers, but since they're j ust now "going digital," they may not know anything about Photoshop. I didn't want to leave them out or make it harder for them, so I spell everything out. I knew you'd understand.
A.
Q. So where are the photos we can download?
You can download the photos from the book's companion website at www.scottkelbybooks.com/cs3book. Of course, the whole idea is that you'd use these techniq ues on your own photos, but if you want to practice on mine, I won't tell anybody. Although I shot most of the images you'll be downloading, I asked our friends over at i5tockphoto.com to lend me some of their work, especially for the portrait retouching chapter (it's really hard to retouch photos of people you know and still be on speaking terms with them after the book is published). 50, I'm very grateful to i5tockphoto.com for lending me (us, you, we, etc.) their images (portraits of total strangers which I don't m ind retouch ing at all), and I'm par ticularly thankful they let us (you) download low-res versions of their photos used here in the book, so you can practice on them as well. Please visit their site-they've got a really unique community going on there, and it wouldn't h urt if you gave them a great big sack of money while you're there. At the very least, make a stock shot of a big stack of money and upload that. It might turn into an actual big stack of money.
A.
Q. Scott, I have to tell you-I was skeptical about this whole unexpected Q&A thing, but you were right-there really was valuable information in here, and if I had skipped over it, the book wouldn't have been as valuable to me.
Thanks for letting me know that. It real ly means a lot that you've taken this time out of your busy schedule to spend some q uality time with me. I think we really bonded during this unexpected Q&A, and I hope that we'll reconnect at the beginning of every chapter for a few moments of stream-of-consciousness soup.
A.
Q. OK, can I get to work now?
Absolutely. You've paid your dues. You've put your time in. You experienced the unexpected. Now go and make great images, my friend. Fly . . . fly . . . soar up to the sky . . . (oh crap. I really don't know how to end this in any meaningful kind of way, so please just q uickly turn the page and I prom ise-we'll never discuss this again). A.
The Adobe Photoshop CS3 Book for Digital Photographers
xvii
Photo by Scott Kelby
Chapter 1 Bridge Essentials
London Bridge
bridge essentials This is the first chapter in the book (which is
time" bit is a reference to the movie Full Metal
precisely why, against the wishes of my edi
Jacket (which came out in 1 987. I was probably
tor, I call it "Chapter 1"). Anyway, this is as
a toddler back then and definitely not already
good a time as any to let you know that I have
27 years old, if that's what you're thinking). So
always named the chapters in my books after
now you're feeling all "Yeah, I knew that one,"
songs, movies, or TV shows, so it's actually the
but then there's a single bead of sweat trickling
subtitle that appears under the chapter title
down your forehead. It's there because you're
that really tells you what the chapter is about.
afraid someone (me) is going to ask you who
If you looked at the chapter title above, you
this Fergie is and the only Fergie you know
probably thought, "Oh, how cute. He named
(at your advanced age) is the Duchess of York,
this chapter after a nursery rhyme." If you
but you know darn well that she isn't likely to
thought that, you are very old. At least 40.
be q uoting lines from Full Metal Jacket in her
However, if you're much, much younger than
R&B songs, but now you're even more worried
that (like myself), and incurably cool (ditto),
that the rest of the book you just bought is like
then you probably recognize the title not as a
this chapter intro. If you're worried about that,
nursery rhyme, but as a tender, emotion-filled
it can only mean one thing: you didn't read
love song that includes the touching lyric "I'm
the "Unexpected Q&A" that came before this
Fergie Ferg and me love you long time." Ah
chapter. If I were you, I'd go back and read that
ha (you loudly exclaim), that "love you long
now. Don't worry. I'll wait long time.
Bridge Essentials
I
Chapter 1
I
1
The Adobe Photoshop CS3 Book
for Digital Photographers
Getting Your Photos Into Bridge
So, you've finished your shoot, and now you're back at your computer and ready to look at your photos, see how you did, separate the keepers from the clunkers, etc. Of course, the very first step is to get the photos from your camera (or ideally, from your camera's memory card using a card reader) onto your computer and into Adobe Bridge. Luckily, in Bridge 2, Adobe included a built-in photo down loader, so the process is much easier than in the previous version. So, here's where it all starts-getting your photos into Adobe Bridge.
Step One:
To im port photos from your digital camera, first launch Adobe Bridge (from here on out, I'll just call it Bridge for short), and then go under the File menu and choose Get Photos from Camera (as shown here). TIP:
The slowest, and most dangerous way to import photos is to connect your camera directly to your computer. A m uch faster and safer way is to use a memory card reader instead, and the faster the card reader the better (I recommend one that uses either a USB 2 or FireWire connection. I use a Lexar CompactFlash FireWire Card Reader, which is very fast and reliable. It's around $ 16.95 for the USB version, and $39.95 for the FireWire).
eGo
Adobe: Bridge. C53
- Photo Downloader
Get Photos from:
I NIKON D2XS
415 Files Selected - 7.6OGB
�I
� ,..JmportSelljng5 __________
Step Two:
This brings up Bridge's Photo Down loader. Before you do anyth ing else, you'll want to click the Advanced Dialog button in the bottom-left corner (as shown here). While this does make some advanced options avai lable, more impor tantly, it shows a preview of the photos you're about to import. If you ask me, that's not an "advanced" option-that's an "essential" option.
2
Bridge Essentials
I I
I
Location: Create Subfolder(s):
Rename Files:
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I Shot Date (yyyymmdd)
�
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I
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Example: _DSC1291.NEF
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I
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Convert To ONG
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,.../skelbv/Pictures
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( Settings.. .
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The Adobe Photoshop CS3 Book
Adobe Bridge (53 - Photo Downloader ;== ===;:;;--------' rSaveOptions ,..SQurce__=-;:;;;;:; ;:: location: Get Photos from: ! NIKON D2XS :3 /.../Pictures/(2 subfolders) 30 Flies Displaved (30SeleCled - 561.10MS): 02/26/2007 - 021n/2007 Create Subrolder{s): t Shot Date (yyyymmdd)
Step Three:
_______-,
Rename Files: I Do not rename files Example: _DSC0739.NEF o Preserve Curren! Filename in XMP ,.. v
AdvancedOptions
eOpen Adobe Bridge o (onven To ONG o Save Copies to:
' ...jskclby/Pictures .. v
ApplV Metadata Template to Use: ! Basic Metadata �A"� 'h� o'.�
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Here's the Advanced Photo Downloader, with the all-important thumbnail previews of what you're importing. By default, it imports every photo it finds on your memory card. If you see a photo you don't want imported, just turn off the checkbox to the right of its name (only checked photos will be imported). If you want just a few photos imported, first click the UnCheck All button (below the left side of the thumbnail preview area) to uncheck all the photos. Then press and-hold the Command ( PC: Ctrl) key and click on all the photos you want imported (as you do, each thumbnail is highlighted). Once you have all the pho tos you want to import selected, turn on the checkbox for any one of these selected photos, and they all become checked.
Step Four:
save Optionsr Location:
_________
j ... jPictu,esj[2 subfolders] Create Subfolder(sl: 1 Shot Date (yyyymmdd)
for Digital Photographers
:1
I[
Rename Files: no::t::: m:::: e=fi::les= ! ,:: 1= 0= 0 ::: ,e::: na:: ====_-: = : +, Example: _DSC0739.NEF o Preserve Current Filename in XMP
!
r
I
Once you've chosen which photos you want imported (it's probably all of them, but if not, at least you learned how to choose them back in Step Three), you get to choose where these photos will be saved to on your computer. By default, on a Mac it saves them in your Pictures folder, and on a PC it saves them in your My Pictures folder. If you want them saved to a different location, then click the Choose (PC: Browse) button (as shown here, where I've zoomed in on the Save Options section of the Photo Down loader). This brings up a standard Open dialog, where you can choose the loca tion where you'd li ke your im ported photos stored. Pretty standard stuff you've chosen which photos you want to im port, and where you want to save them once they're im ported. Continued B ridge Essentials
3
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
By default, it's going to put your photos into subfolders named with the date you took them. So, let's say you have three different shoots, each taken a few days apart, on the same memory card. When they're imported, if you look in your Pictures (PC: My Pictures) folder, you'll see three new folders, each named with the dates the shots inside it were taken. If you'd prefer they were all in one folder with a custom name that you choose, then select Custom Name from the Create 5ubfolder(s) pop-up menu (as shown here), and type in the name you'd like in the field just below that pop-up menu (here, I named my single folder "Yosemite Winter").
Step S ix:
Also by default, your photos will keep the same cryptic, non-descriptive, just about-useless names your camera gave them when they were taken. (Th is stinks, because if you're trying to find a photo of Yosemite, you probably wouldn't search for a file named "_D5C0739.N EF." You'd probably search for something more like . . . oh, I dunno . . . Yosemite?) So, I recommend having the Photo Downloader rename your photos as they're imported with a descriptive name, which makes your life much easier down the road. To do this, click on the Rename Fi les pop-up menu, and choose which naming convention you'd like. Personally, I like to give each of my photos a descriptive custom name, followed by the year it was shot, the month, and day. So, from this pop-up menu I would choose Custom Name + Shot Date (yymmdd), as shown here.
4
Bridge Essentials
Save Options __________--,
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Step S even:
Once you've chosen any of the naming conventions that have a custom name in it from the Rename Files pop-up menu, the name field is h ighlighted beneath it. Type in your custom name (in this case, I chose "Yosemite") and then in the field to the right of it, choose the num ber where you'd like the sequential numbering to start. An exam ple of your renaming appears directly under the name field (as seen here). There's also a checkbox that lets you embed the original filename into your renamed file, just in case for some reason you need it one day. Now, I always turn this feature on, yet I've never needed to know a photo's original camera-given name thus far, but hey-ya never know. Step Eight:
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for Digital Photographers
to:
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In the Advanced Options section, there's a checkbox that automatically opens Bridge (if it's not already open). I know what you're thinking: "That's an advanced option?" (Don't get me started.) Anyway, directly under that you have the ability to convert your RAW, J P EG, or TIFF files to Adobe's DNG format, which is a universal archival format (designed primarily for RAW files, whose formats today are mostly camera-specific), so that they can be opened and accessed in the future. DNG is a subchapter unto itself, so for more on Adobe's DNG initiative, visit www.adobe. com/products/dng/index.html. Here's my rule of thumb: If it's a RAW file, I convert it to DNG. If it's a ] p EG or TIFF file, I don't (since a ]pEG is a J P EG, so to speak). If you turn on the Convert To DNG checkbox and click the Settings button to the right, a dialog appears (shown here) where you can customize your DNG settings, including how large your preview is, how to save the RAW file, and whether to embed the origi nal RAW file inside your DNG. Bridge Essentials
I
Continued
Chapter 1
I
5
The Adobe Photoshop CS3 Book
for Digital
Photographers
There's one more option in the Advanced Options section and, to me, this is a critically im portant option. That's the option to automatical ly back up your im ported photos to a different hard drive. J ust turn on the Save Copies To checkbox and then click the Choose (PC: Browse) button to the right of it to choose an external hard drive, network, etc., where you want a copy of the photos you're importing backed up to. This is so incred ibly important because at this point, if your com puter's hard drive crashes, all your photos are gone. For good. But by turning this feature on, you'll have a second back up set on a totally separate hard drive (and yes, it has to be on a totally separate hard drive-backing up to a different folder on your same com puter doesn't help, because if your computer's hard drive crashes, you lose the originals and the backup at the same time). Step 10: The next section down is the Apply Metadata section. This is where you're able to embed your name and copyright information into each file automatically, as it's imported. Simply click in the Author field and type in your name. Then click in the Copyright field, type in your copyright info (as shown here), and you're set. Now, you can have more infor mation embedded upon import than this, but first you'd have to create a metadata template (which would appear in that pop-up menu at the top of this section). I show you how to create your own a little later, so for now, just use the Basic Metadata template and enter your name and copyright info (as shown here. Of course, enter your own name, not mine. I real ly didn't have to say that, did I?).
6
( v Advanced Options
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Step N ine:
Bridge Essentials
I � Open Adobe Bridge 6?l Convert To ONG eJ. Save Copies to: � / . I ./ ske lby/Pictures .
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The Adobe Photoshop CS3 Book
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Step 1 1 : Well, that's the whole deal (advanced options and all). So now all you have to do is click the Get Photos button (in the bottom right-hand corner of the Photo Downloader), and a download status dialog appears (shown here), showing you which files are being imported, how far along you are, etc. Step 12:
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Once your files are imported, they're dis played in Bridge as thumbnails (as shown here), and now you can begin sorting, ranking, and all the other cool stuff we're going to learn in the rest of this chapter. Now, back in Step One, I had you go to the File menu and choose Get Photos from Camera to bring up the Photo Downloader. If you'd li ke the Photo Downloader to automatically appear anytime you plug in your memory card reader (or even your camera, if you like to live slow yet dangerously), then press Command-K (PC: Ctrl-K) to bring up Bridge's Preferences dialog, and turn on the checkbox for When a Camera is Connected, Launch Adobe Photo Downloader (as shown here in the inset). T I P: Besides the photos on your com
puter and the automatic backup saved to your separate hard drive, right now (before you start any editing) I would burn that imported folder of photos to a DVD+R disc and store it vertically (upright, like a book) in a safe, cool, dark, dry location. Also, don't apply any kind of adhesive label to the disc, and if you're going to write on it with a marker, make sure that it's non-solvent based. I know, this sounds like a lot of work, but these are your negatives, and perhaps the visual history of your life. It's worth protecting. Bridge Essentials
7
The Adobe Photos hop CS3 Book
for Digital Photographers
If you took my advice from the last tutorial and burned an archival-quality CD or DVD backup of your original photos (before you started editing them), then you can save yourself a lot of time and frustration down the road if you create a CD/DVD-jewel-case-sized contact sheet now. That way, when you pick up the CD/DVD years later, you'll see exactly what's on the disc before you even insert it into your computer. Luckily, the process is pretty much automated-you make a few simple option choices, and Photoshop takes it from there.
Creating a Contact Sheet for Your CD/ DVD Jewel Case
Step One:
In Bridge, press Command-A (PC: Ctrl A) to select all your photos (of course, make sure the photos you want to make a contact sheet for are the ones you see now onscreen). Then go under Bridge's Tools menu, under Photoshop, and choose Contact Sheet II (as shown here). Note: When you're not working in Bridge, you can find this contact sheet feature by going under Photoshop's File menu, under Automate, and choosing Contact Sheet II.
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B ridge Essentials
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This launches Photoshop and opens the Contact Sheet II dialog (shown here). In the top section, where you would normally choose which photos you'd like in your contact sheet, the Use pop-up menu reads Selected Images from Bridge, si nce you already chose the photos you want for your contact sheet back in Step One. If you hadn't, then you'd choose a folder of images by selecting Folder from the Use pop-up menu and clicking on the Choose (PC: Browse) button.
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The rest of the Contact Sheet I I dialog is where you pick how you want your contact sheet to look. I n the Document section, enter the width and height of your jewel case cover. (The standard sizeo is 4.7Sx4.7S", but I recom mend using 4.5x4.5"; other wise, the contact sheet places the thumb nails too close to the edge. By making it 1 /4" smaller, as you'll see later, you can add 1 /4" of wh ite space around it, making it look m uch better.) For the Resolution field, I choose a low resolution of only 72 ppi for two reasons: ( 1 ) the thum bnails wind up being so small they don't need any higher resolution, and (2) Photoshop builds your contact sheet much faster using low-res images. I leave the Mode pop-up menu set to RGB Color (the default), and I choose to flatten all layers-that way I don't end up with a large, multilayered Photoshop docu ment. I just want a document that I can print once and then delete. The Thum bnails section is where you choose the layout. Luckily, Adobe put a preview on the far-right side of the dialog. Change the n umber of rows and columns (try setting them both at 6), and this live preview will give you an idea of how your layout will look. Continued B ridge Essentials
9
The Adobe Photos hop CS3 Book
for Digital Photographers
Step Four:
At the bottom of the dialog, you'll see that Use Filename As Caption is turned on, and with good reason. One day when you go back to this CD/DVD looking for a particular photo, if there's no name below each thum bnail, you'll have to search through every photo on the disc to locate the one you saw on the case's contact sheet. However, if you incl ude the filename below each thumb nail, then getting right to that shot takes just seconds.
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Bridge Essentials
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TIP: When you're choosing a font size for your contact sheet's thumbnail captions, if you have rows and rows of thumbnails (rather than just six) make sure you decrease the default Font Size setting of 12 points to something signifi cantly lower, like 6 points. You'll need to do this because of the long file names assigned to the images from your digital camera (otherwise, you'll only see the first three letters of the fi lename, mak ing the contact sheet worthless, like the one shown here). So how small should you make your type? That depends. The more thum bnails you're fitting on your contact sheet, the smaller you'll need to make the font size.
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Step Five:
There's also a Font pop-up menu for choosing from a handful of fonts for your thum bnail captions, and then you can choose a size from the Font Size pop-up menu. The font choices are somewhat l ame, but believe me, they're better than what was offered in the original contact sheet feature, so count your blessings.
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The Adobe Photos hop CS3 Book
for Digital Photographers
Step S ix:
Now it's time to let 'er rip! With all your settings in place, just click OK. Within a minute or two, you'll have a contact sheet. But notice how tight the thumb nails are to the top and side edges? That's what I was talking about earlier when I said it's better to make your con tact sheet's size slightly smaller than you need, so later (actually, in the next step), you can add some white space around it, which makes it less crowded, easier to use, and it just plain looks better.
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Here's where we add that 1 /4" of space back in, al lowing some breath i ng room around the t h um bnails in the contact sheet. Go under the Image menu and choose Canvas Size. When the dialog appears, ensure the Relative checkbox is on, enter 0.25 inches for the Width and Height fields, set the Canvas Extension Color pop-up menu to White, then click O K.
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Continued Bridge Essentials
11
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Eight:
Here's the contact sheet now, after add ing 1 /4" of white space around the top, bottom, and sides. Looks much better, doesn't it? (Contrast t h is with the previous contact sheet and you'll see the difference.)
100"
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Step N ine:
This is more like a tip than a step, but a number of photographers add a second contact sheet to make it even easier to track down the exact image they're look ing for. It's based on the premise that in every roll (digital or otherwise), there are usually one or two key shots-two real ly good "keepers"-that will normally be the ones you'll go search ing for on this disc. So what they do is make an addi tional contact sheet with j ust the one or two key shots on that CD, which they'll use either as the cover or the inside cover of their CD jewel case. They include a description of the shots, which makes finding the right image even eas ier. Note: If you're only using one or two images, you don't need to use Contact Sheet II-you can j ust create this second cover yourself by dragging the images into a blank Photoshop document using the Move tool (V) and adding filenames, descriptions, etc., with the Horizontal Type tool (T).
12
6
Bridge Essentials
=_ Contact Sheet.jpg @ 50% (RGB/8)
Waterfall shot taken
at Yosemite National Park. 111e file nnme is _DSC0695.NEF.
Stream shot taken at Yosemite National Park.
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step 10:
Here's the final result, after the contact sheet has been printed and fitted into your CD jewel case.
Bridge Essentials
13
The Adobe Photoshop CS3 Book
for Digital Photographers
A Much Better View Is J ust a Few Clicks Away
Step One:
Now that your imported photos are in Bridge (well, they're not actually in Bridge-they're in a folder on your computer, and you're looking inside that folder using Bridge), these photos show up as thum bnails in the Content panel, which by default appears in the center of Bridge (as shown here). Bridge is gener ally pretty quick about displaying these thumbnails, but the more photos you have, the longer it will take to render the thumbnails. Also, it builds thum bnails from the top down, so even though you see thumbnails in the Content panel, if you scroll further down, other thumb nails could sti l l be rendering. So you m ight have to be a l ittle patient.
Step Two:
To change the size of the thumbnails, use the slider that appears at the bottom right of Bridge (as shown here). Dragging to the right makes the thumbnails larger, so you can pretty much i magine what happens when you drag to the left. TIP: If you want to jump to the next
larger (or smaller) size th um bnail, just click on the little rectangular icons on the far right (or left) of the thumbnail slider.
14
Bridge Essentials
So, at this point, you've imported the photos onto your computer, you've backed them up, you've burned a CD/DVD, and made a contact sheet for the CD/DVD's case. Now, you've already got Bridge open, but if you didn't, there are three ways to access it: (1) When you're in Photoshop, click on the Go to Bridge icon on the far-right side of the Options Bar. (2) You can go under Photoshop's File menu and choose Browse. (3) You can bring it up with the keyboard shortcut Command-Option-O (PC: Ctrl-Alt-O).
The Adobe Photos hop CS3 Book
for Digital Photographers
Step Three:
Click on any photo to select it, and once selected it also appears in the Preview panel on the top right of the Bridge win dow (this Preview panel is dramatically more useful than it looks, but we'll get to that in j ust a moment). At the instant you took this selected photo, your digital camera automatically em bedded loads of background information (including the make and model of your camera, your ISO setting, exposure setting, the focal length of the lens you used, etc.), and that infor mation appears in the Metadata panel directly below the Preview panel. This Metadata panel is very useful, but at this point it's kind of in the way, because it's keeping your Preview panel smal l-stuck up in that corner, so you can't really see a larger version of your photo. Step Four:
One way to make your preview bigger is to make the Preview panel bigger, and to do that simply double-click directly on the Metadata panel's tab itself, and it q uickly collapses (basically, it tucks itself out of the way) to the bottom of the right-side Panel area (as shown here). When it does th is, the Preview panel expands to take up the extra available space and voila-your pre view is bigger. But it can get even bigger (which makes it even more valuable). T I P: To collapse any panel, just double
click on its tab. To expand that panel, double-click on its tab again. However, if there's a panel you find you just don't use, then you can totally h ide it from view just go under the Wi ndow menu and choose the name of the panel you want to h ide, and it's hidden. To make a hidden panel visible again-do the same thing. Continued Bridge Essentials
15
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
To make the Preview panel really big (and really useful), move your cursor over the divider line that appears between the Preview panel and the center Content panel. Your cursor will turn into a two headed arrow, and now you can click and-drag over to the left-expanding the Preview panel, wh ich makes the preview m uch larger (as shown here). This is sti l l kind of a clunky layout, but we'll fix that in the next step. T I P: By the way, if you ever want to
q uickly hide all the left side panels, just click on the double-sided arrow in the bottom-left corner of Bridge and that entire Panel area will tuck away. Or just press the Tab key to h ide both side Panel areas.
Step S ix:
I think the "clunkiness" of the layout shown in Step Five comes from the fact that the thumbnails are still taking up too much space, and so are the panels along the left side. Plus, it seems like the Preview panel should be in the center, with your thumbnails more out of the way. So, here's what I do: go under the Window menu, under Workspace, and choose Vertical Filmstrip (as shown here) or just press Command-F6 (PC: Ctrl-F6) on your keyboard. This Vertical Filmstrip workspace is a built-in, pre-designed lay out for Bridge (Adobe calls these "work spaces"), which puts your thumbnails in a single column along the far-right side, and puts your Preview panel nice and big right in the center (where I've always thought it belonged). But we can even take this a step further, and create our own custom workspace (as you'll see in the next step). 16
Bridge Essentials
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At this point, you're getting about as large a preview as you're going to get with a vertical (tall) photo (the full depth of your screen), but you could have a m uch larger preview with horizontal (wide) photos by hiding the panels along the left side. To do that, you could click-and-drag the divider line between the center Preview panel and the left side Panel area to the left a bit to give the Preview panel more space, but it's faster to just hide the entire left-side Panel area at once by double-clicking directly on that same divider line. This collapses the panels all the way to the left, leaving just that thin divider line still visible. Now, click on a horizontal (wide) photo and look how big your preview is (as seen here). Yeah, baby-that's what I'm talkin' about! To bring those left side panels back, double-click on that thin divider line again. Step Eight:
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This particular workspace layout is my favorite when I'm viewing the photos from a shoot because it always gives me the biggest possible horizontal and vertical previews, while still keeping the thumbnails in the Content panel visible. If you like this layout too, you can save this as your own custom workspace (so you can jump right to this layout any time with just one click) by going under the Window menu, under Workspace, and choosing Save Workspace (as shown here). When the Save Workspace dialog appears, give your workspace a name (I named m i ne "Scott's Workspace." I know-how original), click Save, and now your workspace will appear in the Workspace submenu. Oh, but it gets better. Not now, in the next step. Continued Bridge Essentials
17
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Nine:
To put your new custom workspace just one click away, you're going to use those three l ittle buttons marked 1, 2, and 3 in the bottom-right cor ner of Bridge (I know, you can't see them right here, so take a look at the graphic in the next step-down in the very bottom-right corner, you'll see the numbers 1, 2, and 3 right in a row). If you were to just click on the 1 button, it would return you to the Default workspace (as shown here). But it doesn't have to do that-you can change it by cl icking-and-holding on that 1 button, and the pop-up menu of works paces you see here will appear. Choose your custom workspace (in my case, it would be Scott's Workspace) from the pop-up menu. That's now the new default for this button. Step 10:
Now, anytime you click on the 1 but ton once, the layout switches to your custom workspace (as shown here). You can also program the 2 and 3 buttons with either more custom workspaces you create, or with a built-in workspace like the Horizontal Filmstrip. The only thing I don't like about that one is that it doesn't give as much room for either horizontal or vertical photos as the Vertical Filmstrip does. TI P: Besides just hiding panels, you can
also group panels you want together by cl icking on a panel's tab, and dragging and-dropping it onto another panel. This creates a "nested" panel, where you can now click on a tab to reveal that panel. That way, if you need all the pan els visible, at least you could nest them together, all on the same side, to get a larger Preview panel. 18
Bridge Essentials
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Step 1 1 :
Okay, ready for another thing you'll love about this Preview panel? It has a built-in Loupe feature for zooming in tight (per fect for checking your photo's sharpness without having to actually open it in Photoshop). Try th is: Move your cursor out over your photo in the Preview panel, and you'll notice that your cursor changes into a Magnifying Glass cursor (shown circled here in red). Move your Magn ifying Glass cursor over an area where you want to zoom in (a perfect place to check sharpness on portraits is to zoom in on an eye).
Step 12:
N ow click once on the eye to bring up the Loupe, which shows you the enclosed area at its full 1 00% size view (as seen here). Once the Loupe is open, to reposition it, move your cursor inside the Loupe itself and your cursor changes to the Hand tool so you can c1ick-and-drag the Loupe over the area you want to see magnified. To zoom in even closer, just press the + (plus sign) key on your keyboard and you jump to a 200% view (you can see the view magnification amount just below the photo). Click the + key again to zoom to 400%, and once again for the maximum view of 800%. To zoom back out, press the - (minus) key. To remove the Loupe, click once inside it. The Loupe has a neat feature: if you get so close to an edge that the Loupe would extend outside the Preview panel, it automatically flips to a different orientation. Pretty sl ick. Continued Bridge Essentials
19
The Adobe Photoshop CS3 Book
for Digital Photographers
Step 13: To compare two photos, click on one photo, press-and-hold the Command (PC: Ctrl) key and click on the photo you want to compare it with, and both photos will show up side by side, as shown here. This is incredibly handy when you're trying to compare similar photos (as we are here), or trying to find the "best of the bunch" between photos of the same subject.
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You're not l i mited to comparing two photos; just Command-cl ick ( PC: Ctrl click) on any other photos you want to compare, and the Preview panel will automatically rearrange the size and position of all your selected photos to accommodate the newly-added photos (as shown here).
20
Bridge Essentials
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The Adobe Photoshop CS3
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To remove a photo from the current group you're comparing. just Command click (PC: Ctrl-click) on it in the Content panel to deselect it. (If you just did that and you're saying. " Hey, that didn't work!" you're probably Command-click ing within the Preview panel, and not over in the Content panel on the right side. It's a common mistake, so don't feel bad. Or fool ish, or really embarrassed it could happen to anyone. Well, not anyone, but I'll bet it's happened to plenty of people. Sure, they were goobers, but don't let that affect you. I think you're doing great despite that h ugely embarrassing mistake you just made. In fact, at this point, it's probably best we keep this just between us.)
S tep 16:
While your photos are in this compare view, you can sti l l use the Loupe to zoom in tight, and in fact you can apply the Loupe to one photo, then just move over to another photo (while that first Loupe is still open) and click to add additional Loupes to the other photos you're comparing. You can reposition any Loupe by clicking inside it and drag ging. Then, once you've got some Loupes in place, press-and-hold the Command ( PC: Ctrl) key and click-and-drag within any one of the Loupes and they all now move together, which is very handy for inspecting areas on similar photos. Also, if you press Command-+ (plus sign; PC: Ctrl-+) to zoom in, all the Loupes zoom in together. This is a great trick to impress your friends with-it might help you regain some of that pride you lost in the previous step.
Bridge Essentials
21
The Adobe Photoshop CS3 Book
for Digital Photographers
How to View Other Photos, Plus Moving and Deleting
So far we've been working with photos that we imported (okay, I changed photos a couple of times in the last tutorial because I was just getting tired of seeing the same photos over and over again, but I didn't tell you how I did it, so . . . here's how I did it. Pl us, here's how to move photos, and delete them from just Bridge or from your computer altogether).
S tep One:
There are two nested panels at the top of the left-side Panel area-Folders and Favorites. (If these left-side panels aren't visible, press Command-Fl [PC: Ctrl-Fl ] to return to Bridge's Default workspace, and then you'll see them.) The Folders panel gives you access to all the files and folders on your computer, so you can simply navi gate to a folder of photos and click on the folder to see them. Of course, if you have an external hard drive connected, or DVD, or CD, etc., you'll see them listed too, and you can look inside them the same way. So, it's pretty much like the standard file structure of your computer. I r-;-, "rr-;:-;:-
S tep Two:
The Favorites panel is kind of like your Bookmarks (or Favorites) in your Web browser, so if you find yourself constantly going to a particular folder of photos, you can save a shortcut to that folder in the Favorites panel. That way, you won't have to go digging through your hard drive to find it-it wi l l be j ust one click away. To add a folder as a favorite, Control-click (PC: Right-click) on the fold er and choose Add to Favorites from the contextual menu that appears, or you can just drag-and-drop that folder's thumbnail from the Content panel right into the bot tom area of the Favorites panel.
22
Bridge Essentials
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Once you've saved that folder as one of your favorites, you'll see it added to the bottom of the list in the Favorites panel. Now, to jump directly to the photos in that folder, just click on it (as shown here).
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If you look in the list of favorites in the Favorites panel, you can see Adobe has kind of already decided what it thinks m ight be some of your favorite destina tions and added them to your list. If you'd l i ke to remove any of them (so there's more room for the items you choose as your favorites), go to Bridge's General Preferences (press Command-K [PC: Ctrl-KJ) and in the bottom section of the dialog, under Favorite Items, turn off the checkboxes for whichever Adobe chosen items you don't want to appear in your Favorites panel (as shown here), then click OK. So, that's basically how to look at folders full of photos, and how to save your favorite folders (or discs, or drives, etc.) so they're more convenient. Now, on to moving photos from folder to folder.
Continued Bridge Essentials
23
The Adobe Photos hop CS3 Book
for Digital Photographers
Step Five:
Stacks
Besides saving favorites and dragging and-dropping photos between folders (which we'll cover next), there's another way to move or copy photos between folders that can help keep you from digging through the Folders panel (can you tell I don't like wasting a lot of time searching through different folders?). Give this method a try: Click on a photo you want to move to a different folder, then go under the File menu, under Move To, and you'll see a list of your recently viewed folders (as shown here). Now just choose which folder you want that photo to appear in, and you're set.
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If, instead, you want to make a copy of your selected photo and move it into another folder, then you'd go under the File menu again, but this time you'd choose Copy To (as shown here). The same list of folders will appear, and you can choose one of these or you can choose which folder you want this copy saved into by selecting Choose Folder at the bottom of that same list. N ow, of course you could always do this the man ual way (which I would only recommend if you charge by the hour), which is to click on a photo, then go under the Edit menu and choose Duplicate. This makes a copy of your selected photo, then you can drag this copy right over to any folder you'd like, but that's a two-step process, where choosing Copy To does the whole thing for you at one time.
24
Open Open With
Bridge Essentials
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step S even:
Another nice feature of Bridge's Folders panel is that you can use it to move photos from one folder to another. You do this by clicking-and-dragging the thumbnail of the photo you want to move, then dropping that photo into any folder that appears in the Folders panel (when you move the dragged photo over a folder, the folder is h igh lighted letting you know that you've targeted that folder). That photo will now be removed from the currently selected folder and placed into the fold er you dragged-and-dropped it into. TIP: If you press-and-hold the Option
( PC: Alt) key as you click-and-drag. instead of moving your original photo, Bridge wi ll place a dupl icate of your photo into that folder.
Step Eight:
Adobe Bridge Do you want to reject this file or delete it? Use View > Show Reject Files to hide or show files that have been rejected. You can also use Command + Delete to delete an item.
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Deleting photos is pretty simple-just click on the photo you want to delete, and hit the Delete (PC: Backspace) key on your keyboard. When you do, a dia log appears asking you if you just want to mark this photo as a Reject (meaning. you're basically marking it for deletion later), or if you really want this fi le off your com puter altogether. If you do want this fi le off your computer, then click the Delete button at the bottom of the dialog. and it moves that photo into your Trash (or on a pc, into your Recycle Bin). By the way, if you know that you really want a file deleted from your com puter, you can skip this dialog altogether by just clicking on the file and pressing Command-Delete (PC: Ctrl-Backspace) instead. Continued B ridge Essentials
25
The Adobe Photoshop CS3 Book
for Digital Photographers
Step N ine:
However, if instead you clicked the blue Reject button, all that happens is that now the word "Reject" will appear in red right above the filename (as shown in the close-up here). This rejected photo will still be visible in Bridge right along with all the rest of the photos in that folder, so if you'd like to h ide the Rejects from view (I absolutely do-it doesn't make sense to keep rejected photos around just cluttering up things), go under the View menu and click on Show Reject Fi les to uncheck it. Now any photo tagged as a Reject (that sounds so cruel) will be h idden from view. Step 10:
So, if labeling a photo as a Reject doesn't delete it from your computer, why do it at all? Well, once you turn off Show Reject Files it does become more useful because now, as soon as you label some thing as a Reject, it's hidden from view. But it has another purpose, and here's how I use it: When I bring in a shoot, I . quickly go through and reject any photos that I can instantly see are totally messed up (in other words, they're terribly out of-focus, or I see a shot I fired of my foot by accident, or shots taken with the lens cap on, etc.). I save time marking my Rejects by clicking on the file to be reject ed, and then pressing Option-Delete (PC: Alt-Backspace). Once I've gone through the entire shoot, then I go to the Filter panel in the bottom-left Panel area of Bridge (this panel lets you narrow down, or "filter" down your field of photos using a wide variety of attributes, one of them being the type of label assigned to a photo). The first section at the top of the Filter panel is Ratings. Click on Reject in the Ratings section, and now only the photos you labeled as Rejects appear. 26
Bridge Essentials
The Adobe Photoshop CS3 Book
for Digital Photographers
Step 1 1 :
Now that you're seeing just the Rejects, I recommend taking a quick look at them to make sure some photo you didn't want labeled as a Reject didn't somehow accidentally wind up in this group (hey, it's not hard to accidentally mark the wrong photo as a Reject). After your quick look, if they are indeed all Rejects, press Command-A (PC: Ctrl-A) to select them all (as shown here), and then press Command-Delete (PC: Ctrl Backspace) to delete them.
Step 12: Once you press Command-Delete (PC: Ctrl-Backspace), a warning dialog appears (apparently they really want you to be darn sure before you delete anything for good) asking you if you are sure you want to move these selected photos to your computer's Trash (PC: Recycle Bin), as shown here. Of course, your answer is "Youbetcha!" but there is no Youbetcha button, so just click the OK button, and those files will then be removed from Bridge, removed from their folders, and placed in the Trash. So, there actually is an advantage to marking photos as Rejects instead of just deleting them as you go, and that is you get one last look at them (to check for mistakes) before they're gone for good.
Bridge Essentials
27
The Adobe Photos hop CS3 Book
for Digital Photographers
Customizing the Look of Your Bridge
This latest version of Bridge gives you more control over the look, size, and lay out of your Bridge than ever, so you can pretty much set this puppy up to look almost any way you'd like. Well, as long as you like the colors black, gray, and white anyway.
Step One:
Back in Bridge C52, we only had one background color control, so everybody's Bridge was either solid black, solid gray, or solid white. In Bridge C53, the default look is a dark gray (as seen here), but you now have control over three color areas: (1) the color behind your photos, (2) the color behind all the panels, and (3) the Accent color (which controls your highlight color). To customize these colors, press Command-K (PC: Ctrl-K) to bring up Bridge's Preferences dialog (shown in the next step).
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When the Preferences dialog appears, by default it brings up the General preferences, and at the top of the dialog is the Appearance section. The User Interface Brightness slider controls the color of all the panels except those that incl ude photos (so, it doesn't control the background color of either the Content panel or the Preview panel). Go ahead and drag that sl ider all the way over to the right, and you'll notice that the text in each panel automatically changes from white to black to accom modate your new panel background color (as seen in the next step).
28
B ridge Essentials
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Step Three:
Although the text automatically changed to black (after all, you can't read white text on a white background), and the two panels that display your photos are still gray, the whole thing looks pretty horrid (but who am I to judge? Come on, it does look pretty horrid, right?). Want to really stretch the boundaries of good taste? Change the Accent color (the high light color) to Emerald (from the Accent Color pop-up menu). You can try chang ing the Image Backdrop color as wel l (this slider controls t h e background color behind the two panels that show you photos), but unless you change those panels to something else quick, it's still going to look pretty unsavory.
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Personally, I l i ke a color scheme similar to the one used by Adobe's new pho tography appl ication, Adobe Photoshop Lightroom. It has a light gray behind the photos, a darker gray behind the panels (though not as dark as the default gray used in Bridge C53), and a medium gray as the text color. You don't have q uite t h at level of control here in Bridge, but here's h ow it looks if you choose ( 1 ) a medium gray for the User Interface Brightness color, (2) a ligh ter gray for the Image Backdrop, and (3) the color Crystal as your Accent color, so when you select a photo, it highl ights in a lighter gray (Crystal is one of the choices in the Accent Color pop-up menu). Of course, you can create any combination you'd like.
( Crystal Continued Bridge Essentials
29
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
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Besides just choosing background colors, you can also decide how much (or little) information the Content panel displays under each thumbnail. For example, by default the name of each file is displayed below the thumbnail, but you can add up to four additional lines of informa tion (which are pulled from the meta data embedded in the file by your cam era, or in Bridge itself). To turn on these extra lines of info, press Command-K (PC: Ctrl-K) to open the Preferences dia log, and in the list of preferences on the left side, click on Thumbnails to bring up the Thumbnails preferences. In the Details section, turn on the Show check boxes beside each info line you want to add (as shown here), and then choose the specific types of info from the pop up menus to their right.
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Click OK and you'll see those extra l i nes of info now appearing under your thumbnails (as shown here, in this close-up of one of the thumbnail cells). TIP: If you ever want to see just the
30
Bridge Essentials
:1
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Step S ix:
thumbnails and temporarily hide all those extra lines of metadata, just press Command-T (PC: Ctrl-T) and only the thumbnails will be displayed. This is a handy shortcut because all those extra lines of info take up space, and when you're displaying three or four extra lines, plus the file's name, and perhaps even a rating, fewer thumbnails fit in the same amount of space.
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Step S even: Content
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Now we're onto the size of Bridge. Of course, you can just grab the bottom-right corner of Bridge and resize the window to whatever suits you, but if your goal is a smaller Bridge, then just click on the Switch to Compact Mode icon located in the top-right corner of Bridge. It will literally shrink in size leaving only small thum bnails visible (much l i ke a small version of Bridge's Light Table workspace). The hidden advantage of Compact mode is that it floats in front of whichever applications are open (so if you're working in Photoshop CS3 or another Creative Suite application, Bridge will appear just like a floating panel). By the way, if you like the Compact mode but don't want this floating feature, turn off Compact Window Always On Top from Bridge's flyout menu (it's the right-facing arrow in the top-right corner). Step Eight:
If you like Compact mode, you're gonna love U ltra-Compact mode (believe it or not, that's its real name-I love it!). First, switch to Compact mode and then click on the Switch to Ultra-Compact Mode icon (it's the first icon in the top-right corner). This h ides the thumbnail area, leaving just the navigation pop-up menu, the viewing mode icons, and an arrow so you can reach Bridge's flyout menu.
TIP: There are two ways to view your con
tent: as thumbnails (which you're already familiar with) or as details, which gives you a small photo thumbnail along with some of the EXIF metadata on each photo (as shown here). You access this Content panel view by going under Bridge's View menu and choosing As Details.
Bridge Essentials
31
The Adobe Photoshop CS3 Book
for Digital Photographers
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The Metadata panel is where you can go see all the background info on your photos, including all the EXI F metadata added by your digital camera at the moment you took the shot, along with any metadata added in Bridge itself (like your copyright info or custom filenames added when you imported the photos from your camera). Here's how to leverage that info:
Step One:
When you take a photo with today's digital cameras, at the moment you take the shot, the camera automatically embeds loads of information about what just took place-things like the make and model of the camera, the time the photo was taken, the exposure setting, the f-stop, shutter speed, etc. (this info is called EXIF camera data). Click on a photo in Bridge, and you'll see the basic camera data is displayed at the top of the Metadata panel in a layout similar to an LCD screen on a digital camera (as shown here). Once you bring the digital photo into Bridge, more information is em bedded into the photo (stuff like the filename, when it was last edited, the file format it was saved in, its physi cal dimensions, color mode, etc.). All this embedded info comes under the heading of metadata, and that's why it appears in the Metadata panel. At the top of the panel, under the File Properties section is the info Photoshop embeds into your file. The next section down is I PTC Core metadata, which is where you can embed your own cus tomized info (stuff like copyright, credits, etc.) into the photo (this is covered in detail in the next chapter). The Camera Data (EXIF) section displays data em bed ded by your camera.
32
Bridge Essentials
/18.0
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31
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Metadata is more than just interesting to look at-it can be incredibly useful in helping you find a particular photo (or group of photos), because this metadata is also automatically read by the Filter panel. which appears at the bottom of the left side Panel area. Here's how it works: click on any folder of photos, and their metadata is automatically added to this Filter panel. For example, click on a folder, and then look in the Filter panel. In the example shown here, it lists the dates the photos in that folder were created, and how many photos in that folder were created on each date. But here's where it gets cool: Go down a little further to the ISO Speed Ratings section. See where it says 800? To the right of that, it shows that five photos in this folder were taken at ISO 800. Click on the 800, and now only those five pho tos are displayed in Bridge (and a check mark now appears before 800 to show you what's currently being displayed). I know, pretty cool (and very powerful)!
Copyright Notice No Copyright Notice Dave Moser 2005
30
Step Three:
Okay, let's say you now want to see all the ISO 800 and ISO 1000 photos together. To do that, just click to the immediate left of 1000 to add a check mark to that filter, and now both ISO 800 and ISO 1000 photos are displayed together (for a total of 11 photos). To remove a line of filtering, click on the checkmark again. To clear all the filters, click on the "No!" symbol in the bottom right corner of the panel. So, to recap: if you have some idea of what you're look ing for (for example, you remembered that these shots were taken indoors dur ing a presentation), metadata filtering can help you quickly narrow the field.
Bridge Essen tials
33
The Adobe Photoshop CS3 Book
for Digital Photographers
Renaming Individual Photos
If you want to rename an individual photo, it's fairly straightforward. Now there is a way to actually rename every photo at once with names that make sense (to you anyway) but that, my friends, is in the next chapter. For now, here's how to rename one image at a time (another great technique to employ if you charge by the hour).
Step One:
It's hard to imagine why someone wouldn't like such a descriptive name as DSC00679.jpg, but if you're one of those people who finds it useful to apply names that describe what's actually in the photo, here's how it's done: with a thumbnail selected, click directly on the photo'S name (in the Content panel) and the name will highlight, ready for you to type in a more descriptive name (like DSC_00680 . . . kidding). �
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Step Two:
Once you've typed in your new name, press the Return (PC: Enter) key and the thumbnail updates with your new and-improved name. (Here I changed the name of the file DSC00679.jpg to MaracasBaby.jpg.) TIP: Another way to rename individual
photos is to Control-click (PC: Right click) on a photo, and choose Rename from the contextual menu that appears. That basically highlights the name field for you, and doing it this way is handy when your thumbnails are really small and it's harder to click right on that tiny name to select it.
34
Bridge Essential s
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The Adobe Photoshop CS3 Book
Rotating photos within Bridge is as easy as clicking one button. However, when you rotate photos within Bridge itself, you're only really rotating the thumbnail. This is handy, because when you're sorting photos with a portrait orientation (tall rather than wide), you want to be able to see them upright to make a sort ing judgment call, but you have a separate decision to make if you want the actual photo rotated-not just the thumbnail. Here's how to do both:
for Digital Photographers
Rotating Photos
Rotating thumbnails:
Rotating a thumbnail is a total no-brainer: just click on the thumbnail you want to rotate, then click on one of the circular arrow Rotate icons in the top-right corner of Bridge. The left arrow icon rotates counterclockwise; the right arrow icon rotates clockwise. You can also use the shortcut Command- [ (Left Bracket key; PC: Ctrl-[) to rotate counterclockwise, and Command-] (Right Bracket key; pc: Ctrl-]) to rotate clockwise. �
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§ Rotating the actual photo:
Browse...
OpenAsSmartObJec!...
When you rotate a thumbnail, you're doing just that-the photo doesn't get rotated until you actually open it in Photoshop (go look in the image's folder on your hard drive, and you'll see from the file's thumbnail that the actual photo isn't rotated). So if you really want to rotate the original photo, rotate the thumbnail, then double-click on the photo in Bridge and the image will open in Photoshop with the rotation applied. Now you can choose Save from the File menu to make the rotation permanent.
Bridge Essentials
35
The Adobe Photoshop CS3 Book
for Digital Photographers
Sorting and Arranging Your Photos
Step One:
If you have a small number of photos (in our case, we've got around 14 pho tos), then you can do simple drag-and drop sorting, where you just click-and drag the photos into the order you want them inside the Content panel. Generally, people want their best shots to appear at the top of Bridge's thumbnail window, followed by the "just okay" shots, and the lame shots (if you keep them at all) at the bottom. In the example shown here, I want to move the hats on the blue wall (Santa Fe47.jpg) photo up to the second position. So, to move that photo, click and-drag it up to the second position (you'll see a small ghosted version of the photo as you drag it). Step Two:
When you move that photo up there, you also see a solid yellow line letting you know exactly where that dragged photo is going to drop (you can see that yellow line back in Step One). Here you can see the photo has been moved from the second row, third position, up to the first row, sec ond position. You can drag photos around just like you would on your own personal lightbox, putting photos into the exact order you want them. Again, this kind of drag-and-drop sorting is fine for managing a small number of photos, but outside of that it's just too slow and ineffective. 36
Bridge Essentials
Ah, finally, we get to the fun part-sorting your photos-and there are a num ber of different ways to do this based on your own personal workflow. Some are ideal for managing just a few photos, some work better when you're managing hundreds (or thousands) of images, but at the end of the day the main job you're probably going to do here is to find the good photos, delete the bad photos, and narrow things down to just the "keepers" that you're actually going to show to the client. Here are some different strategies to get you there:
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
When you're sorting a large number of images, try rating them (rather than dragging them around). If you're an iPod user, you're probably familiar with how you rate songs on your iPod (or in iTunes), and this is very similar. You can rate your photos (from one to five stars) by first clicking on the photo you want to rate. Five tiny dots will be vis ible directly beneath your thumbnail. Click-and-hold on the first dot and a star will appear. Drag to the right to add up to f ive stars. That's it-you've rated the photo. (By the way, you can just click directly on the dot you want; you don't have to drag.) You can also rate by clicking on the photo and pressing Command-S (PC: Ctrl-S), -4, -3, etc. To rate multiple photos at once (which is what you want to do), Command-click (PC: Ctrl-click) on your best images, give just one of them a S-star rating, and all the other selected photos will receive the same rating. Step Four: Show Thumbnail Only " Show Reject Flies
Show Hidden Flies
By Document Type By Date created By Date file modified
By File size
By Dimensions By Resolution By Color proftle Label
Once you've rated your photos, you can sort them in order (S-star first, 4star next, followed by the 3-star shots, and so on). To do that, go under the View menu, under Sort, and choose By Rating (as shown here). If you scroll to the top and don't see any rated photos, it means Ascending Order is selected (meaning your best photos are at the bottom-not the top), so go back under the View menu, under Sort, and turn off Ascending Order by choosing it from the menu. This method works fairly well, but there's a faster way to filter things down to see just the photos you want.
Continued B ridge Essen tials
37
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
This is another area where the Filter panel (at the bottom of the left-side panels) really pays off. If you look in the Filter panel, you'll see a list of star rat ings, and beside each rating it will show how many photos in your current folder have that rating (as seen here).
Step Six:
For example, in our case we've got two photos rated 1-star, two rated 2-star, three rated 3-star, only one rated 4-star, and six rated 5-star. If you wanted to see just that one 4-star rated photo, in the Filter panel you'd simply click on the four stars in the Ratings section and it filters your photos down so only your 4-star photos are visible (in this case, it's just this one photo). If you then click on the 3-star rating filter, it adds the 3-star photos (so now you're seeing just your 4-star and 3-star photos). As you click on other star-rating filters, they're added to your results. To remove a star rating set from view, Option-click (PC: Alt-click) on any star rating. If you Option-click on an unselected star rating, it then deselects all the other star ratings, and just shows that star-rating filter's results. (So, if you have the 3-star, 4-star, and 5-star rated photos all showing, then you Option-click on the 2-star rating filter, it hides the rest and only shows the 2-star rated photos.)
38
Bridge Essentials
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
Let's take things a step further: let's look at your 5-star rated photos (so go to the Filter panel and click on just the 5-star rating filter to see just those photos). Now, within that 5-star grouping, aren't there some that are better than others? I mean, isn't there a best 5-star photo? And a second best? So, how do you separate your best 5-star images from the pack? You'd add a color label, like the Red label added around the file's name shown here. (Seriously, imagine how good a photo would have to be to be a red 5-star photo. In fact, if you do rate one as a red 5-star, a pop-up menu appears where you can choose Submit to National Geographic. Kidding.) Step Eight:
Reveal In Finder Add to Favorites Batch Rename... Develop Settings
There are three ways to add a color label: (1) Select the photo (or photos), then Control-click (PC: Right-click) on it, and when the pop-up menu appears, you'll see a submenu called Label where you can choose the label color you want (as shown here). Or (2) you can assign labels using keyboard shortcuts (i.e., Command-6 assigns Red, Command-7 assigns Yellow, etc. Of course, for a PC it would be Ctrl-6, Ctrl-7, and so on), or (3) you can assign labels by going under the Label menu and choosing the label you want to assign.
Generate Quick Thumbnail Lock Item
TIP: If you've applied a rating to a photo and you want to remove the rating, just click on the thumbnail and press Command-O (zero; PC: Ctrl-O). However, if this photo is labeled as well as rated, this will not remove the label color. To do that, you have to Control click (PC: Right-click) on the selected thumbnail, go under the Label submenu, and choose No Label.
Continued
B r idge Essen tials
39
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Nine:
Once you've assigned color labels to your best 5-star photos, they're just one click away. Go to the Filter panel, click on the 5-star rating (to filter down to just your 5-star photos), and you'll notice that color labels have been added above the star ratings. Click on the Red label, and now only your 5-star photos with a Red label (the best of the best) will be visible (as seen here). Now, personally I rarely use these labels because I'm normally just interested in finding the best, the worst, and I don't care about the rest. The one time I do use labels is when I'm looking for just one single photo. In that case, once I've filtered down, I use just the Red label to mark that one photo as "the one!"
Preferences
TIP: Although you can't change the
label colors, you can change their names by going to the Preferences dialog (under the Bridge menu on a Mac or the Edit menu on a PC) and choosing Labels from the categories on the left of the dialog. Now you can just type in your new custom label names beside each color (as shown here). By the way, there's a checkbox at the top of the Labels preferences that affects ratings as well, and by turning this checkbox off, it actually makes rating and labeling easier, because you rate with single keys (like 1 for one star, 2 for two stars, and so on), rather than Command-l, Command-2, etc. The same thing goes for labels once that checkbox is off, you can just press 6 to label a selected photo Red, 7 for Yellow, and so on. In my book, easier is better and the fewer keys I have to hold down, the better.
40
Bridge Essentials
General
Labels
Thumbnails
o Require the
Playback Metadata Keywords labels File Type Associations Cache Inspector Startup Scripts Advanced Adobe Stock Photos Meetings
• o • • •
Command Key to Apply Labels and Ratings
[Keepers [Second Place IAPproved [Review Ilgnore
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Adobe Media Gallery
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6 7
8 9
Cancel
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The Adobe Photoshop CS3 Book
Ask yourself this question: "Is there really a reason to keep photos that you've rated l-star on your computer?" (They're your "worst of the worst" photos.) They just take up drive space and otherwise impede the national economy, so you might as well delete them now and move on with your life. Here are a couple of ways to do just that:
for Digital Photographers
Deleting Files (and Folders) in Bridge
--------
Step One:
Adobe Bridge Do you want to reject this file or delete it? Use View> Show Reject Files to hide or shaw files that have been rejected. You can also use Command + Delete to delete an item.
o Don't show again
(
Cancel
) (
Delete
) E
Rejert
"1
Step Two:
Adobe Bridge
Q)
Are you sure you want to move "DSC_00681.jpg" to the Trash?
� Don't show again
(
Cancel
You can delete any photo from Bridge that you don't want by clicking on it (or select a number of photos by Command clicking [PC: Ctrl-clickingJ on them), then just pressing the Delete (PC: Backspace) key. This brings up the warning dialog shown here, which assumes you don't really want to delete this file-you just want to mark it as a Reject (you can then hide rejected photos from view under the View menu). Now, if you do indeed want to remove the selected photo from your computer, click the Delete button instead of Reject. However, clicking on a folder in Bridge and pressing the Delete key has no effect whatsoever.
)
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Now, to delete a file or a folder of images in the Folders panel, click on the photo or folder and press Command-Delete (PC: Ctrl-Backspace), which brings up yet another warning asking, "Are you sure you want to move (file or folder name) to the Trash/Recycle Bin?" Before I clicked OK, I would turn on the Don't Show Again checkbox (as I did here), so in the future your selected file or folder just moves silently into the Trash with out any warning dialogs or further input from you.
Bridge Essentials
41
Chapter 2 Advanced Bridge Techn iques
The Bridge
advanced bridge techniques I know, "The Bridge" sounds a little too obvi
do an iTunes search for that song, and if by
ous a name for a chapter on advanced bridge
some cosmic solar accident someone like
techniques, but it beats the alternative of
myself did come across his version of "The
using the movie title Bridge to
Terabithia
(see,
Bridge," the chances of a royalty coming
''The Bridge" doesn't sound all that bad now,
Eddie's way were very slim indeed. That's sad
does it?). It took me all of about four seconds
in a way, because I think Eddie needs the
in Apple's iTunes Store to come up with at
money. I think Eddie may need the money
least 30 song titles that not only included
for music lessons. (I'm kidding of course,
the term "the bridge," but actually were
Eddie doesn't need music lessons-he's got
named exactly that. There were versions in
an album on iTunes, and now that his album
the iTunes Store from everyone from Janis Ian
I Rode Fido Home
to Eddie from Ohio whose song "The Bridge"
print, it's only a matter of time before pho
appears on his album
tographers around the world start going
I Rode Fido Home.
has gotten a write-up in
While listening to the free 3D-second preview
to iTunes and plunking down their 99<: to
of Eddie's song, it was at that moment I knew
download their own personal copy of what is
I had to choose this version-the Eddie from
soon to be a cult hit-"The Bridge" by Eddie
Ohio version-as my chapter title. It was
from Ohio. This is precisely why they call me
because no one (outside of close friends and
''The Star Maker." It's either that or "The Guy
relatives of Eddie himself) was ever going to
with the Tin Ear." I can't remember which.)
Advanced Bridge Techniques
43
The Adobe Photoshop CS3 Book
for Digital Photographers
Creating Full..Screen Slide Shows
One of my favorite features of Adobe Bridge is the ability to play a full-screen slide show of your photos. But besides just showing off your work, seeing your photos at full-screen size really helps when you're choosing which photos from a shoot "make the cut" (so to speak). That's because while the slide show is running, you can delete any bad shots, apply ratings, rotate shots, etc. One of my pet peeves from the old Bridge (in CS2) was it didn't have a smooth dissolve transition between slides, but in CS3 we've got that and a whole lot more.
Step One:
If you'd like to see a full-screen slide show of the photos currently shown in Bridge, press Command-L (PC: Ctrl-L) and your slide show starts (as shown here). If you just want certain photos to appear in your slide show, select them by Command-clicking (PC: Ctrl-clicking) on them first, before you start your slide show. The slides advance automatically, but if you'd prefer to switch slides man ually, press the Right Arrow key on your keyboard (to return to the previous slide, press the Left Arrow key. I know, that was pretty obvious. Sorry).
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Step Two:
There are some options for how your slide show displays onscreen (most of these are new in CS3). To get to the new Slideshow Options dialog, start your slide show then press the letter L on your key board. This pauses your slide show and brings up the dialog you see here. Note: To pause your slide show without getting the dialog, press the Spacebar. To restart, press it again. To quit your slide show, press the Esc key on your keyboard.
44
Advanced Bridge Techniques
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
At the top of the dialog are the display options. The first option only applies to people working with two different moni tors (turning this on blacks out the sec ond monitor, so it doesn't distract from your slide show on the first monitor). The Repeat Slideshow checkbox does . . . come on, d o I really have to describe this one? The last checkbox, Zoom Back And Forth, sounds like it would create something really annoying, but actually this is Adobe's name for the popular Ken Burns effect-where your photos slowly and smoothly move toward the screen (or away from it), giving your slide show some subtle motion. You should defi nitely at least give this a try to see if you like the effect (it's very popular). Step Four:
The next set of options relates to the slides themselves, including how long each slide appears onscreen and whether any captions you've added to the photo's metadata will appear onscreen as well. The next option down is important, because it determines how big your photos appear onscreen. I don't like the default Scaled to Fit setting, because (depending on the size of your photos) it can leave gray bars on both sides of your image (look at the image in Step One to see what I mean). That's why I prefer either of the two other choices. The Scaled to Fill option scales your photo to fill the entire screen (which looks really good; see Step Three), and I recommend this option if you choose the Zoom Back and Forth effect. If you're not using Zoom Back and Forth, I like the Centered option, which displays your photos a little smaller but nicely centered on a gray background (as shown here). Continued Advanced Bridge Techniques
45
The Adobe Photoshop CS3 Book
for Digital Photographers
Slideshow Options
Step Five:
The last set of options is the transition options, where you can choose from a pop-up menu of transitions. Thankfully, the default transition is a nice, smooth dissolve, but you can choose other transi tions, as well as how fast (or slow) the transition effect takes before the next slide appears (you set this using the Transition Speed slider, just below the Transition pop-up menu, as shown here).
r Display Options -------.. 0 Black Out Additional Monitors
I
I
TIP: If you click on a )pEG or TIFF photo
and press Command-R (PC: Ctrl-R), it will open in Bridge's Camera Raw, so you can process it using Camera Raw's controls, even though they're not RAW images. Pretty cool. 46
Advanced Bridge Techniques
o Zoom Back And Forth
r
Slide Options
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Slide Duration: Caption:
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Off
rn
When Presenting. Show Slides:
� Centered o Scaled to Fit o Scaled to Fill
Step Six:
This is really more a tip rather than a step, but it's so cool (and such an improvement over how this worked in CS2) that I had to include it separately. If you're looking at your slide show and you see a RAW photo you'd like to edit, just press the letter R (easy to remember-R for RAW). It pauses your slide show and instantly opens that photo in Bridge's own Camera Raw, as shown here (remember-Bridge has Camera Raw built right in), so you can edit the photo. Once you're done editing, click the Done button and you return to the slide show. The changes you made are instantly applied and the slide show continues. This is cooler than it first sounds. Think about it-you're watching your slide show and you see a photo and think "I wonder what that would look like if it was a little warmer," so you press R to bring up Camera Raw, you move a white balance slider to the right, click Done, and bam, you're back in your slide show, and your photo looks warmer. Now come on-that is pretty slick.
0 Repeat Slideshow
r Transition Options --------.,
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Transition:
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Transition Speed: Faster
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
There are other keyboard shortcuts for controlling your slide show (like ones for applying star ratings to your slide show photos, or to rotate them, etc.), but you don't have to remember all of them if you can remember just one-the letter H. If you press H on your keyboard while the slide show is running, a list of short cuts appears onscreen (as shown here). To hide the shortcuts, press H again. Okay, now there is one cool shortcut that's not on this list-if you click your mouse button on a photo in the slide show, the slide show pauses and your photo zooms to 100%. To move around the photo while zoomed in, just click-and-drag. Click on the photo again and then press the Spacebar to restart the slide show. Step Eight:
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Sadly, Bridge CS3 still doesn't have a built-in background music feature, but that doesn't mean you can't have back ground music. Here's what I do: I open Apple's iTunes (for a PC or Mac) and start my background music first. Then I jump over to Bridge and start my slide show. The effect is exactly the same-a full-screen slide show with background music. By the way, if you want some ideas for great slide show background music, in Apple's iTunes Store I created a 16-song iMix (basically, a playlist) of great slide show background music, called (surprisingly enough) "Scott's Slideshow Mix." You can listen to a 3D-second pre view of each track, and you can buy any of them for 99C each. To get to my iMix, launch your Web browser and type in this address: http://phobos.apple.com/ WebObjects/ MZStore.woa/wa/view PublishedPlaylist?id=222715 or just go to the iTunes Store and search for my iMix by its name, "Scott's Slideshow Mix." Advanced Bridge Techniques
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The Adobe Photoshop CS3 Book
for Digital Photographers
Finding Your Photos Fast by Using Keywords
Step One:
First, make sure the Keywords panel is vis ible. If you choose the Default workspace, it's nested with the Metadata panel, so you could press Command-F4 (PC: Ctrl-F4) to switch to the Metadata Focus work space, which puts the Keywords panel over on the left. Personally, I prefer to just choose the Default workspace, and then double-click on the tab for the Preview panel, which tucks that panel away up top, and expands the Keywords panel all the way down the right side (as shown here).
Step Two:
If you look in the Keywords panel, you'll see that Adobe has already included some keyword categories (Adobe calls them Keyword Sets), including Events, People, and Places, each with some of the most common keywords associated with these categories (for example, within the Events set the default keywords are Birthday, Grad uation, and Wedding). These default sets and keywords are just there to basically give you an idea of how sets and keywords work, and to give you a starting place, but the real power comes from you creating and applying your own keywords (an Other Keywords set will automatically be created when you create a keyword).
48
Advanced Bridge Techniques
Imagine how great it would be if one day you needed a photo of a Gerbera daisy, and you were able to open Bridge, type "Gerbera Daisy" into the Find dialog, and within just seconds every Gerbera daisy photo you've taken (and only Gerbera daisy photos) would appear in Bridge? To get to this happy place, all you have to do is start adding keywords to your photos (which are basically just search terms you embed into your photos) while you're working in Bridge.
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Any keywords that you've assigned to a photo will appear in the Keywords panel. For example, when you look in the Keywords panel, you'll see the generic keywords (Snow, Trees, Winter, Yosemite) I added after I imported pho tos I took out in Yosemite National Park. If I click on one of those photos, two things happen in the Keywords panel: (1) at the top of the panel, it displays all the keywords assigned to that photo, and (2) down in the list of keywords you'll see a checkmark beside each key word assigned to your selected photo, as shown here (we actually use the term "tagged," as in, "That photo is tagged with Winter and Snow." It's important to use slang like this to build "street cred" with the kids-I mean, your colleagues).
Step Four:
The problem is, generic keywords will only get you so far. Here's why: Let's say that you're working on a client project and you need a photo of a little red chapel you remember shooting on one of your trips to Yosemite in winter. Well, you could look in your Yosemite folder, but there could easily be hundreds, or even thousands of photos in that folder. Instead, to narrow your search, you could go to the Filter panel and click on the keyword Winter, and now all the shots you took in winter would appear. That's nice, but what if there are 780 shots you took during the winter (as shown here)? You'll need to narrow your search fur ther, but you really can't, because you only assigned these generic keywords. Continued Advanced Bridge Techniques
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The Adobe Photoshop CS3 Book
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Step Five:
If you want to save yourself from having to spend 30 minutes searching every time you need to find a particular photo, here's what to do: after you import your photos and get rid of the obviously bad, out-of-focus, totally trashed shots, go right then and tag your photos with specific keywords. At this point in the game, it takes just a few minutes, but it will turn your 3D-minute searches into 3D-second searches, so it's definitely worth doing. You start in the Keywords panel by clicking on the New Keyword icon at the bottom-right corner of the panel (as shown here). This adds a new high lighted keyword field under whichever set was last selected in your keywords list, so type in the name you want to add as a keyword (I typed in "Red Chapel"). Step Six:
Now quickly scroll through your photos, and when you see a photo with that red chapel in it, Command-click (PC: Ctrl click) on it to select it. Once you've got them all selected, just head over to the Keywords panel and turn on the check box for Red Chapel (as shown here), and all the selected photos are now tagged with that keyword. So, that's basically the process-you create and assign key words in the Keywords panel, but then to find photos, you can use the Filter panel (which I love), or the Find com mand, which we're going to talk about in just a moment. But first, we need to add more keywords to this same photo because a year from now you might not remember that you used the keyword Red Chapel to describe this photo. So, I would add more keywords, like Church, Steeple, and any other descriptive terms that might help you find these photos six months or six years from now. 50
Advanced Bridge Techniques
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
So, now let's see just how adding these keywords has made your life easier by going back to our client project. Go to the Folders panel, find your Picture (or My Pictures) folder, and click on it to show its contents. Find your folder named Yosemite and click on it. Let's say that inside this folder are all the photos you've taken in Yosemite in the past five or six years (we'll assume you've been there a number of times). Go to the Filter panel, and before you start filtering things down, click on the little Folder icon in the upper-left corner of the panel, shown circled in red here (its icon is a folder with a tiny international symbol for "No!" on it. I have no idea why that "No!" symbol is there. Maybe the icon designer was angry that day). What this does is tells the Filter panel to search through not only the Yosemite folder, but any subfolders inside of it. So if you have folders for 2004, 2005, 2006, 2007, etc., it will search through all of them. Step Eight:
Now, in the Filter panel, click on the key word Winter, and all the photos anywhere inside that Yosemite folder that were taken in the winter will appear in your Content panel. This brought up 320 photos, so we need to filter things down a bit more. If you click on the keyword Red Chapel, it now displays all your photos with the keywords Winter or Red Chapel in them, but that's not what you want-you want to see only the photos with a Red Chapel in them. To do that, after you click on the keyword Winter, instead of just clicking on the keyword Red Chapel, press-and-hold the Option (PC: Alt) key and click in the space right before Red Chapel. This dese lects all the Winter photos, and selects only the photos tagged with Red Chapel (as shown here). Continued
Advanced Bridge Techniques
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The Adobe Photoshop CS3 Book
for Digital Photographers
-------
Find
Step Nine:
You see how we got right to the photos we wanted in just four clicks? The first click was on the Pictures folder (which showed all your photos); the second click was on the Yosemite folder (which filtered us down to just the Yosemite photos); click three was in the Filter panel on the keyword Winter, so now we're seeing just the Yosemite shots taken in the winter; and the fourth click was on the keyword Red Chapel which brought us to our photos. Four clicks and you're there. That's the power of keywords. Now, the other way to quickly find photos is using the Find feature, so press Command-F (PC: Ctrl-F) to bring up the Find dialog (shown here).
Source r I look in: ( Yosemite
rCriteria II File Size
rResu,ts
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Include All Subfolders � Include Non-indexed Files (may be slow)
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( Cancel )
( Save As Collection)
I
TIP: If you want to delete the default
Keyword Sets that Adobe put in the Keywords panel, just go there and click on the category (like Events or People) and click on the Trash icon at the bot tom of the Keywords panel. You delete individual keywords the same way.
Find
Step 10:
When the Find dialog appears, go under the Criteria section and choose Keywords from the first pop-up menu (as shown here). From the second pop-up menu in the Criteria section, choose Contains, and then in the text field to the right, enter the keyword(s) you want to search for (in this case, "Red Chapel"). TIP: If you go to the Keywords panel and Control-click (PC: Right-click) on a keyword you want to search, and choose Find from the contextual menu that appears, it automatically chooses all the right criteria for you and inserts the key word in the text field. A big timesaver!
52
Advanced Bridge Techniques
source r I Look in: ! Yosemite
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step 11:
Click the Find button, and within a few seconds just the photos that have been tagged with the keyword Red Chapel will appear in the Content panel (as shown here). To search for more photos, click the Search Again button in the top right of the Content panel. To return to your regular Content panel, click the Go Back button in the top-left corner of Bridge (it's the left-facing arrow-just like the Back button in your Web browser).
Step 12:
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Save As: Red Chapel in Yosemite
( Use Adobe Dialog ) � Start Search From Current Folder � Add to Favorites
Okay, so all your red chapel photos appear in the Content panel. Now what? Well, you can sort them, open them in Photoshop, etc., but if you think you'd like to have instant access to this exact same group of photos again (without having to do another Find), you can cre ate a one-click collection. To do that, click on the Search Again button (or press Command-F [PC: Ctrl-F] if it's no longer there), and when the Find dialog appears, click on the Save As Collection button in the bottom-left corner. When the Save Collection dialog appears, name your collection, turn on the checkboxes for Start Search From Current Folder and Add to Favorites, then click Save (as shown here). Now you can get to these same photos in one click by going to the Favorites panel and clicking on Red Chapel in Yosemite. Note: Collections update live, meaning whenever you tag a new photo with the Red Chapel key word, it will automatically be included in this collection (and collections are really just the results of a search, so it doesn't add any file size). Pretty handy, eh?
Advanced Bridge Techniques
53
The Adobe Photoshop CS3 Book
for Digital Photographers
Seeing and Editing a Photo's Metadata
When you take a photo, your digital camera automatically embeds a host of background info right into your photo (called EXIF data), which includes the make and model of your camera, the lens you used, your exposure settings, etc. Bridge not only lets you see this information, but it also lets you embed your own custom info (like your copyright info, contact info, etc.). Bridge also shows the file properties (like the pixel dimensions, resolution, color mode, the file size, etc.). All this embedded info is known as your photo's metadata.
Step One:
Click on a photo in Bridge and then look at the Metadata panel on the bot tom-right side of Bridge (I zoomed in on it here so you can see it more clearly) to see all the photo's embedded back ground info. On the top left of the panel, there's a little window that looks like a digital camera's LCD screen. This "fake LCD screen" displays some key EXIF data (shooting info) for that photo, like the f-stop, shutter speed, ISO setting, meter ing mode, etc. The section to the right of the screen shows some of the file info data, like the physical dimensions, file size (in this case, it's 69.91 MB), resolu tion, etc. Below these two boxes is the File Properties section, which shows the full file info data, instead of just the "quick glance" version. By the way, Bridge pulls this File Properties info from the photo itself, so this information is not editable by you (or me) in this panel. The only way to change this part of the metadata is to actually change the photo itself by opening it in Photoshop and changing the image size, or color mode, or resolution, etc. Then, when you save the file with the changes, the metadata is updated automatically to reflect them.
54
Advanced Bridge Techniques
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Now scroll down a little further until you come to the Camera Data (EXIF) section, as shown here (you'll scroll right by the IPTC Core info section, but don't worry, we'll look at that next). This sec tion shows the information embedded by your digital camera at the moment you pressed the shutter button. Info in this Camera Data (EXIF) section can't be edited at all-it was put there by your camera and it stays there, so all you can do is look at it (you'll use this info later, and then you'll understand why it's so useful). So, for now, just take a look at it and comment out loud something along the lines of, "That's really cool the way it knows everything about my photo." Step Three:
Preferences
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Now, there is a long list of Camera Data ( EXIF) fields you can't add info into (many more than the average photog rapher will ever need). That's why most folks set up this list to display only the fields they really want to see. To do this, click on the tiny down-facing triangle in the top-right corner of the Metadata panel and choose Preferences from the flyout menu that appears. This brings up Bridge's Preferences dialog with the Metadata category selected. Scroll down to Camera Data (EXIF) and you'll see the full list of available camera data fields (scary, ain't it?). Only the fields with checkmarks by them will be visible, so to hide a field in the list, just click on the checkmark beside that field. Also, ensure the Hide Empty Fields checkbox is turned on at the bottom, so when you click OK, only the checked fields with information will be visible.
) Continued Advanced Bridge Techniques
55
The Adobe Photoshop CS3 Book
for Digital Photographers
Meta
Step Four:
Okay, so although the camera data isn't editable, there is one section where you can add your own info-it's the IPTC Core section (named for the International Press and Telecommunications Council). This is where you can add info directly into the file, like your copyright info, your contact info, the rights usage for the photo, your website, etc. So, let's add some. In the Metadata panel, scroll down to IPTC Core and click on the right-fac ing triangle to the left of the words IPTC Core to reveal that section (shown here). If you see a little pencil icon on the far right side of any field, you can write your own custom info into that field. If you added some metadata during the import process (like your copyright info), you'll see that info has been added to those fields. Step Five:
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To enter your own info, click once in the blank field to the right of the item you want to edit and all the text fields will appear. To see how this works, click to the right of Creator: Address (it's near the top). When the field appears, just type your street address. To move on to the next field down (in this case, it's the Creator: City field), just press the Tab key on your keyboard. If you want to jump directly to any field, just click on it. When you're done adding your own cus tom data, either press the Return (PC: Enter) key on your keyboard or click on the checkmark icon at the very bottom of the Metadata panel.
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Step Six:
Applying your own custom info on a photo-by-photo basis can really be slow and tedious, but luckily you can apply your info to as many photos as you'd like, all at once. If you want to apply this info to all the photos in the folder you're currently working with, press Command-A (PC: Ctri-A) to select them all, then click to the right of the info field you want to add to activate it. Now just type in your info, and when you're done press the Return (PC: Enter) key on your keyboard, and all those photos will now have that custom metadata applied. But what if you just want to add (or edit) metadata on certain photos? (Maybe you want to add your contact phone number to some photos you're going to post on the Web.) Then do this instead: Click on the first photo you want to edit, then press-and-hold the Command (PC: Ctrl) key and click on all the other photos you want to affect. Once they're selected, click to the right of the phone number field, type your phone number in the active field, press the Return key, and it's done. Much faster and easier. TIP: Because there's so much metadata
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included in each photo, Adobe had to make the panel's font size really small. Luckily, you can increase it by clicking on the Metadata panel's flyout menu (in the top-right corner of the panel) and choosing Increase Font Size. If it's still not big enough, choose it again. Still not big enough? Choose it again and again, until it's so large your next-door neighbors can read it through your front window. Take a look at the example shown here where I just chose Increase Font Size two times.
Advanced Bridge Techniques
57
The Adobe Photoshop CS3 Book
for Digital Photographers
Maximize Your View by Using Two Monitors
Bridge (S3 is the first version of Bridge to enable you to effectively use two monitors for your work. The setup we've all been clamoring for is to have our thumbnails and other panels visible on one screen, and then just see a really large preview of our selected photo on the second monitor. Here's how to set up your (S3 just like that:
Step One:
Go under Bridge's Window menu and choose New Synchronized Window (as shown here).
Step Two:
This will create an identical second float ing window, but before you just drag it over to that second monitor, there are some things you'll need to do to set this new synchronized window up so it displays just a large-sized preview of the currently selected thumbnail. Start by going under the Window menu and you'll see that just about all the panels have a checkmark by them (indicating that they're visible). Well, you want them all hidden except Preview, so go and choose each one, as shown here (except for Preview, of course), and now all those other panels will be hidden from view.
58
Advanced Bridge Techniques
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Once you hide these panels, you'll notice that the Content panel is still visible because it's the one panel you can't hide. So, what you need to do is click on the divider bar between the Content panel and the Preview panel, and drag it all the way over to the far-left side. This hides the Content panel from view leaving just the Preview panel visible (as shown in the image in Step Four). Step Four:
Now you can c1ick-and-drag this window over to your second monitor, and as you click on a thumbnail in the first window, the large preview will appear in the sec ond monitor (as shown below). One last thing: go ahead and save this setup as a custom workspace by going under the Window menu, under Workspace, and choosing Save Workspace. Now you're just one click away from this two-moni tor setup. Note: You can also save a cus tom workspace you've created by c1ick ing-and-holding on the 1, 2, or 3 button in the bottom-right corner of Bridge, and then choosing Save Workspace from the pop-up menu.
Advanced Bridge Techniques
59
The Adobe Photoshop CS3 Book
for Digital Photographers
Batch Renaming Your Files
If you didn't rename your photos when you first imported them from your memory card (or if the photos were already on your computer), then you can use Bridge to automatically rename an entire folder full of images. This is really helpful because you can give your photos descriptive names, rather than the cryptic secret code names assigned by your digital camera (which tends to give your photos fun names like DSC_0486.JPG or DSC_0784.NEF). So, here's how to batch rename a folder full of (or just selected) photos fast!
Step One:
First, you have to tell Bridge which photos you want to rename. If it's just a certain number of images within your main window, you can press-and-hold the Command (PC: Crrl) key and click on only the photos you want to rename. But a more likely scenario is that you'll want to rename all the photos open in your Content panel, so go under Bridge's Edit menu and choose Select All, or press Command-A (PC: Ctrl-A). All the photos in your Content panel will be high lighted. Now, go under Bridge's Tools menu and choose Batch Rename.
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Under the New Filenames section of the dialog, the f irst pop-up menu shows Current Filename by default. You want to click on this pop-up menu and instead choose Text. A text field will appear to the right, so just click within that field and type in your own custom filename (I entered "Yosemite Day One"). At the bottom of the dialog, there's a live before-and-after preview of your custom filename so you can see how it will look. So far, so good, but there's a problem: In your folder, you can only have one photo (or any file for that matter) exactly named Yosemite Day One, so you'll need to add something to the end of the filename (like a number) so each photo is named something different (like Yosemite Day OneOO', Yosemite Day One002, and so on).
Advanced Bridge Techniques
I
Continued Chapter 2
I
61
The Adobe Photoshop CS3 Book
for Digital Photographers
Batch Re�am. -- ---�--- '
Step Four:
To use the built-in auto-numbering. click once on the small + (plus sign) to the right of the text field to add another customized set just below your original naming options. From the pop-up menu, choose Sequence Number (to have Bridge automatically add a sequen tial number after the name); in the center text field, enter the number you want to start with (I typed the number 1); then, from the pop-up menu on the far right, choose how many digits you want for your sequence (I chose Three Digits, as shown here). Look at the pre view at the bottom of the dialog to see how the name looks now-Yosemite Day One001.NEF. (By the way, if you want a space between the last word and the number, just press the spacebar once after you type in your name in the text field.)
Step Five:
When you click the Rename button, Batch Rename does its thing. If you chose to rename your files in the same folder, you can just take a peek at Bridge, and you'll see that your selected thumb nails are now updated with their new names (as seen here). If you chose to move all your files to a different folder and then clicked the Rename button, the Content panel will be empty (that makes sense because you moved the images to a new folder and the Content panel is displaying the current folder, which is now empty). So, you'll need to go to the Folders panel in Bridge and navigate your way to the folder to which you moved (or copied) all your photos (and best of all, they'll be sporting their new, more descriptive names).
62
Advanced Bridge Techniques
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Batch Renaming doesn't just change the thumbnails' names, it applies this name change to the actual image file. To check it out, leave Bridge and go to the folder on your hard disk where these photos are stored. Open that folder and you'll see the new filenames have been assigned there as well. TIP: If you want to take this renam
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ing thing a step further, you can click on that little + (plus sign) again to add another set of naming options. In the first field, choose Current Filename, which adds the original filename at the end of your new filename. Hey, some people dig that. Instead, what I do is go under the Options section, and turn on the checkbox for Preserve Current Filename in XMP Metadata. That way the original filename is embedded into the file, just in case you have to go searching for the original file one day.
Advanced Bridge Techniques
63
The Adobe Photoshop CS3 Book
for Digital Photographers
Creating Metadata Templates
I'm pretty sure the last thing you want to do in Bridge is spend a lot of time typing. but you'll probably at least want to embed your copyright info, your contact info, your website, and on and on. That's why you'll want to know how to create a metadata template, which allows you to enter all that info only once, then you can embed it all automatically with just one click of your mouse.
Step One:
You'll need to start with a photo on which to base your template. So navigate to a folder of images within Bridge that you'd like to assign some copyright and contact info to and click on one of the thumbnail images in that folder. Then go under the Tools menu and choose Create Metadata Template (as shown here).
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This brings up the Create Metadata Template dialog (shown here). You'll see a checklist of IPTC Core metadata categories on the left-hand side, but only the ones with checkmarks by them will be visible. So turn on the checkboxes for those you want visible, then in the fields to the right, type in the information that you'd like to turn into a template (in the example shown here, I just added my basic contact info). Don't forget, if you scroll down, there are many more fields you can add info to (including the all important copyright fields).
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Advanced Bridge Techniques
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Once you've entered all the information you'd like in your template, type in a name for it in the Template Name field at the top of the dialog (this is the name you'll see listed when you go to apply this template later or during the import process, so be descriptive). Now click the Save button at the bottom of the dialog (as shown here).
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Now that your template has been cre ated, applying it is simple. Just select the photos you want to have that info embedded into (as shown here, where I Command-clicked on our photos-on a PC you would Ctrl-c1ick on them). Then go under the Tools menu, under Append Metadata, and choose your saved template (as shown here, where I'm choosing the template I just cre ated named "My Basic Contact Info"). From now on, this template will appear in this list, so you can apply it anytime. Also, you can create and save as many of these templates as you'd like, with each one having a different set of info (so you could have one with detailed copyright info, or one that just has copyright info and nothing else, or one that you'd use when selling a digital image file to a cli ent, etc.).
Advanced Bridge Techniques
65
The Adobe Photoshop CS3 Book
for Digital Photographers
Stripping Out Metadata from Your Photos
Well, technically I'm not sure if this belongs in a chapter about Bridge, except that so much of what we're talking about is metadata, so I hope you don't mind if I stick it here. Okay, so why would you want to strip out the very metadata that we clearly hold so dear? Well, it contains personal information about you, your whereabouts on a certain day, your equipment, your lenses, your settings, etc. Stuff your clients don't need to know (whether you're giving them the file or selling your work to a stock photo agency). Here's how to quickly strip it out:
Step One:
Go under the Window menu, under Workspace, and choose the preset work space Metadata Focus. This displays your thumbnails with the main metadata for each photo displayed to the right of it. That's the info we're going to strip out, along with a bunch more that's not dis played here. To see the rest, double-click on the Keywords and Favorites panels' tabs to collapse them and have the Metadata panel expand into that empty space. If you distribute these photos "as is," all that metadata will be included along with the photo, and it will be viewable to anyone with a photo editing program. So, double-click on any photo thumbnail to open it in Photoshop CS3. Step Two:
Once the photo is open in Photoshop, go under the File menu and choose New. When the New dialog appears, click on the Preset pop-up menu at the top and near the bottom of the pop-up menu you'll see the name of your open photo. Select the photo'S name, and the exact Width, Height, Resolution, and Color Mode settings from your open photo will be copied into the New dialog's fields. All you have to do is click OK and a new document with the same specs as your open photo will appear onscreen.
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Step Three:
Once your new blank document is open in Photoshop, click back on the photo you opened. Now press V to get the Move tool, press-and-hold the Shift key, and then click-and-drag your photo onto the new blank document. Because you're pressing-and-holding the Shift key while you're dragging, the photo will appear in the exact position it did in the original. However, this dragged copy is on its own separate layer, so press Command-E (PC: Ctrl-E) to merge this layer with the Background layer (this flattens the document). Since the docu ment you dragged your photo onto was a new blank document, it has no meta data whatsoever, and your photo, which comes over as a layer, doesn't carry any of its own metadata with it.
Step Four:
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Lastly, go under the File menu and choose File Info. When the dialog appears, on the left side, click on Camera Data 1 and you'll see that all the fields are blank. However, if you click on IPTC Contact, you'll see that all your copyright and contact info has been stripped out, too. Luckily, when you create a metadata template in Bridge, it is also available in Photoshop. So if you'd like to add your IPTC Contact and copyright info back in, just click on the right-facing triangle in the top-right corner of the dialog and from the flyout menu, choose the meta data template with the info you'd like to embed (as shown here). By the way, if you find yourself doing this a lot, this is an ideal thing to record as an action, so the whole process is totally automated (more on actions later).
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Stay Organized Using Stacks
Another cool thing Adobe added in Bridge CS3 is the ability to stack similar photos together, which is a big help in limiting clutter and making things more organized. It's kind of the same metaphor we use with folders on our com puter-we put similar things together in folders to keep them organized, and it's the same with stacks. Of course, we have the advantage that the photo on top of the stack gives us an idea of what's in the stack, so we can tell at a glance what's inside. Here's how to start using stacks to bring more order to your shoots:
Step One:
To stack photos together, first click on the photo that you want to represent the stack (in other words, click first on the photo you want visible on top). Then, press-and-hold the Command (PC: Ctrl) key, and click on the other similar photos you want in your stack. In our example here, there are basically two kinds of pho tos: architectural elements, and animal and plant shots. So I clicked on the first shot in the upper-left corner first, then I Command-clicked on the other visible architectural element shots next (there are seven photos selected here in all). >-
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Now, in the Menu bar, go under the Stacks menu and choose Group as Stack, or just press the keyboard shortcut Command-G (PC: Ctrl-G).
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Step Three:
Once you do either of those, when you look in the Content panel, you'll see that the photo you clicked on first now has a number in the top-left corner (which is there to tell you how many photos are in that particular stack. Here there is a 7), plus you'll see a thin stroke (that looks like the outline of a traditional slide mount) around your thumbnail (as shown here). Those are your two indicators that this is a stack. By stacking these similar photos together, you can now see other photos that you would have had to scroll down to see.
Step Four:
To reveal the contents of your stack, just click directly on the number up in the top-left corner, and the stack expands (as shown here). If you actu ally want to cancel your stack (and have your photos return to just being individual photos), press Command Shift-G (PC: Ctrl-Shift-G). TIP: If you click on a stack and press
the Return (PC: Enter) key, only the top photo (the visible photo) in that stack will open in Photoshop. However, if you look closely, you'll see that there are two slide mount outlines around eac h stack. If you click directly on the second slide mount (the one in back), when you press the Return key it opens all the photos in that stack in Photoshop. By the way, if those photos are in RAW format, they will open in Camera Raw instead.
Continued
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Step Five:
Adding more stacks is easy (and the more stacks you make, the more orga nized you'll be, because you'll have to deal with fewer thumbnails). Just Command-click (PC: Ctrl-click) on the photos you want in your stack, and then press Command-G (PC: Ctrl-G). It's as easy as that. Here I've created another stack, but this time it's a stack for ani mals. By adding this second stack, I can now see the rest of the photos in my shoot all within the same window (as seen here).
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Step Six:
To add photos to an existing stack, first click on the stack you want to add them to, then Command-click (PC: Ctrl-click) on the other photos you want to add (in this case, I clicked on the architectural elements stack, then I clicked on the other seven photos). Now press Command-G (PC: Ctrl-G; the same keyboard shortcut we've been using), and those photos are added to the stack. We're now down to just these two stacks. Now, we could have broken this down into more stacks if we wanted to-maybe one for flowers, one for monkeys, etc.-but the idea is to reduce clutter by grouping similar photos together, with the top photo represent ing the contents. How many (or few) stacks you create is up to you.
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Step Seven:
If you have more than 10 photos in your stack and you place your cursor over its thumbnail, a little horizontal slider will appear across the top of your stack (as seen here). If you click-and-drag this slider to the right, it will scroll through and show you the thumbnails of the photos in that stack. That's pretty sweet because you don't have to expand the stack. Also, to the immediate left of this slider is a tiny Play button. If you click it, it will play a quick mini-slide-show of the photos in that stack, right within that small thumbnail window. Here's the thing: if you have a fast computer, this is just about useless, because it goes so fast you can't tell what's what. However, if you're working on some really sluggish mush-puppy, it's perfect!
Step Eight:
One last thing: remember when I men tioned that the first photo you click on becomes the top photo in the stack (and the one visible when the stack is col lapsed)? Well, after you've created your stack, you can choose any photo as the top photo by first expanding the stack (click on the number in the thumbnail's top-left corner), and then Control-click ing (PC: Right-clicking) on the photo you'd like as the top photo. When the contextual menu appears, under Stack, choose Promote to Top of Stack (as shown here) and that photo will now represent the stack. Of course, when the stack is expanded, you can drag-and drop photos into the order you want.
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Chapter 3 Processing Your Images Using Camera Raw
Raw Deal
processing your Images uSing camera raw Okay, this title is actually taken from a
I'd go shirtless everywhere, and I don't think
movie starring California Governor Arnold
anyone would give me even an ounce of heat
Schwarzenegger called Raw Deal. I found the
about it. I think restaurants and grocery stores
movie poster for it online, and I must admit
would quickly ease their "no shirt-no service"
it was the movie's tag line that sold me on
policy and welcome me right in. Especially if
using it as my chapter title. The tag line was:
I was carrying that large automatic weapon
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l ike he is. Why, I'll bet people get right out of
gives him a Raw Deal." The word "Nobody"
his way. Now, this movie was released in 1 986
was underlined. Like this: Nobody. So here's
(I think I was about 6 months old then), and
the weird thing: shouldn't it have been,
at that time there was no shooting in RAW, so
"Nobody gives him a Raw Deal!" with the
this was years before the RAW wars broke out.
"him" either italicized or underlined? But the
(Everybody thought one day we'd have a huge
"Nobody" was underlined instead. Makes
war over oil reserves in the Middle East. But no
you stop and think, doesn't it? Anyway, on
one had anticipated that long before that, the
the movie poster itself, Arnold is holding a
entire world would be em broi led in a bitter
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RAW vs. J P EG war that would threaten to
unusual) while wearing a small white under
take neigh boring TIFF and PSD right into
shirt, so his arms and chest look really huge.
the conflict with it. I can't believe you're still
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reading th is. You're my kind of people-
of Arnold's, I'm not sure I'd even own a shirt.
ya know, for j ust one person.)
Processing Your Images Using Camera Raw
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Getting RAW, JPEG, and TI FF Photos Into Camera Raw
Although Adobe Camera Raw was created to process photos taken in your camera's RAW format, Adobe Photoshop C53 has the first version of Camera Raw that's not just for RAW photos, because now you can process your JPEG and TIFF photos in Camera Raw as well (so even though your J PEG and TIFF photos won't have all of the advantages of RAW photos, at least you'll have all of the intuitive controls Camera Raw brings to the table). 50, here's how to get your photos into Camera Raw and which .Camera Raw to use when (the one in Adobe Bridge or the one in Photoshop C53 itself).
Step One:
We'll start with the simplest thing first-opening a RAW photo from Bridge C53. If you double-click on a RAW photo in Bridge, it takes the photo over to Photoshop and opens it in the Camera Raw interface (as shown here). I know, you were prob ably expecting something sexier than that, but that's all there is to it-dou ble-click and it recognizes that it's a RAW file, takes it over to Photoshop, and opens it in Camera Raw. 50 far, so good.
Step Two:
If you want to open more than one RAW photo at a time, in Bridge Command click (PC: Ctrl-click) on all the photos you want to open (as shown here), then double-click on any one of them. It fol lows the same scheme-it takes them over to Photoshop and opens them in Camera Raw.
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Step Three:
On the left side of the Camera Raw dialog, you can see a filmstrip with all the RAW photos you had previously selected in Bridge. At this point, only the top photo is selected, so changes you make will only affect that one photo (even though you have a number of others open). To have the changes you make to the top photo affect all the photos in the filmstrip, click the Select All button (at the top of the filmstrip), and then make your changes (for example, click the Select All button, drag the Temperature slider all the way to the right, and watch the filmstrip thumb nails update with the very warm white bal ance. Now click the Cancel button on the bottom right). Step Four:
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So far, we've been processing our RAW photos in Photoshop's Camera Raw, but Bridge has its own separate Camera Raw built right in. That's so you can have Bridge processing m ultiple RAW images in the background, leaving Photoshop free for you to work on something else (so, basi cally it's a productivity thing). If you want to open one or more RAW photos in Bridge's Camera Raw, click on the photo (or Command-cl ick [PC: Ctrl-click] on m ultiple photos) and press Command-R (PC: Ctrl-R), and those photos will open in Bridge's Camera Raw (which is identical to Photoshop's Camera Raw). If you find yourself doing this quite often, then you'll probably want to press Command-K (PC: Ctrl-K) to bring up Bridge's Preferences, and then turn on the checkbox for Double Click Edits Camera Raw Settings in Bridge (as shown here). Now, double-clicking on a photo opens RAW photos in Bridge's Camera Raw, rather than Photoshop's. Continued
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Step Five:
Now, if you're not using Bridge, and you want to open a RAW photo in Camera Raw, j ust double-click on it from right within the Mac's Finder window (or within Windows Explorer on a PC) and it will open in Photoshop's Camera Raw. But what if you want to open a )pEG or TIFF photo in Camera Raw? On a Mac, just go under Photoshop's File menu and choose Open. In the Open dialog, navigate to the jPEG or TIFF photo you want to import and click on it. If you click on a jPEG photo, the Format pop-up menu will show jPEG (and it will open in Photoshop, l ike any other )pEG). So to open this jPEG photo in Camera Raw, you have to choose Camera Raw from the Format menu (as shown here). On a PC, under the File menu, you'll choose Open As, then navigate to a jPEG or TI FF, click on it, and choose Camera Raw from the Open As pop-up menu.
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When you click the Open button, that jPEG photo is opened in the Camera Raw interface, as shown here (notice how )pEG appears up in the title bar, j ust to the right of Camera Raw 4.1 ?). Note: When you make adj ustments to a jPEG or TIFF photo i n Camera Raw and you click either the Open Image button (to open the adjusted photo in Photoshop) or the Done button (to save the edits you made in Camera Raw), unlike when edit ing RAW photos, you are now actually affecting the pixels of the original photo. Of course, there is a Cancel button in Camera Raw and even if you open the jPEG photo in Photoshop, if you don't save your changes, the original jPEG or TIFF photo remains untouched.
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If you've ever taken a photo indoors, chances are the photo came out with kind of a yellowish tint. Unless, of course, you took the shot in an office, and then it probably had a green tint. Even if you just took a shot of somebody in a shadow, the whole photo probably looked like it had a blue tint. Those
for Digital Photographers
The Essential Adjustments: White Balance
are white balance problems. If you've properly set your white balance in the camera, you won't see these distracting tints (the photos will j ust look normal), but most people shoot with their cameras set to Auto White Balance, and well . . . don't worry, we can fix it really easily in Camera Raw.
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On the right side of the Camera Raw dialog, there's a section for adjusting the wh ite balance. Think of this area as "the place we go to get rid of those yellow, blue, or green tints that appear on our photos taken indoors." There are three ways to correct this, and we'll start with the easiest-choosing a new wh ite balance from the White Balance pop-up menu. By default, Camera Raw displays your photo using your camera's white balance setting, called the As Shot white balance. Here, my camera's White Balance setting (it was set to Flash) made the photo look too warm with a yellowish ti nt.
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Step Two:
change the white balance, click on the White Balance pop-up menu and choose a preset. As I mentioned in Step One, the white balance setting in my camera was set to Flash, but I wasn't shooting with a flash-I was shooting with a single Westcott Spiderlite TDS (which is a daylight-fluorescent continu ous light with a softbox attached). So, you could choose Fl uorescent (as shown here), which removes most of the yel lowing seen in Step One, but to me it now looks a little too blue (look at her veil). ( By the way, you will only get these white balance presets when working on a RAW image. They are not available for JPEGs or TIFFs.) To
Step Three:
This is going to sound pretty simplistic, but it works-just take a quick look at the seven different white balance pre sets and see if any of them look more natural to you (look for one without the yellow tint, but less blue). This process takes around 14 seconds (I just timed it). Some will be way off base immediately (like Shade, which looks way too yellow, or Tungsten, which looks way too blue). What surprised me about this particu lar photo was the preset that looked best (to me anyway). It was the Auto white balance preset (as shown here), which seldom does the best job, unless you're shooting in mid-afternoon on a bright sunny day (which I avoid like the plague). Anyway, this is why it pays to take a quick look at all seven presets. Notice her veil looks less blue, and the warm yellow look is gone? Ahhhh h, that's better. 78
Processing Your Images Using Camera Raw
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Step Four:
Although the Auto setting is the best of the bui lt-in presets here, when it comes to portraits, most people tend to look better when they're a little bit on the warm side (with even a l ittle bluish cold tint, they look. . . well. .. cold. Or pale. Or worse yet, deceased). So, although I would use the Auto wh ite balance preset, I would only use it as a starting point. Then I would drag the Temperature slider to the right (toward the yellow side of the slider) to warm the photo back up just a little bit. After all, the lighting was nice and warm in the ch urch, and Debbie has a dark tan, so go ahead and drag the Temperature slider a little to the right (away from blue, and toward yellow) to bring back some of the warmth, without making the whole photo look too yellow (so, don't drag too far to the right). Step Five:
The second method of setting your white balance is to simply use just the Temperature and Tint sliders (although most of the time you'll only use the Temperature slider, as most of your problems will be too much [or too little] yellow or blue). The sliders themselves give you a clue on which way to drag (blue is on the left and it slowly transi tions over to yellow). This makes getting the color you want so m uch easier-just drag in the direction of the color you want. By the way, when you adjust either of these sliders, your white balance pre set changes to Custom (as shown).
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Step Six:
The third method, using the White Balance tool, is perhaps the most accu rate because it takes a white balance reading from the photo itself. You just click on the White Balance tool in the tool bar at the top left (it's circled in red here), and then click it on something in your photo that's supposed to be a light gray (that's right-you properly set the white balance by clicking on something that's light gray). So, take the tool and click it once on the glove on her forearm (as shown here) and it sets the white balance for you. If you don't like how it looks (there's a good chance it's too blue), then just click on a different light gray area.
Step Seven:
Now, here's the thing: although this can give you a perfectly accurate white bal ance, it doesn't mean that it will look good. White balance is a creative deci sion, and the most important thing is that your photo looks good to you. So don't get caught up in that "I don't like the way the white balance looks, but I know it's accurate" thing that sucks some people in-set your white balance so it looks right to you. You are the bottom line. You're the photographer. It's your photo, so make it look its best. Accurate is not another word for good. Okay, I'm off the soapbox, and it's time for a tip: Want to quickly reset your white balance to the As Shot setting? Just double-click on the White Balance tool up in the tool bar (as shown here).
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Step Eight:
One last thing: once you have the White Balance tool, if you Control-click (PC: Right-click) within your photo, a White Balance preset contextual menu appears under your cursor (as shown here), so you can q uickly choose a preset.
TIP: To help you find the neutral light gray color in your images, I've included a swatch card for you in the back of this book (it's perforated so you can tear it out), and it has a special Camera Raw white balance light gray swatch area. Just put this card into your scene (or have your subject hold it), take the shot, and when you open a file in Camera Raw, click the White Balance tool on the neutral gray area on the swatch card to instantly set your white balance.
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The Essential Adjustments #2: Exposure
The next thing I fix (after adj usting the white balance) is the photo's exposure. Now, some might argue that this is the most essential adj ustment of them all, but if your photo looks way too blue, nobody will notice if the photo's underexposed by a third of a stop, so I fix the white balance first, then I worry about exposure. In general, I think of exposure as three things: h ighlights, shadows, and m id tones. So in this tutorial, I'll address those three, which in Camera Raw are the exposure (h ighl ights), blacks (shadows), and brightness (midtones).
Step One:
Here's a portrait taken with one off camera flash, but the image looks flat and the subject looks underexposed. Now, when you start dragging the Exposure slider, be careful not to blow out the h ighlights (known as "clipping" the highlights). When this happens, the very brightest parts of your photo turn solid white and lose all detail (and our goal is to retain important detail), but luckily Camera Raw gives you warnings so you don't accidentally lose highl ight detail. First, look at this photo'S histo gram at the top right of the dialog. See the solid white triangle in the top-right corner? That's warning you that some parts of this photo are already clipping (the triangle's color may be different depending on what colors are clipping). Step Two:
When you move the Exposure slider, you can turn on a warning that lets you know if, and where, highlights are clipping. Just press-and-hold the Option (PC: Alt) key and click-and-hold the Exposure slider. This turns your preview area black, and any clipped areas wi ll appear in their color (so if the Blue channel is clipping, you'll see bl ue), or even worse, in solid white (which means all the colors are clipping, as seen here).
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So, here's my problem: when I opened the photo, the background was already clipping (I could tell because the clipping warn ing icon in the upper-right corner of the histogram was white-it would normally be black if there was no clipping). But the photo is still a little underexposed. To increase the overall exposure (primari ly, the highlights), drag the Exposure slider to the right (towards the white end of the slider) to brighten the highlights until it looks right to you. Now, press-and-hold the Option (PC: Alt) key and cl ick-and hold on the Exposure sl ider and you'll see that you're starting to clip an even wider area. By the way, this warn ing will stay on as you drag as long as you have the Option key held down.
Step Four:
Now, if you don't like this press-and-hold the-Option (PC: Alt)-key clipping warning, there is another warn ing method some folks like better. You turn it on by clicking once on that little clipping warning trian gle on the top right of the histogram (it's shown circled here in red), and now any clipped highl ights will appear as solid red (as shown here, where the background areas have lost detail). The n ice thing about this method is you don't have to hold down any keys-the warn ing stays on until you click on that triangle again to turn it off. Another nice thing is it updates as you make adj ustments. So if you drag the Exposure slider back to the left, darken ing the exposure, you'll see the red clipping warn ing areas go away.
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Step Five:
So, now you know how to spot a clipping problem, but what do you do to fix it? Well, in previous versions of Camera Raw, there was really only one thing you could do-drag the Exposure sl ider back to the left until the clipping warn ings went away (which stinks, because lowering the exposure usually made the whole photo underexposed). But thank fully, in CS3 we have the Recovery slider (for recovering clipped h ighlights). Start by setting the Exposure slider first until the exposure looks right to you-if you see some small areas are clipping, don't worry about it. Now, drag the Recovery slider to the right and as you do just the very brightest h ighlights are pul led back (recovered) from clipping. Here I still have that white clipping warn ing turned on, and from just dragging the Recovery sl ider a tiny bit to the right, you can see that the red clipped areas have been greatly reduced. Step Six:
Like the Exposure slider, you can use that same press-and-hold-the-Option (PC: Alt)-key trick while you're dragging the Recovery slider, and the screen will turn black, revealing just the clipped areas. As you drag to the right, you'll actually see the clipped areas go away (as shown here). These two warn ings (the highlight triangle, and the black preview window showing which colors have clipped and where) do exactly the same thing. It's really just up to you which of the two you like using best. �·lIq951·'birZHlbyU7Z(IQO!.1Pl2-4QIlIliI
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Step Seven:
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Next, I adjust the shadow areas using the Blacks slider. Dragging to the right (as shown here) increases the amount of black in the darkest shadow areas of your photo. Dragging to the left opens up (l ightens) the shadow areas. See how the slider bar goes from white on the left to black on the right? That lets you know that if you drag to the right, the blacks will be darker. Increasing the blacks will usually saturate the colors in your photo as well, so if you have a really washed out photo, you may want to start with this slider first instead of the Exposure slider. Step Eight:
You can also use the press-and-hold the-Option (PC: Alt)-key trick with the Blacks slider. As you might expect, this works in the opposite way the h ighlight warning works; instead the preview area turns solid white, and any areas that are solid black have lost detail and actual ly have turned to solid black. If you see other colors (like red, green, or blue), they're getting cli pped too, but not as sign ificantly as the overall shadows. So, I'm not nearly as concerned about a little bit of clipping in color. If there's significant shadow cli pping, the only fix is to drag to the left to reduce the amount of blacks in the shadows. Here you can see some areas in the Yellow channel are turn i ng to solid black probably not a big deal (look at the photo without the warn ing on to see if those are areas of im portant detail. More on this in a moment). Also, some shadow areas in her hair are clipping to solid black. Do I really care? Are these important detail areas? N ot to me, so I would ignore warnings in those areas. Continued Processing Your Images Using Camera Raw
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Photographers
Step Nine:
Here's the other shadow clipping warn ing (the one you get from clicking on the triangle in the top-left corner of the histogram). N ow, any clipped deep shadow areas will appear in solid blue (as shown here). Again, I don't care about these areas turn ing solid black they don't hold important detail. TIP: Personally, I'm not nearly as con
cerned about shadows (blacks) clipping as I am highlights clipping. But, in many cases, some highlight clipping is per fectly acceptable. For example, clipping specular highlights, like a bright reflection on a car's bumper or the center of the sun, isn't a problem-there wouldn't be important detail (or any detail for that matter) anyway. So, as long as we make sure important areas aren't clipped off, we can keep dragging either the Exposure slider or the Blacks slider to the right until some important areas begin to clip. Step 10:
The next slider down is Brightness. Since you've already adjusted the highlights (Exposure slider) and the shadows (Blacks slider), the Brightness slider adjusts every thing else (I relate this slider to the mid tones slider in Photoshop's Levels dialog, so that might help in understanding how this slider differs from the Exposure or Blacks sliders). Of the three main adjust ments (Exposure, Blacks, and Brightness), this one I personally use the least-if I do use it, I usually just drag it a very short amount to the right to open up some of the midtone detail. There are no warn ings for midtones, but if you push it far enough to the right, you could see some highlight clipping.
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The Adobe Photos hop CS3 Book
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If you don't want to manually adjust these sliders (in other words, you're a total wuss), you can always click the Auto button (known in RAW circles as "the wuss button" or "the total wuss button"). It's a button that doesn't look like a button. It's just the underlined word Auto, and it appears just below the Tint slider. If you click on it (as shown here), Camera Raw automatically tries to adjust the photo for what it feels is the proper exposure. Sometimes this works okay, sometimes it does very l ittle (other than adjusting the Exposure and Recovery sliders to elim inate high light clipping, as in our example here), and sometimes it seems to way overexpose the photo (okay, more than sometimes. I'd say fairly often). It seems like it pushes the Exposure slider as far to the right as it can without clipping the highl ights, which I guess in theory gives you a full range of exposure, but in reality it gives you what l ooks l i ke (to me anyway) an overexposed photo. Step 12:
Before
After
If you don't like the Auto results, you can click on the Default button (to its immediate right) to reset the photo to the Camera Raw default settings (which is what the photo looked like the first time you opened it in Camera Raw, as seen on the left here). In the After photo, the only other change I made was to add a subtle vignette effect (shown on page 1 18). Okay, so that's the deal on setting your highl ights, shadows, and midtones, and how to keep from clipping im portant details. N ow, when you turn the page, let's do a quick four-step adj ustment using these tools in the order that I would use them if I were processing a photo in Camera Raw. Continued Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Step 13:
Here I've opened a different photo, also shot in RAW, so we can practice the pro cess in the same order I would normally edit a photo in Camera Raw. I always start with setting the white balance, and in the image shown here, the whole photo seems to have a bit of a yellow color cast. That's there because I didn't set the white balance in my camera to reflect the tungsten (standard indoor) lighting in the room.
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To set the white balance (or "reset" to the proper white balance, I should say), get the White Balance tool (I) and click on something that you think should be a light gray (in the example shown here, I clicked on the edge of a plate on the right side of the photo-shown circled here in red). Now, although I used the White Balance tool here, if I know the lighting situation the photo was shot in, I usually go straight to the White Balance pop-up menu and just choose a white balance preset (so for example, if this had been shot in an office, I would have chosen the Fl uorescent preset).
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P rocessing Your Images Using Camera Raw
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After setting the white balance, I then adjust the exposure using the Exposure sl ider. In the example shown here, I dragged the Exposure slider to the right until the image looked bright enough, but when it looked right to me, the highlights were beginning to clip a little bit (I could see the clipping warning up in the top-right corner of the histogram). So I immediately went to the Recovery slider and dragged it over to the right (as shown here) until the clipping warn ing went away. •
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This isn't a backlit photo, or one that required fil l flash, so I would skip right over the Fill Light slider and go to the Blacks slider. Drag it to the right (as shown here) to increase the darkness of the shadows and to add contrast to the photo and saturation to the colors. If I felt the photo needed more detail in the midtones (in other words, it looked kind of dark and m uddy in the mid tones), I would drag the Brightness slider to the right, but I didn't think it was nec essary in this photo. That's it-four easy steps in the exact order that I do them for my own work. Those steps again are: ( 1 ) setting the white balance, (2) setting the exposure, (3) compensating for high light clipping using the Recovery slider, and (4) increasing the Blacks amount.
Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
for Digital Photographers
Adding "Snap" to Your Images Using the Clarity Slider
This is one of my favorite new features in Camera Raw 4. 1, and whenever I show it in a live class, it never fails to get "Ooohhs" and "Ahh hhs." I think it's because it's just one simple sl ider, yet it does so m uch to add "snap" to your image. The Clarity slider (which is well-named) basically increases the m idtone contrast in a way that gives your photo more punch and impact, without actually sharpening the image (much like certain Curves adjustments in Photoshop can add snap and punch to your photos).
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Step One:
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The Clarity slider (new in Camera Raw 4.1 ) is found near the bottom of the Basic panel in Camera Raw, right above the Vibrance and Saturation sliders. Like the Sharpening controls, if you want to see the effects of applying "clarity," first zoom in to a 1 00% view (you can choose 100% from the pop-up view menu as shown here). Then, click-and-drag the Clarity slider to the right to increase the amount of snap in your image (I heard that at one point in the development the Adobe engineers toyed with the name "Punch" to describe it, as they thought it added punch to the image).
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To get the most possible clarity out of your image, keep dragging the slider to the right until you see those little halos start to appear around edge areas in your image (you know, those halos we're always trying to avoid). Well, once you see them, just back off a little (dragging back to the left) until they're gone and your clarity is set. Now, of course, that's for adding maxim um clarity. You can always just click-and-drag the slider to the right until the photo has the amount of midtone punch you want it to have. Here's a before/after with the Clarity on the After photo set to 90.
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Since you're processing your own images, it only makes sense that you many bits per channel your photo will be, right? These are workflow decisions, which is why you make them in the Workflow Options dialog. Here are my recommendations on what to choose, and why:
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Once you've made all your edits, and the photo is generally looking the way you want it to, it's time to choose your resolution, size, etc. Directly below the Camera Raw preview area (where you see your photo), you'll see your current workflow settings-they are underlined in blue like a website link. Click on that link to bring up the Workflow Options dialog (which is seen in the next step).
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We'll start at the top by choosing your photo's color space. By default, it shows the color space specified in your digital camera, but if you're editing a RAW photo, you can ignore that and choose the color space you want the photo processed with. I recommend choosing the same color space that you have chosen as Photoshop's color space. For photographers, at this point in time, I still recommend that you choose Adobe RGB (1998) for Photoshop's color space, and if you've done that, then you would choose Adobe RGB (1998) here, from the Space pop-up menu. See my color management and printing chapter (Chapter 5) for more on why you should use Adobe RGB (1998). Continued
Processing Your Images Using Camera Raw
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for Digital Photographers
Workflow Options
Step Three:
When it comes to choosing your photo's bit depth, I have a simple rule I go by: I always work in 8 BitsIChannel (Photoshop's default), unless I have a photo that is so messed up that after Camera Raw, I know I'm still going to have to do some major Curves adjustments in Photoshop j ust to make it look right. The advantage of 16-bit is those major Curves adjustments wouldn't damage the photo as m uch (you'd get less banding or posterization) because of the greater depth of 1 6-bit. The reasons I don't use 1 6-bit more often are: ( 1 ) many of Photoshop's tools and features aren't available in 1 6-bit, (2) your file size is approximately double, which makes Photoshop run a lot slower, and (3) 1 6-bit photos take up twice as much room on your computer. Some photographers insist on only working in 1 6-bit and that doesn't bother me one bit. (Get it? One bit? Aw, come on, that wasn't that bad.)
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The next option down is size. By default, the size displayed in the Size pop-up menu is the original size dictated by your digital camera's megapixel capacity (in this case, it's 3872 by 2592 pixels, the size gener ated by a 1 0-megapixel camera). If you click-and-hold on the Size pop-up menu, you'll see a list of image sizes Camera Raw can generate from your RAW original (the number in parentheses shows the equiva lent megapixels that size represents). The sizes with a + (plus sign) by them indicate that you're scaling the image up in size from the original. The - (minus sign) means you're shrinking the size from the original, which quality-wise isn't a problem. Usually, it's fairly safe to increase the size to the next largest choice, but anything above that and you risk having the photo look soft and/or pixelated. 92
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The last Workflow Options choice is what you want the resolution of your processed file to be. The topic of resolution is some thing entire training DVDs are dedicated to, so we won't go in-depth about it here, but I'll give you some quick guidelines. If your photo will wind up on a printing press, use 300 ppi (you don't really need that much, but many print shops still think you do, so just play it safe at 300 ppi). When printing to an inkjet printer at larger than 8xlO" size, I use 240 ppi (although some argue that the sweet spot for Epson printers is 360 ppi, so you might try print ing the same image at both resolutions and compare). For prints smaller than 8xlO" (which are viewed at a very close distance), try 300 ppi. If your photos are only going to be viewed on the Web, you can use 72 ppi. (By the way, the proper resolution is debated daily in Photoshop discussion forums around the world, and everybody has their own reason why their number is right. So, if ever you're bored one night . . .. ) Step Six:
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When you click OK and then click Open Image in the Camera Raw dialog, your photo is processed using those settings and opened in Photoshop (here's the processed photo in Photoshop with the Image Size dialog open, so you can see the settings). These workflow settings now become your defaults, so you don't have to mess with them again, unless: (a) you want to choose a different size, (b) you need to work in 1 6-bit, or (c) you need to change the resolution. Personally, I work at the original size taken by my camera, in 8-bit mode, and at a resolution of 240 ppi, so I don't have to change these workflow options very often.
Processing Your Images Using Camera Raw
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Cropping and Straightening
There are some distinct advantages to cropping your photo in Camera Raw, rather than in Photoshop C53 itself, and perhaps the #1 benefit is that you can return to Camera Raw later and return to the uncropped image (here's a difference in how Camera Raw handles RAW photos vs. )pEG and TIFF photos: this "return to Camera Raw later and return to the uncropped image" holds true even for jPEG and TIFF photos, as long as you haven't overwritten the original jPEG or TIFF file. To avoid overwriting, when you save the jPEG or TIFF in Photoshop, change the filename).
Step One:
The fifth tool in Camera Raw's tool bar is the Crop tool. By default, it pretty much works like the Crop tool in Photoshop (you click-and-drag it out around the area you want to keep), but it does offer some fea tures that Photoshop doesn't-like access to a list of preset cropping ratios. To get them, click-and-hold on the Crop tool and a pop-up menu will appear (as shown here). The Normal setting gives you the stan dard drag-it-where-you-want-it cropping. However, if you choose one of the cropping presets, then your cropping is constrained to a specific ratio. For example, choose the 2 to 3 ratio, click-and-drag it out, and you'll see that it keeps the same aspect ratio as your original uncropped photo.
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Here's the 2-to-3-ratio cropping border dragged out over my image. The area that will be cropped away appears dimmed, and the clear area inside the cropping border is how your final cropped photo will appear. If you reopen this RAW photo later, the cropping border will still be visi ble onscreen, so you can move its position, resize it, or remove it altogether by simply pressing the Esc key, or the Delete (PC: Backspace) key on your keyboard (or by choosing Clear Crop from the Crop tool's pop-up menu).
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Step Three:
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If you want your photo cropped to an exact size (like 8xl0'; 1 3x 1 9'; etc.), choose Custom from the Crop tool's pop-up menu. You can choose to crop by inches, pixels, centimeters, or a custom ratio. In our example, we're going to create a custom crop so our cropped photo winds up being exactly 8xl0'; so choose Inches from the pop-up menu (as shown here), then type in your custom size. Click OK, click-and-drag out the Crop tool, and the area inside your cropping border will be exactly 8xl0'�
Step Four:
Once you click on the Open Image button in Camera Raw, the image is cropped to your specs and opened in Photoshop (as shown here). If instead, you click on the Done button, Camera Raw closes and your photo is untouched, but it keeps your cropping border in position for the future. TIP: As I mentioned earlier in this chap ter, the size of your photo (and other information about your photo) is dis played directly under the preview area of Camera Raw (in that blue underlined text that looks like a Web link). When you drag out a cropping border, the size info for the photo automatically updates to display the dimensions of the currently selected crop area.
Continued Processing Your Images Using Camera Raw
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Step Five:
Save Options
If you save a cropped JPEG or TIFF photo out of Camera Raw (by clicking on the Save Image button on the bottom left of the Camera Raw window), the only way to bring back those cropped areas is to reopen the photo in Camera Raw. However, if before saving, you choose Photoshop from the Format pop-up menu (as shown), a new option will appear called Preserve Cropped Pixels. If you turn on that option before you click Save, when you open this cropped photo in Photoshop, it will appear to be cropped, but the photo will be on a separate layer (not flattened on the Back ground layer). So the cropped area is stil l there-it just extends off the visible image area. You can bring that cropped area back by clicking-and-dragging your photo within the image area (try it-click-and drag your photo to the right or left and you'll see what I mean).
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If you have a number of similar photos you need to crop the same way, you're going to love th is: First, select all the photos you want to crop in Camera Raw (either in Bridge, or on your computer), then open them all in Camera Raw. When you open multiple photos, they appear in a vertical filmstrip along the left side of Camera Raw (as shown here). Click on the Select All button (it's above the filmstrip) and then crop the current ly selected photo as you'd like. As you apply your cropping, look at the filmstrip and you'll see all the thumbnails update with their new cropping instructions. A tiny Crop icon will also appear in the bottom-left corner of each thum bnail, letting you know that these photos have been cropped in Camera Raw. 96
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Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Step Seven:
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Another form of cropping is actually straighten ing your photos using the Straighten tool. It's a close cousin of the Crop tool because what it does is essentially rotates your cropping border, so when you open the photo it's straight. In the Camera Raw tool bar, choose the Straighten tool (it's imme diately to the right of the Crop tool, and shown circled here in red). Now, click-and-drag it along the horizon l ine in your photo (as shown here). When you release the mouse button, a crop ping border appears and that border is automatically rotated to the exact amount needed to straighten the photo (as shown in Step Eight).
Step Eight:
You won 't actually see the rotated photo until you open it in Photoshop (which means, if you click Save Image or Done, Camera Raw closes, and the straightening information is saved along with the file. So if you open this file again in Camera Raw, that straight ening crop border will still be in place). If you click Open Image instead, the photo opens in Photoshop, but only the area inside the cropping border is visible, and the rest is cropped off. Again, if this is a RAW photo (or you haven't overwritten your )pEG or TIFF file), you can always return to Camera Raw and remove this cropping border to get the original uncropped photo back. TIP: If you want to cancel your straighten ing, j ust press the Esc key on your keyboard, and the straight ening border will go away. Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Editing Multiple Photos at Once
One of the coolest things about Camera Raw is the ability to apply changes to one RAW photo, and then quickly and easily apply those same changes to as few, or as many, other images as you'd like. It's a form of built-in automation, and it can save an incredible amount of time in editing your shoots (plus, if you use Bridge's Camera Raw, rather than Photoshop's, you can have your photos processing in the background, while you're working on something else in Photoshop. Now that is some serious productivity!).
Step One:
There are two different ways to do this, and the first starts in Bridge. The key to making this type of automation work is that the photos you want to edit all are shot in similar lighting (that's why this is so popular with studio photogra phers), or they have some other similar problem. This is because the idea is to make changes to one photo, and apply those exact changes to a bunch of other similar photos. Step Two:
So, with that in mind, go to Bridge, click on a photo to edit, and press Command-R (PC: Ctrl-R) to open the photo in Bridge's Camera Raw (as shown here). Go ahead and adjust the photo the way you'd like (in our example, I started by taking the White Balance tool [I] and clicking on her dress to remove most of the overly warm yellowish color. Next, I increased the Exposure a bit, and raised the Recovery amount to 100% to tame the sunlight coming through the top windows. The bride's face is in the shadows a bit, so I increased the Fil l Light amount to bring some light into her face. Lastly, I moved the Contrast slider to the right just slightly). When you're done, don't open the image, just click the Done button. 98
Processing Your I mages Using Camera Raw
The Adobe Photoshop CS3 Book
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Step Three:
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When you click that Done button, you're returned to Bridge, and the thumbnail for the photo you just edited now reflects the changes you made. Press-and-hold the Command ( PC: Ctrl) key and select all the other photos in Bridge that you want to have those exact same edits (the white balance, exposure, recovery, fill light-all of it). Now, Control-click (PC: Right-click) on any one of those selected photos, and a contextual menu will appear. Go under Develop Settings and choose Previous Conversion (as shown here).
Step Four:
All the changes you made to the previ ous photo are now applied to all your selected photos in Bridge (as shown here, where you can see the white bal ance is now better [it's less yellow], the exposure has been tweaked, etc.). Now, what if you only wanted to apply certain edits you made-like j ust the white balance settings, and not all the other stuff? Then you'd use the other method (on the next page). TIP: If after applying those edits to your
photos, you decide one or more of them doesn't look good with those edits, then Control-click (PC: Right-click) to bring up that contextual menu again, but this time go under Develop Settings and choose Clear Settings. This removes any changes made in Camera Raw.
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Step Five:
With this method, in Bridge, start by Command-clicking (PC: Ctrl-clicking) on all the photos you want to edit first (so they're all selected), then press Command-R (PC: Ctrl-R) to open them all in Camera Raw. Thumbnails of all the open photos appear in a vertical filmstrip along the left side of the window (as seen here). Click on any one of the photos and make your edits (in this case, we made the white balance a bit cooler, so her dress is white, rather than tinted yel low, as well as a few other adjustments). Now click the Select All button at the top left (to select all the open photos), and then click on the Synchronize but ton (right beneath it). This brings up the Synchronize dialog (shown in the inset), where you choose which of the edits you made to the first photo will be applied to the rest of your selected photos. In our case, we only want the white balance setting applied, so choose White Balance from the Synchronize pop-up menu at the top (as shown) and it automatically deselects all the other checkboxes. Step Six:
When you click OK, the white balance setting-and on ly the white balance setting-from your edited photo will be applied to all your selected photos in Camera Raw, as shown here where you can see in the filmstrip how the other thumbnails are now updated and her dress no longer has that yellowish tint. TIP: If you only want certain photos to
be affected, and not all the ones open in Camera Raw, then in the filmstrip just Command-click (PC: Ctrl-click) on only the photos you want affected, then click the Synchronize button.
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When you open a RAW image in Camera Raw, by default it applies a small amount of sharpening to your photo (not the JPEGs or TI FFs-only RAW images). You can adjust this amount (or turn if off altogether, if you like) by clicking on the Detail icon, as shown here, or using the keyboard shortcut Command-Option-3 (PC: Ctrl-AIt-3). At the top of this panel is the new Sharpening sec tion, where by a quick glance you can see that sharpening has already been applied to your photo. If you don't want any sharp ening applied at this stage (it's a personal preference), then simply click-and-drag the Amount slider all the way to the left, to lower the amount of sharpening to 0 (zero), and the sharpening is removed.
Step Two:
If you want to turn off this "automatic-by default" sharpening (so image sharpening is only applied if you go and manually add it yourself), first set the Sharpening Amount slider to 0 (zero), then go to the Camera Raw flyout menu and choose Save New Camera Raw Defaults (as shown here). Now, RAW images taken with that camera will not be automatically sharpened.
Continued Processing Your I mages Using Camera Raw
1 01
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Before we charge into sharpening. there's one more thing you'll want to know. If you don't actually want sharpening applied, but you'd still like to see what the sharpened image would look like, you can sharpen just the preview, and not the actual file. Just press Command-K (PC: Ctrl-K) while Camera Raw is open, and in the Camera Raw Preferences dialog. choose Preview Images Only in the Apply Sharpening To pop-up menu (as shown here), and then click OK to save this as your default. Now the sharpening only affects the preview you see here in Camera Raw, but when you choose to open the file in Photoshop, the sharpening is not applied.
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Step Four:
When this new Sharpen ing section was first introduced, I 'd watch friends and students use it, and you'd see them drag the Amount slider all the way over to the right (to 1 50) and back to 0 (zero) again and back to 150 again, and they'd say, "It's not doing anything!" That's because, even though it says right within the Detail panel itself "Zoom preview to 100% or larger to see the effects of the controls in this pane!," virtually no one sees that. I guess we're so excited to actually have more than just one Sharpening slider that we can't wait, so we start dragging it back and forth wildly, cussing at the screen, but all the while we're looking at a Fit in View preview, rather than at 100%, so we don't see the sharpening we're applying. So, for give me if you did read that message in the panel, and this seems totally obvious to you, but (here goes) before you do any actual sharpening. set your view to 1 00% (as shown here), or you really won't be able to see the sharpening as you apply it (sorry . . . it had to be said). 1 02
Processing Your Images Using Camera Raw
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Step Five:
Now that you're at a 1 00% view, drag the Amount slider all the way to the right so you can see, in fact, that when you're at 1 00%, the sharpening does indeed work. Again, dipping into the realm of the pain fully obvious, dragging the Amount slider to the right increases the amount of sharpening. Compare the image shown here, with the one in Step Four (where the Sharpening Amount was set to the default of 25), and you can see how m uch sharper the image now appears, even though I only dragged it to around 1 33. TIP: To have Camera Raw expand to fill
your entire screen, click the Full Screen icon to the right of the Preview checkbox, at the top of the dialog. ---------
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The next slider down is the Radius slider, which determines how far out the sharp ening is applied from the edges being sharpened in your photo. This pretty m uch works like the Radius slider in the Unsharp Mask filter, which is probably why the default is 1 (because that's prob ably where we'll leave it most of the time). I use less than a Radius of 1 if the photo I'm processing is only going to be used on a website, in video editing, or something where it's going to be at a very small size or resolution. I only use a Radius of more than 1 when the image is visibly blurry and needs some "emergency" sharpening. If you decide to increase the Radius amount above 1 (unlike the Unsharp Mask filter, you can only go as high as 3 here), just be careful, because if you go much above 1, your photo can start to look fake and oversharpened. You want your photo to look sharp, not sharpened, so be careful out there. Continued
Processing Your I mages Using Camera Raw
1 03
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
The next sl ider down is the Detail slider, which determines how much of the edge areas are affected by sharpening. You would apply lower amounts of Detail if your photo is slightly blurred, and higher amounts if you really want to bring out texture and detail, (which is why this slider is aptly named). So, how much Detail you apply depends on the subject you're sharp eni ng. With an image like the one we've been working on here, with lots of texture in the leather, it's an ideal candidate for a high amount of Detail, so I dragged the slider to the right (all the way to 89), until the detail really came out in the leather (as seen here).
Step Eight:
The last Sharpening slider-Maskingis easier to understand, and for many people I think it will become invaluable. Here's why: when you apply sharpen ing, sharpening gets applied to everything fairly evenly. But what if you have an image where there are areas you'd like sharpened, but other areas of softer detail you'd like left alone. Of course, if you were applying the Unsharp Mask filter in Photoshop, you could duplicate the layer first, then sharpen it, then add a layer mask and mask (paint) away those softer areas you don't want sharpened, right? Well, that's kind of what the Masking sl ider here in Camera Raw does-as you drag it to the right, it reduces the amount of sharpening on non-edge areas. The default Masking setting is 0 (zero), so sharpening is applied evenly to everything with an edge to be sharpened. As you drag to the right (as shown here), the non edge areas are masked from sharpening.
1 04
Processing Your Images Using Camera Raw
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All four sliders in the Sharpening section of the Detail panel let you have a live pre view of what the sharpen ing is affecting. J ust press-and-hold the Option (PC: Alt) key as you drag-your screen will turn grayscale, and the areas that the slider you're dragging will affect appear as edge areas in the preview window. This is partic ularly helpful in understanding the Masking slider, so press-and-hold the Option key and drag the Masking slider to the left. When Masking is set to 0, the screen turns solid white (because sharpening is being evenly applied to everything). As you drag to the right, the preview (shown here) now shows the only parts of the photo receiv ing sharpening. If you drag all the way to 1 00, you'll see that only the most obvious edges are now receiving full sharpening. Step 10:
Here's a before and after of our boot shot, with no sharpening applied (Before), and then a n ice crisp amount applied (After) using these settings-Amount: 1 20, Radius: 1, Detail: 70, Masking: 1 0. To see your own before/after press the letter P to toggle the Preview on/off.
Before
After Processing Your Images Using Camera Raw
1 05
The Adobe Photoshop CS3 Book
for Digital Photographers
Calibrating for Your Particular Camera
Step One:
Some cameras seem to have their own "color signature," and by that I mean that every photo seems to be a little too red, or every photo is a little too green, etc. You just know, when you open a photo from that camera, that you're going to have to deal with the slight color cast it adds. Well, if that's the case, you can compensate for that in Camera Raw, and then set that color adj ustment as the default for that particular camera. That way, any time you open a photo from that camera, it will automatically compensate for that color.
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To calibrate Camera Raw so it fixes a per sistent color cast added by your camera, open a typical photo taken with that camera in Camera Raw, and then click on the Camera Calibration icon (it looks like a camera and is the second icon from the right below the histogram in the top right of the dialog). So, let's say that the shadow areas in every photo from your camera appear sl ightly too red. In the Camera Calibration panel, drag the Red Primary Saturation slider to the left, lowering the amount of red in the entire photo. If the red sim ply isn't the right shade of red (maybe it's too hot and you just want to tone it down a bit), drag the Red Primary H ue slider until the red color looks better to you (dragging to the right makes the reds more orange).
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If you wind up shooting in low light (at night, indoors, at a concert, etc.), then you're probably used to cran king up your ISO to 800 or more, so you can hand-hold the shots, right? The downside of a h igh ISO is the same with digital as it was with film-the higher the ISO, the more visible the noise (those annoying red and green spots or splotchy patches of color), especially in shadows, and
for Digital Photographers
Camera Raw's Noise Reduction
it gets even worse when you try to lighten them. Here's what you can do in Camera Raw to lessen the noise. ( By the way, the answer is: not m uch.)
Step One:
Open an image in Camera Raw that has a digital noise issue, press Z to get the Zoom tool, and zoom in to at least 100%-200% so the noise is easily visible. There are two types of noise you can deal with in Camera Raw: ( 1 ) high ISO noise, which often hap pens when you're shooting in low-light situations using a high ISO setting (like the photo shown here); and (2) color noise, which can happen even in normal situa tions (this noise is more prevalent in some cameras than others). When you see this j unk, click on the Detail icon in Camera Raw (its icon is two triangles and is third from the left at the top of the panel area). Step Two:
To decrease the color noise, drag the Noise Reduction Color sl ider to the right. It does a fair job of removing at least some of the color noise, though it does tend to desat urate your overall color just a bit. If the problem is mostly in shadow areas, then drag the Luminance slider to the right instead. Be careful, as it can tend to make your photo look a bit soft. Now, to be honest with you, Camera Raw's noise reduction is . . . well . . . it ain't great (that's being kind). I use an inexpensive Photoshop plug-in called Noiseware Professional (from Imagenomic) that works absolute miracles. It's really all I use for noise.
Processing Your Images Using Camera Raw
1 07
The Adobe Photoshop CS3 Book
for Digital Photographers
Double.-Processing to Create the Uncapturable
As good as digital cameras have gotten these days, when it comes to exposure, the human eye totally kicks their butt. That's why we shoot so many photos where our subject is backlit, and with our naked eye we can see the subject j ust fine (our eye adjusts). But when we open the photo, the subject is basically in silhouette. Or how about sunsets where we have to choose which part of the scene to expose for-the ground or the sky-because our camera can't expose for both? Well, here's how to use Camera Raw to overcome this exposure l i mitation.
Step One:
Open the photo you want to double-pro cess (by the way, although you can do this with )pEG and TIFF photos in Camera Raw, you'll get better results using photos shot in RAW, because you're going to be push ing the tones in some of these photos to their max, and having that extra headroom will keep you from having as much band ing or posterization). In this example, the photo is exposed for the background, so the foreground is total ly in the shadows. That's okay, just click the Open Image button to open this version of the photo exposed for the sky in Photoshop.
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Now go back to Bridge (or wherever the original image is), and reopen the same RAW file in Camera Raw. This time, you're going to expose for the foreground, with out any regard for how the sky looks (it will totally blow out, but who cares you've already got a version with a great sky open in Photoshop). So, push the Exposure slider way over to the right, and maybe the Fi ll Light slider and the Bright ness slider, if necessary, until the fore ground looks like the one you see here.
1 08
Processing Your Images Using Camera Raw
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Click the Open Image button in Camera Raw to open this m uch brighter version of the photo. Now you should have both versions open in Photoshop: the brighter one exposed for the foreground and the original darker one, which was exposed for the sky when shot in the camera. Arrange the windows so you can see both on screen at the same time (as shown here).
Step Four:
Press V to get the Move tool, press-and hold the Shift key, and drag-and-drop the darker version on top of the lighter version. The key to this part is holding down the Shift key while you drag, which perfectly aligns the dark version (that now appears on its own layer in the Layers panel, as seen here) with the lighter version on the Background layer. (This exact alignment of one identical photo over another is referred to as being "pin registered.") You can now close the shadow document without saving, as both versions of the image are contained within the lighter version's document.
Continued Processing Your Images Using Camera Raw
1 09
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Go to the Layers panel, press-and-hold the Option (PC: Alt) key, and click on the Add Layer Mask icon at the bottom of the Layers panel (as shown here). This puts a black mask over the layer with the photo exposed for the sky, covering it so you only see the lighter image on the Background layer. Next, you get to reveal the sky and the mountain by painting over them. Step Six:
Press the letter B to get the Brush tool, then click on the down-facing arrow next to the word Brush in the Options Bar and choose a medi um-sized, soft-edged brush from the Brush Picker. Now, press the letter D to set your Foreground color to white, and start painting over the areas of the photo that you want to be darker (in this case, the mountain in the background and the sky). As you paint with wh ite directly on that black mask, the white reveals the darker version beneath the mask. This particular photo is tricky because of the trees, so you might consider lowering the opacity of your brush to 40% up in the Options Bar (as shown here), that way if you accidentally paint over some of the edges of the trees, it won't look so obvious.
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When you get to the mountain part, you might have to paint over it several times to get it dark enough (only if you lowered the opacity, like I mentioned in the previ ous step). If the dark areas seem too dark, slightly lower the opacity of the dark layer in the Layers panel. So what you wind up with is an image like the one shown here one where the foreground and background are blended and both are properly exposed.
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Click Open Object, and your RAW image opens as a Smart Object (notice the Smart Object icon in the bottom-right corner of its thumbnail in the Layers panel [for more on Smart Objects, see Chapters 4 and 1 2] ). Now, if you simply duplicated this layer, the new layer would be tied to the original layer, and any tonal changes you made to this duplicate would automatically be applied to the original ( bottom) layer. So, Control-click (PC: Right-click) just to the right of your layer's name, and choose N ew Smart Object via Copy (as shown here), which breaks the link between the two, so they can be edited separately. Step 10:
in the Layers panel, double-click directly on this duplicate layer's thumbnail and it opens in Camera Raw. Lower the exposure until the sky looks good, and click OK. Your Smart Object duplicate layer is updated, leaving the original brighter bottom layer untouched. N ow you can pick up with Step Five (adding a layer mask, as shown here) and continue on as usual painting in the darker sky. By the way, if you always want your RAW-processed images to open as Smart Objects, cl ick the Work flow Options l i nk at the bottom of the Camera Raw dialog, and when the dialog appears, turn on Open in Photoshop as Smart Objects. Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Fixing Chromatic Aberrations (That Colored.. Edge Fringe)
Chromatic aberration is a fancy name for that thin line of colored fringe that sometimes appears around the edges of objects in photos. Sometimes the fringe is red, sometimes green, sometimes purple, bl ue, etc., but all the time it's bad, so we might as well get rid of it. Luckily, Camera Raw has a built-in fix that does a pretty good job.
Step One:
Open the photo that has signs of chro matic aberrations (colored-edge fringe). If chromatic aberrations are going to appear, they're usually right along an edge in the image that has lots of contrast ( like between the white edges of this building, and the green grass and trees beh ind it). If the aberrations are bad enough, you'll be able to see them right off the bat, but if you just suspect they might be there, you'll have to zoom in for a closer look (by the way, if you're using a q uality camera with quality lenses, you might have to look far and wide before coming across a photo suffering from this prob lem. As it was, I had to go back and dig up this photo from my wife's old point and-shoot camera). Step Two:
Press Z to get the Zoom tool in the Camera Raw dialog and zoom in on an area where you think (or see) the fringe might be fairly obvious. In the example shown here, I zoomed directly in on the right side of the roof and sure enough, it has a red fringe running along the edge. To remove this fringe, click on the Lens Corrections icon (it's the sixth icon from the left at the top of the panel area) to bring up the Chromatic Aberration sliders.
112
Processing Your Images Using Camera Raw
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Step Three:
There are only two sliders and you just drag toward the color you want to fix (they're labeled-the top one fixes red or cyan fringe; the bottom fixes blue or yellow fringe). But before you begin dragging sliders, you may want to click on the Detail icon (the third icon from the left at the top of the panel area) and lower the Sharpening Amount to 0%, because sharpening can also cause color fringes to appear (and you want to make sure you're curing the right problem).
Step Four:
Since the fringe in this particular case is red, move the top Chromatic Aberration slider to the left (toward red), which reduces the red fringe (just make sure you don't drag so far toward red that you create a cyan fringe. Hey, I'm j ust sayin'). TIP: Although you can edit TIFFs
and )pEGs in Camera Raw, there is one "gotcha!" Once you edit one of those in Camera Raw, if you click the Done but ton (rather than opening the image in Photoshop), you'll need to always open that photo in Camera Raw to see the edits you made. That's because those edits live only inside of Camera Raw; if you bypass Camera Raw and open an edited TIFF or JPEG directly into Photoshop, the Camera Raw edits you made earlier won't be visible.
Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Adjusting Contrast Using Curves
When it comes to adding contrast to a photo, I pretty much avoid the Contrast slider in the Basic panel as much as possible, because it's too broad, and too lame (much like the Contrast slider in Photoshop's Brightness/Contrast dialog was [before it was improved in CS3], which was too broad, and too lame. I just had a deja vu). Anyway, when it comes to creating contrast, try the Tone Curve instead, and you'll never go back to that one broad and lame slider that is too broad and too lame. (I know. I did it again. I'm mean, "Oops, I did it again.")
Step One:
After you've done all your exposure and tone adjustments in the Basic panel, and you want to add contrast, skip the Contrast slider and click on the Tone Curve icon (it's the second icon from the left). There are two different types of curves available in Camera Raw 4.1 : the Point curve (available in previous versions of Camera Raw), and the new Parametric curve. We'll start with the Point curve, so click on the Point tab within the Tone Curve panel. Here's what the photo shown here looks like with no added contrast in the Point curve (notice that the pop-up menu above the curve is set to Linear, which is a flat, unadjusted curve).
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The normal, default setting for this curve is a Medium Contrast curve. If you want to create much more dramatic contrast, choose Strong Contrast from the Curve pop-up menu (as shown here), and you can see how much more contrast this photo now has, compared with how it looked in Step One. The difference is the Strong Contrast settings create a much steeper curve, and the steeper the curve, the more contrast it creates.
114
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Processing Your Images Using Camera Raw
The Adobe Photos hop CS3 Book
for Digital Photographers
Step Three:
If you're familiar with Photoshop's Curves and want to create your own custom curve, start by choosing any one of the preset curves, then either click and-drag the adjustment points on the curve or use the Arrow keys to move them (although I think it's easier to click on a point, then use the Up and Down Arrow keys on your keyboard to move that part of the curve up or down). If you'd prefer to start from scratch, choose Linear from the Curve pop-up menu, which gives you a flat curve. To add adj ustment points, j ust cl ick along the curve. To remove a point, j ust click and-drag it right off the curve (drag it off quickly, l i ke you're pulling off a Band-Aid).
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If you create a curve that you'd like to be able to apply again to other photos, you can save this curve as a preset. To do that, click on the last icon in the row of icons to bring up the Presets panel. Next, click on the New Preset icon (which looks just like Photoshop's Create a New Layer icon) at the bottom of the Presets panel. This brings up the New Preset dialog (shown here). If you just want to save this curve setting, from the Subset pop-up menu near the top, choose Point Curve, and it unchecks all the other set tings available as presets, and leaves only the Point Curve checkbox turned on (as shown here). Give your preset a name (I named mine "Major Contrast") and click OK. Continued Processing Your Images Using Camera Raw
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The Adobe Photoshop CS3 Book
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Step Five:
If you're not comfortable with adjusting the Point curve, try the new Parametric curve, which lets you craft your curve using sliders rather than adjusting points. This is very popular with photographers because it's so easy to use and unlike Photoshop's curves, it keeps you from creating a curve that would pretty much trash the photo. When you click on the Tone Curve icon, it's the Parametric panel that appears first (maybe even Adobe knows you're going to like it better). There are four sliders, which control the four different areas of the curve, but before you start "sliding." I thought I'd mention that the adjustments you make here are added on top of the default Point curve setting of Medium Contrast. If you'd like to start from scratch with this tool, then click on the Point curve tab, choose Linear from the Curve pop-up menu, and then click back on the Parametric curve tab. Step Six:
The H ighlights slider controls the high lights area of the curve (the top of the curve), and dragging it to the right arcs the curve upward, making the highlights brighter. Right below that is the Lights slider, which covers the next lower range of tones (the area between the midtones and the highlights). Dragging this slider to the right makes this part of the curve steeper, and increases the upper m id tones. The Darks and Shadows sliders do pretty much the same thing for the lower midtones and deep shadow areas. But remember, dragging to the right opens up those areas, so to create contrast, you'd drag both of those to the left instead. Here, to create some real punchy contrast, I dragged both the Highlights and Lights sliders to the right, and the Darks and Shadows sliders to the left. 116
Processing Your Images Using Camera Raw
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One of the advantages of the Parametric curve is that you can use the region divider controls directly under the curve itself to choose how wide a range each of the four sliders covers. For example, if you move the far-right controller to the right (as shown here), it expands the area controlled by the Lights slider, Now the Highlights slider has less impact, and this also flattens out the upper part of the curve, so the contrast is decreased. If I drag that same region divider controller way back to the left instead, it expands the area controlled by the H ighlights slider, which steepens the curve, making the brightest areas even brighter, and increasing contrast.
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If your goal is extraordinary contrast (maybe you're creating black-and-white photos where you want that super-con trasty look), then you want the steepest curve you can get away with (without damaging the photo, of course). Besides dragging the H ighlights and Lights sliders to the right, and the Darks and Shadows sliders to the left, you can compress the tones so the Shadows and H ighl ights sliders affect much larger areas. You do this by dragging the two outside region divider controls in toward the center (as shown here), which adds even more steepness to the curve.
Processing Your I mages Using Camera Raw
1 17
The Adobe Photoshop CS3 Book
for Digital Photographers
Fixing (or Creating) Edge Vignetting
If you're looking at a photo and the corners of the photo appear darker, that's lens vignetting. This is either a problem or a cool effect, depending on how you view it. Generally, I look at it this way: If it's just the corners, and they're just a little bit dark, that's a problem and I fix it. However, sometimes I want to focus the viewer's attention on a particular area, so I create a vignette, but I expand it significantly beyond the corners so it looks like an intentional effect (like a soft spotlight effect), not a lens problem. Here's how to fix (or create) vignettes:
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Step One:
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In the photo shown here, you can see the dark areas in the corners (that's the bad vignetting I was talking about). This vignetting is normally caused by the camera's lens, so don't blame yourself (un less you bought a really cheap lens then feel free to give yourself as much grief as you can bear).
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To remove this vignetting from the cor ners, click on the Lens Corrections icon (it's the sixth icon from the left) to bring up the Lens Vignetting controls. Click on the Amount slider and drag it to the right until the vignetting in the corners disappears (dragging to the right essen tially brightens the corners, which hides the vignetting). Once you begin moving the Amount slider, the Midpoint slider beneath it becomes available. That slider determines how wide the vignetting repair extends into your photo (in other words, how far out from the corners your repair extends), so drag it to the right to expand the lightening farther toward the center of your photo. 118
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Now for the opposite: adding vignetting to focus attention ( by the way, in the Special Effects for Photographers chapter, I also show you how to get the same effect outside of Camera Raw). This time, in the Lens Vignetting section you're going to drag the Amount slider to the left, and as you drag left you'll start to see vignetting appear in the corners of your photo (as seen in Step Four). But since it's j ust in the corners, it looks li ke the bad kind of vignetting, not the good kind, so you'll need to go on to the next step.
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To make the vignetting look more like a soft spotlight falling on your subject, drag the Midpoint slider quite a bit to the left, which increases the size of the vignetting and creates a soft, pleasing effect that is very popular in portraiture. That's it-how to get rid of 'em and how to add 'em. Two for the price of one! TI P: If you want to see a before/after
of j ust the changes you've made in a current panel, press the letter P to toggle that panel's Preview checkbox on/off. However, if you want to see a before/ after of all the edits you've made in Camera Raw, then you'll need to choose I mage Settings (from the Camera Raw flyout menu) to see the before version, and then from that same menu choose Custom Settings to see the after version. I agree-it's clun ky.
Processing Your Images Using Camera Raw
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Saving RAW Files in Adobe's Digital Negative (DNG) Format
At this point in time, there's a concern with the RAW file format because there's not a single, universal format for RAW images-every digital camera manufacturer has its own proprietary, closely-guarded RAW file format. That may not seem like a problem, but what happens if one of these camera companies stops supporting a format or switches to something else? What if in just five or 1 0 years from now there was no easy way to open your saved RAW photos? Adobe recognized this problem and created the Digital N egative (DNG) format as an open-source (open to everyone) format for the long-term archiving of RAW images.
Step One:
Saving your RAW file as an Adobe DNG file is easy-you just click the Save Image button in the Camera Raw dialog (as shown here) to bring up the Save Options dialog (seen in the next step). Note: There's really no need to save TIFF or J PEG files as DNGs-this is really just about preserving your proprietary RAW photos for future generations. Step Two:
To save your file as a DNG, choose Digital Negative from the Format pop-up menu near the bottom of the dialog (as shown here). When you choose Digital Negative, the Compressed ( Lossless) checkbox is turned on (which is fine, as lossless means no loss of quality), as it creates smaller file sizes without throwing away image data (like when you compress as a JPEG). You can choose to embed the original RAW file into your DNG. This makes the file size significantly larger, so I don't generally choose this option (but if you're the para noid type and have loads of free hard drive space, go for it!). You can also choose to convert your RAW file to a linear image, which I only recommend if you're planning on opening this DNG in a RAW process ing application other than Camera Raw, because it makes the file size much larger. That's it-click Save and you've got a DNG.
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If you're not quite comfortable with manually adj usting each image, Camera Raw does come with a one-click Auto function, which takes a stab at correcting the overall exposure of your image (including shadows, fill light, contrast, and recovery). If you l i ke the results, you can set up Camera Raw's preferences so every photo, upon opening in Camera Raw, will be auto adjusted using that same feature. Ahhh, if only that Auto function worked really well.
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Step One:
Once you have an image open in Camera Raw, you can have Camera Raw take a stab at setting the overall exposure (using the controls in the Basic panel) for you by clicking on the Auto button (shown circled in red here). Although I used the four individual Auto checkboxes in previous versions of Camera Raw, I dunno maybe it's my camera, maybe it's me, but SO far this Auto button in C53 hasn't met a photo it didn't want to overexpose. But if you've tried it and you like the results (hey, it could happen), then you might want to make it auto process every image you open in Camera Raw.
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To do that, click on the Preferences icon Up in Camera Raw's tool bar (it's the third from the right), and when the Camera Raw Preferences dialog appears, turn on the checkbox for Apply Auto Tone Adjustments (shown circled in red here), then click OK. Now, Camera Raw will evaluate each image and try to correct it. If you don't like its tonal corrections, then you can just click on the Default button, which appears to the right of the Auto button (the Auto button will be grayed out because it's already been applied).
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Chapter 3
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Split Toning Effects Made Easy
Split toning is another new feature in CS3's Camera Raw 4.1, and it debuted in Adobe's pro-photography workflow application Photoshop Lightroom, where it's gained lots of fans. What this does is lets you apply one tint to your photo's h igh lights, and one tint to your photo's shadow areas, and you even can control the saturation of each tint, and the balance between the two.
Step One:
Creating split toning effects (which used to be a traditional darkroom technique) is now incredibly easy and although split toning effects can be applied to both color and B&W photos, the look you probably see most often is the effect applied to a B&W image. So start in the HSL/Grayscale panel (the fourth icon from the left) by turn ing on the Convert to Grayscale checkbox at the top (as seen here).
Step Two:
Once your photo has been converted to black and white (as shown here), click on the Split Toning icon (it's the fifth icon from the left at the top of the panel area, as seen here), which makes the Split Toning sliders visible. At this point, dragging either the H ighl ights or Shadows H ue slider does absolutely nothing, because for some reason the Saturation sl iders are set to o. So you can drag them, but not a dang thing happens. Try it and you'll see. Seriously, I don't mind waiti ng, go ahead. See, 1 told you (I knew you had to try it your self). Lucki ly, there is a hidden tip that will let you temporarily see the h ues at their full saturation as you drag-just press-and-hold the Option (PC: Alt) key, then click-and-drag. 1 22
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Step Three:
Once you find a h ighlight h ue you like, release the Option (PC: Alt) key, and drag the H ighligh ts Saturation sl ider to the right. The further you drag, the more sat urated your h ighlight tint becomes. Once that's in place, do the same thing with the Shadows Hue slider (press-and-hold the Option key, drag the H ue slider to pick your h ue, then release the Option key and slowly drag the Shadows Satur ation slider to the right). In the example shown here, we have a yellow tint in the highl ights and a blue tint in the shadows. I know what you're thinking, "Scott, I'm not sure I like split toning." I hear ya-it's not for everybody, and it's definitely an acquired taste (and I'm not quite sure I've acquired it yet), but some people love 'em. There's a name for these people. Freaks! (Kidding.) Step Four:
There is one more control-a Balance slider which lets you control whether your split tone favors your h igh light or shadow color. J ust drag left, then back right (as shown here), and you'l l instantly see what t h i s slider does. A t this point, it's perfectly fine t o have feel ings of confusion, and be asking yourself questions like, "Did people actually try to do this on purpose in traditional dark rooms?" Yes, Timmy. Yes they did, but that doesn't mean you have to get your hands dirty, because now you can j ust slide some sliders and best of all, you can keep the l ights on. TIP: You can use split toning to create a
nice duotone effect-just put the same tint (like a sepia tone or dark brown) in both the h ighlights and shadows.
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Adjusting Individual Colors
Si nce you can't make selections in Camera Raw, being able to tweak individual areas of color within your photo is very important, and there's a new tool (well, actually a whole new panel) in CS3's Camera Raw that gives you wide control over the h ue, saturation, and luminance (lightness) of each color without having to make selections.
Step One:
Here's the original image and we want to make tweaks to some of the colors in it (I don't really want to do that-I actu ally like it the way it is, but if you can just pretend for the sake of this project that I actually do want to mess with the colors, then later I promise to mess some other photo'S colors up really good). You tweak your individual colors in the HSL/Grayscale panel, so click on its icon in the top right of the dialog (it's the fourth one from the left).
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So, let's say you want the yellow in the center area of the photo to be a brighter, more vibrant yellow. You'd click on the Luminance tab, and you'd see eight slid ers, each controlling the vibrance for one particular range of color. If you look at the colors inside the sliders themselves, you can see that they're lighter on the right, and richer on the left, so to make the yellows more rich and vibrant, you'd drag the Yellows slider to the left (as shown here). If you had dragged to the right, the yellows would have become lighter, and closer to white, not deeper and more vibrant like we have here. 124
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Step Three:
N ext, the reds in the photo are pretty overpowering, so to reduce the amount of red in the photo, you'd click on the Saturation tab, then drag the Reds slider way over to the left (towards gray) to desaturate the reds quite a bit (as seen here). This really backed off the red and made the yellow stand out even more. If you look closely, you can see a little bit of a blue tint in the side of the stair clos est to you, so in the next step we'll try to bring that out, and to tweak some other colors to really change the color makeup of the photo. Step Four:
To actually change colors (not just adjust an existing color's saturation or vibrance), you click on the Hue tab. The controls are the same, but take a look at the color inside the sliders themselves now-you can see exactly which way to drag to get which color. Start up top by dragging the Reds and Oranges sliders to the right over toward orange, which changes the color of the reds pretty dra matically, don'tcha think? Now drag the Yellows slider a l ittle bit toward orange as well, and you can also match up the color in the center with what was the red walls of the second floor. Lastly, if you drag the Aquas slider to the right and the Bl ues sl ider all the way to the left, you can really start to see the blue come out in the side of the bottom stairs (to add even more blue now, go to the Saturation tab and increase the satu ration, and maybe even the luminance of the blues, which gives you the final color-tweaked image you see here, which I don't like better than the original, but since you were willing to go along with it, I went ahead and trashed it. Okay, kid-lowe you one). Processing Your Images Using Camera Raw
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Converting to Black and White Using a Channel Mixer (of Sorts)
Okay, techn ically it's not a channel m ixer, but it's the next best thing-it's the HSL controls you used in the previous tutorial. but now you're using them to create custom color-to-B&W conversions. Here how it works:
Step One:
Here's the original color photo, taken late in the day in Taos, New Mexico. The photo is just like it came in from the camera, so it looks pretty flat (but we'll fix that shortly).
Step Two:
Converting from color to black and white is simple-just click on the HSLj Grayscale icon (it's the fourth icon from the left) and then turn on the Convert to Grayscale checkbox at the top of the panel (as seen here). This brings up the Grayscale Mix tab (which is like an expanded version of Photoshop's Channel Mixer). When you turn on that checkbox, Camera Raw performs an Auto adjustment as your starting point. It's not terrible, but it usually looks a little flat to me.
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Step Three:
There's also a Default button (it looks like a link, but it's a button), just to the right of the Auto button (which looks like a link, too) and if you click on it, it sets all the Grayscale Mix sliders back to zero, which generally looks even worse than the Auto adjustment (as seen here), so I don't recommend it.
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Step Five:
The color sliders in the Grayscale Mix are pretty much l ike the HSL sliders for adjust ing color. The catch is you can't see which colors you're adjusting because the photo is already converted to black and white. So, what I do is press the letter P to toggle the Grayscale Mix preview on/off. That way I can take a peek back at the original colors, and try to figure out which slider would adjust which parts of my image. When I did that here, I saw that the color of the ch urch was orangish, so I dragged the Oranges and Yellows sliders to the right to make the front of the ch urch a little brighter. I also dragged the Blues slider way over to the left (as shown here) to darken up the sky a bit. If you're not sure which slider does what, just drag any slider back and forth and you'll know pretty quickly what it affects (if anything).
Step Six:
By now you've probably come to the same realization that I have, and that is the Gray scale Mix sliders alone aren't enough to make a decent B&W photo. You need to add some serious contrast, including push ing the highlight exposure and shadows to create a B&W photo with any decent depth. So, go do that. You start back in the Basic panel and adjust the photo like you would any other-drag the Exposure slider to the right to increase the exposure in the highlights. If it starts to clip the high lights, drag the Recovery slider to the right to bring those clipped high lights back. Increase the Blacks (as shown here) to make the shadow areas nice and rich, and if the front of the ch urch gets too dark, drag the Fill Light slider to the right to open up those areas.
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Step Seven:
Of course, when it comes to adding con trast, nothing beats the Tone Curve. So click on the Tone Curve icon (second from left), then click on the Point Curve tab, and choose Strong Contrast from the Curve pop-up menu (as shown here). In our example, I went with just the default Strong Contrast curve, but if you wanted to "juice" that curve and make it a little steeper (for more kick in your contrast), then click on the top-right point and n udge it upward using the Up Arrow key on your keyboard. Then click on the second point from the bottom left and nudge it downward using the Down Arrow key (again, I didn't do that here, but . . . wel l. . . ya could). Step Eight:
The before and after is shown below, with the Auto conversion on the left and our tweaked version on the right, which makes our case that we can't rely on the Grayscale Mix alone to give us that rich B&W photo we're hoping for.
Before (the Auto grayscale conversion)
After (tweakin' it a bit)
Processing Your Images Using Camera Raw
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Simple Retouching in Camera Raw
And by simple, I mean it better be really simple, like removing a blemish, or a mole, or some dust in your photo that was originally some dust on your lens. If it's any more complicated than that, you'd better head over to P hotoshop and use the Heal ing Brush, or the Patch tool, or the Clone tool, or j ust about anything other than the somewhat limited, but sometimes useful, Retouch tool in Camera Raw (it's actually fairly useful if you have sensor dust, because the spot would be in the same place on every photo. More on this in a moment).
Step One:
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This photo has some simple problems that can be fixed using the Retouch tool. You start by clicking on the Retouch tool (the fifth tool from the right in the tool bar), and a set of options pops down from the tool bar (seen here). Using the tool is pretty simple-just move your cursor over the center of a spot that needs to be removed (in this case, it's that group of spots on the wall to the left of the green door), then click, hold, and drag outward and a red and white circle will appear, growing larger as you drag outward. Keep dragging until that circle is a little larger than the spot you're trying to remove (as shown here).
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When you release the mouse button, a second circle (this one is green and wh ite) appears to show you the area where Camera Raw chose to sample your repair texture from (it's usually very close by), and your spot or blemish is gone (as seen here). TIP: So, what determines if you can fix
a blemish here in Camera Raw? Basically, it's how close the blemish, spot, or other object you need to remove is to the edge of anything. This tool doesn't like edges (the edge of the pot, the edge of a door, a wall, a person's face, etc.), so as long as the blemish (spot, etc.) is all by itself, you're usual ly okay.
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If this happens, here's what to do: move your cursor inside the green and white circle and drag that circle to a different nearby area (here, I dragged downward and to the left to a clean nearby area), and when you release the mouse button, it resamples texture from that area. Another thing you can try, if the area is at all near an edge, is to go up to the options section and choose Clone rather than Heal from the Type pop-up menu (although I use Heal about 99% of the time, because it generally works much better).
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When you're done retouching, just change tools and your retouches are applied (and the circles go away). Here's the final retouch after removing the price sticker from the bottom-right side of the pot. Use this tool the next time you have a spot on your lens or on your sensor (so the same spot is in the same place in all the photos from your shoot). Then fix the spot on one photo, open multiple photos, and paste the repair onto the other selec ted RAW photos using Synchronize (see "Fixing Spots or Sensor Dust on Multiple Photos at Once" in Chapter 8).
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Camera Raw now has its own bui lt-in Red Eye Removal tool, and there's a 50/50 chance it might actually work. Of course, my own experience has been a little less than that (more like 40/60), but hey-that's j ust me. Anyway, if it were me, I'd probably be more inclined to use the regular Red Eye tool in Photoshop C53 itself, which actually works fairly well, but if you're charging by the hour, this might be a fun place to start. Here's how to use this tool, which periodically works for some people, somewhere. On occasion. Perhaps.
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You'll want to zoom in close enough so you can see the red-eye area pretty easily (as I have here, where I just simply zoomed to 1 00%, using the zoom level pop-up menu in the bottom-left corner of the Camera Raw dialog). The way this tool works is pretty simple-you click-and-drag the tool over the one eye (as shown here) and as you drag it makes a red and white box over the eye (seen here). That tells Camera Raw where the red eye is located.
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Step Three:
When you release the mouse button, theoretically it should snap down right around the pupil, making a perfect selec tion around the area affected by red eye. You'll notice that the key word here is "theoretically." In our real example, it made a tiny rectangle on the bottom of her left pupil, which is all of about useless. If that happens to you (and if you download and use this same photo from my website, it will), then press Command-Z (PC: Ctrl-Z) to Undo that attempt, and let's try again, but before we do that, let's try to help the tool along by increasing the Pupil Size setting (in the options section) to around 100 (as seen in the next image).
Step Four:
Now, with the Pupil Size setting at 100, it did what we hoped it would, and that is it snapped right down around the pupil, and it removed the red from that area. Once that eye looks good, go over to the other eye, drag out that selection again (as shown here), and it does the same thing (the before and after are shown on the next page). One last th ing: if the pupil looks too gray after being fixed, then drag the Darken amount to the right. Give it a try on a photo of your own. It's possible it might work.
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The Adobe Photoshop CS3 Book
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Processing Your Images Using Camera Raw
1 35
Chapter 4 Resizing and Cropping Your Images
Resized resizing and cropping your images I could only find one song with the title
even l istening to the 30-second free preview
"Resized," and I think it's a perfect fit for a
if any of these conditions are present: ( 1 ) it's
chapter on resizing and cropping your photos.
late at n ight and you have all the l ights out,
The song is by a band called Bungle and this
(2) the lights are out and you have a strobe
particular song features Laura Pacheco. It's
l ight flash ing, (3) the l ights are out, a strobe
from their album Down to Earth. I'm telling
is flashing, and you're holding a large butcher
you this like you're going to go and buy the
knife, or (4) the lights are out, a strobe is
CD, but trust me-you're not. That's because
flash ing, you're holding a large butcher knife,
I'm going to try and talk you out of doing just
and you've just been fired from your job.
that. Here's why: the full-length song is five minutes and 55 seconds. After hearing just the free 30-second preview of it on Apple's
"Resized" would make a great background
track for House of the Dead VII, because it's
not one of those gloomy Metallica songs-
iTunes Store, I imagine there are some people
it actually has a fast pop-like beat, but at
(not you, mind you, but some people) who
the same time, it makes you want to grab a
might become somehow adversely affected by
butcher knife (not me, of course, and certainly
its super-fast-paced hypnotic beat and might
not you, but you know .. . people like that one
do things that they might not normally do
really q uiet guy who works in accounting.
while listening to selections from the Eagles
I'd keep him away from that song. Especially
or James Taylor. In fact, I would advise against
if he ever gets fired).
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Just a Quickie About the (S3 Interface
When you first look at Adobe Photoshop C53, the interface looks a lot different than previous versions, but it's really not as different as you'd think. I don't want to spend a lot of time on the interface (I know you want to get your hands dirty, so I'll keep this to a minimum-just these two pages then we're off and running), but I do want to show you two things: ( 1 ) how to quickly return to the C52 look if you're more comfortable with that, and (2) I thought I'd show you my own workspace which is a pretty efficient setup for photographers.
Step One:
Here's the default C53 interface, with a single-column Toolbox on the far left and two columns of panels on the right (in most places, they're no longer called "palettes," they're officially called "panels." I have no idea why-they probably did it just to mess with us). The advantage of multiple columns is it lets you keep your panels out of the way until you need them (so they're not cluttering your screen). You can collapse each column of panels down to just their icons (or just their icons and names), so you pop 'em out when you need them, then tuck 'em out of the way when you don't. There's even an Auto Collapse Icon Palettes preference (found in Photoshop's Preferences, under Interface) that tucks individual panels away automati cally once you click on anything else.
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To see an individual panel, click on its icon, and it pops out (like the Character panel shown here). To tuck it back out of the way, either click on its icon again, or on the tiny right-facing triangles on the top right of the panel itself. To expand an entire column of panels (like the panels on the far right here), click once on the tiny left-facing triangles on the top right of a column. To manually drag out a column, click-and-drag the double lines at the top left of the column. 138
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Step Three:
If you press the letter F, your floating image window is replaced by a medium gray background, and your photo is cen tered onscreen (as seen here). The Palette Well (that used to be up in the Options Bar in (52), has been replaced with those darker gray areas on either side of your screen where you now stack as many columns and rows of panels as you have space for. Press F again, and it expands the gray background full screen, and hides those panel wells. Press F once again for full-screen mode (a solid black back ground with no visible menus). Step Four:
If you want to return to the (52 look (shown here), start by clicking on the right-facing triangles at the top left of the Toolbox to expand it back into the two column Toolbox from (52. Then, to make your panels float like palettes, just click on the panel's name tab, and drag it out over your desktop. To nest other panels with it, just click-and-drag a panel's name tab and move it over your floating panel. When you see the panel highlight, release your mouse button and it nests. Step Five:
Here's my workspace: The single column Toolbox is on the left (once you get used to it, it's great because it takes up less space). On the right, I chose only the panels I use most often, and I manually dragged the two lines at the top left of the column to the left until the names of the icons appeared, because after all this time I still don't recogn ize them j ust by the icons. Up in the Options Bar, you now have one-click access to your workspaces (as seen here), so choose 5ave Workspace, give yours a name, and you're set. Now, let's get to work! Resizing and Cropping Your Images
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The Adobe Photoshop CS3 Book
for Digital Photographers
Cropping Photos
After you've sorted your images in Adobe Bridge, one of the first editing tasks you'll probably undertake is cropping a photo. There are a number of different ways to crop a photo in Photoshop. We'll start with the basic garden-variety options, and then we'll look at some ways to make the task faster and easier. At the end of this project, I've added a new way to see your cropping that won fame when it was added to Adobe Photoshop Lightroom, but I figured out an easy way to get the exact same cropping trick here in Photoshop CS3.
Step One:
Press the letter C to get the Crop tool (you could always select it directly from the Toolbox, but I only recommend doing so if you're charging by the hour).
Step Two:
Click within your photo and drag out a cropping border. The area to be cropped away will appear dimmed (shaded). You don't have to worry about getting your crop border right when you first drag it out, because you can edit the border by clicking-and-dragging the points that appear in each corner and at the center of each side.
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Resizing and Cropping Your Images
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
If you don't l ike seeing your photo with the cropped-away area appearing shaded (as in the previous step), you can toggle this shading feature off/on by pressing the Forward Slash (I) key on your keyboard. When you press the Forward Slash key, the border remains in place, but the shading is turned off (as seen here).
Step Four:
While you have the cropping border in place, if you need to rotate your photo, you can do that as well (so basically, you're doing two things at the same time: cropping and rotating). You rotate the cropping border by just moving your cursor anywhere outside the border. When you do this, the cursor will change into a double-headed arrow. Just click, hold, and drag up (or down) and the cropping border will rotate in the direc tion you choose (as shown here).
Resizing and Cropping Your Images
Continued 141
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Once you have the cropping border right where you want it, press the Return ( PC: Enter) key to crop your image. The final cropped image is shown here, where we cropped off the windows on the left (the daylight comi ng through them was drawing your attention over there, which we don't want), and we also cropped away a distracting pillow on the right side of the couch. You can see the uncropped image on the previous page. TIP: If you drag out a cropping border
and then decide you don't want to crop the image, you can either press the Esc key on your keyboard, click on the "No" symbol in the Options Bar, or just click on a different tool in the Toolbox, which will bring up a dialog asking if you want to crop the image. Cl ick on the Don't Crop button to cancel your crop.
Step Six:
Another popular way to crop is to skip the Crop tool altogether and j ust use the Rectangular Marquee tool (M) to put a selection around the area of your photo you want to keep. You can reposition the selection by cl icking inside the selected area and dragging. When your selection is positioned where you want it, go under the Image menu and choose Crop. The area outside your selection will be cropped away instantly. Press Command-D (PC: Ctrl-D) to Deselect.
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Resizing and Cropping Your Images
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
Okay, are you ready for the ultimate cropping experience? (There's a sentence that's probably never been written before.) It's inspired by Lightroom's popular Lights Out full-screen cropping method. In Lights Out mode, as you crop, it surrounds your photo with solid black, so you see a live preview of what the final cropped photo will look like as you crop. It's pretty sweet, and once you try it, you won't want to crop any other way. Lucki ly, you can do the same thing here in Photoshop CS3. Start by taki ng the Crop tool and dragging it over part of your photo (it doesn't matter where or what size). In the Options Bar, there's an Opacity field, which lets you choose how light the area you're cropping away is going to display onscreen. Click on the right-facing triangle and increase the Opacity to 100%, so it's solid black (as shown here). Step Eight:
Now press the Esc key to remove your cropping border. Press Tab, then the letter F three times to hide all of Photo shop's panels and men us, plus this centers your photo onscreen surrounded by solid black (as seen here). That's it you're in " Lights Out cropping mode" because you made any cropped-away area solid black, which matches the black full screen area surrounding your photo. So, try it yourself-get the Crop tool again, drag out a cropping border, then drag any one of the cropping handles inward and you'll see what I mean. Pretty sweet, eh? When you're done cropping, press Return (PC: Enter), then press the letter F once more to leave full-screen mode, then press the Tab key to bring your panels, menus, and Toolbox back.
Resizing and Cropping Your Images
1 43
The Adobe Photoshop CS3 Book
for Digital Photographers
Cropping Using the "Rule of Thirds"
The "rule of thirds" is a trick that photographers sometimes use to create more interesting compositions. Basically, you visually divide the image you see in your camera's viewfinder into thirds, and then you position your horizon so it goes along either the top imaginary horizontal line or the bottom one. Then, you position the subject (or focal point) at the center intersections of those lines. But if you didn't use the rule in the viewfinder, no sweat! You can use Photoshop to crop your image using the rule of thirds to create more appealing compositions.
Step One:
Open the photo you want to apply the rule-of-thirds cropping technique to (the shot here is poorly composed, with the subject right in the center, and too much headroom above-it just screams "snapshot!"). So, start by creating a new blank layer by clicking on the Create a New Layer icon at the bottom of the Layers panel.
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Now, go to the Toolbox and get the Custom Shape tool (as shown here), or press Shift-U until you have it.
1 44
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Step Three:
The Custom Shape tool's options will appear up in the Options Bar. First, click on the third icon from the left (so your shape will draw pixels, instead of a Shape layer or a path). Next, click on the down ward-facing triangle to the immediate right of the current shape, and the Shape Picker will pop down (as shown here). In the default set of shapes there is a Grid shape, and that shape is already divided into equal thirds, so click on that shape to choose it.
Step Four:
You're going to need to see the exact size you want to crop down to, so go under the Window menu and choose Show Info. This brings up the Info panel (shown here), which displays the Width and H eight for any shape you draw. So now take the Custom Shape tool and drag out a grid, and as you drag. keep an eye on the Info panel's Width and Height fields (our goal is to print a 1 3x19" print, so we're going to want our final grid size to be 13" wide by 1 9" tall). Now, start dragging (don't worry about positioning the grid right yet j ust keep your eye on that Info panel, and your wrist steady, so you can drag out exactly a 13x19" grid. Also, don't worry about damaging your photo that's why we created that new blank layer in Step One, so your grid will appear on this new layer).
Resizing and Cropping Your Images
Continued 1 45
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Press the letter V to switch to the Move tool, and click-and-drag your rule-of thirds grid into the position you'd like it (ideally, your subject, or point of inter est, would appear at one of the four places within the grid where the lines intersect. I've marked all four here as a visual reminder).
Step Six:
Once the grid is positioned right where you want it, get the Rectangular Marquee tool (M) and click-and-drag out a selection that is the exact same size as the grid (as shown here).
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Resizing and Cropping Your Images
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
Now go under the Image menu and choose Crop (as shown here). TIP: You can also use the Crop tool to
make your canvas area bigger. First, open a photo, then press the letter F (to make the gray area outside your photo visible). Take the Crop tool (C), and drag out over a small area inside your photo. Now, you can drag any corner or side point of your cropping border right outside your i mage area, off into that gray area surrounding your photo (so you can visually position where you want more canvas area). Then, when it's right where you want it, press the Return ( PC: Enter) key and the area outside your image area now becomes white canvas area. Not bad, eh?
Step Eight:
When you choose Crop from that menu, it crops the photo based on your current selection, so basically it crops the photo down to the edges of your grid. Now, go to the Layers panel and drag Layer 1 (your grid layer) into the Trash (at the bottom of the Layers panel) to delete it. You can now see your final cropped photo cropping using the rule of thirds. In the example shown here, I added my Three Step Portrait Finishing Technique to sharpen the photo, soften the photo, and burn in the edges. You can find this tech niq ue in Chapter l O-the Special Effects for Photographers chapter.
Resizing and Cropping Your Images
1 47
The Adobe Photoshop CS3 Book
for Digital Photographers
Cropping to a Specific Size
If you're outputting photos for clients, chances are they're going to want them in standard sizes so they can easily find frames to fit their photos. If that's the case, you'll find this technique handy, because it lets you crop any image to a predeterm ined size (like 5x7", 8xl 0", and so on).
Step One:
Let's say our image measures 1 5x l 0", and we want to crop it to be a perfect horizon tal l 0x8". First, press the C key to get the Crop tool, and up in the Options Bar on the left, you'll see Width and Height fields. Enter the size you want for the width, followed by the unit of measurement you want to use (e.g., "in" for inches, "px" for pixels, "cm" for centimeters, "mm" for millimeters, etc.). Next, press the Tab key to jump over to the Height field and enter your desired height, again followed by the unit of measurement.
Step Two:
Click within your photo with the Crop tool and drag out a cropping border. You'll notice that as you drag. the bor der is constrained to a horizontal shape, and once you release the mouse button, no side points are visible-only corner points. Whatever size you make your border, the area within that border will become a 1 0x8" photo. In this example, I dragged the border so it almost touched the top and bottom to get as much of the subject as possible.
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Resizing and Cropping Your Images
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
After your cropping border is onscreen, you can reposition it by moving your cursor inside the border (your cursor will change to an arrow). You can now drag the border into place, or use the Arrow keys on your keyboard for more precise control. When it looks right to you, press Return (PC: Enter) to finalize your crop, and the area inside your cropping border will be l OxB". (I made the rulers visible by pressing Command-R [PC: Ctrl-RJ, so you could see that the image measures exactly 1 0xB".)
TIP: Once you've entered a Width and
Height in the Options Bar, those dimen sions will remain in place until you clear them. To clear the fields (so you can use the Crop tool for freeform cropping to any size), j ust go up in the Options Bar and click on the Clear button (while you have the Crop tool active, of course). COOLER TIP: If you already have a
photo that is the exact size and resolu tion that you'd like to apply to other images, you can use its settings as the crop dimensions. First, open the photo you'd like to resize, and then open your ideal-size-and-resolution photo. Get the Crop tool, and then in the Options Bar, click on the Front Image button. Photoshop will automatically input that photo's dimensions into the Crop tool's Width, Height, and Resolution fields. All you have to do is crop the other image, and it will share the exact same specs as your ideal-size photo. Resizing and Cropping Your Images
1 49
The Adobe Photoshop CS3 Book
for Digital Photographers
The Trick for Keeping the Same Aspect Ratio When You Crop
Okay, let's say you want to crop a photo down in size, but you want to keep the aspect ratio the same as the original photo from your camera (so when you crop, the photo wi ll be smaller in size, but it will have the exact same width-to-height ratio as the original photo). You could pull out a calculator and do the math to figure out what the new smaller size should be, but there's a faster, easier, and more visual way. (By the way, although the Crop tool within Camera Raw gives you a menu of preset ratios, you can only use those presets on a RAW image, but this tech nique works on any photo.)
Step One:
Open the photo you want to crop. Press Command-A (PC: Ctrl-A) to put a selec tion around the entire photo.
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Go under the Select menu and choose Transform Selection. This lets you resize the selection itself, without resizing the photo within the selection (which is what usually happens).
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Step Three:
Press-and-hold the Shift key, grab a corner point, and drag inward to resize the selection area. Because you're hold ing the Shift key as you scale, the aspect ratio (the same ratio as your original photo) remains exactly the same. Once you get the selection near the size you're looking for, move your cursor inside the bounding box, and then click-and-drag to position your selection where you want to crop. Then, press Return (PC: Enter) to complete your transformation.
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Now that you've used your selection to determ ine the crop area, it's time to actually crop, so go under the Image menu and choose (no big surprise here) Crop.
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Step Five:
Once you choose Crop, the image is then cropped to fit within your selection, so just press Command-D (PC: Ctrl-D) to Deselect. Because you followed the steps shown here, your cropped image maintains the same aspect ratio as your original photo.
Resizing and Cropping Your Images
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The Adobe Photoshop CS3 Book
for Digital Photographers
Creating Your Own Custom Crop Tools
Step One:
Press the letter C to switch to the Crop tool, and then go under the Window menu and choose Tool Presets to bring up the Tool Presets panel (or click on it in the panel dock on the right side of your screen, where it's nested by default). You'll find that five Crop tool presets are already there, all set to 300 ppi. That's great if you need these sizes at 300 ppi; but if you don't, you might as well drag these tool presets onto the Trash icon at the bottom of the panel. (Also, make sure that the Current Tool Only option is turned on at the bottom of the panel so you'll see only the Crop tool's presets, and not the presets for every tool.) Step Two:
Go up to the Options Bar and enter the dimensions for the first tool you want to create (in this example, we'll create a Crop tool that crops to a wallet-size image). In the Width field, enter 2. Then press the Tab key to j ump to the Height field and enter 2.5. Note: If you have the Rulers set to Inches under the Units section in Photoshop's Units & Rulers Preferences (Command-K [PC: CtrlK)), then when you press the Tab key, Photoshop will automatically insert "in" after your num bers, indicating inches. 1 52
Although it's more of an advanced technique, creating your own custom tools isn't complicated. In fact, once you set it up, it will save you time and money. We're going to create what are called "tool presets." These too) presets are a series of tools (in this case, Crop tools) with all our option settings already in place. So we'll create a 5x7': 6x4", or whatever size Crop tool we want. Then, when we want to crop to 5x7': all we have to do is grab the 5x7" Crop tool preset. Here's how:
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In the Tool Presets panel, cl ick on the Create New Tool Preset icon at the bottom of the panel (to the left of the Trash icon). This brings up the New Tool Preset dialog, in which you can name your new preset. Name it "Crop to Wallet Size," click O K, and the new tool is added to the Tool Presets panel.
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Step Four:
Continue this process of typing in new dimensions in the Crop tool's Options Bar and clicking on the Create New Tool Preset icon until you've created custom Crop tools for the sizes you use most. Make the names descriptive (for example, add "Portrait" or "Landscape").
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a preset, j ust double-click directly on its name in the panel, and then type in a new name.
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Resizing and Cropping Your Images
Continued 1 53
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Chances are your custom Crop tool presets won't be in the order you want them, so go under the Edit menu and choose Preset Manager. In the resulting dialog, choose Tools from the Preset Type pop-up menu, and scroll down until you see the Crop tools you created. Now just click-and-drag them to wher ever you want them to appear in the list, and then click Done.
Step Six:
Now you can close the Tool Presets panel because there's an easier way to access your presets: With the Crop tool selected, just click on the Crop icon on the left in the Options Bar. A pop-up menu of tools will appear. Cl ick on a preset, drag out a cropping border, and it will be fixed to the exact dimensions you chose for that tool. Imagine how much time and effort this is going to save (really, close your eyes and imag ine . . . mmmm . . . tool presets . . . yummy . . . ).
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For example, let's say that you want a 5x7" set to landscape (that's 7" wide by 5" tall). First choose Photo from the Preset pop-up menu, then choose Landscape, 5x7 from the Size pop-up menu. Choose your desired Color Mode, and then enter a Resolution (I entered 2 1 2 ppi, which is enough for me to have my image printed on a high-end printing press). Once your settings are in place, click on the Save Preset button.
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Resizing and Cropping Your Images
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Step Three:
New Document Preset
This brings up the New Document Preset dialog. In the Preset Name field, enter your new resolution at the end of the size. You can turn on/off the checkboxes for which parameters you want s.aved, but I use the default setting to include everyth ing (better safe than sorry, I guess).
Step Four:
Click OK and your new custom preset will appear in the New dialog's Preset pop-up menu. You only have to go through this once. Photoshop C53 will remember your custom settings, and they will appear in this Preset pop-up men u from now on.
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1 56
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If you're used to resizing scans, you'll find that resizing images from digital cameras is a bit different, primarily because scanners create high-res scans (usually 300 ppi or more), but the default settings for many digital cameras produce an image that is large in physical dimensions, but lower in pixels-per inch (usually 72 ppi). The trick is to decrease the physical size of your digital camera image (and increase its resolution) without losing any of its quality. Here's the trick:
for Digital Photographers
Resizing Digital Camera Photos
Step One:
Open the digital camera image that you want to resize. Press Command-R (PC: Ctrl-R) to make Photoshop's rulers vis ible. As you can see from the rulers, the photo is nearly 27" wide by 40" high.
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Go under the Image menu and choose Image Size (or press Command-Option-I [PC: Ctrl-Alt-IJ) to bring up the Image Size dialog. Under the Document Size section, the Resolution setting is 72 ppi. A resolution of 72 ppi is considered "low resolution" and is ideal for photos that will only be viewed onscreen (such as Web graphics, slide shows, and so on), but it's too low to get high-q uality results from a color inkjet printer, color laser printer, or for use on a printing press.
I Bicubic (best for smooth gradients) Resizing and Cropping Your Images
Continued 1 57
The Adobe Photoshop CS3 Book
for Digital Photographers
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Step Three:
If we plan to output this photo to any printing device, it's pretty clear that we'll need to increase the resolution to get good results. I wish we could just type in the resolution we'd like it to be in the Resolution field (such as 200 or 300 ppi), but unfortunately this "resampling" makes our low-res photo appear soft (blurry) and pixelated. That's why we need to turn off the Resample Image checkbox (it's on by default). That way, when we type in a Resolution setting that we need, Photoshop automatically adjusts the Width and Height of the image down in the exact same propor tion. As your Width and Height come down (with Resample Image turned off), your Resolution goes up. Best of all, there's absolutely no loss of qual ity. Pretty cool!
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Here I've turned off Resample Image and I entered 1 50 in the Resolution field for output to a color inkjet printer. (I know, you probably think you need a lot more resolution, but you usually don't.) This resized my image to almost 1 3x1 9", so with a little bit of cropping I can easily output a 1 3x19" print (which happens to be the maximum output size for my Epson Stylus Photo R2400-perfect!).
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Step Six:
When you click OK, you won't see the image window change at all-it will appear at the exact same size onscreen but look at the rulers. You can see that it's now about 9" wide by about 1 3.5" high. Resizing using this technique does three big things: (1) it gets your physical dimensions down to size (the photo now fits easily on an l 1xl 7" sheet); (2) it increases the resolution enough so you can output this image on a printing press; and (3) you haven't softened, blurred, or pixelated the image in any way-the quality remains the same-all because you turned off Resample Image. Note: Do not turn off Resample Image for images that you scan on a scanner-they start as h igh-res images in the first place. Turning Resample Image off is only for photos taken with a digital camera.
Resizing and Cropping You r I mages
1 59
The Adobe Photoshop CS3 Book
for Digital Photographers
Resizing the Smart Way (Using Smart Objects)
Step One:
Open a new document in whatever size and resolution you'd like (in my example, I created a wide letter-sized document at l l xB"). To import a photo as a Smart Object, you don't open a photo. Instead, you go under the File menu and choose Place (as shown here). This is the sim ple key to making your photo a Smart Object-use the Place command rather than opening the photo and dragging into another document.
If you think there's even a slight chance that you'll need to upsize a photo you previously downsized, then you are going to love Smart Objects. Without getting all tech-geeky on you, when you choose to import your photo as a Smart Object, it embeds the original photo directly into the document itself. So when you go to resize an image you had downsized, it calls upon the original embedded photo so the image doesn't become all pixelated and soft when sized upward. Here's how to take advantage of Smart Objects for resizing:
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Step Two:
When you choose Place (as we did in Step One), your photo appears with a bounding box around it and a large X over the photo (as seen here). Press-and hold the Shift key (to keep your resizing proportional), grab a corner point, and drag inward to shrink your photo down in size (as shown here). Press Return (PC: Enter) to lock in your resizing.
1 60
Layer
Resizing and Cropping Your I mages
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
If you look in the Layers panel, you'll see a visual cue that your imported photo has become a Smart Object, and that's the little page icon that appears in the bottom-right corner of your layer's thumbnail (shown circled here in red). Go ahead and dupl icate that layer by pressing Command-J (PC: Ctrl-J). The cool thing about duplicating a Smart Object is that your duplicate is linked to your original Smart Object, so things you do to the original affect the duplicate (you'll see why this is so cool later). Step Four:
'I5 Untitied-l @ 100% (Bride 6 copy, RCB/B)
Now press Command-T (PC: Ctrl-T) to bring up Free Transform, press-and-hold the Shift key, grab any corner point, and drag outward to resize the photo up in size until that small duplicate photo fills the entire image area (as shown here). (Note: If you drag your corner point off the edge, you can press Command-O [zero; PC: Ctrl-OJ to zoom out and see it again.) When it fills the entire image area, press Return (PC: Enter) to lock in your resizing. As you can see here, the photo still looks crisp and sharp, but that's only because it's a Smart Object. If you had tried to resize a photo in any other format OPEG, TIFF, PSD, even a RAW photo), the photo would be so soft and pixelated that you just wouldn't use it. Step Five:
In the Layers panel, drag this duplicate layer behind your original photo layer, then lower the Opacity of this layer to 30% (as shown here), creating the back screened look seen here.
Continued Resizing and Cropping Your Images
1 61
The Adobe Photoshop CS3 Book
for Digital
Photographers
Step Six:
Now that we've come this far, we might as well finish things off, eh? In the Layers panel, click on the top layer (the original photo layer) and then choose Drop Shadow from the Add a Layer Style pop-up menu at the bottom of the panel (although there are some lim ita tions to what you can do to Smart Object layers, you can add layer styles like the drop shadow with no problem). When the Layer Style dialog appears (a close-up of part of it is shown here), increase the Size to 16 to make the shadow softer, then lower the Opacity to around 50% to make it l ighter, as shown here in the inset, then click OK.
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Step Seven:
In the Layers panel, click on the fullsize background image layer. You can't convert the photo to black and white while it's still a Smart Object (un less of course, you placed a RAW photo as a Smart Object, which you do by using the Place command and clicking OK in the Camera Raw dialog, or by open ing it in Camera Raw and Shift-clicking on the Open Image button). So, to get around that l imitation, press D to set your Foreground color to black, then choose Gradient Map from the Create New Adjustment Layer pop-up menu (as shown here). This makes the full-size photo on the layer below it appear in black and white (as seen here).
1 62
Resizing and
Cropping Your Images
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It looks like the smaller photo might look good with a thick black stroke around the photo, so click on the origi nal photo layer again (the one on top), but this time choose Stroke from the Add a Layer Style pop-up menu. This brings up the Stroke Options section of the Layer Style dialog (a close-up is shown in the inset). Set the Size to 3, click on the red Color swatch and change the stroke color to black, then set the Position to Inside from the pop up menu. Setting it to Inside makes the corners sq uare rather than their default look, which is rounded.
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Step Nine:
The last step is pretty easy-adding some type. I love this particular font for wedding albums (and a host of other uses). It's called Satisfaction, and I found it at MyFonts.com, where it cost $20 (it's actually only $ 1 2 if you don't buy the Open Type version with extra liga ture characters, but I'm just a sucker for that kind of stuff, so I paid the $20, but to m e, it's worth every penny!). N ow, the layout is com plete at this point, and we were able to upsize a photo that we had origi nally sized down, and the photo remained perfectly sharp and crisp (go ahead and save a copy of this fi le with all the layers intact), but I promised to show you someth ing especially cool about Smart Objects and the advantage of duplicating a Smart Object, so . . . here goes.
Resizing and Cropping Your Images
Continued 1 63
The Adobe Photoshop CS3
Book for Digital
Photographers
Step 1 0:
As long as you saved the original layered file from last week's wedding, you can use it as a template for the next wedding you shoot. For example, let's say a week or so goes by and you shoot a different wedding. Open the layered template file (the one you saved near the end of Step N ine). Then go to the Layers panel, and Control-click (PC: Right-click) on the original Smart Object layer, just to the right of the layer's name. When the con textual menu appears, choose Replace Contents, as shown here. A standard Open dialog will appear (you won't need to use the Place command now, because your photo is already a Smart Object). Find the photo you'd like to use from your current wedding (this time, we're choosing a photo taken in RAW format).
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Step 1 1 :
Since this i s a RAW photo, i t first opens in the Camera Raw dialog (as seen here) so you can make any necessary adj ustments. When you're done tweaking the photo, click the OK button (as shown here).
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The previous photo is now replaced with your new photo, and because you dupli cated the original layer to create your background layer, it gets automatically replaced as well (as seen here). In our example, the RAW photo I imported was physically larger in size than the origi nal photo, so when the smaller photo appeared, it was larger than the one it replaced. I pressed Command-T (PC: Ctrl-T) to bring up Free Transform, then I held the Shift key, grabbed a corner point, dragged inward to scale the photo down in size (as seen here), and pressed Return (PC: Enter) to lock in the change. This took all of 1 5 seconds.
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One last thing: in the Layers panel, double-click directly on the Smart O bject thum bnail and the photo reopens immediately in Camera Raw so you can easily edit your RAW Smart Object photo (another advantage of using RAW). So, if you're thin king this all seems pretty amazing-you're right and if you're thinking, "I'll use nothing but Smart Objects from now on" there is a downside you should know about. The main downside is that because it embeds the full original photo (including RAW photos) directly into your layered document, your fi le sizes can become q uite large quickly, and generally speak ing when your document fi le sizes get big, Photoshop can get somewhat slower. J ust thought you should know both the good and the potentially not as good (like the spin I put in there-not as good? I should have been in politics).
Resizing and Cropping Your Images
1 65
The Adobe Photoshop CS3 Book
for Digital Photographers
Automated Saving and Resizing
Step One:
Go under the File menu, under Scripts, and choose Image Processor. By the way, if you're working in Adobe Bridge (rather than Photos hop ), you can Command click (PC: Ctrl-click) on all the photos you want to apply the Image Processor to, then go under the Tools menu, under Photos hop, and choose Image Processor. That way, when the Image Processor opens, it already has those photos pegged for processing. Sweet!
Back when Photoshop CS was fairly new, Russell Preston Brown (Adobe's in-house evangelist and Photoshop madman) introduced a pretty slick little utility called Dr. Brown's Image Processor, which would let you take a folder full of images and save them in various formats (for example, it could open a PSD file and automati cally make a jPEG and a TIFF from it, and resize each along the way). It became a cult hit, and so in CS2, an updated version of it was included (but sadly, they dropped the "Dr. Brown's" part, which I always thought gave it its charm).
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Step Two:
When the Image Processor dialog opens, the first thing you have to do is choose the folder of photos you want it to "do its thing" to by cl icking on the Select Folder button, then navigating to the folder you want and clicking Choose (PC: OK). If you already have some photos open in Photoshop, you can click on the Use Open Images radio button (or if you choose Image Processor from Bridge, the Select Folder button won't be there at all-instead it will list how many photos you have selected in Bridge). Then, in the second section, decide whether you want the new copies to be saved in the same folder or copied into a different folder. No big whoop (that's a technical term). 1 66
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In the fourth section, if you've cre ated an action that you want applied to your copies, you can also have that happen automatically. j ust turn on the Run Action checkbox, then from the pop-up menus choose which action you want to run. If you want to auto matically em bed your copyright info into these copies, type your info in the Copyright Info field. Lastly, there's a checkbox that lets you decide whether to incl ude an ICC profi le in each image or not (of course, I'm going to try to convince you to incl ude the profile, because I wrote a whole chapter on how to set up color management in P hotoshop [Chapter 5]). Click the Run button, sit back, and let it "do its thing," and before you know it, you'll have nice, clean copies aplenty.
Resizing and Cropping Your Images
1 67
The Adobe Photoshop CS3 Book
for Digital Photographers
Rule-Breaking Resizing for Poster-Sized Prints
This is a resizing technique I learned from my friend (and world-famous nature photographer) Vincent Versace. His poster-sized prints (24x36") always look so sharp and crisp-but we're both shooting with the same 6-megapixel camera-so I had to ask him his secret. I figured he was using some scaling plug-in, but he said he does the whole thing in Photoshop. My thanks to Vinny for sharing his simple, yet brilliant technique with me, so I could share it with you.
Step One:
Open the photo you want to resize, then go under the Image menu and choose Image Size. By the way, in Photoshop CS2 Adobe finally added a keyboard shortcut to get to the Image Size dialog: Command-Option-I (PC: Ctrl-Alt-I).
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1 68
Resizing and Cropping Your Images
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Step Two:
Type in the dimensions you want as your final print size. The original height for my 6-megapixel image is j ust a hair over 14", so when I type 36" for the Height, the Width field will automatically adjust to just over 25" (the Width and Height are linked proportionally by default-adjust one and the other adjusts in kind; here I'll have to crop my width down to 24"). Of course, not all images scale perfectly, so depending on how many megapixels your camera is, you may not be able to get exactly 24" (and in fact, you may not want to go that big. But if you do, you might need to enter more than 36" to make your width reach 24", and then you can go back and crop your height down to 36" [see the "Cropping to a Specific Size" technique earlier in this chapter]).
Step Three:
Image Size
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Once your size is in place, you'll need to adjust your resolution upward, so go to the Resolution field and enter 360. Now, you know and I know that this goes against every tried-and-true rule of reso lution, and breaks the never-just-type in-a-higher-number-with-the-Resample Image-checkbox-rurned-on rule that we all live and die by, but stick with me on this one-you've got to try it to believe it. So, type it in, grit your teeth, but don't click OK yet.
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Continued Resizing and Cropping Your Images
1 69
The Adobe Photoshop CS3 Book
for Digital Photographers
Image Size
Step Four:
Back in Photoshop CS, Adobe intro duced some new sampling algorithms for resizing images. According to Vincent's research, the key to this resizing tech nique is to not use the sampling method Adobe recommends (which is Bicubic Smoother), and instead to choose Bicubic Sharper in the Resample Image pop-up menu, which actually provides better results-so much so that Vincent claims that the printed results are not only just as good, but perhaps better than those produced by the expensive, fancy schmancy upsizing plug-ins.
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Step Five:
I've tried this technique numerous times, and I have to say-the results are pretty stunn ing. But don't take my word for it-click OK, print it out, and see for yourself. Here's the final image resized to 24x36" (you can see the size in the rulers by pressing Command-R [PC: Ctrl-RJ).
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Resizing and Cropping Your Images
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There's a different set of rules we use for maintaining as m uch quality as possible when making an image smaller, and there are a couple of different ways to do j ust that (we'l l cover the two main ones here). Luckily, maintaining image quality is much easier when sizing down than when scaling up (in fact, photos often look dramatically better-and sharper-when scaled down, especially if you follow these guidelines).
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Making Your Photos Smaller (Downsizing)
Downsizing photos where the resolution is already 300 ppi: Although earlier we discussed how to change image size if your digital camera gives you 72-ppi images with large physical dimensions (like 24x42" deep), what do you do if your camera gives you 300-ppi images at smaller physical dimensions (like a 1 0x6" at 300 ppi)? Basical ly, you turn on Resample Image (in the I mage Size dialog under the Image men u), then simply type in the desired size (in this example, we want a 6x4" final image size), and click OK (don't change the Resolution setting, just click OK). The image will be scaled down to size, and the resolution will remain at 300 ppi. IMPORTANT: When you scale down using this method, it's likely that the image will soften a l ittle bit, so after scaling you'll want to apply the Unsharp Mask filter to bring back any sharpness lost in the resizing (go to Chapter 11 to see what settings to use).
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Continued Chapter 4
1171
The Adobe Photoshop CS3 Book
for Digital Photographers
Making one photo smaller without shrinking the whole document: If you're working with more than one image in the same document, you'll resize a bit differently. To scale down a photo on a layer, first click on that photo's layer in the Layers panel, then press Command-T (PC: Ctrl-T) to bring up Free Transform. Press-and hold the Sh ift key (to keep the photo proportional), grab a corner point, and drag inward. When it looks good, press Return ( PC: Enter). If the image looks softer after resizing it, apply the Unsharp Mask filter.
TIP: If you're resizing a photo on a layer using Free Transform and you can't reach the handles (because the edges of your photo extend outside the image area), j ust press Command O (PC: Ctrl-O), and your window will automatically resize so you can reach all the handles-no matter how far outside your image area they once were. Two things: ( 1 ) This only works once you have Free Transform active, and (2) it's Command-O-that's the number zero, not the letter O.
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for Digital P hotographers
Resizing problems when dragging between documents: This one gets a lot of people, because at first glance it j ust doesn't make sense. You have two documents, approximately the same size, side-by-side onscreen. But when you drag a n-ppi photo (a close up of a piano here) onto a 300-ppi docu ment (Untitled-l ), the photo appears real ly small. Why? Simply put-resolu tion. Although the documents appear to be the same size, they're not. The tip-off that you're not really seeing them at the same size is found in each photo's title bar. Here, the piano image is displayed at 1 00%, but the Untitled-l document is displayed at only 25%. So, to get more predictable results, m ake sure both documents are at the same viewing size and resolution (check in the Image Size dialog under the Image menu).
R esiz i n g an d Croppin g Y ou r Images
173
The Adobe Photoshop CS3 Book
for Digital P hotographers
Straightening Crooked Photos
If you hand-held your camera for most of your shots rather than using a tripod, you can be sure that some of your photos are going to come out a bit crooked. Here's a quick way to straighten them accurately in just a few short steps:
.
Step One: Open the photo that needs straightening. Choose the Ruler tool from Photos hop's Toolbox (it looks l ike a little ruler, and it's hidden behind the Eyedropper tool, so just click-and-hold for a moment on the Eyedropper tool until the Ruler tool appears in the flyout menu).
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Step Two: Try to find something in your photo that you think is supposed to be straight or relatively straight (the tops of the ridge on the right, in this example). Click-and drag the Ruler tool horizontally along this straight edge in your photo, starting from the left and extending to the right. As soon as you drag the tool, you can see the angle of the line displayed in the I nfo palette (found under the Window menu) and up in the Options Bar, but you can ignore them both because Photoshop is already taking note of the angle and placing that info where you'll need it in the next step.
174
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R esiz in g an d Croppin g Y ou r Images
The Adobe Photoshop CS3 Book
Rotate Canvas Angle: l c::l:..;:.1..::...6_-, O·ON @ ·CON
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Step Three:
(
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Go under the Image menu, under Rotate Canvas, choose Arbitrary, and the Rotate Canvas dialog will appear. P hotoshop has already entered the proper angle of rotation you'll need to straighten the image (based on your measurement), and it even sets whether the image should be rotated clockwise or counterclockwise.
Step Four: All you have to do now is click OK, and your photo will be perfectly straightened (check out the ridge in the photo shown here-it's now nice and straight).
Step Five: After the image is straightened, you m ight have to re-crop it to remove the extra wh ite canvas space showing around the corners of your photo, so press C to switch to the Crop tool, drag out a cropping border, and press the Return (PC: Enter) key.
TIP: When you use the Ruler tool, the line it draws stays on your photo until you rotate the image. If you want to clear the measurement and remove the l ine it drew on your image, click on the Clear button in the Options Bar.
R esizin g an d Croppin g Y ou r Images
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The Adobe P hotoshop CS3 Book
for Digital Photographers
Automated Cropping and Straightening
Since nearly everybody (digital or not) has a shoebox full of family photos up in the attic, I wanted to include a tutorial on the Crop and Straighten Photos auto mation. Its name is a bit misleading, because it does m uch more-it lets you scan multiple photos at one time (on your flatbed scanner), then it straightens every photo, and places each into its own separate window (saving you the trouble).
Step One: Place as many photos as will fit at one time on the scanning bed of your desk top scanner and scan them in. They'll all appear in one large document in Photoshop. As you can see, these pho tos were crooked when placed on the scanning bed, so naturally they appear crooked in the Photoshop document.
���==����==================� Step Two: Go under the File menu, under Automate, and choose Crop and Straighten Photos.
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1 76
R esizi ng and Cropping Y ou r Images
The Adobe P h otoshop CS3 Book
for Digital Photographers
Step Three: No dialog will appear. instead, Photo shop will look for straight edges in your photos, straighten the photos, and copy each into its own separate window.
TIP: if you've scanned a number of photos, but decide you only want cer tain ones to be cropped and placed into their own separate documents, j ust put a selection around those photos using any selection tool (pressing-and-holding the Shift key to add to your selection) before you choose Crop and Straighten Photos. The photos in your selection m ust be contiguous or Photoshop will crop all of them.
Continued R esizing and C roppi ng Y ou r Images
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The Adobe Photoshop CS3 Book
for Digital Photographers
a
Step Four: This automation also works on single, crooked images. (Since the one shown here was taken with a digital camera, you're probably wondering how it got so crooked. I rotated it. Don't tell anybody.)
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R esizing and Croppin g Y our Images
The Adobe Photoshop CS3 Book
for Digital Photographers
R esiz ing and Cropping Y ou r I mages
179
Chapter 5 Step- by- Step Printin g an d Color Man agem ent
Fit to Print
step'-by-step printing ana color management In the last version of this book, this chapter
chapter," and they'd write back and say,
was simply called color management, when in
" I didn't read that chapter because I didn't
reality it was pretty much a chapter on print-
want to learn about color management, I
ing, because if you're not printing, who really
wanted to learn about printing." Then I would
cares if you're color managed, right? What you
write back, "But don't you want the prints that
see onscreen is what you get-you don't have
come out of your printer to match what you
to match it to anything. But once you start
see onscreen?" And they would write back,
printing, all heck breaks loose. (Note: I didn't
"I don't use a screen because I'm Amish" and
want to use the word "heck" there, but my
then I would write back, 'Then how did you
editor is "with child" and I didn't want to star-
send this email?" And I would never hear from
tie her.) The two are very closely tied together,
them again. Anyway, because Adobe made
and maybe that's why much of Photoshop's
a number of enhancements and advances to
color management takes place in the Print
printing in (53, I thought I'd give this chapter
dialog itself. So why did I change the name of
a more descriptive subtitle (as seen above).
this chapter? It's because I would get letters
The chapter name, "Fit to Print," is from John
from people asking, "Why didn't you include
Mann's album Hands in the Pavement. It's
a chapter about printing?" I would write them
actually a pretty good song-ya know, for a
back and say, "I did-it's the color management
song about printing and color management.
Step-by-Step P rin tin g an d Color M an agem ent
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The Adobe Photoshop CS3 Book
for Digital Photographers
Configuring Your Camera to Match Photoshop's Col or Space
Although there are entire books written on the subject of color management in Photoshop, in this chapter we're going to focus on just one thing-getting what comes out of your color inkjet printer to match what you see onscreen. That's what it's all about, and if you follow the steps in this chapter, you'll get prints that match your screen. Now, I'm not going into the theory of color management, or CMYK soft proofing, or printing to multiple network printers, etc. It's just you, your computer, and your color inkjet printer. That, my friends, we can do.
Step One: If you want to get consistent color from your camera to P hotoshop to your printer, you'll want everybody speaking the same language, right? That's why if you shoot in either JPEG, TIFF, or JPEG+ RAW, I'm recommending that you change your camera's color space from its default sRGB (which is a color space designed for images only shown on the Web) to Adobe RGB (1998), which is probably the most popular color space used by photogra phers whose final image will come from a color inkjet printer. Now, if you only shoot in RAW, you can skip this because you'll assign the color space later in Photo shop's Camera Raw dialog, but otherwise, do it now. As an example, here's how to set up a Nikon D200 to tag your photos with the Adobe RGB (1 998) color profile. First, click the Menu button on the back of your camera.
Step Two: When the menu appears, use the round multi selector on the back to go to the Shooting menu, and then in that menu, choose Color Space (as shown here) by pressing the Right Arrow on the multi selector.
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Step- by- Step P rinting an d Color Man agem en t
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three: This brings up the Color Space menu (shown here). Use the Down Arrow on the m ulti selector to choose Adobe RG B (as shown here), and then press the Right Arrow on the m ulti selector to lock in your change.
Step Four: N ow when you look in the Shooting m e n u, you should see the word "Adobe" to the right of Color Space, which lets you know that Adobe RG B ( 1 998) is your camera's color space. So now you've taken your first step towards color consistency.
Setting up other cameras:
I just showed the simple color space setup for a N i kon 0200, however if you've got a Canon digital camera (like the popular Canon 300), it's pretty simple to configure, too: Just like with the N i kons, you go under the Shooting menu, and use the Quick Control dial to scroll down to Color Space. Press the center Set button to edit the color space, then choose Adobe RGB (as shown here) and press Set again to lock in your choice.
Note: Most dSLRs from N i kon and
Canon work fairly simi larly (although the menus may be slightly different), but if you're not shooting Nikon or Canon, it's time to dig up your owner's manual (or download it from the man ufacturer's website) to find out how to make the switch to Adobe RGB (1998). Step- by- Step Printing and Color Management
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The Adobe Photoshop CS3 Book
for Digita l Photographers
Configuring Photoshop for Adobe RGB (1998)
Step One: Before we do this, I just want to reiterate that you only want to make this change if your final print will be output to your own color inkjet. If you're sending your images out to an outside lab for prints, you should probably stay in sRGB-both in the camera and in Photoshop-as most labs are set up to handle sRGB files. Your best bet: ask your lab which color space they prefer. Okay, now on to Photoshop: go under the Edit menu and choose Color Settings (as shown here).
Once your camera's set to the right color space, it's time to set up Photoshop that way. In Photoshop 5.5, when Adobe (and the world) was totally absorbed with Web design, they switched Photoshop's default color space to sRG B (which some pros refer to as "stupid RGB"), which is fine for photos on the Web, but your printer can print a wider range of color (particularly in the blues and greens). So, if you work in sRGB, you're essentially leaving those rich vivid colors on the table. That's why we change our color space to Adobe RGB (1 998), which is better for prints.
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This brings up the Color Settings dialog. By default, it uses a group of settings called "North America General Purpose 2." Now, does anything about the phrase "General Purpose" sound like it would be a good space for pro photographers? Didn't think so. The tip-off is that under Working Spaces, the RGB space is set to sRGB I EC61 966-2.1 (which is the long hand technical name for what we simply call sRGB, also sometimes referred to as "stupid RGB"). In short, you don't want to use this group of settings. They're for goobers-not for you (unless of course, you are a goober, which I doubt because you bought this book, and they don't sell this book to goobers. It's in each bookstore's contract). 184
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Step-by-Step Printing a nd Color Ma na gem ent
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for Digital Photographers
Step Three: To get a preset group of settings that's better for photographers, from the Settings pop-up menu, choose N orth America Prepress 2. Don't let it throw you that we're using prepress settings here-they work great for color inkjet printing because it uses the Adobe RGB ( 1998) color space. It also sets up the appropriate warning dialogs to help you keep your color management plan in action when open ing photos from out side sources or other cameras (more on this on the next page).
conditions in enabled.
TIP: If you're using Adobe Photoshop Lightroom for your printing, instead of printing from here in Photoshop CS3, you m ight want to change your RGB working space to ProPhoto RGB, which is the native color space for Lightroom. That way, when you export a file from Lightroom over to Photoshop, make edits in Photoshop, and then save back to Lightroom, everything stays in the same consistent color space.
Color Settings Unsynchronized: Your Creative Suite applications are not synchronized for con.sistent color.
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Step Four: Before you click OK, just for fun, tempo rari ly change the Settings pop-up menu to North America Web/Internet. You'll see that the RGB working space changes back to sRGB. That's because sRGB is best suited for Web design. Makes you stop and think, doesn't it? Now, switch back to North America Prepress 2, click OK, and Photoshop is configured with Adobe RGB ( 1 998) as your RGB working space. However, you probably still want to know about the warn ings you turned on, right?
I
Continued Step-by-Step P ri nting and Color Management
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Embedded Profile Mismatch
About those warnings that help you keep your color management on track: Let's say you open a JPEG p hoto, and your camera was set to shoot in Adobe RGB (1998), and your Photos hop is set the same way. The two color spaces match, so no warnings appear. But, if you open a )pEG photo you took six months ago, it will probably still be in sRGB, which doesn't match your Photo shop working space. That's a mismatch, so you'd get the warning dialog shown here, telling you th is. Luckily it gives you the choice of how to handle it. I recommend converting that docu ment's colors to your current working space (as shown here).
The document "_DSC0106-Edi t c opy.jpg" has an embedded color profile that does n o t match the current RGB working space. Embedded: sRGB IEC61966-2.1 Working: Adobe RGB (1998)
o Use the embedded
What would you like to do? -------, profile (ins tead of the w o rking s pace)
Convert document's colors to the working space
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Step Six: You can have Photoshop do this conver sion automatically anytime it finds a mis match. J ust reopen the Color Settings dialog, and under Color Management Policies, in the RGB pop-up menu, change your default setting to Convert to Work ing RGB (as shown here). For Profile Mis matches, turn off the Ask When Opening checkbox. Now when you open sRGB photos, they will automatically update to match your current working space. N ice!
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Step Seven: Okay, so what if a friend emails you a photo, you open it in Photoshop, and the photo doesn't have any color profi le at all? Well, once that photo is open in Photoshop, you can convert that "un tagged" image to Adobe RG B (1 998) by going under the Edit menu and choosing Assign Profile. When the Assign Profile dialog appears, click on the Profile radio button, ensure Adobe RGB (1998) is selected in the pop-up menu, then click OK. 186
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Step-by-Step Printing and Color Management
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The Adobe Photoshop
To have any hope of getting what comes out of your color inkjet printer to match what you see onscreen, you absolutely, positively have to calibrate your monitor. It's the cornerstone of color management, and there are two ways to do it: ( 1 ) buy a hardware calibration sensor that calibrates your monitor precisely; or (2) use the free built-in system software calibration, which is better than nothing, but not by much since you're j ust "eyeing" it. We'll start with the freebie calibration, but if you're serious about this stuff, turn to the next technique.
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ThisICC profile will be compatible with ColorSync@onMacintosh@andICM 2.0 on Windows.
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Calibrating Your Monitor (The lame Built-In Freebie Method)
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First, we'll look at the worst-case scenario: you're broke (you spent all available funds on the CS3 upgrade), so you'll have to go with the free built-in system software cali bration. Macintosh computers have cali bration built into the system, but Windows PCs use a separate utility from Adobe called Adobe Gamma, so we'l l start with that, and then we'll d o the Mac freebie calibration. To get to Adobe Gamma on your Windows Vista PC, go to C:\Program Files\Common Files\Adobe\ Calibration and double-click on the Adobe Gamma.cpl file. In Windows XP, from the Start menu, go to the Control Panel and double-click on Adobe Gamma. Note: If Adobe Gamma didn't load, you may have to manually copy the files from the Goodies\ Software\Adobe Gamma folder on the installation CD to the Calibration folder.
Step One {PC}:
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This brings up the Adobe Gamma dialog. Choose Step By Step (Wizard), which will lead you through the steps for creating a pretty lame calibration profile. (Hey, I can't help it-that's what it does. Do you really want me to sugarcoat it? Okay, how's this? "It will lead you through the steps for proper calibration" [cringe].) Note: Results will vary depending on whether your mon itor is a CRT, LCD, etc. Continued
Step-by-Step Printing and
Color
Managem ent
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The Ad obe Phot oshop CS3 Book
for Digital Photographers
Step Two (PC): Click the Next button and you'll be asked to name the profi le you're about to create. Now, it's possible that when you first hooked up your monitor a manufac turer's profile was installed at the same time. Although that canned factory profile won't do the trick, it can save you some time because it will automatically answer some of the q uestions in the dialog, so it's worth a look to see if you have one. Click on the Load button, then navigate your way to the ICC profi les in your system (you should be directed to them by default). If you see a profile with your monitor's name, click on it and then click Open to load that profile. Click Next again.
II Adobe Gam ma Wizard Give the profile a unique descriptive name that will appear in application pop-up menus.
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Descriplion: SCOII'S New Profile
This profile will serve as a starting point far the calibration of your monitor. If you wish to start wilh a differenl profile. click on Load.
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II Adobe Gamma Wizard
The gamma setting of your monitor defines how bright your midtones ale. Establish the current gamma by adiusting the slider until the center bo, fades inlo Ihe pallerned frame.
Step Three (PC):
r
From here on out, you'll be prom pted with various directions (some with little square graphics with sliders beneath them). It asks you to move the sliders and then judge how the colors look. This is the very essence of the term "eyeing it," and it's why pros avoid this method. Everyone sees color and tone differently, and we're all viewing these test squares under differ ent lighting conditions, etc., so it's highly subjective. But hey-it's free.
Step Four (PC): The questions will continue (along the lines of the Spanish I nquisition) until it completes the cali bration process, and then it offers you a before and after. You can pretty much ignore the Carmen Miranda before/after photo-that's just for looks-your before and after will be nothing like that, but after you're prompt ed to save your profile, you're done.
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1/ Adobe Gamma Wizard You have now compleled IheAdobe Gamma Wizard. T a view your screen prior to these changes. compare the results of the following options.
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188
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Step-by-Step Printing and Color Management
Finish
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The Adobe Photoshop CS3 Book
for Digital Photograph ers
Step One (Mac):
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Displays
Now for the freebie calibration on the Macintosh: To find Apple's bui lt-in monitor cali bration software, go under the Apple menu and choose System Preferences. In the System Preferences dialog. click on the Displays preferences, and when the options appear, click on the Color tab. When the Color options appear, click on the Calibrate button to bring up the Display Cali brator Assistant window (shown in the next step).
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Welcome to the Apple Display Calibrator Assistant!
This assistant will help you calibrate your display and create a custom ColorSync profile. With a properly calibrated display, the system and other software that uses ColorSync can better display images in their intended colors. Display calibration involves several steps: (some steps may be skipped on some displays) Adjust the display's brightness and contrast Determine the display's native luminance response curve Choose a desired response curve gamma Choose a desired white point (warmth or coolness of white) • •
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Now, at first this seems like a standard Welcome screen, so you'll probably be expecting to just click the Continue button, but don't do that until you turn on the Expert Mode checkbox. I know what you're thinking: "But I'm not an expert!" Don't worry, within a few min utes you'll be within the top 5% of all p hotographers who have knowledge of monitor cali bration, because sadly most never cali brate their monitor. So turn on the checkbox and click the Continue button with the full confidence that you're about to enter an elite cadre of highly calibrated individuals (whatever that means).
Continued Step-by-Step Printing and Color Managem ent
189
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three (Mac): The first section has you go through a series of five different windows, and each window will ask you to perform a simple match ing test using a slider. I t's a no-brainer, as Apple tells you exactly what to do in each of these five win dows (it's actually the same for all five windows, so once you've read the first window's instructions, you're pretty m uch set). So, j ust fol low Apple's easy instructions to get through these five windows, then I'll join you right after.
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Display Calibrator Assistant
Determine your display's native response
Introduction Set Up Native Gamma Target Gamma Target White Point
This is the second of five steps used to determine the display's native luminance response curves. Move the left slider until the brightness of the grey shape in the middle matches the backgrounds as much as possible. Move the right slider until the shape is neutral compared to its background. It may help to squint or sit back from the display.
Admin Name Conclusion
After you have done this step. click the continue button.
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Step Four (Mac): Okay, so you survived the "five native response windows of death." Amazingly easy, wasn't it? (It even borders on fun.) Well, believe it or not, that's the hard part-the rest could be done by your 5-year-old, provided you have a 5-year old (if not, you can rent one from Apple's website). So here we are at a screen asking you to select a target gamma ( basically, you're choosing a contrast setting here). Apple pretty much tells you "it is best to use the Mac Standard gamma of 1.8," but it has no idea that you're a photographer and need something better. Most digital imaging pros I know recommend setting your gamma to 2.2 (the PC Standard), which creates a richer contrast onscreen (which tends to make you open the shadows up when editing, which is generally a good thing detail-wise). Drag the slider to PC Standard and see if you agree, then click Contin ue.
190
Step-by-Step Printing and
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Display Calibrator Assistant
Select a target gamma
Introduction Set Up Native Gamma Target Gamma Target White Point Admin Name Conc lusion
Select your desired gamma setting for this display. This will adjust the overall contrast of the display. Watch the picture on the right to see the effect of the different options. In most cases, it is best to use the Mac Standard gamma of l.B.
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The Adobe Photoshop CS3 Book
Step Five (Mac):
Display Calibrator Assistant
@ •
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Select a target white point
@
Native Gamma
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Admin
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N ow it asks you to select a white point. I use 065 (around 6500 Kelvin, in case you care). Why? That's what most of the pros use, because it delivers a n ice, clean white point without the yellowish tint that occurs when using lower tem perature settings. With the sl ider set at 065, you can cl ick the Continue button. The next wi ndow j ust asks if you're shar ing your computer with other users, so I'm skipping that window, because if you are, you'll turn on the checkbox; if you're not, you won't. Snore.
Introduction Set Up
Target Gamma Target White Point
Name Conclusion
Select the white point setting you want for your display. This will adjust the overall tint color if the display. In most cases it is best to use the display's native with point or a standard white point such as DSO or D6S.
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Step Six (Mac):
Display Calibrator Assistant
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Give the profile a name Introduction Set Up
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Give your profile a name. Scott's Profile
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Conclusion
After you have done this step, click the continue button.
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When you cl ick Continue again, you'll be greeted with a window that lets you name your profile. Type in the name you want for your profile, and click the Continue button. The last window (which there's no real reason to show here) j ust sums up the choices you've made, so if you made some egregious m istake, you could click the Go Back button, but seriously, what kind of huge m istake could you have made that would show up at this point? Exactly. So click the Done button and you've created a semi accurate profile for your mon itor (hey, don't complai n-it's free cali bration). N ow, you don't have to do anything in P hotoshop for it to recognize this new profile-it happens automatically (in other words, "Photoshop j ust knows." Eerie, ain't it?).
Step-by-Step P ri nting and
Color Management
191
The Adobe Photoshop CS3
Book for Digital
The Right Way to Calibrate Your Monitor (Hardware Calibration)
Photographers
Hardware cali bration is definitely the preferred method of monitor calibration (in fact, I don't know of a single pro using the freebie software-only method). With hardware calibration, it's measuring your actual monitor and building an accurate profile for the exact monitor you're using, and yes-it makes that big a difference. I now use X-Rite's Eye-One Display 2 (after hearing so many friends rave about it), and I have to say-I'm very impressed. It's become popular with pros thanks to the sheer quality of its profiles, its ease-of-use, and affordability (around $230 street).
Step One: You start by instal ling the Eye-One Match 3 software from the CD that comes with it (the current version was 3.6.1 as of the writing of this book. However, once you launch Match 3 for the first time, I recommend clicking the Check for U pdates button [as shown here] to have it check for a newer version, j ust in case). Once the latest version is instal led, plug the Eye-One Display into your computer's USB port, then relaunch the software to bring up the main window (seen here). You do two things here: ( 1 ) you choose which device to profi le (in this case, a moni tor), and (2) you choose your profiling mode (where you choose between Easy or Advanced. If this is your first time using a hardware cali brator, I recom mend clicking the Easy radio button).
192
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Step-by-Step Printing and Color Management
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The Adobe Photos hop CS3 Book
for Digital Photographers
Step Two: After choosing Easy, press the Right Arrow button in the bottom right, and the wi ndow you see here will appear. Here you j ust tell the software which type of mon itor you have: an LCD (a flat-panel monitor), a CRT (a glass mon itor with a tube), or a laptop (which is what I'm using, so I clicked on Laptop, as shown here), then press the Right Arrow button again.
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The next screen asks you to Place Your Eye-One Display on the Monitor, which means you drape the sensor over your monitor so the Eye-One Display sits flat against your monitor and the cord hangs over the back. The sensor comes with a counterweight you can attach to the cord, so you can position the sensor approximately in the center of your screen without it slipping down. There is a bui lt-in suction cup for use on CRT monitors.
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Continued Step-by-Step P rinting and Color Management
193
The Adobe Photoshop CS3 Book
f or Digital Phot ographers
Step Four: Once the sensor is in position (this takes all of about 20 seconds) click the Right Arrow key, sit back, and relax. You'll see the software conduct a series of onscreen tests, using gray and white rectangles and various color swatches, as shown here. (Note: Be careful not to watch these on screen tests while l istening to Jimi Hendrix's "Are you Experienced," because before you know it you'll be on your way to Canada in a psychedelic VW Microbus with only an acoustic guitar and a hand-drawn map to a campus protest. Hey, I've seen it happen.)
Step Five: This testing only goes on for around six or seven minutes (at least, that's all it took for my laptop), then it's done. It does let you see a before and after (using the buttons on the bottom), and you'll probably be shocked when you see the before/after results (most people are amazed at how blue or red their screen was every day, yet they never noticed). Once you've compared your before and after, click the Finish Calibration button and that's it-your monitor is accurately profiled, and it even installs the profile for you and then quits. It should be called "Too Easy" mode.
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194
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The Adobe Photoshop CS3 Book
When you buy a color inkjet printer and install the printer driver that comes with it, it basically lets Photoshop know what kind of printer is being used, and that's about it. But to get pro-quality results, you need a profile for your printer based on the exact type of paper you'll be printing on. Most inkjet paper manufacturers now create custom profiles for their papers, and you can usually download them free from their websites. Does this really make that big a difference? Ask any pro. Here's how to find and install your custom profiles:
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Your first step is to go to the website of the company that makes the paper you're going to be printing on and search for their downloadable color profiles for your printer. I use the term "search" because they're usually not in a really obvious place. I use two Epson printers-a Stylus Photo R2400 and a Stylus Pro 3800-and I generally print on Epson paper. When I installed the 3800's printer driver, I was tickled to find that it also installed custom color profiles for all Epson papers (this is rare), but my R2400 ( l ike most printers) doesn't. So, the first stop would be Epson's website, where you'd click on the Drivers & Support link (as shown here). Note: Even if you're not an Epson user, sti ll follow along (you'll see why).
Continued Step-by- Step Printing and Color Management
195
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Two:
Once you get to Drivers & Support, find your particular printer in the list. Click on that link, and on the next page, click on Drivers & Downloads (choose Win dows or Macintosh). On that page is a note linking you to the printer's Premium ICC Profiles page. Here's what Epson says right there about these free profi les: "In most cases, these custom ICC profiles will provide more accurate color and black and white reproduction than with the standard profiles already shipping with every printer." So, click on that Prem ium ICC Profiles link.
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Step Three: When you click that link, a page appears with a l ist of Mac and Windows ICC profiles for Epson's papers and printers. I primarily print on two papers: (1) Epson's Premium Luster Photo paper, and (2) Epson's Velvet Fine Art paper. So, I'd download the ICC profiles for the Glossy Papers (as shown here), and the Fine Art Papers Matte (at the bottom of the window). They download onto your computer, and you just double-click the installer for each one, and they're added to your list of profiles in Photoshop (I'll show how to choose them in the Print dialog a little later). That's it-you down load them, double-click to install, and they'll be waiting for you in Photoshop's print dialog. Easy enough. But what if you're not using Epson paper? Or if you have a different printer, like a Canon or an H P?
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Download Your ICC Profiles by Media Type PDF
Glossy Papers
Premium Photo Paper Glossy (formerly Premium Glossy Photo Paper) Premium Photo Paper S e m j ·gloss (formerly Premium Semigloss Photo Paper) Ultra Premium Photo Paper Luster (formerly Premium Luster Photo Paper)
Matte Papers
Ultra Premium Presentation Paper Matte (formerly Enhanced Matte Paper Premium Presentation Paper Matte (formerly Matte Paper Heavyweight) Premium Presentation Paper Matte Double sided (formerly Double-Sided Matte Paper)
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Step Four: We'll tackle the different paper issue first ( because they're tied together). I mentioned earlier that I usually print on Epson papers. I say usually because sometimes I want a final print that fits in a 1 6x20" standard pre-made frame, without having to cut or trim the photo. In those cases, I use Red River Paper's 1 6x20" Ultra Satin Pro instead (which is very m uch like Epson's Premium Luster, but it's already pre-cut to 16x20"). So, even though you're printing on an Epson printer, now you'd go to Red River Paper's site (www.redriverpaper.com) to find their color profiles for the Epson 3800. (Remem ber, profi les come from the company that makes the paper.) On the Red River Paper homepage is a link for Papers for UltraChrome I n ks (which are Epson's inks), so click on that.
Step Five: Once you click that link, thi ngs get easier, because on the right side of Red River's Epson UltraChrome I n ks page is a clear, direct l i n k-with a color graphic no less-right to their free downloadable color profiles (as seen here). Making profiles easy to find l i ke this is extremely rare (it's almost too easy-it m ust be a trap, right?). So, click on that Color Profiles link and it takes you right to the profiles for Epson printers, as seen in Step Six ( how sweet is that?)
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Continued Step-by-Step Printing and Color Management
197
The Adobe Ph otosh op CS3 Book
for Digital Photographers
Step Six: Under the section named Epson Wide Format, there's a direct link to the Epson Pro 3800 (as shown here), but did you also notice that there are ICC Color profiles for the Canon printers, as well? See, the process is the same for other printers, but be aware: although H P and Canon now both make pro-q uality photo printers, Epson has had the pro market to itself for quite a while, so while Epson profiles are created by most major paper manufacturers, you may not always find paper profi les for H P and Canon printers. As you can see at Red River, they widely support Epson, and some Canon profi les are there too-but there's nothing for HP yet. That doesn't mean this won't change, but as of the writing of this book, that's the reality. Speaking of change-the look and navi gation of websites change pretty regularly, so if these sites look different when you visit them, don't freak out. Okay, you can freak out, but just a little.
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Step Seven: Although profiles from Epson's website come with an installer, in Red River's case (and in the case of many other paper man ufacturers), you j ust get the profile (shown here) and instructions, so you install it yourself (don't worry-it's easy). On a Pc, j ust Right-click on the profi le and choose Install Profile. Easy enough. (Note: If you're using Windows XP and this doesn't work, you'll have to drag the profile into the Profiles folder itself. It's at C:\Windows\system32\spool\drivers\color.) On a Mac, go to your hard disk, open your Library folder, and open your Color Sync fo lder, wh ere you'll see a Profiles fo lder. J ust drag the fi le in there and you're set (in Photoshop CS3 you don't even have to restart P hotoshop-it automatically updates).
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Step Eight: Now, you'll access your profile by choosing Print from Photoshop's File menu. I n the Print dialog, change the Color Handling pop-up menu to Photoshop Manages Color. Then, click on the Printer Profile pop-up menu, and your new color profi le(s) will appear (as shown here). In our example, I'm printing to an Epson 3800 using Red River's Ultra Pro Satin paper, so that's what I'm choosing here as my printer profile (it's named RR U PSatin Ep3800 vl .icc). More on using these color profi l es later in t h is chapter.
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TIP: You can also pay an outside service to create a custom profi le for your printer. You print a test sheet (which they provide), overnight it to them, and they'll use an expensive colorimeter to measure your test print and create a custom profi le. The catch: it's only good for that printer, on that paper, with that ink. If anyth ing changes, your custom profi le is just about worthless. Of course, you could do your own personal printer profiling (using something l i ke one of X-Rite's Eye-One Pro packages) so you can re-profi le each time you change paper or in ks. It's really determ ined by your fussiness/time/money factor (if you know what I mean).
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Step- by- Step P rintin g and Color Management
1 99
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Making the Print (Finally, It All Comes Together)
Step One: Go under Photoshop's File menu and choose Print (as shown here). In previous versions of Photos hop, to access the color management features for printing you had to choose Print with Preview, but in CS3, we're happily down to just one simple command-Print!
Okay, you've set your camera to Adobe RGB ( 1 998); you've hardware calibrated your monitor (or at the very least-you "eyed it"); you've set up Photoshop to use Adobe RGB (1 998); and you've set it up so any photos you bring in that are not in Adobe RGB (1 998) will automatically be converted to Adobe RGB ( 1 998). You've even downloaded a printer profile for the exact printer model and style of paper you're printing on. In short-you're there. Luckily, you only have to do all that stuff once-now we can just sit back and print. Well, pretty m uch.
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When the Print dialog appears, let's choose your printer and paper size first. Near the top of the center column, you'll see a Page Setup button. Click on it to bring up the Page Setup dialog (shown here). Choose the printer you want to print to from the Format For pop-up menu (on a Pc, you'll have to choose it from the Printer pop-up menu before clicking Page Setup), and then from the Paper Size pop-up menu (found on the Paper tab on a PC) choose your paper size (in this case, a 1 6x20" sheet). You can choose your page orientation here if you want, but you can also choose this later in Photoshop's Print dialog. Leave the Scale at 1 00% (you can change that later), and click OK to return to the Print dialog. 200
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In the Print dialog, at the top of the far-right column, m ake sure Color Management is selected from the pop-up menu (as shown here). Then, at the top of the center column, choose your Printer from the pop-up menu (even though you chose it in the Page Setup dialog, you may have to choose it again from here).
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From the Color Handling pop-up menu, choose Photoshop Manages Colors (as shown here) so we can use the color profile we downloaded for our printer and paper combination, which will give us the best possible match. Here's the thing: by default the Color Handling is set up to have your printer manage colors. You really only want to choose this if you weren't able to download the printer/paper profile for your printer. So, basically having your printer manage colors is your back-up plan. It's not your first choice, but today's printers have gotten to the point that if you have to go with this, it sti ll does a decent job (that wasn't the case just a few years ago-if you didn't have a color profile, you didn't have a chance at getting a pro-q uality print). Continued
Step-by-Step P rinting and
Color Management
201
The Adobe Photoshop CS3 Book
for Digital Photographers
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Step Five: After you've selected Photoshop Manages Colors, you'll need to choose your profile from the Printer Profi le pop-up menu. I'm going to be printing to an Epson Stylus Pro 3800 printer using Epson's Premium Luster paper, so I'll choose the printer/paper profile that matches my printer and my paper (as I mentioned in the previ ous technique, the Epson 3800 came with color profiles for Epson papers already installed, but Epson does their best to give these color profi les names designed to appeal to people who decipher encrypted code for the NSA. So, for the 3800 on Premium Luster, I'd choose Pro38 PLPP). Doing this optim izes the color to give the best possible color print on that printer using that paper.
Lastly, you'l l need to choose the Rendering I ntent. There are four choices here, but only two I recom mend: either Relative Colorimetric (wh ich is the default setting) or Perceptual. Here's the thing: I've had printers where I got the best looking prints with my Rendering I ntent set to Perceptual, but currently, on my Epson Stylus Pro 3800, I get bet ter results when it's set to Relative Colorimetric. So, which one gives the best results for your printer? I recom mend printing a photo once using Perceptual, then print the same print using Relative Colorimetric, and when you compare the two, you'll know.
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Lastly, before you click the Print button, just make sure the Black Point Compensa tion checkbox is turned on (it should be by default). When you're printing photo graphic images (like we are here), this option helps maintain more detail and color in the shadow areas of your photos. N ow click the Print button, and when you do, another Print dialog will appear your print driver's dialog. Choose your printer from the Printer pop-up menu, as shown here (yes, this is the third time you've chosen your printer). The example shown here is from a Mac running Mac as X. On a Windows Pc, choose your printer from the Name pop-up menu, and then click on the Properties button to choose from your printer's options.
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for Digital Photographers
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appears in the Copies & Pages pop-up menu is contingent on your printer's options. You may or may not be able to access these same settings, so you may need to view each option to find the settings you need to adjust. If you're using a Windows Pc, after you click on the Properties button, you may have to click on the Advanced tab or an Advanced button in your printer's Properties dialog to be able to choose from similar settings. Continued
Step-by-Step Printi ng and Color Management
203
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Nine:
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Once you choose Print Settings, and those options appear, choose the type of paper you'll be printing on from the Media Type pop-up menu (as shown here). In our example, I'm printing on Prem ium Luster Photo Paper. Note: The Prem ium Luster Photo Paper is my favorite overall Epson paper for color and black-and-white prints. My second favorite is their Velvet Fine Art Paper, which I use when I want more of a painterly watercolor look and feel. It works really nicely for the right kind of photos because the paper has a lot of texture, so your photos look softer. Try it for shots of flowers, nature, soft landscapes, and any shot where tack-sharp focus is not the goal. Velvet Fine Art Paper is also a very forgiving paper when your photo is slightly out of focus.
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Under the Mode section, click on Advanced Settings. (On a PC, choose Custom and click on the Advanced button.) Choose your Print Quality from the pop-up menu. I used to choose Super Photo - 2880 dpi because I wanted to get the highest possible quality, but I feel the trade-off between time and ink usage vs. the difference in q ual ity (which is fairly negligible in most cases, if visible at all) isn't worth it, so now I choose SuperFine 1440 dpi, which creates a wonderful qual ity print without waiting around all day. The only reason I might bump up to 2880 is if the photo I just printed has some visible banding, or I see a problem that I hope a higher printing dpi might fix, but thankfully that is rare. Again, this is one of those things to test with your own printer: print the same image on simi lar paper, once at 1 440, once at 2880, and see if you spot a distinct difference. 204
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This next change, turning off the printer's color management, is critical. You do this by choosing Printer Color Management from that third pop-up menu to make the Color Management options visible (on a PC, they are in the same Advanced dialog). Then, ignore these very tempt ing-looking settings (the Mode pop-up menu, Gamma pop-up menu, and lots of fun-looking sliders that are just begging you to mess with them-but don't do it). Those controls are evil. So why did we come here in the first place? To turn this j unk off-just click on the Off (No Color Adjustment) radio button (as shown in the next step).
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for Digital Photographers
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When you select Off (No Color Adjust ment), than kfully all that tempting stuff is immediately hidden from view, because now the printer's color management features are turned off. You want no color adj ustment from your printer you're letting Photoshop manage your color instead. Now you're ready to hit the Print button to get prints that match your screen, as you've color managed your photo from beginn ing to end.
WARNING: If you're printing to a color
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inkjet printer, don't ever convert your photo to CMYK format (even though you may be tempted to because your printer uses cyan, magenta, yellow, and black in ks). The conversion from RGB to CMYK inks happens within the printer itself, and if you do it first in Photoshop, your printer will attempt to convert it again in the printer, and your printed colors will be way off. Step-by-Step Printing and Color Management
205
Chapter 6 Color Correction Secrets
Local Color
color correction secrets In previous editions of the book, I pretty
only Brightness/Contrast for his tonal correc
much used up all the good titles for this
tions. This made the other chi ldren laugh at
chapter. I already used "True Colors" (my
him, and recalibrate his mon itor to crazy
personal favorite title, inspired by the Cindy
colors when he was off selling his handmade
Lauper song), and up to this point I have
trin kets to the American tourists who would
skil lfully avoided using Chicago's "Color My
visit h is tiny village. Then one day, he met a
World" as a title. By the time I got to the CS2
kind American tourist (we'll cal l him Senor
version of the book, I was already run ning
Willmore), who was getting on his air-condi
out of decent names, so I had to go with
tioned tour bus when he stopped and looked
"The Color of Money" (from the movie of
back at the uncalibrated little boy, and tossed
the same name), which admittedly was kind
him an X-Rite Eye-One Display 2 hardware
of lame. So this time I dug a little deeper
cali brator. The l ittle boy's eyes fil led with
and found a movie called Loca/ C% r, made
joy as he ran back to his 25 Mhz Macintosh
back in 1 977, that starred Jane Campbell, Bob
Quadra, opened the box, took out the USB
Herron, and Temmie Brodkey, among others.
cable, and started to connect the cal ibrator,
If none of those people sound famil iar, it's
but then he realized his old Mac Quadra
probably because you didn't see Loca/ C% r,
didn't have a USB port, and he cried and
which was the story of a young boy in a small
cried, then the movie ended. It was a really
village who only had Photoshop 5.5 and used
sad movie. No wonder you didn't see it.
Color Correction Secrets
207
The Adobe Photoshop CS3 Book
for Digital Photographers
Two Things to Do Before You Color Correct Anything
Step One: Go to the Toolbox and click on the Eyedropper tool (or just press the letter I). If you look up in the Options Bar, you'll see that the default Sample Size setting for this tool is Point Sample. The problem with this setting is it gives you a reading from just one individual pixel, rather than giving you an average of the area where you're clicking (which is much more accu rate for color correction purposes). To fix this, go up to the Options Bar, and change the Sample Size pop-up menu to 3 by 3 Average (as shown here). By the way, if you're working on super-h igh-resolution images, in CS3 Adobe added larger sam pling areas, like SxS, l l xll, 31x31, and on up to 1 01 xl 0 l .
Step Two: Although having a colorful desktop back ground is fine when we're working in Photoshop, you'll rarely find a professional doing color correction with a colorful desktop background because it changes how you perceive color (and that will influence how you color correct your photos). Ideally, you'd use a neutral gray background, and to get one, just press the letter F once. This centers your photo onscreen with a neutral gray background behind it. To return to regular mode, press the letter F three more times. Okay, now you're ready. 208
Color Correction Secrets
Before we correct even a single photo, there are two quick little changes we need to make in Photoshop to get better, more accurate results. The first is to change how the Eyedropper tool measures color, and the second is to get a neutral gray background behind your photos so your background doesn't affect how you color correct your photos. Although it's just two simple changes, don't underestimate their impact-this is important stuff.
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As far as digital technology has come, there's still one thing that digital cameras won't do: give you perfect color every time. In fact, if they gave us perfect color 50% of the time, that would be incredible; but unfortunately, every digital camera (and every scanner) sneaks in some kind of color cast in your image. Generally, it's a red cast, but depending on the camera, it could be blue. Either way, you can be pretty sure there's a cast. (Th ink of it this way: if there weren't, the term "color correction" wouldn't be used.) Here's how to get your color in line:
for Digital Photographers
Color Correcting Digital Camera Images
Step One: Open the RG B photo you want to color correct. (The p hoto shown here doesn't look all that bad, but as we go through the correction process, you'll see that, l i ke most p hotos, it real ly needed a correction.)
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Go under the Image menu, under Adjustments, and choose Curves (or press Command-M [PC: Ctrl-MJ). Curves is the hands-down choice of profession als for correcting color because it gives you a greater level of control than other tools, like Levels, where you pretty m uch are limited to just three adjustment sl iders. The Curves dialog may look intim idating at first, but the technique you're going to learn here requires no previous knowledge of Curves, and it's so easy, you'll be correcting photos using Curves immediately. Continued Color Correction Secrets
209
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Step Three: First, we need to set some preferences in the Curves dialog so we'll get the results we want when color correcting. We'll start by setting a target color for our shadow areas. To set this preference, in the Curves dialog, double-click on the black Eyedropper tool (the Eyedroppers are found below the center of the curve grid, and the shadow Eyedropper is the first Eyedropper from the left [the one half-filled with black], as shown here).
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Step Four: When you double-click on that shadow Eyedropper, it brings up the Color Picker asking you to select your target shadow color. This is where you'll enter some new RGB numbers that will help remove any color casts your camera introduced in the shadow areas of your photo. We're going to enter values in the R, G, and B (Red, Green, and Blue) fields of this dia log (the Red field is highlighted here).
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210
Color Correction Secrets
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Now we'll set a preference to make our highlight areas neutral. Double-click on the white Eyedropper (the third of the three Eyedroppers at the bottom of the Curves dialog). The Color Picker will appear asking you to Select Target H ighlight Color. Click in the R field, and then enter these values (Note: To move from field to field, just press the Tab key): For R, enter 245 For G, enter 245 For B, enter 245 Click OK to set those values as your high l ight target.
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Step Six: N ow, set your midtone preference. You know the drill: Double-click on the m idtone Eyedropper (the middle of the three Eyedroppers) so you can Select Target Midtone Color. Enter these values in the RGB fields: For R, enter 1 33 For G, enter 1 3 3 For B, enter 1 3 3 Then click OK to set those values a s your midtone target. That's it-you've done all the hard work. The rest from here on out is pretty easy.
Continued Color Correction Secrets
21 1
The Adobe Photoshop CS3 Book
for Digital Photographers
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Step Seven: If you still have the Curves dialog open, click OK to exit it for now, and you'll get a warning dialog asking you if you want to Save the New Target Colors as Defaults. Click Yes (as shown here), and from this point on, you won't have to enter these values each time you cor rect a photo, because they'll already be entered for you-they're now the default settings. So, the next time you color cor rect a photo, you can skip these seven steps and go straight to the correcting.
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Step Eight: Okay, now that you've entered your preferences (target colors) in the Curves dialog, you're going to use these same Curves Eyedropper tools (shown here) to do most of your color correction work. In a nutshell, here's what you'll do with those three Eyedroppers: (1) Find something in your photo that you know is supposed to be the color black. If you can't find someth ing black, find the darkest area in your photo and convert that area to your target shadow color by clicking on that area once with the shadow Eyedropper.
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212
Color Correction Secrets
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Let's start by setting the shadows first, so press Command-M (PC: Ctrl-M) to bring back up the Curves dialog (shown here). Now, your job is to look at the photo and find something that's supposed to be the color black. In most photos, this won't be a problem-you'll see a dark area of shadows (li ke beh ind the pots and pitch ers in this p hoto), or a black car tire, or someone wearing a black sh irt, etc., and in those cases it's no sweat. But, if you can't find something that's supposed to be the color black, then you can have Photoshop show you exactly where the darkest part of the photo is.
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There are two sliders directly under the curve grid that can help you. Press-and hold the Option (PC: Alt) key and click on the left (Shadow) sl ider, and your i mage area turns solid white (as seen here). As you drag slider to the right (wh ile sti l l holding that Option/Alt key down), the first areas that appear onscreen are the darkest parts of your photo. That's Photoshop tel ling you exactly where to click, so remember where those areas are (in this case, it's the shadow under the first pot on the left).
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Now that you know where your shadow area is, drag that Shadow slider back to the left, and release the Option (PC: Alt) key. Now, click on the shadow Eyedropper, move out over your photo (wh i l e the Curves dialog is still open), and click once on that shadow area. In this case, click on the shadows below that first pot from the left (as shown here), and it converts your shadow areas to a neutral shadow color, and the color cast is removed from the shadow areas (compare this photo with the one in Step Nine and you'll see the difference this one click makes).
TIP: When you click in that shadow area, three new lines appear in your curve, show ing how the Red, Green, and Blue channels were affected by your move. This is a new feature in CS3, and although some users love it, some find it really distracting. If you'd like those channel l ines turned off, just click on the triangle next to Curve Display Options at the bottom left of the Curves dialog, then turn off the checkbox for Channel Overlays (as shown here).
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Now, on to setting the highlight point. Your job: find something that's sup posed to be the color white. Again, this is usually pretty easy, but if you can't find something white, you can use the same trick you just learned to have Photoshop show you where the lightest part of your photo is. Press-and-hold the Option (PC: Alt) key, but this time drag the far-right slider to the left. The screen turns black (as shown here), and as you drag to the left the first wh ite areas that appear are the lightest parts of your image.
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N ow that you know where your high l ight area is, drag that H ighlight slider back all the way to the right, and release the Option (PC: Alt) key. Now, click on the h ighlight Eyedropper, move out over your p hoto, and click once on that high light area. I try and look for a white area that has some detail (rather than click ing on what's called a specular h ighl ight, which is a blown out h ighlight area with no detail, like the sun, or a bright sun reflection on a chrome car bumper, etc.). In this case, I clicked on the wh ite painted area to the right of the dark blue netting (as shown here), and that makes your h ighlight areas neutral and removes any color cast in your high lights (we're only two cl icks into this correction, and look how m uch better the p hoto already looks). Continued Color Correction Secrets
21 5
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Now for your third click-finding some thing that's supposed to be a neutral gray. This one's a little trickier, because not every photo has a neutral gray area, and the Curves dialog doesn't have a "find the gray" trick l ike it does for shadows and highlights, but never fear there's a project coming up in this chap ter that shows you a way to find that neutral area every time. In the example we're working on, finding an area that's supposed to be a neutral gray isn't a problem-you can click on the edge of the large vase on the ground (as I did here). It neutralizes the color cast in the midtones, and as you can see here, it removed that lingering reddish color cast that was still there after neutralizing the highlights and shadows.
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Before you click OK, you're going to use Curves to increase the overall contrast in the photo (in fact, it's the best way to increase contrast in Photoshop). Plus, it's easy: (1) first, click once right in the very center of the grid to add a point; (2) then, click above and to the right of the center, right along the line, where the gray grid lines intersect with the diagonal line; and (3) add one more point on the line, where the lines intersect at the bot tom quarter (as shown here).
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Now, while the bottom-Ieh point is selected, press the Down Arrow key on your keyboard eight or nine times, to move that point of the curve downward, which increases the contrast in the shadow areas. Then, click on the top right point, but now press the Up Arrow key on your keyboard eight or nine times, to i ncrease the contrast in the h ighlights. Moving the top point up and the bottom point down like this steep ens the curve and adds more contrast. Now you can click O K, and you're done.
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Orag.. and.. Orop Instant Col or Correction
This is a wonderful timesaving trick for quickly correcting an entire group of photos that have simi lar lighting. It's ideal for studio shots, where the lighting conditions are controlled, but works equally well for outdoor shots, or really any situation where the lighting for your group of shots is fairly consistent. Once you try this, you'll use it again and again.
Step One: First, here's a tip within a step: If you're opening a group of photos from Adobe Bridge C53, you don't have to open them one by one. Just press-and-hold the Command (PC: Ctrl) key and click on all the photos you want to open. (If all your photos are consecutive, press and-hold the Shift key and click on the first and last photo in the window to select them all.) Then, double-click on any one of your selected photos and the images will open in Photoshop. So now that you know that tip, go ahead and open at least three or four images, just to get started.
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Step Two: At the bottom of the Layers panel, there's an icon with a pop-up men u for adding adj ustment layers (it's the half white/half-black circle icon). Click on it and choose Curves. There are a number of advantages to having this correction applied as a layer, as you'll soon see, but the main advantage is that you can edit or delete this tonal adj ustment at any time while you're working. plus you can save this adjustment with your file as a layer.
218
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Step Three: When you choose this adjustment layer, the regular Curves dialog appears, just like always. Go ahead and make your corrections to your topmost open image, just as you did in the previous tutorial (setting h ighl ights, midtones, shadows, etc.). When your correction looks good, click OK.
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improved the results you get from the Brightness/Contrast controls (Adobe must have realized that despite all efforts to get people to stop using it, and use Curves or Levels instead, many people were sti ll using it). Now the controls actually maintain better highlight and shadow detail, and the Contrast slider now gives you more of an 5-curve con trast like you'd get using Curves, so it's much improved. However, if you liked the old way it worked (please tell me you didn't l i ke the old way), you can return to the old method by turning on the Use Legacy checkbox, and the two sl iders will then make everything look yucky and awful again-just like before.
Step Four: In the Layers panel, you'll see that a new Curves 1 adjustment layer was created (if you can't read the Layers panel, expand its width by clicking-and-dragging on the very bottom-right corner of the panel). Because you applied this correction as an adjustment layer, you can treat this adjustment just like a regular layer, right? Right! 50 now we'll apply this Curves adjustment to your other open images.
Continued Color Correction Secrets
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Step Five: Since Photos hop lets you drag-and-drop layers between open documents, go to the Layers panel and simply drag this layer right onto one of your other open photos. That photo will instantly have the same correction applied to it. This technique works because you're correct ing photos that share similar lighting conditions. Need to correct 1 2 photos? Just drag-and-drop it 12 times (making it the fastest correction in town!). In the example shown here, I've dragged-and dropped that Curves adjustment layer onto one of the other open photos.
Step Six: Okay, what if one of the "dragged cor rections" doesn't look right? That's the beauty of adjustment layers; just double click directly on the adjustment layer thumbnail for that photo and the Curves dialog will reappear with the last settings you applied still in place. You can then adjust this individual photo separately from the rest. Try this dragging-and dropping-adjustment-Iayers trick once, and you'll use it again and again to save time when correcting a digital roll with similar lighting conditions.
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Color Correction Secrets
The Adobe Photoshop CS3 Book
If you're shooting in a studio, whether it be portraits or products, there's a technique you can use that makes the color-correction process so easy that you'll be able to train laboratory test rats to correct photos for you. In the back of this book, I've incl uded a color swatch card (it's perforated so you can easily tear it out). After you get your studio lighting set the way you want it, and you're ready to start shooting, j ust put this swatch card into your shot (just once) and take the shot. What does this do for you? You'll see.
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Studio Portrait Correction Made Simple
Step One:
When you're ready to start shooting and the lighting is set the way you want it, tear out the swatch card from the back of this book and place it within your shot (if you're shooting a portrait, have the subject hold the card for you), and then take the shot. After you've got one shot with the swatch card, you can remove it and continue with the rest of your shoot.
Step Two:
When you open the first photo taken in your studio session, you'll see the swatch card in the photo. By having a card that's pure white, neutral gray, and pure black in your photo, you no longer have to try to determine which area of your photo is supposed to be black (to set the shad ows), which area is supposed to be gray (to set the m idtones), or which area is supposed to be white (to set the high lights). They're right there in the card.
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Press Command-M (PC: Ctrl-M) to bring up the Curves dialog. Click the black Eyedropper on the black panel of the card to set the shadows (as shown here), then click the middle gray Eyedropper on the darker gray panel to set the midtones.
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Finding a neutral midtone while color correcting has always been kind of tricky. Well, it was until Dave Cross, who works with me as Senior Developer of Education for the National Association of Photoshop Professionals (NAPP), came into my office one day to show me his amazing trick for finding right where the midtones live in just about any image. When he showed me, I immediately blacked out. After I came to, I begged Dave to let me share h is very slick trick
for Digital Photographers
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in my book, and being the friendly Canadian he is, he obl iged.
Step One:
Open any color photo, and click on the Create a N ew Layer icon at the bottom of the Layers panel to create a new blank layer. Then, go under the Edit menu and choose Fill. When the Fill dialog appears, in the Contents section, under the Use pop-up menu, choose 50% Gray (as shown here).
Step Two:
When you click OK, it fi lls your layer with (you guessed it) 50% gray (you can see the gray thumbnail for Layer 1 in the Layers panel shown here). Now, go to the Layers panel and change the blend mode of this layer to Difference (as shown here). Changing the layer blend mode to Difference doesn't do m uch for the look of your photo (as you can see here), but don't worry-it's only temporary.
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Step Four:
Now that your midtone point is marked, go back to the Layers panel and drag the 50% gray layer onto the Trash icon to delete it (it already did its job, so you can get rid of it), You'll see your full-color photo again, Now, press Command-M (PC: Ctrl-M) to open Curves, get the midtones Eyedropper (it's the middle Eyedropper), and click directly on that Color Sampler point (shown circled in red here),
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That's it; you've found the neutral midtones and corrected any color cast within them (in this case, it removed the red color cast, and made the trees look greener). So, will this trick work every time? It works most of the time, but you will run across photos that just don't have a neutral midtone, so you'll have to either not correct the midtones or go back to what we used to do-guess.
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Adjusting RGB Flesh Tones
So what do you do if you've used Curves to properly set the highlights, midtones, and shadows, but the flesh tones in your photo sti ll look too red? Try this quick trick that works great for getting your flesh tones in line by removing the excess red.
Step One:
Open a photo that you've corrected using the Curves technique shown ear lier in this chapter. If the whole image appears too red, skip this step and go on to Step Three. However, if it's just the flesh-tone areas that appear too red, press L to get the Lasso tool and make a selection around all the flesh-tone areas in your photo. Press-and-hold the Shift key to add other flesh-tone areas to the selection, such as arms, hands, legs, etc., or press-and-hold the Option (PC: Alt) key to subtract from your selection. This can be a really loose selection like the one shown in Step Two (which doesn't incl ude her ears or neck). Step Two:
Go under the Select menu, under Modify and choose Feather. Enter a Feather Radius of 3 pixels (as shown here), and then click OK. By adding this feather, you're softening the edges of your selec tion, which will keep you from having a hard, visible edge show up where you made your adjustment. TIP: Once you've made a selection of
the flesh-tone areas, you might find it easier if you hide the selection border from view (that makes it easier to see what you're correcting) by pressing Command-H (PC: Ctrl-H). 226
Color Correction Secrets
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Step Three:
Go under the Image menu, under Adj ustments, and choose H ue/ Saturation. When the dialog appears, click-and-hold on the Edit pop-up menu and choose Reds, so you're only adjusting the reds in your photo in your selected areas (if you put a selection around just the flesh tones). B Hue:
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Color Correcting One Problem Area Fast!
This particular technique really comes in handy when shooting outdoor scenes, because it lets you enhance the color in one particular area of the photo (like the sky or water), while leaving the rest of the photo untouched. Real estate photog raphers often use this trick when shooting home exteriors to make it look like the sky was bright and sunny when they took the shot (even though the weather doesn't always cooperate). Here you'll use the technique to make the grayish sky look blue.
Step One:
Open an image containing an area of color that you would like to enhance. In this example, we want to make the sky blue (rather than gray). Go to the Layers panel and choose Color Balance from the Create New Adjustment Layer pop-up menu at the bottom of the panel (it's the half-white/half-black circle icon, fourth from the left). A new adjustment layer named Color Balance 1 will be added to your Layers panel, but the name will probably be cut off by default. If you want to see the layer's name, you'll have to widen your Layers panel by clicking and-dragging its bottom-right corner.
Step Two:
When the Color Balance dialog appears, drag the top sl ider to the left toward Cyan to add some bright blue into your sky, and then drag the bottom slider to the right toward Blue until the sky looks as blue as you'd like it. When the sky looks good to you, click OK. When you do th is, the entire photo (hills, moun tains, and all) will have a heavy blue cast to it.
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Press Command-I (PC: Ctrl-I) to fi ll your adjustment layer's mask with black, as shown here (you're j ust inverting the mask, which was white, so now it's black). This solid black mask hides the blue and cyan adjustments you made in the Color Balance dialog, so now the sky looks gray again. Step Four:
Now you'll reveal parts of the blue/cyan Color Balance adjustment layer using the Brush tool. Make sure your Foreground color is white. Press B to switch to the Brush tool, and then in the Options Bar, click on the thumbnail to the right of the word "Brush" and choose a large, soft-edged brush from the Brush Picker. Begin painting over the sky and as you paint, the blue version is revealed. If you make a mistake (like painting over the ground), press the X key to toggle your Foreground to black, and the original color will reappear where you paint.
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Keeping Great Color When You Email or Post Photos to the Web
Email applications (and nearly all Web browsers) don't support color manage ment. So, if you're working in Adobe RGB (1 998) or ProPhoto RGB as your Photoshop color space, when you email your photos or post them on the Web, they probably look l ike %$*# (with the colors all desaturated and flat-looking). Ah, if only there was a trick that would let anyone you email (or anybody who sees your photos on the Web) see your photos pretty much the same way you do in Photoshop (of course, there is-I just wish I knew it. Kidding!) Here ya go:
Step One:
To convert this photo for the proper color space for emai l i ng or posting to the Web, go under the Edit menu and choose Convert to Profile. This brings up the Convert to Profi le dialog (shown here). The Source Space at the top shows you the current color space your photo is in (if you're working in Adobe RGB [1 998J, l i ke in this exam ple, that's what you'l l see here). For your Desti nation Space (what you're converting to), choose sRGB IEC61 966-2.1 from the Profile pop-up menu (as shown here) and click OK. That's it-it's ready to go. Step Two:
One quick way to ensure that your photo has been converted to sRGB is to look at the window's title bar. If you've got Photos hop's color space set to Adobe RGB ( 1 998), which is pretty typical for photographers, and you just converted this photo to a different color space (sRGB), then you have a "profile m ismatch." So, you should see an asterisk right after (RGB/8) in the title bar (like th is: RGB/8*), which is Photoshop's way of letting you know that your photo is one space, and Photoshop is in another. In this case, that's a good thing.
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Chapter 7 How to Create Stunning Black-and-White Images
Black & White World how to create stunning b&w images If you search the iTunes Store for "Black & White"
when Vince Neil sings them, they don't sound
you wil l be stunned at how many songs are
as naughty. They sound beautiful, and melodic,
named exactly that-"Black & White." In fact,
with meaning, texture, and a certain poetic
if I j ust wanted to stay with the chapter title
charm to them. Aw, who am I trying to kid?
"Black & White" (like I did back in the CS2 book),
It's super-dirty naughtiness, but you don't even
then I'd be pretty much covered until about
care. You know why? Because you're a photog
Photos hop CS46. However, for some reason I
rapher, which means that at least one time in
was drawn to "Black and White World" by Elvis
your career you did a client shoot where some
Costello. I almost went with "Black Widow" by
setting in the camera was horribly wrong, but
Motley Crue, but I noticed that the song was
you didn't realize it until you opened the images
tagged with the iTunes Store "Clean" icon, which
later in Photoshop. It was at that moment you
means there must also be an "Explicit" version,
learned that the entire shoot was done with
too. Now, you know, and I know, that when
your camera set to J PEG Basic mode, with your
you search for "Black Widow" on the iTunes
image size set to Small. Right then you started
Store, you're going to listen to the explicit ver
screaming expletives that would make Snoop
sion, right? See, I knew it! And I'm sure that
Dogg wash your mouth out with soap. So, the
explicit version is laden with words so naughty
next time this happens, just pop in that Crue
that you'd normally have to listen to an Andrew
song and let Vince do the cussing on your behalf.
Dice Clay show just to keep up, but somehow
Apparently, he's quite comfortable with it.
How to Create Stunning Black-and-White Images
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The lightness Channel Method
If you've ever converted a color photo to black and white by going under the Image menu, under Mode, and choosing Grayscale, my guess is the very next thing you did was look for a better method, because that method produces the flattest, lamest, blahest (insert your own "est" adjective here) B&W photo ever. Since the beginning of Photoshop time, we've been looking for a better way. I'm starting here with the easiest method, which uses the Lightness channel from Lab color mode, and gives a better black and white on even its worst day.
Step One:
Open the color photo that you want to convert to grayscale using the Lightness channel method. Now, you might want to duplicate this photo (under the Image menu, j ust choose Dupl icate), and go ahead and convert this duplicate to black and white by going under the Image menu, under Mode, and choosing Grayscale. That way, you have a refer ence of how flat and uninspired this B&W conversion can be.
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Step Two:
Go under the Image menu, under Mode, and choose Lab Color to convert your RGB photo i nto Lab color mode. You won't see a visual difference between the RGB photo and the Lab color photo the difference is in the channels that make up your color photo (as you'll see in a moment).
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Go to the Channels panel (found under the Wi ndow men u), and you'll see that your photo is no longer made up of a Red, a Green, and a Blue channel. I nstead, the luminosity (detail) of the photo has been separated from the color data, which now resides in two chan nels named "a" and "b." That luminosity is called the Lightness channel in Lab color mode, and it generally has lots of n ice highlight detail, so it makes a pretty attractive starting place for making a B&W conversion.
Step Four:
Click on the Lightness channel in the Channels panel to make it active. Now you're seeing j ust the Lightness channel, and as you can see here-it doesn't look too bad. A little light maybe, but it's not totally flat and lifeless like the conver sion you did to the dupl icate photo in Step One.
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Adobe Photoshop
Step Five:
Now, go under the Image menu, under Mode, and choose Grayscale (it's okay to do this now, because clicking on that Lightness channel has already told Photoshop what you're going to use for your B&W photo). Photoshop will bring up a warning dialog (seen here) asking if you want to discard the other channels (the two color channels-Han and HbH_ and your full-color Lab channel). Cl ick OK. If you look in the Channels panel, you'll now see only a Gray channel.
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Step Six:
Take a look at your B&W photo now, and see if you think it's too light (which is fairly likely) or too dark (which can also be the case, depending on the photo). If it's too light, go to the Layers panel, click on the Background layer, and then press Command-J (PC: Ctrl-j) to duplicate the Background layer. To make this layer darker, change the layer blend mode to Multiply (as shown here). In our example, changing that top layer to Multiply mode made the photo a bit too dark, but don't sweat it-it's just a starting point. Note: If your photo looks too dark, then instead you'd switch the layer blend mode from Normal to Screen, and you'd see the photo become much lighter.
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Step Seven:
This is where you get to "dial in" your ideal B&W tone. Just lower the Opacity of your Multiply layer in the Layers panel until you have the tonal balance you've been looking for (as shown here, where I lowered the Opacity to 65%, which gave me richer shadows to complement my nice highlights from the Lightness chan nel we used earlier). Besides being just plain easy, this Lab color method gives you more control and depth than just converting to Grayscale mode ever could (as seen below).
Standard grayscale conversion
Lab color Lightness channel conversion
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Using CS3's New Black & White Converter
The Channel Mixer had become quite popular for creating B&W conversions, because you could control the amount of the Red, Green, and Blue channels separately, since it never left RGB mode (it just removed the color). In C53, there's now a dedicated tool for B&W conversions, and while it's probably better than the Channel Mixer (it adds sliders for adjusting Magenta, Yellow, and Cyan), and it's more fun to use, I still feel I can get better, more predictable results using some of the other methods in this chapter. Give it a try and see what you think.
Step One:
Solid Color...
Open the color photo you want to con vert to black and white. Choose Black & White from the Create New Adjustment Layer pop-up menu at the bottom of the Layers panel (it's the half-black/half-white circle icon). Black & White is also found under the I mage menu, under Adjust ments; however, by applying it as an adjustment layer, it's non-destructive (you can edit your conversion later, paint [mask] over parts that you don't want black and white, lower the opacity for a faded-color look, or you can delete the adjustment layer, and return to your full color photo).
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Step Two:
When the Black and White dialog opens, it applies its default B&W conversion (seen here), which isn't nearly as flat a conver sion as you'd get by going under the Image menu, under Mode, and choosing Gray scale, but it's not a real great starting point either. If you notice, the percentage of each group of two colors (Reds and Yellows for example) adds up to 1 00%. That's fine if your goal is to maintain the same brightness in the photo, but most photographers want that rich h igh contrast B&W look, which means your numbers will probably add up to more than 100%. Don't let that freak you out.
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Step Three:
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At the top of the Black and White dia log, there's a pop-up menu with presets put there by Adobe (as shown here). Go ahead and give these a try and see what you th ink (my guess is you'll think they're pretty lame. In fact, I haven't found one of those presets that looks good for any photo I've applied it to, but hey, that's just me). I think the real advantage of the Preset pop-up menu is saving your own custom presets. If you come up with a combination and you'd like to add your custom preset to this pop-up menu, just click on that little square icon to the immediate right of the Preset pop-up menu and choose Save Preset. Then give your preset a name, and it will now appear in this pop-up menu.
Step Four:
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After you've tried the presets, choose None from the top of the Preset popup menu to return to the default B&W conversion. Luckily, there is an Auto but ton (shown circled in red here), which does an auto-B&W conversion. I think it tends to give better results than the default conversion or any of the presets, so go ahead and click on it, and use it as a starting point for your conversion (of course, you could just click Auto and be done with it, but you're really not one of those "Auto" people, are you? I didn't think so. You're a tweaker, aren't you? I knew it-I knew it! Okay, then you'll really love the next step, because it's the most fun part of this process).
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Step Five:
Since you're now seeing the photo in black and white, it's a little challenging figuring out which color slider will affect which area, and that's one of the prob lems with the old Channel Mixer-it was somewhat of a guessing game. J ust like here, you could toggle the Preview checkbox on and off, and you could peek at the color photo for a moment, so you could make an educated guess as to which color would adjust what in your B&W photo. Thankfully, there's a better way: move your cursor outside the Black and White dialog, and go out over the area in your photo you want to adjust (as shown here). Now click-and-drag to the left to darken the area where you're at, or click-and-drag to the right to lighten that area. Your cursor knows which colors are below it, and it moves just the color sliders that would affect that particular area. Very sl ick.
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So, that's what you'll do from here on out. This is the way I work with this Black and White dialog all the time. The only differ ence is, once I see which slider is adjusting the colors where I clicked, I sometimes go over and manually drag that slider a little just to tweak it, as shown here. Also, some times you'l l drag left (or right), and the change will be very subtle. In those cases, I go straight to the slider itself and drag it all the way to the left, then back all the way to right. That way I can clearly see which areas in the photo are being adjusted, and whether it's worth even bothering with. I think the photo looks better here, after dragging in different parts of it, and as you can see, some of the numbers add up to more than 100%. Yet, I 'm still able to sleep at night.
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So far the advantages over the Channel Mixer are: (1) being able to save presets, (2) the Auto conversion button, (3) there are three more sliders of control-not just Red, Green, and Blue, and (4) you can interactively adjust areas by click ing-and-dragging your cursor left or right directly on the photo. The final advan tage over the Channel Mixer is the ability to apply a tint for an instant duotone effect. Just turn on the Tint checkbox at the bottom-left corner of the dialog, and it applies a tint to your photo. By default, the Saturation amount is set pretty h igh, so just drag the Saturation slider to the left to reduce the amount of saturation until it looks about right (as shown here). So, although it's not my favorite B&W conversion method, it does have its advantages over the Channel Mixer alone.
CS3's new Black & White conversion How to Create Stunning Black-and-White Images
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Scott's Favorite High...Contrast B&W Technique
Some of the best techniq ues unfold when you least expect it, and this technique is a perfect example. I was working on a completely different technique when I stumbled upon this and I fell in love. It's about the easiest, fastest, most predict able way to create stunning high-contrast B&W images. Plus, at the end I show you how you can get two different variations to choose from with just a few clicks each. Not bad, eh matey?
Step One:
Open the color photo you want to con vert into a h igh-contrast B&W image (the photo shown here is one I took during a photo workshop in Vermont, and my buddy [and reknown photog rapher] Vincent Versace was gracious enough to let me use this photo of him for the book). You start by pressing the letter D to set your Foreground color to black, and then from the Create New Adjustment Layer pop-up menu at the bottom of the Layers panel, choose Gradient Map (as shown here).
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Step Two:
The Gradient Map dialog appears-just click OK and you're done. Not a bad B&W conversion, eh? Believe it or not, just the simple act of applying this black-to-white gradient map will almost always give you a much better conver sion than choosing Grayscale from the Image menu's Mode submenu, and I feel it's generally even better than both the default and Auto settings of CS3's Black and White dialog (try all three on duplicates of the same photo and see if you don't agree). Now, if I was going to nitpick this conversion, I'd like to see his jacket a little lighter. Easy enough. 242
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Step Three:
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If you find a photo (like this one) where you want to tweak the conversion a little (like l ightening the shadows in his coat), then go to the Layers panel, and double click directly on the Gradient Map adj ustment layer's thumbnail to bring back up the Gradient Map dialog. Once it appears, click once directly on the gradient to bring up the Gradient Editor dialog. Cl ick once directly below the cen ter of the gradient to add a color stop to your gradient (as shown here). The stop appears in the color black, so it's going to greatly darken your photo, but you'll fix that in the next step.
Step Four:
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Double-click on that color stop you created and Photoshop's Color Picker appears (seen here). All you have to do is click-and-drag your cursor all the way over to the left side of the Color Picker, right up against the edge (as shown here), and pick a gray color. As you slide up and down that left side, let go of the mouse button and look at your photo, and you'll see the midtones changing as you drag. Once you find a spot that looks good (in our case, one where his jacket looks l ighter), then click OK to close the Color Picker (don't close the Gradient Editor, though-just the Color Picker at this point-because there's another tweak you can do. Of course, what we've done so far is prob ably all you'll have to do, but since there is something else you can do, I at least want to show you, but know that this next step usually isn't necessary). Continued
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Step Five:
Once you're back at this Gradient Editor dialog, and your color stop is now gray, you can drag that m iddle gray stop around to adjust the tone of your image (as shown here). What's weird is you drag the opposite way that the gradi ent shows. For example, to darken the photo, you drag to the right, toward the white end of the gradient, and to lighten the photo, you drag left toward the dark end. Freaky, I know. One other thing: unlike almost every other slider in all of Photoshop, as you drag that color stop, you do not get a live preview of what's happening-you have to release the mouse button and then it shows you the results of your dragging. Click OK twice, and you're done.
Step Six:
Here's one of the two variations I talked about in the introduction for this tech nique: just go to the Layers panel and lower the Opacity of your Gradient Map adjustment layer to 80%. This bleeds back in a little of the color, and gives a real ly nice subtle "wash" effect (compare this slightly-colored photo with the full-color photo in Step One, and you'll see what I mean. It's kinda nice, isn't it? Okay, now raise it back up to 1 00% for the second variation, which is also a sec ond version of your B&W conversion.
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Step Seven:
For this version, go to the Layers panel and click on the Background layer, which is still in color. If you remove the color from that Background layer, you'd get a somewhat different conversion, right? Right! So, once you've clicked on the Background layer, press Command Sh ift-U (PC: Ctrl-Shift-U), which is the shortcut for the Desaturate command ( i t's fo und under the I m age m e n u, under Adjustments). This removes the color and gives you a different look (although the change is fairly subtle with this photo, with some photos it's pretty dramatic-it j ust depends on the photo). But, either way, wouldn't you rather choose between two B&W con versions and then pick your favorite? If you don't like this other look, j ust press Command-Z (PC: Ctrl-Z) to Undo it.
Regular grayscale conversion
Scott's high-contrast B&W conversion How to Create Stunning Black-and-White Images
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Calculations Method
If there's one dialog in Photoshop that scares the living daylights out of people, it's the Calculations dialog. It's got an awfully intimidating layout for a dialog that simply lets you combine two channels, but that's part of the beauty of it-once you learn this technique, you can "name drop" it to impress other Photoshop users. So the next time you're at a Photoshop party and Deke McClelland strolls by, just casually mention something like: "I was converting this B&W photo using Calculations the other day. . . " and then see if Deke offers to buy you a Heineken.
Step One:
Open the color photo that you want to convert to black and white using Calcula tions. Go under the I mage menu and choose Calculations (as shown here) to bring up the Calculations dialog. Basically, what you're going to do here is choose the best two grayscale channels from your color photo, and use a blend mode to blend them together to create a h igh contrast B&W image. For example, if you have one channel that looks too dark and one that looks too light, you can usual ly com bine the two to create a B&W image with added depth. Step Two:
As soon as the Calculations dialog appears, it does a B&W conversion (as seen here). By default, it takes the Red channel (seen up top in the Source 1 section of the dialog), and combines it with a copy of the same Red channel (under Source 2). By default, it blends these two channels together using Multiply mode (in the Blending pop-up menu), which works great if your B&W conversion looks too light (like the one shown here). So your job is: (a) find out which two channels look best together, then (b) choose a blend mode that makes the photo look either darker (Multiply) or l ighter (Screen). 246
How to Create Stunning Black-and-White Images
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Now you'll try and find the best combi nation of two channels. This part is really simple: go to the Source 2 section of the dialog, and choose the Green channel (from the Channel pop-up menu) and see how that looks when paired with the Red channel from Source 1 . Then try the Blue channel (as shown here). To me, the Blue channel looks the best of the three. In most cases that's it, you're done, click OK.
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If you want your photo even darker and richer, go to Calculations again, and leave the Channel pop-up menus set to Alpha 1 (that's the new channel you created in the last step), but try changing the Blending pop-up menu to Overlay (as shown here). Also, if the effect seems too intense now, lower the amount of the Opacity (here I lowered it to 75%), and then click OK. Lastly, go under the Image menu, under Mode, and choose Grayscale to complete your conversion.
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Continued How to Create Stunning Black-and-White Images
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Regular grayscale conversion
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I taught a week-long hands-on class last year at the Santa Fe Workshops out in Santa Fe, New Mexico (by the way, it's an incredibly well-run training experience h ighly recommended), and my students learned a number of techniques for converting to black and wh ite. However, by the end of the week, my students were shooting exclusively in RAW, and once I showed this simple B&W conversion in Camera Raw, this is pretty much all they used. Of course, in CS3,
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Step One:
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Open the RAW color photo you want to convert. When the Camera Raw dialog opens, go to the H SL/Grayscale panel and turn on the Convert to Grayscale checkbox, as shown here. This gives a pretty flat-looking conversion, but you're only about three sliders away from a great conversion. (Note: If you're not shooting in RAW, you can sti l l open your j PEG or T I F F photos in Camera Raw, j ust choose Open [PC: Open As] from Photoshop's F i l e Menu, then navigate to the )pEG or T I F F you wan t to open. When you fi nd the photo, click on it, then from the Format [PC: Open As] pop-up menu choose Camera Raw and your photo will open in Adobe Camera Raw, as seen here. Of course, this actually is a RAW photo, but you get the idea, right? CooL)
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Go back to the Basic panel and drag the Exposure slider as far to the right as you can without clipping any highlights. To do that, turn on the highlight clipping warning by clicking once on the top-right triangle up in the histogram. While you're dragging the slider to the right, if any part of your photo turns red-stop! Then drag the Recovery slider to the right to recover those clipped h ighlights (as shown here). Continued
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Step Three:
Now go to the Blacks slider and drag to the right to make the shadow areas really nice and rich. It's okay if you clip a little of the shadow areas-j ust make sure they're not areas of critical detail. In our example, the shadow clipping mostly occurs in the shadowy crevices on the face of the mountain, and in the darkest shadow areas of the tree in the foreground, so I'm not losing enough to worry about. Remember-clipping by itself isn't a bad thing-as long as it's not a critical detail area.
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Lastly, to add that little bit of "pop" to our photo, cl ick on the second icon on the top right of the dialog to go to the Tone Curve panel. Cl ick on the Point tab and then choose Strong Contrast from the Curve pop-up menu (as shown here). It doesn't get much easier than that! Now, if you wanted to tweak this curve a l ittle bit more, you could cl ick once on the second from top point in the curve, then press the Up Arrow key on your keyboard a few times to make the h ighlight part of the curve a little steeper, which makes the whole photo appear more contrasty (remember-the steeper the curve, the more contrast it creates). You can add even more contrast by clicking on the second to bottom point, and pressing the Down Arrow key a few times. Lastly, if your highlights start to get blown out, click on the Parametric tab, then drag the Lights slider to the left a little bit. Now click Open Image, and you're done.
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Regular Camera Raw grayscale conversion
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High-contrast Camera Raw B&W conversion
How to Create Stunning Black-and-White Images
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Chapter 8 Dealing with Common Digital Image Problems
99 Problems dealing with common digital image problems Yo, we got some jay-Z up in the house (that's
know what I think he was seeing? I think it
my sad attempt at trying to sound "street."
was probably a billboard advertising a local
Seriously, is there nothing sadder than some
dry cleaner, and they had one of those "Spring
40-something guy trying to sound l ike he's 1 7
Cleaning" specials where you get like 20% off
because he's trying to appeal to a demographic
when they clean your comforters, blankets, or
with huge amounts of disposable income? That's
quilts, and you know they really have to give
exactly why I would never stoop to those tactics.
a pretty decent discount like that because it's
Yo dog, I just ain't all that)! Anyway, his song
already spring, and you won't be using that stuff
"99 Problems" is actually a pretty decent song,
again until next fall, but then it will be full price,
even though when I watched the video in
so it's probably good if you take advantage of
Apple's iTunes, a lot of the words had been
that discount now. Anyway, I'll bet jay-Z saw
blan ked out (there were gaps in the vocals
something like that, and since they weren't
his mouth was moving, but you couldn't hear
paying jay-Z a promotional fee, he wasn't going
what he was saying). For example, at one point
to give the name of the dry cleaner out-
he says, "In my rear view mirror is. . . " and then
or their special offer-without "gettin' some
the next few phrases are blanked out. So, I guess
bank" (dig my street lingo), right? So, in the
we're to form our own conclusions about what
studio, they probably blanked out that part.
jay-Z was seeing in his rear view mirror. You
Yeah, that's probably what it was. Yo!
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Fixing Color in I ndoor Shots
You can shoot outside all day and be getting shots that look just great, but step indoors and everything changes. The culprit is Auto white balance (the default setting on digital cameras, and most people never change from this default). With Auto white balance, shooting indoors (like the interior shot shown below) you get what you see here-a photo that looks way too yellow (or if I had shot in an office, where the standard is fluorescent lighting, it would be too blue). You don't have to reach for Curves to fix this-it's simple in Camera Raw (even for )pEGs).
Step One:
Here's the interior photo, taken under standard household lighting (called "tungsten lighting" by photographers, people who sell home lighting for a l ivi ng, and people who are seriously geeky). In our example, the photo was shot in RAW format, so when you open the photo from Adobe Bridge (or wherever), it opens in the Camera Raw dialog (shown here). Now, you can use Camera Raw to process your j PEG photos (as you'll see in Step Four), but adj usting white balance is one area where you get better results from RAW than from jPEG (as you'll soon see). Step Two:
Since you took the shot indoors (under tungsten lighting) and you shot in RAW, you can take the easy way out and sim ply choose Tungsten from the White Balance pop-up menu (as shown here). just look at the immediate difference (the counters are white again!). By the way, if you had changed your camera's White Balance setting to Tungsten before you took the shot, you wouldn't even be reading this page, so it's worth it to get it right in the camera, rather than having to waste time fixing it later in Photoshop. Hey, I'm sorry-this is "tough love."
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After you choose Tungsten, see if the ceiling in the top-right side of the photo doesn't look a little red to you (it did to me). Luckily, that's easy to fix-just go to the Tint sl ider and drag slowly to the left (as shown here) away from magenta until the reddish look disappears. By the way, if for some reason choosing the Tungsten preset in Camera Raw doesn't look good, then instead set the White Balance pop-up menu back to As Shot, and just drag the Temperature slider to the left until the yellowing goes away.
Step Four:
If you shot in JPEG, to use Camera Raw to adjust your wh ite balance, in the Open (PC: Open As) dialog choose Camera Raw from the Format (PC: Open As) pop-up menu. The problem is there is no Tungsten preset for JPEGs or TIFFs j ust As Shot and Auto (neither of which looks good for this photo). So, all you can do is either try to find a neutral gray and click on it with the Eyedropper tool (I didn't have m uch luck), or you can drag the Temperature slider to the left until the yellowing goes away, and if the reddish look persists, you can drag the Tint slider to the left a little bit. This was as close as 1 was able to come with a J P EG (you can see on the next page the advantage of RAW in this instance).
Continued Dealing with Common Digital Image Problems
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Before
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We all wind up shooting subjects that are backlit (where the sun is behind your subject), That's because our eyes automatically adjust to the situation and we see the subject just fine in our viewfinder. The problem is our cameras aren't nearly as sophisticated as our eyes are, so you're almost guaranteed to get some shots where the subject is way too dark when you open them in Photoshop. That's why Shadow/H ighlight rocks, and here you'll learn how easy it is to use, and a cool CS3-only trick at the end that makes it non-destructive and total ly editable.
When Your Subj ect Is in the Shadows
Step One:
Edit
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Open a photo containing shadow or h ighlight areas that need adjusting (in this case, it's a photo of the Valley of the Gods out in Utah). In this example, the light is coming from the left of the rocks, and I'm standing behind the rocks shoot ing into the shadow areas, so ideally we'd like to open up the shadows on this side. The other problem is the sky is pretty washed out, so I'd like to darken the sky by pull ing back the h ighlights. That's when you reach for Shadow/Highlight it's found under the Image menu, under Adj ustments (as shown here).
Variations ...
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Step Two:
Adobe knows that if you're choosing Shadow/Highlight, you probably have a problem in the shadow areas. That's why by default, it's set to open up (lighten) the shadow areas in your photo by 50% (as seen here). Here's the thing: to me, that 50% default setting seems like too m uch lightening (look at the photo shown here), so the first thing I do is lower the Shadows Amount until it looks better. There's another problem with opening the shadows 50% or more-it looks a bit fake, and your photos tend to look "milky" and overadj usted. To get around that, turn on the Show More Options checkbox, as shown here.
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This brings up an expanded version of the dialog (as shown here). I have a little form ula that I use that usual ly gives me the opened up shadow areas I need, without looking totally fake. First, I lower the Amount to somewhere between 25% and 35%, as shown here (the final amount depends on the individual photo-I start at 25% and drag up a little to see if I can get away with 35%). Then, I drag the Shadows Radius slider to the right to between 1 60 and 190, which smoothes out the effect even more.
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Now that the shadows are opened up (and look reasonably realistic), you can work on the highlights. In most cases, you'll only be working on one or the other-the shadows or the h ighlights, but not both. It takes someone special to actually take a photo that is so wrong on every level that it needs both areas adjusted. So, to pull back (darken) the highl ights in the sky, you go to the H ighlights section and drag the Amount slider to the right (as shown here). This darkens the highlights, which is good, but in our case it also introduced a new problem-a white glow around the edges of the rocks. Luckily, that's easy enough to fix. Step Five:
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To get rid of those white halos around the edges of the rocks, in the H ighlights section drag the Radius slider all the way to the left (as shown here), and the halos are gone. By the way, before we move on, here's what the Tonal Width, Radius, and Adjustments sliders actually do: If you're tweaking shadows, lowering the Tonal Width lets you affect only the darkest shadow areas; increasing it affects a wider range of shadows. I ncrease it a bunch, and it'll start to affect the midtones as wel l. It works simi larly for the highl ights. The Radius amount determ ines how many pixels each adjustment affects, so to affect a wider range of pixels, increase the amount. If you increase the shadow detail, the colors may become too saturated. If that's the case, reduce the Color Correction amount (which basically only affects the area you're adjusting). You can also adjust the contrast in the midtones using the Midtone Contrast slider. Continued
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Step Six:
Go ahead and click OK to apply your Shadow/Highlight edits. Lastly, press Command-L (PC: Ctrl-L) to bring up Levels, which we'll use to add some con trast back into the photo and saturate the colors a bit. So, when the Levels dialog appears, grab the Highlights slider (on the far right under the histogram), and drag it to the left to brighten the highlights (as shown here). Then drag the Shadows slider (the black triangle on the far left) to the right to darken the shadows, and click OK to get the final image shown below.
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Okay, remember that cool CS3-only trick I mentioned in the intro? Well, here it is: I'm going to show you a way that you can apply the Highl ight/Shadow as a total ly editable, non-destructive Smart Filter, even though it's not a filter (oh yeah, baby-this sounds sa-weet!!!). There are two prep steps, but you only have to do this first prep step if your photo is a standard 8-bit i m age (so if it's a 1 6-bit RAW photo, you can skip # 1 ): (1) Go under the Image menu, under Mode, and choose 1 6-Bits/Channel. The look of your photo won't change, but we have to be in 1 6-bit for this trick to work. Then, (2) go under the Fi lter menu and choose Convert for Smart Fi lters (as shown here), which basically turns your photo into a Smart Object.
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Step Eight:
N ow, just like before, go under the Image menu, under Adjustments, and you'll see that every adjustment is grayed-out but one-Shadow/H ighlight-so go ahead and choose it (as shown here). This brings up the regular Shadows/Highlights dialog just like always, and you can go ahead and adjust the photo using the techniques you learned on the previous pages, then click OK. This is where everything changes.
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Step Nine:
When you go to the Layers panel, you'll see that your Shadow/H ighlight adjust ment has been added to your photo as a Smart Filter. What that means is this: a new layer (actually, a layer mask) has been added below your photo (you can choose a brush, set your Foreground color to black, click on that mask layer, and start painting over any areas where you want the Shadow/Highlight effect removed, and if you paint in white, it brings the effect back (so it works like an adj ustment layer). But there's more: If you double-click directly on Shadows/H igh lights, it brings back up the Shadows/High lights dialog with the last settings you entered, so you can edit it after the fact. If you want to hide the effect altogether, click on the Eye icon to the left of the words "Shadows/ Highlights" (just like you'd hide a layer). Step 10:
Another feature of this Smart Filter that makes it more like an adjustment layer is that if you double-click directly on the little Edit Blending Options icon to the far right of your Shadows/H ighlights filter in the Layers panel (you can see it in the previous step), it brings up a dia log where you can choose a layer blend mode for your Shadow/Highlight adjust ment, and you can control the opacity of the effect. In the example shown here, I darkened the effect by choosing the Darken blend mode from the pop-up menu, and then I lowered the Opacity to 60%.
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Step 1 1 :
Again, like a n adjustment layer, your Shadows/High lights Smart Filter is non-destructive, so if you decide that later you want to remove the Shadow/ H ighl ight adj ustment altogether, j ust go directly to the Layers panel, click on the S hadows/Highl ights layer, and drag it into the Trash at the bottom of the panel.
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l S Second Fix for Under.. or Overexposed Photos ..
This is a tonal correction for people who don't like making tonal corrections (more than 60 million Americans suffer from the paralyzing fear of MTC [Making Tonal Corrections]). Since this techn ique requires no knowledge of Levels or Curves, it's very popular, and even though it's incredibly simple to perform, it does a pretty incredible job of fixing both underexposed and overexposed photos, and the only difference between the two is one simple change.
Step One:
We'll start by fixing a dark, underex posed photo, and once you learn this technique, the overexposed fix is almost the same (with just one small change). This photo was taken on a pure white background (which gives you an idea of how underexposed this shot really is). The first step is just to duplicate the Background layer (as seen here) by drag ging it onto the Create a New Layer icon at the bottom of the Layers panel.
Step Two:
On this new layer, change the layer blend mode at the top of the Layers panel from Normal to Screen to lighten the entire photo (as shown here).
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Step Three:
If the photo is sti l l too dark, press Command-J (PC: Ctrl-J) to duplicate this Screen layer, which makes the photo that m uch l ighter again. In this case, adding a third layer helped, but it also made it look slightly overexposed on her right cheek. So, lower the opacity of this layer (as shown here) to "dial in" the perfect amount of lightening (the opac ity lets you choose anything between the full brightness of this third layer (at 1 00%) and no Screen layer at all (at 0%). Once the photo looks properly exposed, choose Flatten Image from the Layers panel's flyout menu.
Before
After (using two Screen blend mode layers)
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Step Four:
N ow, for an overexposed photo you pretty much do the same thing: you start by duplicating the Background layer (as shown here), so it's exactly the same thus far.
Step Five:
The only difference in the technique is that instead of choosing Screen mode (which makes things lighter), you choose Multiply, which makes the image darker (as shown here). Even j ust adding one Multiply layer looks dramatically better. In the After example shown on the next page, I duplicated the Multiply layer (for a total of three layers) to get the face of the watch dark enough, but that's all I did. So, the next time you run across a photo that's too l ight or too dark, give these two 1 S-second fixes a try. By the way, these techniques are particularly handy when you're working on restoring old scanned family photos.
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for Digital Photographers
After (using two Multiply blend mode layers)
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Dodging and Burning Done Right
If you've ever used Photoshop's Dodge and Burn tools, you already know how lame they are. That's why the pros choose this method instead-it gives a level of control that the Dodge and Burn tools j ust don't offer, and best of all, it doesn't "bruise the pixels." (That's Photoshop-speak for: it doesn't mess up your original image data whi le you're editing.)
Step One:
In this photo, the light simply didn't fall where we wish it had. So, here we're going to burn (darken) the areas that we wish were darker (like the sky and the bright area on the far left that's drawing your eye away from the right side of the bui lding, which is where we want the viewer to look, and we'll probably darken that up a bit, too), and then we're going to dodge (lighten) just the shadow areas to the left of the center, to bring back some detail in that area. Basically, we're just going to rearrange how the light is falling on our photo.
Step Two:
Go to the Layers panel, and from the panel's flyout menu, choose New Layer to access the N ew Layer dialog (seen here). You can also Option-click (PC: Alt-click) on the Create a New Layer icon instead to bring up this same dialog. When the N ew Layer dialog appears, change the Mode to Overlay, then right below it, turn on the check box for Fill with Overlay-Neutral Color (50% Gray), as shown here. This option is normally grayed out, but when you choose Overlay mode first, this checkbox becomes available. Now click OK.
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Step Three:
This creates a new layer (filled with 50% gray) above your Background layer. (When you fi l l a layer with 50% gray and change the blend mode to Overlay, Photoshop ignores the color. You'll see a gray thumbnail in the Layers panel, but the layer will appear transparent in your image window.)
Step Four:
Press B to get the Brush tool, then up in the Options Bar, click on the thumbnail to the right of the word " Brush" and choose a medium, soft edged brush from the Brush Picker. Now, lower the Brush tool's Opacity to approximately 30% (shown circled here in red). Press the letter D to set your Foreground color to black, then paint over the areas that you want to burn (darken). I n this case, paint over the sky and the right side of the bui ldi ng. As you paint, in the Layers panel you'll see dark strokes appear in the thumb nai l of your gray transparent layer, but on your photo you'll see those areas simply getting darker (as shown here).
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Step Five:
If the darkening isn't as intense as you'd like, just release the mouse button and click-and-paint right over the same area again. Because you're dodging at a low brush opacity setting, the light areas will build up as you paint multiple strokes. (I painted over the sky two times, and the right side of the building three times. I also painted over the top left twice to darken it, and give you the new, bal anced lighting you see here.) Note: If the darkening appears too intense, try lower ing the Opacity of the Brush tool to 20% up in the Options Bar.
Step Six:
Now press the letter X to set your Foreground color to white, and paint over those shadow areas on the far left to lighten them up. If you look in the Layers panel, you'll see that your Overlay layer has all sorts of white, gray, and black strokes over it.
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Before (with the sky too light, the right side of the building too light, the top left too bright, and the shadows on the left side of the building too dark)
for Digital Photographers
After (with the sky and building on the right darkened, the top-left side of the building darkened, and the shadows opened up on the left side of the building)
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Instant Red-Eye Removal
When I see a digital camera with the flash mounted directly above the lens, I think, "Hey, there's a red-eye maker." If you're a pro, you probably don't have to deal with this as much, because your flash probably isn't mounted directly above your lens-you're using bounce flash, using off-camera wireless flash, using studio strobes, or one of a dozen other techniques that avoid red eye. But even when the pros pick up a point-and-shoot camera, red eye can find them (it senses fear). Here's the quick "I-just-want-it-gone" technique for getting rid of red eye fast.
Step One: Open a photo where the subject has red eye (this is a photo of my buddy Larry Becker's son, Reed).
Step Two: Press Z to get the Zoom tool and zoom in on the eyes by clicking-and-dragging out a rectangle around them. Now get the Red Eye tool from the Toolbox (it's nested under the Spot Healing Brush, or you can press Shift-J until you get the tool).
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Step Three:
Tools don't get much easier to use than this-just click it once on the red area of the eye, and in j ust a second or two the red is gone (as shown here, where I j ust clicked it in the red area of his left eye). Think of it as a "Red Eye Magic Wand" because it automatically selects all the red area with just one click. Now, what do you do if you click in the red area, and you don't like the results? Well, there are two controls that can help you tweak the performance of the Red Eye tool: Pupil Size and Darken Amount (you find both of these in the Options Bar).
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Think of the Pupil Size control like you would the Threshold setting for the Magic Wand tool-the higher the amount, the more colors it will select. , So if your first try doesn't select all the red, increase the Pupil Size. The Darken Amount basically determines how dark the color is that replaces the red eye. The default setting of 50% gives you a very dark gray pupil. If you want a pure black pupil. just increase the amount. To com plete the retouch, just click the Red Eye tool once in the right eye (you did the left eye earlier). Press Command-O (zero; pc: Ctrl-O) to fit your image onscreen, and you'll have the red-eye retouched photo you see here.
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Fixing Reflections in Glasses
I get more requests for how to fix this problem than probably all the rest com bined. The reason is it's so darn hard to fix. If you're lucky, you get to spend an hour or more desperately cloning. In many cases, you're j ust stuck with it. However, if you're smart, you'll invest an extra 30 seconds while shooting to take one shot with the glasses off (or ideally, one "glasses off" shot for each new pose). Do that, and Photoshop will make this fix absolutely simple. If this sounds like a pain, then you've never spent an hour desperately cloning away a reflection.
Step One:
Before we get into this, make sure you read the short intro up top here first, or you're going to wonder what's going on in Step Two. Okay, here's a photo of my buddy Matt Kloskowski that I took at a restaurant in New York.
Step Two:
I could see right away that we were going to have a reflection in his glasses, so I told him after the shot not to move his head, but just to reach up and remove his glasses. I was surprised at how well Matt did this (totally kidding. Matt's actually very good at removing his glasses, his wedding ring, etc. Sti ll kidding. J ust a joke, etc.). Get the Move tool (V), press-and-hold the Shift key, and click-and-drag the "no glasses" shot on top of the "glasses" photo. �
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Step Three:
Holding the Shift key will help get the alignment of the two layers somewhat close, but in this case, it's still off by a bit because Matt is very unstable. Either that, or it's because 1 was hand-holding the shot (I like to think it was the unstable thing). Anyway, for this to work, the two photos have to be lined up with each other right on the money, and in CS3, Photoshop will do it for you. You start by going to the Layers panel, clicking on the Background layer, then pressing-and-holding the Command (PC: Crrl) key and clicking on Layer 1 to select them both (you can see they're both highlighted here). Then go under the Edit menu and choose Auto-Align Layers (if that function is grayed out, it's because you don't have both layers selected). When the dialog appears, leave it set to Auto and just click OK. Step Four:
A l ittle progress bar will appear telling you that it's aligning the selected layers based on their content, and within a few seconds the two layers will be precisely lined up (as shown here. Of course, it's hard for you to tell they're precisely lined up un less you've downloaded these two photos and checked it yourself. What? You didn't know you could download these same photos and follow along? That's only because you skipped the Unexpected Q&A Section at the front of the book). Okay, now you'll need to h ide the top layer by clicking on the little Eye icon to the left of the layer, then click once on the Background layer (as shown here). Now you're seeing the original shot, with the reAection in the glasses.
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Step Five:
You're going to need to select the inside area of both lenses, and you can use whichever selection tool you're most comfortable with (like the Magnetic Lasso tool perhaps), but for a job like this, I think the Pen tool is perfect. If you choose to go the Pen tool route, get the Pen tool (P), then go up to the Options Bar and click on the second icon from the left (so it just draws a path). Then click the Pen tool once on a lower part of one of the glass lenses, move your cursor over to the left, and click, hold, and drag slightly to the left (as shown here). This draws a slightly curved path between the two points (the farther you drag after clicking. the more the curve bends).
Step Six:
So basically, that's how it works-you move a little further along the lens, click, hold, and drag. Move again-click, hold, and drag. and continue this as you're basically going to trace around the lens with a path. When you get back to the point where you started, a little circle appears in the bottom-right corner of your Pen tool's icon letting you know you've come "full circle." Click on that point to close your path. Now do the same thing to the other lens. Once you've gotten paths drawn around both lenses, press Command-Return ( PC: Ctrl-Enter) to turn your paths into a selection (as shown here). Remem ber, you don't have to do this using the Pen tool-use any selection tool(s) you're comfortable with.
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Step Seven:
After your selection is in place, make the top layer visible again (seen here) by clicking in the first column on the Layers panel where the Eye icon used to be. Then, click on the top layer to select it.
Step Eight:
To complete the effect, j ust click the Add Layer Mask icon at the bottom of the Layers panel (as shown here) and the eyes from the top layer replace the eyes from the original glasses layer, and your reflection problems are gone. Better yet-it not only fixed the reflection, it also fixed the fall-off that makes a person's eyes look smaller (take a look at the eyes and area around the eyes in the before/ after shown on the next page. See how you can see the side of Matt's face in the Before photo, but that's fixed in the After photo? It's two fixes in one).
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Before (notice the reflection-most visible in the right eye-and note how you can see the side of his face in the right eye lens)
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After (the reflection is gone, as is the fall-off caused by prescription glasses)
The Adobe Photoshop CS3 Book
Group shots are always a challenge because without a doubt somebody in the group will be totally hammered (at least, that's been the experience with my family. You know I'm kidding, right?). Okay, the real problem is that in group photos there's always one or more people who blinked at just the wrong time, or forgot to smile, or weren't looking at the camera, etc. Of course, you could just take their expression from another frame and combine it with this one, but that takes a lot of work. Well, at least it did before C53's Auto Blend feature. This thing rocks!
for Digital Photographers
The CS3 Secret to Fixing Group Shots
Step One:
Here's a promo photo of the band Big Electric Cat, which plays at the Photoshop World Conference & Expo and is made up of employees and friends of the National Association of Photoshop Professionals (including yours truly on keyboards). This was actually a test shot so I could check the lighting (which was coming from two wireless Nikon 5B-800 strobes). The guy in the light blue shirt is a friend of the drummer (he's a percus sionist himself), and he's standing in for me since I'm taking the photo. The prob lem here is Felix, the bass player (sitting), is turned away from the camera and Tony, the guitar player (up front right), is looking away from the camera. Step Two:
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Of course, with group shots you take as many shots as the group will endure, and luckily in the very next frame there was a great shot of Tony, and Felix wasn't turned away. So, the idea is to take Felix and Tony from this shot, and combine it with the previous photo, where Scotty the drum mer and his stand-in buddy looked good (well, they had that tough "I'm-in-a-band" look. Well, as tough a look as guys our age can have, which is not very).
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Step Three:
Start by dragging the two photos into the same document: get the Move tool (V), press-and-hold the Shift key, and click-and-drag one photo over onto the other (it will appear as its own layer in the other document, as you can see in the Layers panel shown here). Now, you'll need to convert the Background layer into a regular layer, so go to the Layers panel and double-click directly on the Background layer. This brings up the New Layer dialog (shown here), which by default renames your Background layer as Layer O. Just click OK and it's now a regular 01' Photoshop layer. TIP: In this case, the photos lined up
pretty well because I took the shots on a tripod, but if you're hand-holding, you might want to select both layers and choose Auto-Align Layers from the Edit menu first, to have Photoshop CS3 align the two layers for you. Step Four:
The next two steps couldn't be easier: First, in the Layers panel hide Layer 0 from view by clicking on the l ittle Eye icon to the left of the layer. Then click on Layer 1. Now, get the Rectangular Marquee tool (M) and draw a rectangu lar selection over the parts of this layer that don't look good (in other words, you're going to delete everything you don't want to keep-so put a selection around the two guys on the left) and hit the Delete (PC: Backspace) key. This leaves you with j ust the part of this layer you want to keep. Now, Deselect by pressing Command-D (PC: Ctrl-D).
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Step Five:
Now hide that top layer from view, and make Layer ° visible again by clicking once in the first column where the little Eye icon used to be. Click on Layer 0, then do the same thing-erase the two guys you don't want (in this case, you're putting a Rectangular Marquee selec tion around Felix turning away and Tony looking off in the distance), then press the Delete (PC: Backspace) key, so you have the image you see here. Now you can Deselect. The key thing to remember here is this: make sure these two layers overlap, because C53 needs some over lapping area to do its blending (in other words, don't erase so m uch that there's any gap between the two layers-it's got to overlap. I'd shoot for a 20% overlap if you can).
Step Six:
Go to the Layers panel and make both layers visi ble (as seen here). Now, you have the right poses together, but you also have a very harsh seam moving right through the stand-in's arm, and look at the extra shadows that appear on the floor. It looks "pieced together" big time. Of course, you could add layer masks and try blending the edges your self with the Brush tool, but that's what makes this technique so sweet: C53 will do a brilliant job of all that for you-in just seconds.
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Step Seven:
Here's the last step: select both layers in the Layers panel (click on one layer, press and-hold the Command [PC: Ctrl) key, then click on the other layer to select it as well), then once both layers are selected, go under the Edit menu and choose Auto Blend Layers (as shown here). That's it-in just seconds you have a perfectly smooth, seamless blend of the two photos, and Photoshop did all the hard work. You can see the before and after in the example below and look close-that seam is 100% gone! It does leave the layer masks that Auto-Blend Layers creates in place, just in case you want to tweak them, but I haven't come up with an instance where I needed to yet. Just choose Flatten Image from the Layers panel's flyout men u, and you're done.
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Before (the two guys on the right are in bad poses-one turned away, one looking away)
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After (the first photo is seamlessly blended with the second photo, rep/acing the two guys on the right with their better poses from a different frame)
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If you wind up getting a little spot or speck on either your lens or your digital camera's sensor, that little spot is going to show up on every single photo you take. Of course, once you find out that you have the problem (when you zoom in on the photos in Photoshop), it's too late for that batch of photos (so if you took 240 shots at a dawn shoot that day, you have 240 spots in the same place on every photo). Here's how to remove the spot from one photo, and use that one repair to fix the other 239 automatically!
for Digital Photographers
Fixing Spots or Sensor Dust on Multiple Photos at Once
Step One:
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The first step is to open the shots that need a spot removal in Camera Raw (remem ber, they don't have to be shot in RAW to use Camera Raw. In CS3, you can open J PEGs and TIFFs in Camera Raw as well). In this example (shots from a sunrise shoot in North Carolina, and sure enough, there's a speck of dust on every single photo in the exact same spot), I shot in RAW, so in Bridge I selected all the photos, then pressed Command-R (PC: Ctrl-R) to open all of them in Camera Raw. The first selected photo appears in the preview, and the rest of the open photos appear in the filmstrip along the left side. Step Two:
Get the Zoom tool (Z) from up in Camera Raw's tool bar, and click-and-drag out a selection around the spot (it's just to the right of the center, and down a little bit) to zoom in so you can really see what we're dealing with. By the way, you'll be happy to know that while I did make these RAW photos avai lable for you to download, I didn't put all 240 up there, or you'd be downloading somewhere around 4 gigs of photos. I just posted three shots, but I posted both the RAW versions (57.9 MB) and some smal ler J PEG versions as well (only 348 KB). Continued Deal ing with Common Digital Image Problems
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Camera Raw 4 . 1
Step Three:
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Now all you have to do is fix this one photo, and all the rest will take care of themselves. You start by clicking on the Retouch tool (B) up in Camera Raw's tool bar. This pops down a little options section beneath the tool bar, but for something this easy, you're not even going to need to mess with anyth ing there. Cl ick-and-hold the tool's cursor in the center of your spot and drag outward to expand the size of the tool's "repair zone" (not its official name) until it's just a little bigger than the spot you want to retouch (as shown here).
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Step Four:
When you release the mouse button, Camera Raw removes the spot (as shown here) by sampling a nearby area (repre sented by the green circle, which appears as soon as you release the mouse button). If, for some reason, the repair looks funky (that's the official term by the way), you can try having Camera Raw do its sam pling from a different area by dragging that green circle to a different area (you can drag it farther away from the red circle, closer to it, or drag it left, righ t, etc.). When you release the mouse but ton again, it resamples again and you see the results instantly. So, keep moving it until you get a result you're happy with. Luckily, this is easier than you'd think. Note: You can change the size of the circle manual ly, using the Radius slider up in the options section. Also, if the spot you're trying to fix is near the edge of another object in your photo, you might want to try Clone as your repair Type from the pop-up menu, rather than the default of Heal (found up in the options section).
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Step Five:
Okay, so you've fixed that one spot. Of course, if you have multiple spots, go and fix the next ones as well (it won't disturb your initially fixed spot), until all your spots have been healed. Now it's time to apply that fix to all the other photos in your batch (in our case, to the other 239 photos). You start by going to the top of the filmstrip on the left and clicking on the Select All button (as shown here) to select all the other photos (they all become highl ighted in the filmstrip). Notice though, that photo you've been working on appears as the "most selected" photo (it stands out with a dark blue border around it). That's important because you're about to apply the changes you made to your "most selected" photo to the rest of your photos. Step Six:
Synchronize
Synchronize: � White B � Exposu � Recove, � FlIlLigh e Blacks � Brightn � Contra.s � Vibrant � Saturati � Paramet � Point Cu
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Now, just under the Select All button is a button labeled Synchronize. Click on that button to bring up the Synchronize dialog (shown here). By default, it wants to apply every Camera Raw edit possible to all your other photos, but you've only done a Spot Removal at this point, so from the pop-up menu at the top choose Spot Removal (as shown here).
Custom Subset
� Sharpening t!iLuminance Noise Reduction � Color Noise Reduction � Grayscale Conversion � HSL Adjustments � Split Toning � Chromatic Aberration � lens Vignening � Camera Calibration � Crop � Spot Removal
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Step Seven:
Choosing Spot Removal turns off all the other Camera Raw edits (as shown here), leaving the only edit that will be applied to your other photos-Spot Removal. Now, you m ight ask yourself why we had to uncheck all that other stuff if all we've done is remove spots thus far? In this case, you're right-it really wouldn't hurt to leave them all on, but in many other cases removing spots won't have been the first thing you've done to your photos, and you don't want to undo any tonal edits, or cropping. or whatever you did previously, so it's just safer to get in the habit of choosing just the change you want applied. Now, click OK in the Synchronize dialog (as shown here).
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Blacks Brightness OComras[ OVibranCf o Saturation o Parametric Curve o Point Curve Sharpening Color Noise Reduction
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OCrop � Spot Removal
Step Eight:
In just a few moments, your change is applied to all your photos. To check for yourself, click on any one of your other photos (in this case, I clicked on the third photo down), and if you look at the large preview in the center, you'll see the red and green circles are right there in place repairing that spot. In fact, they'll be there in every single photo. Sweet! Now, at this point I would click the Done button, and it will close Camera Raw and your spot removal changes will be stored with your files. If you click Open Images now, you'll be opening 240 images in Photoshop, and that may be kind of unwieldy. But hey-maybe that's what you want to do-who am I to judge how insane you are (kidding)?
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Chapter 9 Retouching Portraits
Faces
retouching portraits Okay, this one isn't a song title (well, there
this day-his name was N igel Buttocks). Any
are a bunch of songs with the word "faces"
way, he had this crack in his smile, and I was
in the title), this one is actually a band name.
able to use a combination of Photoshop tools
Well, at least part of a band name-it's my
to seamlessly remove his crack, and he was so
tribute to Rod Stewart and Faces (of course,
gassed about the results that he cut one-of
when he got really big, he quickly dumped
his in-house staff of retouchers and made me
Faces and just became Rod Stewart, but that
his new headliner. I'll never forget walking back
wasn't until he got ahold of some really
into my oid studio for the last time. All the Ugly
strong mousse). That type of thing always
Pug Fixers were there, and they could tell by
happens, doesn't it? It even happened to
the look in my eyes it was over. But thankfully,
me a long time ago. When I first started
we're still friends to this very day, and every once
retouching portraits, I started a firm called
in a while I'll run across a really hideous portrait
Scott Kelby and the Ugly Pug Fixers, and I
of someone, and I'll jump in my Porsche 911
would go to local bars and nightclubs and
Turbo and drive over to their small, dimly lit
retouch photos of the doorman, or bouncer,
retouching studio, and we'll pull the image up
or bartender, etc., but then one night I got
on the screen, look at the person with all those
my big break when I was able to retouch the
facial imperfections, and we'll just laugh and
club owner himself (I still remember him to
laugh. Gosh I miss those days.
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Removing Blemishes
Step One:
Open a photo containing some skin imperfections you want to remove (in this example, we're going to remove a series of little blem ishes). Get the Zoom tool (Z) and zoom in on the area you want to retouch, then get the Healing Brush tool from the Toolbox (as shown here). You might be tempted to use the Spot Healing Brush tool, because it's so easy to use (and it's the default healing tool in the Toolbox), but don't fall for it. Although it does a pretty good job on its own, you can do better and work faster with the Healing Brush because you won't have to redo anything (and you generally will have a n umber of redos using the Spot Heal ing Brush). Besides, you only save one click using the Spot Healing Brush over the regular Healing Brush.
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When it comes to removing blemishes, acne, or any other imperfections on the skin, our goal is to maintain as much of the original skin texture as possible. That way, our retouch doesn't look pasty and obvious. There are a n umber of different techniques you can use, but after years of using them all, I believe this really is the best, most reliable, and easiest method out there.
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Step Two:
The key to using the Healing Brush correctly is to find an area of skin to sample that has a similar texture to the area you want to repair (this is different than the Clone Stamp tool, where you're looking for matching color and shading as well). Move your cursor over this "clean" area of skin, press-and hold the Option (PC: Alt) key, and click once to sample that area. Your cursor will momentarily change to a target as you sample (as shown here).
Step Three:
Now, just move the Heal ing Brush directly over the blemish you want to remove and simply click. Don't paint cl ick. Once. That's it. That's the whole technique-BAM-the blemish is gone!
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TIP: For the best results, use a brush
size that is just a little bit larger than the blemish you want to remove (use the Left/Right Bracket keys on your keyboard [they're to the right of the letter P) to change brush sizes). Also, you don't have to worry about sampling an area right near where the blemish is-you can sample from another side of the face, even in the shadows-just choose a simi lar texture, that's the key.
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This is another one of those tech niques that takes j ust a moment to apply, but it can really make a huge difference in giving your subject a much thinner appearance where it counts most-the face. In the example shown in print here, the effect doesn't look that dramatic (because of the small size of the final example), but this is one where when you see it on your own screen at a larger size, you'll be absolutely amazed at the impact it has. Try it once, and you'll use it again and again.
for Digital Photographers
Reducing a Double Chin
Step One:
Open the photo that you want to retouch, then get the Lasso tool ( L) and draw a very loose selection around your subject's jaw and the lower part of the face on both sides (as shown here). This is one of those rare times where you don't need to apply a feather to hide the tracks of your retouch. In fact, in this case if you do apply a feather, it actually makes the retouch more obvious (which usually isn't the case).
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Step Two:
Go under the Filter menu, under Distort, and choose Pinch. When the Pinch dialog appears, drag the slider down to just 15% (as shown here). You'll see a preview of how the effect looks right within the dialog, and to see a before and after, just take your cursor and click-and-hold right in the preview window to see the before. Then, to see the after, release the mouse button. Continued Retouching Portraits
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Step Three:
Cl ick OK, and the Pinch filter is appl ied to your selected area (as shown here). I've found that in most cases, applying the filter j ust once isn't enough (it's just too subtle), so to apply the same filter again, using the exact same settings, press Command-F (PC: Ctrl-F). The After photo below shows the final image after applying the filter a second time.
TIP: One side effect of applying this
filter two or three times is that your subject's chin tends to get a little pointy. If that happens, go under the Filter menu and choose Liquify. In the Liquify dialog, choose the top tool in the Tool box and gently push the chin back up into place, then click OK. It takes all of 10 seconds.
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Here's my preferred technique for removing the dark circles that sometimes appear under a person's eyes after a hard n ight of drinking (at least, that's what I've been told):
for Digital Photographers
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Removing Dark Circles Under Eyes
Step One:
Open the photo that has the dark circles you want to lessen. (Note: It'll probably help to get the Zoom tool [Z] and zoom in closer on your subject's eyes.) In the photo shown here, both of the subject's eyes have some dark circles. They're not terri bly bad, but definitely worth the 60 seconds or less it'll take to fix them.
Step Two:
First, get the Clone Stamp tool (S). Go up to the Options Bar and lower the Opacity of the Clone Stamp tool to 40%, as shown here. Then, change the Mode pop-up menu to Lighten (that way, when you use the Clone Stamp tool you'll only affect areas that are darker than the area you sampled).
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Step Three:
Press-and-hold the Option (PC: Alt) key and click once in an area near the eye that isn't affected by the dark circles. If the cheeks aren't too rosy (like the ones shown here), you can click to sam ple there (I did here), but more likely you'll click on (sample) an area just below the dark circles under the eyes. Now take that Clone Stamp tool and paint a stroke (from left to right) over the dark circles to lessen or remove them. It may take two or more strokes for the dark circles to pretty m uch disappear (go right, then back again to the left, and so on), so don't be afraid to go back over the same area if the first stroke didn't work. The photos below show the before and after of this 45-second retouch. I did have to go over each side about three to four times.
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Did ya notice the name of this one's not "Removing Wrinkles?" That's because unless your subject is around 29 years old, you're not removing their wrinkles, you're reducing their wrinkles-you're making them 10 years younger, not 40 years younger. He's how to reduce your subject's wrinkles anywhere from around 40% to around 70% (hey, most people would love to have 70% less wrinkles). Here's how to make your subjects look younger, without making them look like youngsters:
Reducing Wrinkles
Step One:
Open a photo you want to retouch, then from the Tool box choose the Healing Brush (as shown here). Before you do anything, press Command-J (PC: Ctrl-J) to duplicate the Background layer, as you'll be doing all your retouching on this duplicate layer (this isn't just to make sure your retouch is non-destructive by applying it to its own layer, it's key to making this particular retouch realistic).
Step Two:
Move your cursor over a nearby area of non-wrinkled skin, press-and-hold the Option ( PC: Alt) key, and click once on that area. This samples the texture of the area you're clicking on and uses it for the repair. I generally use the subject's cheek if it's smooth enough, and in this case I was able to find a n ice smooth area on his left cheek (as shown here).
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Step Three:
With the Healing Brush, paint a stroke over the wrinkles you want to remove (as shown here where I painted over the wrinkles just below his left eye).
Step Four:
When you first paint your stroke, for a moment the tones won't match and it'll look like a really obvious retouch, but a second or two later, the Healing Brush does its calculations and presents you with its final "magic" that seamlessly blends in the original texture, removing the wrinkle (as shown here).
TIP: For fixing problems like large wrin
kles, you can also try the Healing Brush's sister tool (and a personal favorite of mine)-the Patch tool. It works like the Lasso tool-you just draw a loose selec tion completely around the wrinkle you want to remove. Then you click inside the selection and drag it to a clean area of skin. When you release the mouse button, it snaps back into position, and in a few seconds it repairs that area. Here's another cool thing: you can make a selection with any tool you'd like, and once the selection is in place, then switch to the Patch tool, drag that selected area, etc., just like you would if you had used the Patch tool from the beginni ng.
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Step Five:
Once you've got the wrin kles under the eyes taken care of, move to other wrinkle areas (like the wrinkles on his forehead). Sample a clean nearby area (in this case, the skin right below the wrin kles), and paint over those wrinkles to remove them as well.
Step Six:
Conti n ue this process until all the wrinkles you want to reduce have been completely removed. I know what you're thinking-I thought you said we were going to reduce them, not remove them. That's true, but for now, you've got to remove all traces of them, so fin ish this guy off (sorry to sound so The Sopranos on you. I meant, finish the rest of the retouch).
TIP: If you're just going to fix one or two
wrin kles, you don't have to go through all of this-just do your healing right on the Background layer, but right after you paint a stroke with the Healing Brush, go under the Edit menu and choose Fade Healing Brush. There you can lower the Opacity setting (the amount of healing) after the fact.
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Step Seven:
In the Layers panel, lower the healed lay er's Opacity to 45% (as shown here) to bring back some of the original wrinkles. What you're really doing here is letting a small amount of the original photo (on the Background layer, with all its wrinkles still intact) show through. Keep lowering the Opacity until the wrinkles are visible but not nearly as prominent, so the photo looks much more realistic. Usual ly, I'll wind up with something between 40% and 70% but remem ber, if you reduce them too much, the client might like the way it looks when you first show it to him, but once he starts showing friends and family members (and they start snickering), he'll wish you hadn't reduced them so m uch. A 45% reduction in wrin kles is more sign ificant than you'd think-just compare the before and after photos below. The wrinkles are still there (so your subject still looks like himself), but their depth has been reduced by enough that your subject looks 10 or more years younger.
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This retouching technique has become incredibly popular in promo photos for Hollywood celebrities, and for pop and R&B CD covers. I'm not sure what the official name for it is, so I call it "Hol lywood H ighlights" (although it really enhances both the h ighlights and the shadows for a very dramatic effect). The effect is surprisingly easy, and yet it defin itely has its own look and feel to it. Here's how it's done:
for Digital Photographers
Hollywood Highlights
Step One:
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Open the color photo you want to add the "Hol lywood H ighl ights" effect to. N ow go to the Channels panel (under the Window menu, choose Channels), and when it appears, look at each of the three grayscale channels individually by cl icking on them one at a time. What you're looking for is the channel with the most overall contrast between l ight and dark. It's usual ly not going to be the Red channel in portraits (which is usually very bright because of the skin tones), so chances are it wil l be either the Green channel (wh ich it is in this case), or the Blue channel (which in this case is really dark, so I didn't use it). Give each one a quick look and you'll see what I mean. Once you've determ ined which channel you're going to use, press-and-hold the Command (PC: Ctrl) key and in the Channels panel, click directly on that channel's thumbnail (in this case, the Green channel's thumbnail, as shown here) to load that channel as a selection. You can see the selection loaded in the image shown here.
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Step Two:
Now, in the Channels panel click on the RGB channel (as shown here) to return to the full-color photo (this doesn't deselect your selection, which is good, because we want that selection still in place). Now, return to the Layers panel and click once on the Background layer to make it active. Your selection will still be in place on your Background layer.
Step Three:
Press Command-J (PC: Ctrl-J ) to put the selected area of your Background layer up on its own separate layer (as shown here). Doing that automatically deselects the selection. Now, change the blend mode of this layer to Screen (as shown here) to brighten the high lights in this layer.
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Step Four:
Press-and-hold the Command (PC: Ctrl) key again and click once on the thumb nail for that new layer you just created to reload it as a selection. This puts that same selection back in place. Now, click on the Background layer (as shown here), then press Command-Shift-I ( PC: Ctrl Shift-I) to I nverse your selection (you can also go up under the Select menu and choose I nverse, if you're charging by the hour).
Step Five:
Press Command-J ( PC: Ctrl-j) to put th is selected area up on its own sepa rate layer (as shown here), which again deselects your selection, si nce now it's its own layer. So, basically, you've got one layer ( Layer 1 in Screen mode) with the h ighl ights of your contrast chan nel, and another layer (Layer 2 sti ll in Normal mode) with the shadow areas of your contrast channel. Change the blend mode of this layer (Layer 2) to Multiply (as seen in the next step) to darken this layer.
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Step Six:
Now what you're going to do is lower the Opacity of this Multiply layer until the shadows look good (nice and contrasty, but sti l l good), then you'll switch to Layer 1 (the high lights layer in Screen mode) and lower it until it balances nicely with the shadows layer). There are no special percentages I can give you to dial in, because this is strictly a personal preference choice. I can tell you for this particular photo, I lowered the shadows layer to 60%, and the highl ights layer to 80% because that's where I thought it looked good to me. You can see the before and after in the images shown below.
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If you've got a photo where a female subject has flat, boring-looking lips, and you want to add some of that Hollywood color and shine, then try these two techniques: the first (which I picked up from my buddy and NAPP TV co-host Dave Cross) enhances the color and shine factor, and the second technique really pumps up the highlights and adds even more shine and interest.
Enhancing lips
Step One:
Start by taking the selection tool of your choice and putting a selection around just the lips (as seen here), To make the selection you see here, I used the Magnetic Lasso tool (press Shift-L until you have it), which worked great because the edges of the area to be selected were pretty well defined, Once the lips are selected, to help h ide the tracks of our retouch, go under the Select menu, under Modify, and choose Feather. When the dialog appears, enter 1 pixel and click OK to soften the edges of our selection.
Step Two:
Press Command-J (PC: Ctrl-j) to copy the selected lips up onto their own separate layer (as seen here).
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Step Three:
To add in our first level of depth and shine, go under the Filter menu, under Artistic, and choose Plastic Wrap. When the Plastic Wrap dialog appears (this filter actually appears within the larger Filter Gallery dialog, but don't let that throw you-you only have to move two sliders), set the H ighlight Strength to 18 and increase the Detail amount to 14 to bring out that shine. You can see a pre view of how this will look on the lips as you drag the sliders.
Step Four:
When you click OK it applies the Plastic Wrap filter effect to the lips. Of course, at this stage, it looks pretty darn stupid, but we'll fix that in the next step.
TIP: When you use the term "enhancing
lips," a lot of people instantly think of making the lips larger. If you want to do that, just open the photo, then go under the Filter menu and choose Liquify. In the Liquify dialog, choose the fifth tool down in the Tool box-the Bloat tool. Make your brush j ust a little bit larger than the lips, then don't paint-j ust click, once on the far-left side of the lips, once left of the center, once right of the center, and once on the far right (you're moving from left to right) to make them larger. Easy enough.
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Step Five:
Go to the Layers panel and change the layer blend mode from Normal to Soft Light (as seen here). This blends the Plastic Wrap effect in with the original photo on the Background layer, gives the l ips a little shine, makes the color richer, and gives the lips more detail. Now, if you really want that Hollywood shine, then try choosing Overlay mode instead of Soft Light (Soft Light is always the more subtle of the two). Whichever mode you choose, if the effect looks too intense, you can back off the intensity by lowering the Opacity setting of the lips layer, as shown here where I lowered the Soft Light layer to 80% opacity. Step Six:
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If you want to add that next level of sh ine, first go the Layer panels, press and-hold the Command (PC: Ctrl) key, then click on the layer thumbnail for the lips layer to load it as a selection. Go under the Select menu and choose Color Range. When the Color Range dialog appears, choose H ighl ights from the Select pop-up menu up top (as shown here), and then click OK.
Step Seven:
This loads a selection of j ust the h igh light areas of her l ips (it only loads her lip h ighlights because you put a selection around the lip layer before you went to Color Range). You can see the highlights in her lips selected here.
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Step Eight:
Press Command-J (PC: Ctrl-J) to put those selected highlights in her lips up on their own separate layer (as shown here). Now, to bring in the "lip gloss," change the layer blend mode of this layer to Color Dodge (as seen here). The lips are very glossy now, but in this particular case it seems like there's too much shine on the very bottom of her lip. To get rid of that excess bright area, first click on the Add Layer Mask icon at the bottom of the Layers panel (as shown here), then get the Brush tool (B), make sure your Foreground color is set to black, and just paint right over those lower areas of her lips to complete the effect (seen below).
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There are two techniques I use for whitening eyes, and I have to show you both, because if the first method creates some side effects (meaning, after you've brightened the eyes, they look red or have some other color cast that has been accentuated by the retouch), you can always fall back on the second method. They're both simple, and sometimes the final result is subtle, but not so subtle that you wouldn't take the 60 seconds it takes to do it. Remem ber, everyone is drawn to the eyes, so take a moment to make them look their very best.
Brightening and Whitening the Eyes
Step One:
Open the photo of the person whose eyes you want to brighten. Go to the Layers panel and choose Curves from the Create New Adjustment Layer pop-up menu at the bottom of the panel. When the Curves dialog appears, don't make any adjustments-just click OK. The reason we do this is in the next step we'll need to apply a layer blend mode to our photo to make it brighter, but duplicat ing the Background layer doubles our file size. So to keep our file size small (and Photoshop running faster), we use an adjustment layer instead, which still lets us use a blend mode, but without adding any file size or slowing us down.
Step Two:
When the Curves adj ustment layer appears in your Layers panel, change the blend mode of this adjustment layer from Normal to Screen (as shown here). This will lighten the entire photo.
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Step Three:
Now press Command-I (PC: Ctrl-I) to I nvert the adjustment layer's layer mask, which fills it with black. This hides the light ening effect brought on by changing the blend mode to Screen. Press the letter X to switch your Foreground color to white, zoom in on the eyes, then press B to get the Brush tool.
Step Four:
Choose a very small, soft-edged brush from the Brush Picker, and begin painting over the eyes (as shown here, where I'm paint ing over the left eye). As you paint, these areas become much brighter because you're revealing the Screen adjustment layer you applied earlier. Now, you have to decide whether to paint over j ust the whites of the eyes, or over the whole eye itself (which I chose in this case). When you're done, the eyes will probably look too white (giving your subject a possessed look), so zoom back out so you can make a reasonable judgment, then lower the Opacity of this Curves adjustment layer to make the whit ening more subtle and natural (I lowered it to around 70%) to complete the effect (shown below). Now, on to #2.
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Step One:
I do this technique instead if the first one caused any of those side effects I talked about in the introduction. You start the same way, by creating an adj ustment layer, but this time choose Levels (as shown here).
Step Two:
When the Levels dialog appears, brighten the entire photo by dragging the Input Levels highl ights slider to the left, then drag the center m idtones slider to the left as well, and keep a watch on how the eyes look wh ile you're doing th is. The rest of the photo will probably start to look blown out, but you're just con cerned with the eyes, so ignore any other damage that's happen ing in other parts of the photo. If the eyes look brighter, but start to look washed out, then drag the I nput Levels shadows sl ider to the right a little bit to bring back some saturation. When the eyes look good, click OK.
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Step Three:
Now press Command-I (PC: Ctrl-I), to fill the layer mask with black, which once again hides the brighter layer behind that mask. Make sure your Foreground color is set to white, get the Brush tool (B), pick a small, soft-edged brush from the Brush Picker, and paint over the eyes (as shown here, where I'm painting over her left eye).
Step Four:
Sometimes even a simple Levels adjust ment can create its own side effects; the main one being, it changes the color of the eye a bit. So, to get around that, simply change the blend mode of your adjustment layer to Luminosity. That way, it doesn't affect the color-only the brightness. Then lower the Opacity of this Levels adjustment layer until it looks natural (I went back to around 50% here, but anywhere between 50% and 60% looked good to me). The final retouch is shown below.
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This really should be called "Removing Yellowing, Then Whitening Teeth" because almost everyone has some yellowing, so we remove that first before we move on to the whitening process. This is a simple technique, but the results have a big im pact on the overall look of the portrait, which is why I do this to every portrait where the subject is smil ing.
for Digital Photographers
Whitening Teeth
Step One:
Open the photo you need to retouch. Press L to switch to the Lasso tool, and carefully draw a selection around the teeth, being careful not to select any of the gums or lips (as shown here). Also, you m ight try using the Magnetic Lasso tool (nested beneath the Lasso tool), which works nicely for this-just click once at the base of a tooth to get started, then release the mouse button and trace loosely around the edge of the teeth and your selection will snap to the teeth. It may not do a perfect job, but it will usually do 90% of the job for you. Then you can get the regular Lasso tool, press-and-hold the Shift key, and add in any parts it missed.
Step Two:
Go under the Select menu, under Modify, and choose Feather. When the Feather Selection dialog appears, enter 1 pixel and click OK to smooth the edges of your selection. That way, you won't see a hard edge along the area you selected after you've wh itened the teeth, which is a dead giveaway that the photo's been retouched.
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Step Three:
Now go under the Image menu, under Adjustments, and choose H ue/ Saturation. When the dialog appears, choose Yellows from the Edit pop-up menu at the top (as shown here). Then, drag the Saturation slider to the left to remove the yellowing from the teeth. In this case, we had to drag quite a ways to the left, but that won't normally be the case. In fact, usually if you drag too far, the teeth will start to look gray, so just keep an eye on the teeth as you drag.
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Now that the yellowing is removed, switch the Edit pop-up menu back to Master, and drag the Lightness slider to the right (as shown here) to whiten and brighten the teeth. Be careful not to drag it too far or the retouch will be obvious. Click OK in the H ue/Saturation dialog to apply your changes, then press Command-D (PC: Ctrl-D) to Deselect and see your finished retouch.
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If you've ever had to deal with hot spots (shiny areas on your subject's face caused by uneven lighting or the flash reflecting off shiny surfaces, making your subject look as if he or she is sweating), you know they can be pretty tough to correct. That is, unless you know this trick,
Removing H ot Spots
Step One:
Open the photo that has hot spots that need to be toned down, Press Command-J ( PC: Ctrl-J) to duplicate the Background layer and then press S to get the Clone Stamp tool from the Toolbox, In the Options Bar up top, change the Mode pop-up menu from Normal to Darken, and lower the Opacity to 40%, By changing the Mode to Darken, we'll only affect pixels that are lighter than the area we're sampling (those lighter pixels are the hot spots),
Step Two:
In the Options Bar, click on the th umb nail after the word "Brush" and choose a medium-sized, soft-edged brush from the Brush Picker. Then, press-and-hold the Option (PC: Alt) key and click once in a nearby area of clean skin (in other words, an area with no hot spots). This will be your sample area (or reference point) so Photoshop knows to affect only pixels that are lighter than this area. In the example shown here, I sampled the area j ust above the hot spots on his forehead.
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Step Three:
Start gently painting over the hot-spot areas with the Clone Stamp tool, and as you do, the hot spots will fade away (as shown here, where I'm painting over the hot spots on his forehead). The cross hair (plus sign) shows the area where I sampled, and the round brush shows where I'm painting. Because we've set the brush opacity so low, and set the mode to Darken, it just adds in the tone with out destroying the detail or texture.
Step Four:
As you work on different hot spots, you'll have to resample (Option-click [PC: Alt click] ) on nearby areas of skin so the skin tone matches. For example, when you work on the hot spots on his left cheek (as shown here), sample an area of skin from that same cheek, if possible, where no hot spots exist. It's amazing what 60 seconds of hot-spot retouching can do for your image (as seen below).
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Although this technique has a number of steps, it's actually very simple to do and is worth every extra step, because it breaks away from the overly soft, porcelain skin look that is j ust "so 2006" to give you that pro skin-softening look along with some of the original skin texture, which makes it much more realistic. This "keep some of the texture" look is totally "in" right now, so it's worth spending an extra two minutes. I also want to give credit to Ray 1 2, whose article last year on RetouchPro.com turned me on to the texture mask which I now use daily.
Advanced Skin Softening
Step One:
Start by pressing Command-J (PC: Ctrl-J) to duplicate the Background layer, as shown here. (See? I told you these steps were going to be easy.)
Step Two:
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Go under the Filter menu, under Blur, and choose Gaussian Bl ur. For high-reso lution photos (from a 6- to 1 0-megapixel camera), apply a 20-pixel blur, then click OK (for 1 2-megapixels or higher, try 25 pixels). This bl urs the living daylights out of the photo (as seen here). Sure, it's blurry, but boy is her skin soft! (Okay, that was lame. Continue.)
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Step Three:
In the Layers panel, lower the Opacity of this blurry layer to 50% (as shown here).
Step Four:
Press-and-hold the Option (PC: Alt) key and click once on the Add Layer Mask icon at the bottom of the Layers panel (as shown here). This adds a black layer mask to your blurry layer (seen here to the right of the top layer), and this black mask hides the bl urry layer, so all you're seeing now is the original unbl urred Background layer. The idea is to reveal the bl urry layer j ust where you want it (on her skin), while avoiding all the detail areas (like her eyes, hair, clothi ng, eyebrows, nostrils, lips, jewelry, etc.).
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Step Five:
Get the Zoom tool (Z) and zoom in on her face. Then get the Brush tool (B), choose a medium-sized, soft-edged brush from the Brush Picker up in the Options Bar, and begin painting over her skin (as shown here). You're not actually painting over the photo-you're painting in white over that black mask, and as you paint, it reveals that part of the blurry layer. Remem ber the rule: don't paint over detail areas-avoid the eyes, hair, etc., as I mentioned earlier. In the example shown here, I have only painted over (softened) the left side of her face, so you can see the effect of the skin softening.
Step Six:
Continue painting on both sides of her face until you've carefully covered all the non-detai l areas of her face. You'll have to vary the size of the brush to get under her nose, and carefully just below her left eyebrow.
TIP: You can use the Bracket keys on
the keyboard to change brush sizes-the Left Bracket key ([) makes the brush size smal ler; the Right Bracket key (J) makes it larger. By the way, the Bracket keys are to the right of the letter P on your key board. Well, if you're using a U.S. English keyboard anyway.
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Step Seven:
Once you zoom back out, you'll be able to paint over all the other areas that need softening, and I know I sound like a broken record but avoid those detail areas, like her hair, and that strap on her top, and her lips, etc. Now, once you zoom back out, you can see that at this point we do have the porcelain-skin look, and if you look at it and think, "Ya know, I kinda like this," don't worry-I won't tell anybody. Actually, what I meant to say was, if you like this look, but you think it's just a little too soft, then simply go to the Layers panel and lower the Opacity of the blurry layer from 50% down to 40% and see how that looks. That will lighten the softening pretty significantly, and it might be just the amount you're looking for. If 40% is still too much, try 30%. So, you could be done right here. But, if you want some thing even better, continue on.
Step Eight:
Let's first make sure you haven't missed any areas, so press-and-hold the Option (PC: Alt) key, and in the Layers panel click directly on the layer mask thumb nail that appears to the right of your photo (as shown here). This displays just the mask by itself, and you'll see instantly whether you missed any areas or not. In this case, you can see I missed areas on both her cheeks, and I missed a lot of areas on her shoulder, as well as on the top right of her forehead.
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Step Nine:
These missed areas are really easy to fix j ust take your Brush tool and paint right over them (you're painting right on the mask itself, so you'll be able to see per fectly as you paint). In j ust seconds, you'll have a perfectly clean mask (as shown here). N ow, to get back to your regular view, first click once directly on the layer thumbnail for your blurry layer, then click back on the layer mask thumbnail (don't hold any keys down-just click). So, you're going to click once on the left thumbnail, then once on the right.
Step 10:
Now that you can see your full-color image again, you're going to load your layer mask as a selection (it's easier than it sounds). J ust press-and-hold the Command (PC: Ctrl) key and click once directly on the layer mask. This loads your mask as a selection, as seen here.
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Step 1 1 :
N ow, click o n the Background layer (your selection will sti ll be in place), then press Command-J ( PC: Ctrl-j) to take those selected areas of your Background layer and put them up on their own separate layer (as shown here in the Layers panel). Now go ahead and hide the top layer (the blurry layer) and the Background layer from view (click on the little Eye icons to left of each of those two layers), and you'll see the awful-looking thing you see here.
Step 1 2:
You'l l need to remove the color from this layer, so go under the Image menu, under Adjustments, and choose Desaturate (or press Command-Shift-U [ PC: Ctrl-Sh ift-U)). This removes the color from j ust your current layer (as shown here). I know, it looks pretty creepy. Retouching isn't pretty. Well, at least not until you're done.
Step 1 3:
Now, to bring the texture, h ighl ights, and shadows back into the skin, go under the Filter men u, under Other, and choose H igh Pass to bring up the High Pass filter dialog (seen here). Drag the Radius slider all the way to the left (as shown) to make the image pretty flat looking. Don't click OK quite yet.
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Step 14:
Now drag the Radius sl ider to the right until some of the detail, highlights, and shadows start to return to the image (as shown here). I can't give you an exact n um ber to dial in every time, so j ust drag it until your image looks somewhat like the one you see here, then click OK.
Step 15:
Next, make the other two layers visible again (by clicking where the Eye icons used to be in the first column of the Layers panel), then drag your gray tex ture layer to the top of the layer stack (as shown here). Okay, it doesn't look real great at this point, and apparently I also missed some of the area under her nose, as well.
Step 16:
Now to bring her original skin texture and h ighl ights back into our photo, you're going to change the layer blend mode of this top layer (the gray texture layer) from N ormal to Soft Light, in the pop-up menu at the top left of the Layers panel (as shown here). When you first do this, it brings back the skin texture with a vengeance, wh ich is not our goal. Okay, it's not as much as the original texture, because there is some softening on the layers below it, but it's too intense at this point. Continued Retouching Portraits
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Step 17:
So (and here's where the cool part is), you're going to dial in the exact amount of original skin texture you'd like visible by lowering the Opacity of this texture layer. The lower you make the Opacity, the less skin texture is visible. For this particular photo, lowering the Opacity to 50% looks like it gives about the right balance between softening and texture. Compare the before and after photos below. Also, the image at the very bot tom of the page has only one additional change: I added the "Hol lywood H igh lights" effect from earlier in this chapter.
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TIP: In CS3, there is an alternate way to
do this technique, and that is instead of duplicating the Background layer, blurring it, and adding a layer mask, you could convert the Background layer to a Smart Object, then apply a Smart Filter directly to that layer. The advantages are: (1) much smaller file sizes to deal with (in fact, nearly half), so on large high-resolution files, Photo shop will work a lot faster; and (2) you can always go back and change the amount of blur. Here's a quick step-by-step: Step One:
Once you open the photo, go under the Filter menu, and choose Convert for Smart Filters (as shown top left). Now j ust add your Gaussian Blur like before (same settings, etc.) and when you click OK, it adds a Smart Filters sublayer below your Background layer, and then a thin sublayer bar under it reading "Gaussian Blur." Step Two:
On the far right of the Gaussian Blur sub layer, doub le-click on the two adjust ment bar icons and it brings up a Blending Options dialog. Lower the Opacity to 50% (which reduces the amount of blur by 50%, j ust like before), and click OK. Step Three:
In the Layers panel, click on the th umb nail for the Smart Filters mask (as shown here), then press Command-I ( PC: Crrl-I) to fi ll the mask with black and h ide the bl urry layer (just li ke we did previously). Now you'll paint on the mask to reveal the blurry parts just like before, and the rest of the technique remains the same. If later you want to change the amount of bl ur, j ust double-click directly on the words "Gaussian Bl ur" and the dialog appears with your original settings.
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Digital Nose Jobs Made Easy
I don't know of a quicker, easier, or more effective way for reducing the overall size of your subject's nose than this, and it uses a tool that many first dismissed as a "toy" or a filter used for "playing around" in Photoshop, but now it has truly earned not only respect, but its own place as the pro-retoucher's tool for desnozilazation, dehonkerizing, and unsnoutilation. I can't believe people once made fun of this incredibly useful filter.
Step One:
Open the photo that you want to retouch. By the way, did you notice how gentle I was in that opening phrase, and how I made no mention whatsoever of a somewhat minor facial retouch that might be considered in this instance? (Wait for it . . . wait for it . . . no! I'm not going to do it! Not this time. Not here. Not now.) Let's contin ue, shall we?
Step Two:
Go under the Filter menu and choose Liquify. When the Liquify dialog appears (as seen here), choose the fourth tool down from the top (the Big Honker tool), shown circled here in red. Okay, I tried to slip one past you. Actual ly, the real name of this tool is the Bulbous Nasal Retractor, or BNR for short. (Aw, come on, that last one was pretty funny. Even I heard you giggling.) Okay, if you must know, the official ':A,dobe name" for the tool is the Pucker tool, and basically it "puckers in" the area where you click it. The more you click it, the more it puckers.
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Take the tool and move it right over your subject's nose (as shown here), and make the brush size a l ittle bigger than the entire nose itself (the quickest way to do that is to press-and-hold the Sh ift key and press the Right Bracket (]) key on your keyboard. Each time you press that, it will j ump up 20 points in size. Once you have the size right, just click it three or four times (don't paint just click). In the example shown here, I clicked four times, for obvious reasons. (Sorry, I couldn't help myself.)
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Now, move the little crosshair in the center of the brush over his left nostril and click two or three times, then do the same to the right nostril. Then move to the bridge of the nose and click two or three times there, and you're done. In our example, the entire retouch took only about 12 clicks (22 seconds-I timed it). Also, if you make any mistakes, you have multiple Undos by pressing Command-Option-Z (PC: Ctrl-Alt-Z). When it looks good, click OK.
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Slimming and Trimming
Step One:
Open the photo of the person that you want to put on a quick diet. Press Command-A (PC: Ctrl-A) to put a selec tion around the entire photo. Then press Command-T ( PC: Ctrl-T) to bring up the Free Transform function. The Free Transform handles might be a little hard to reach, so press Command-O (zero; PC: Ctrl-O), which resizes your window, making some of the gray canvas area around your photo visi ble, so you can easily reach all the handles (as seen here).
Step Two:
Grab the right-center handle and drag it horizontally toward the left to slim the subject. The farther you drag, the slimmer the person becomes. How far is too far (in other words, how far can you drag before people start looking like they've been retouched)? Look at the Width field in the Options Bar for a guide-you're pretty safe to drag inward to around 95%, as shown here, but depending on the person, I've dragged to as much as 92% without getting caught. In this case, let's try dragging over until it reads 93% (giving us a 7% reduction in width).
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This is an incredibly popular technique because it consistently works so well, and because just about everyone would like to look about 10-20 pounds thinner. I've never applied this technique to a photo and (a) been caught, or (b) not had the clients absolutely love the way they look. The hardest part of this technique may be not telling your clients you used it.
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Step Three:
When your person looks "naturally" slimmer, press Return ( PC: Enter) to lock in your transformation. Doing this transformation leaves you with some excess wh ite canvas area on the right side of the photo, but luckily your origi nal selection will still be in place (from back in Step One), so just go under the Image menu and choose Crop (as shown here) to remove the excess wh ite space and crop your image down to size. Press Command-D ( PC: Ctrl-D) to Deselect, and you're done! The before and after below show the original on the left, and a 7% thinner version on the right.
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Here's another handy use for the Liquify filter-removing love handles. This time, we're using a tool we haven't used in this chapter before, but in the right instance (like this), it does an amazing job. Here's how to deal with those unsightly love handles in 60 seconds (or less), plus I added a little quick trick at the end for getting rid of any "poochiness" in the stomach ("poochiness" was not found in InDesign's spell checker, however you still knew what I was talking about, right?).
Step One:
Open a photo that needs to have a love handle repair. In the fitness-style photo shown here, only one side needs the retouch, so it's a real ly quick fix. Start by going under the Filter menu and choosing Liquify.
Step Two:
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When the Liquify dialog appears, click on the Zoom tool at the bottom of the Toolbox on the left-hand side of the dialog. Then, click-and-drag out a selection around the area you want to work on to give you a close-up view for greater accuracy. Get the Push Left tool (as shown here) from the Toolbox (it's the sixth tool down from the top). Next, choose a medium size for your brush using the Left and Right Bracket keys (they're found to the right of the letter P on your keyboard).
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N ow, start j ust below where her love handle starts and paint an upward stroke. As you do, the pixels will shift back in toward her body, removing the love handle as you paint. When you get up near her shirt, shrink your brush size way down so you can tuck that l ittle area of skin in toward her shirt. I did fix one other little thing: once you fix the love handle, her stomach still looks a little "poochy," so I used the same tech nique we showed earlier for reducing the size of the nose-get the Pucker tool, choose a large brush size, and click three or four times over the center of her stomach, right where her skin meets the top of her pants. This just shrinks that poochiness right away. When you click OK, the love handle repair is complete. (Note: If you need to remove a love handle on the left side of the body, paint downward rather than upward. Why? That's j ust the way it works.)
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10
Special Effects for Photographers
Special Delivery
special effects for photographers
The chapter title above is actually the name of
tion between the bass player for Dufus and
a band. I ran across their song "Love Broke" as
a potential date chosen at random from the
I was searching in Apple's iTunes Store under
crowd before they take the stage. Bass player:
the word "Special." Of course, iTunes came up
"So, we haven't met. I'm Mike, the bass player
with songs from bands like .38 Special, as well
for Dufus." Audience mem ber: "Buh-bye,
as a band called The Specials, but somehow in
Dufus." See what I mean? It's hard to put a
the midst of all this, another title caught my
good spin on that name. I think I might call a
eye. The song was named "Specinal" (which
band meeting and politely request a snappier
is either a typo, or a very clever m isspelling
name, citing the bass player's bad experience
of Special designed to throw off authors
transcribed above. Some alternate names
using iTunes as a research tool for naming
might be The Studs. Or The Heartbreak Kids,
chapters), but it wasn't the name of the song
or even Eddie from Oh io. So, let's try that
that drew me to it, it was the name of the
scenario again, but using one of these new
band-Dufus. That's right, they named their
and im proved names. Bass player: "So, we
band Dufus. Now, I'm not entirely sure, but
haven't met. I'm Mike, the bass player for
the name Dufus might not be the best name
Eddie from Ohio." Audience mem ber: "Can
for attracting members of the opposite sex (if
you introduce me to Eddie?" Bass player:
you can, indeed, determ ine what that would
"Uh, I dun no, he's pretty busy." Audience
be). I mean, imagine the following conversa-
mem ber: "Leave me alone, you Dufus."
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Quadtoning for Richer B&Ws
Step One:
Open the photo you want to apply your q uadtoning effect to (the term quadtoning just means the final photo will use four different inks m ixed together to achieve the effect. Tritones use three inks, and do I really have to mention how many duotones use?). Quadtoning effects seem to look best with (but are not limited to) two kinds of photos: (1) landscapes, and (2) people. Especially cowboys. I'm kidding. Kinda.
Step Two:
To create a quadtone, you'll have to convert to Grayscale mode first, but by now you know what a flat-looking B&W photo that creates, so instead use whichever method from the B&W chapter (Chapter 7) of this book you l i ke best (in the example shown here, I used the simple Gradient Map adjustment layer method, which worked just great. In fact, I didn't even have to add a center stop under the gradient-it looked good "as is").
Photographers
If you've ever wondered how the pros get those deep, rich-looking B&W photos, you might be surprised to learn that what you were looking at weren't j ust regular B&W photos, instead they were quadtones or tritones-B&W photos made up of three or four different grays and/or brown colors to make what appears to be a B&W photo, but with m uch greater depth. Luckily, Adobe has put a bunch of very slick preset quadtones, tritones, and duotones in your C53 folder. Here's how to put them to use:
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Now that your photo looks black and wh ite, it's okay to convert to Grayscale mode. This won't change the look of the photo, it will j ust change the mode, and at this point (when the color's already gone), it's harmless. So, go under the I mage menu, under Mode, and choose Grayscale (as shown here). When you do this, it will ask you if you want to flatten your layers (your only layer is that Grad ient Map adjustment layer), so click on the Flatten button (if you keep the Grad ient Map adj ustment layer, it changes the look of your p h oto because the gradient map relies on the color channels to do its thi ng. Taking away those chan nels changes its effectiveness, so that's why you should go ahead and click the Flatten button in that warn ing dialog).
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Step Five:
Once your photo is in Grayscale mode, the Duotone menu item (which has been grayed out and unchoosable until this very moment) is now open for business. So, go under the Image menu, under Mode, and choose Duotone (if Duotone is still grayed out, you forgot Step Three-converting to grayscale).
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When you choose Duotone, the Duotone Options dialog appears (shown here), and what do you think its default mode is? Duotone? Nope-that's too obvious. Even though you chose Duotone, and you're in the Duotone Options dialog, the default setting is for a one-color Monotone. (I'll bet some nights the Adobe engineers who designed this sit at a restaurant with glasses of wine and just laugh and laugh when they think about the look on our faces when we see Monotone as the default type. Aw, those rascals!) Anyway, your job here is to choose Quadtone from the Type pop-up men u (as shown here), but don't click OK yet.
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Click the Load button and the quad tone you chose is applied to your B&W image, giving you the rich look you see here (compare this with the rather cold looking origi nal on the previous page, and you can real ly see the difference stacking up those four i n ks can make). For printing (or anyth ing else for that matter), you'll need to go back to the Image menu, under Mode, and choose RGB color. Now, on the next two pages, I'm going to share some of my favorite quadtone, tritone, and duotone settings, and apply them to this same photo so you can see how they compare (they're all sl ightly different) and see if you'd like to try any of them.
Continued Special Effects for Photographers
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Step Nine:
This one is a tritone, so when you hit the Load button, you have to navigate your way back to the Tritones folder, then open the Gray Tritones folder, and inside of that choose the second tritone down, descriptively named "BL 409 WmGray 407 WmGray" for your conven ience. Cancel
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Here's another tritone, which has a some what similar look, but it's not quite as dark because of the tritone curve applied to the third i n k, and because it uses a lighter com bination of inks. This one is found in the same Gray Tritones folder as the previous tritone, but this one is the last one in the folder (the fourth one down on a PC), and it's named "BL WmGray 7 WmGray 2" (exactly what I would have named it. By the way, I did some research and learned that the BL stands for "Big Laugh." I should've known). "
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For one last look, try this duotone found in the Duotones folder, but in the PANTONE(R) Duotones folder. It's called "478 brown (1 00%) bl 4," and it adds a reddish brown to the mix that really works well for certain photos (that goes back to my "give at least a few of them a try on different photos" tip on the previous page. You'll be surprised at how different these same exact quadtones, tritones, and duotones will look when applied to different photos). Well, there you have it-four of my favorites (and don't forget, when you're done, convert back to RGB mode).
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Taming Your Light
Sometimes the light falls where you don't want it, and sometimes you just mess up (like in the case here, where I didn't pay enough attention to the spread of the light, and both the bride's face and the bouquet she's holding share pretty much the same intensity of light. The subject really is the bride's face, and the flowers are just playing a supporting role, but I lit it l ike they're sharing the starring role). Luckily, it's pretty easy to tame and refocus the light in Photoshop (though I'd stil l rather have done it right when I shot it).
Step One:
As I mentioned above, here's the shot where the bride's face and the bouquet are both equally as bright, which is not a good thing (in fact, the bouquet may even be a little brighter, and is drawing your attention away from the bride, which is absolutely not what you, or the bride, want). So, we're going to tame our light using a very simple Levels move. Choose Levels from the Create New Adj ustment Layer pop-up menu at the bottom of the Layers panel (as shown here).
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Step Two:
The changes I make in the Levels dialog will affect the entire photo, but since adjustment layers come with their own built-in mask, we'll be able to tweak thi ngs very easily after the fact. At this point, you want to darken the bouquet, so drag the Input Levels middle slider to the right a bit to darken the midtones (and the bouquet), and then drag the bottom-right Output Levels sl ider to the left a l ittle bit to darken the overall photo (as shown here), and click OK. One downside is that this oversaturates the colors quite a bit, which can also draw attention away from the face, but that's easy to fix.
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First, to reduce the oversaturation caused by our Levels move, go to the Layers panel and change the blend mode of the Levels adj ustment layer from N ormal to Lum inosity. This keeps the darken ing without oversaturating the color. Next, press Command-I (PC: Ctrl-I) to I nvert the layer mask, which hides the darken ing added by our Levels move behind a black mask. Now, get the Brush tool (B), make sure your Foreground color is set to wh ite, then paint over everything in the p hoto except for her face and hair. As you paint, it darkens those areas (as shown here where I'm darken ing the bouq uet so now the bride's face is once again the focus).
Before (the bouquet has at least as much or more light than the bride's face)
After (everything else is darkened, leaving the bride's face nicely lit and making it the visual focus of the portrait)
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Punching Up Drab Colors Using Lab Color
Okay, so why isn't this in the color correction chapter? It's because this isn't color correction. We're not trying to make colors look as they did, we're punching up the colors big time so they look better, more vibrant, and more contrasty than the scene real ly looked when the shot was taken. It's totally a color effect and what you're about to learn is a much simplified version of a Lab color technique I learned from Dan Margulis, master of all things color. The full-blown technique is found in Dan's amazing book Photoshop LAB Color.
Step One:
This techn ique works best on photos that are kind of flat and drab. If you apply this to an already colorful photo, it will pretty much take the color right over the top, so choose an appropriate photo whose color needs some serious pumping up (I'm going to totally resist the urge to use a Saturday Night Live reference, like "We're here to pump you-up!" Oh rats, I just did it, didn't I? My bad).
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Step Two:
This is a Lab color move, so go under the I m age men u, under Mode, and choose Lab Color (as shown here). This is a totally non-destructive move (moving from RGB to Lab color and back), so don't hesitate to jump over there whenever you feel the need.
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The nice thing about using Apply I mage is that you get at least three different "looks," and you simply have to choose which one looks best to you (they look different depending on the photo, so you have to try all three). By default, you're seeing the full Lab color channel (that's seen back in Step Three), so once you've seen that channel, then click on the Channel pop-up menu and choose "a" (as shown here) to see how the "a" channel looks blended with an invisible copy of itself in Overlay mode. It cer tainly looks better than the original, but I don't thin k it looks as good as the Lab channel did in Step Three. Continued
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Step Five:
Now try the "b" channel by choosing "b" from the Channel pop-up menu (as shown here). This channel usually adds more yellow and warm tones to the photo (as seen in the exam ple here). In fact, if you want to make an outdoor scene instantly look like a fall color scene somewhere in the Northeast, convert to Lab Color mode, choose Apply Image, switch to Overlay mode, and simply choose the "b" channel-voila-instant fall colors. Now, back to our project: in the exam ple shown here, it's very yellowish, and if you l i ke that look you're done-just click OK. If not, conti n ue on with me.
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Step Six:
So far, you've seen the photo blending in Overlay mode (which is a pretty punchy mode), using the Lab channel, the "a" channel, and the "b" channel. Personally, I like the Lab channel by far, and if you feel it's the best of the three, but thin k i t might actually b e a little too "punchy," then change the Blending pop-up menu to Soft Light (as shown here). This is a more mellow mode than Overlay (how's that for a New Age explanation), and if Overlay is too intense for you, you'll prob ably love Soft Light. I don't m i nd admit ting that I probably use Soft Light more than Overlay. It's probably from burn i ng incense and sitting in the Lotus position (by the way, I have no idea what the Lotus position is, but it sounds painful).
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Special Effects for Photographers
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There is another way to go if you think Overlay is too intense, and that's to use the volume knob. Well, I call it the vol ume knob, but it's actual ly the Opacity amount (which appears just below the Blending pop-up menu). The lower the opacity, the lower the amount of the effect. I n the example shown here, I switched back to the Lab channel, chose Overlay in the Blending pop-up menu, but then lowered the Opacity to 80%. The After photo below was done using those same exact settings. TIP: This Apply I mage trick is a great
thing to record as an action. But once you create it, go to the Actions panel and click in the second column beside the words "Apply Image" (a dialog icon will appear), and then when you run the action, the Apply Image dialog will appear onscreen for you to try your three choices. Once you make your choice, click OK, and the action will contin ue, and will convert you back to RGB.
Before
After (using the Lab channel in Overlay mode at 80%-no Curves, no Levels, no nuthin')
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Trendy H igh... Contrast Portrait Effect
Step One:
Open the photo you want to apply this trendy h igh-contrast portrait effect to. Duplicate the Background layer by press ing Command-J (PC: Ctd-J). Then dupli cate this layer using the same shortcut (so you have three layers in all, which all look the same, as shown here).
Step Two:
In the Layers panel, click on the middle layer (Layer 1) to make it the active layer, then press Command-Shift-U (PC: Ctrl Shift-U) to Desaturate and remove all the color from that layer. Of course, there's stil l a color photo on the top of the layer stack, so you won't see anything change on screen (you'll still see your color photo), but if you look in the Layers panel, you'll see the thumb nail for the center layer is in black and white (as seen here).
This is just about the hottest Photoshop portrait technique out there right now, and you see it popping up everywhere, from covers of magazines to CD covers, from print ads to Hollywood movie posters, and from editorial images to billboards. It seems right now everybody wants this effect (and you're about to be able to deliver it in roughly 60 seconds flat using the simplified method shown here!).
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
In the Layers panel, click on the top layer in the stack (Layer 1 copy), then switch its layer blend mode from Normal to Soft Light (as shown here), which brings the effect into play. N ow, Soft Light brings a very nice subtle version of the effect, but if you want something a bit edgier with even more contrast, try using Overlay mode instead. If the Overlay version is a bit too intense, try lowering the Opacity of the layer a bit until it looks good to you.
Step Four:
Fairly often, you'll find that the person's eyes really stand out when you see this effect, and that's usually because it brings the original eye color and intensity back (this is an optional step, but if your sub ject has blue or green eyes, it's usually worth the extra 15 seconds of effort). It's j ust two quick steps: Start by clicking on the Add Layer Mask icon at the bot tom of the Layers panel (as shown here). Then get the Brush tool (B), choose a small, soft-edged brush from the Brush Picker up in the Options Bar, press X to set your Foreground color to black, and paint right over both eyes (not the whites of the eyes-just the irises and the p upi ls). This will seem kind of weird, because you won't see any change onscreen as you paint, but that's only because you knocked a hole out of the eyes on this layer. You're now only seeing the eyes on the B&W layer below it, but you're going to fix that in the next step.
Continued Special Effects for Photographers
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
To knock the exact same hole out of the B&W layer (which means there will be "eye holes" knocked out of the top two layers, so you'll see the original eyes from the Background layer), j ust press and-hold the Option (PC: Alt) key, click directly on the layer mask thumbnail itself on the top layer, and drag it to the middle layer (as shown here). This puts an exact copy of the top layer's layer mask on your m iddle layer. Now you're seeing the original full-color unre touched eyes from the Background layer. Pretty neat little trick, eh?
Step Six:
Now flatten the image by choosing Flat ten Image from the Layers panel's flyout menu. The final step is to add some noise, so go under the Filter menu, under N oise, and choose Add N oise. When the Add Noise filter dialog appears (seen here), set the Distribution to Gaussian, and turn on the Monochro matic checkbox (otherwise, your noise will appear as little red, green, and blue specks, which looks really lame). Lastly, dial in an amount of noise that while visible, isn't overly noisy. I'm working on a very low-resolution version, so I only used 4%, but on a high-res digital camera p hoto, you'll probably have to use between 10% and 12% to see much of anything. You can see the before/after at the top of the next page. Beyond that, I gave you some other examples of how this effect looks on other portraits.
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Step Seven:
Here's another example using the exact same technique (including the eyes trick), and you can see how different the effect looks on a completely different image. I particularly love the almost bronze skin tone it creates in this image. Very cool stuff. Turn the page for more examples. TIP: Be careful not to add too m uch
noise, because when you add an Unsharp Mask to the image (which you would do at the very end, right before you save the file), it enhances and brings out any noise (intentional or otherwise) in the photo. Before
After ANOTHER TIP: I recently saw this effect used in a motorcycle print ad. They appl ied the effect to the back ground, and then masked (knocked out) the bike so it was in full color. It really looked very slick (almost eerie in a cool eerie way).
Continued Special Effects for Photographers
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Step Eight:
Here's the same techn ique appl ied to a photo of a woman, however I didn't knock out the eyes because her eye color was pretty subtle. I nstead I lowered the Brush tool's opacity to 50% and painted over her lips on the top layer, then cop ied that layer mask down to the B&W layer (just l i ke before with the eyes same technique with the mask). Without doing that, her lips looked pretty cold, and this way the subtle 50% red looks right with the rest of the photo.
Before
After
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After
Step Nine:
Here's the final example, and there's a version of that bronze skin again. I love what it did to his skin (kind of blowing out the h ighlights in a cool way), and his hair. I did knock out the eye, so you're seeing his original eye color there. TIP: Here are a couple of variations you
can try with this effect: If the effect seems too subtle when you first apply it, of course you could try Overlay mode as I mentioned earlier, but before you try that, try duplicating the Soft Light layer once and watch how that pumps up the effect. Of course, you can lower the opacity of that layer if it's too m uch. Another trick to try is to lower the opacity of the original Soft Light layer to 70%, which brings back some color with almost a tinting effect. Give it a shot and see what you think. One last thing: wouldn't this be a great effect to apply as an action? Oh yeah-that's what I'm talkin' 'bout!
The Adobe Photoshop CS3 Book
The duotone tinting look is all the rage right now, but creating a real two-color duotone, complete with curves that will separate in just two colors on press is a bit of a chore. However, if you're outputting to an i n kjet printer, or to a printing press as a full-color job, then you don't need all that complicated stuff you can create a fake duotone that looks at least as good (if not better).
for Digital Photographers
Fake Duotone
Step One:
Open the color RGB photo that you want to convert into a duotone (again, I'm call ing it a duotone, but we're going to stay in RGB mode the whole time, so you can just treat this like any other color photo). Now, the hard part of this is ch oosing which color to make your duotone. I always see other people's duotones and think, "Yeah, that's the color I want!" but when I go to the Foreground color swatch and try to create a similar color in the Color Picker, it's always hit or miss (usually miss). That's why you'll want to know this next trick.
Step Two:
I f you can find another duotone photo that h as a color you l i ke, you're set. 50 I usually go to a stock photo website (like i5tockphoto.com) and search for "duo tones." When I find one I l i ke, I return to Photoshop, press I to get the Eyedropper tool, click-and-hold anywhere within my image area, and then (wh ile keeping the mouse button held down) I drag my cursor outside Photoshop and onto the photo in my Web browser to sample the color I want. Now, mind you, I did not and would not take a single pixel from someone else's photo-I'm just sampling a color (take a look at your Foreground color swatch to see the sampled color). Continued Special E f fects for Photographers
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Release the mouse button, then return to your image in Photoshop. Go to the Layers panel and click on the Create a New Layer icon at the bottom of the panel. Then, press Option-Delete (PC: Alt-Backspace) to fil l this new blank layer with your sam pled color. The color will fill your image area, hiding your photo, but we'll fix that.
Step Four:
While still in the Layers panel, change the blend mode of this sampled color layer to Color (as shown here).
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If your duotone seems too dark, you can lessen the effect by clicking on the Background layer, and then going under the Image menu, under Adjustments, and choosing Desaturate. This removes the color from your RGB photo without changing its color mode, while lightening the overall i m age. Pretty sneaky, eh? If you don't like the original color you chose-no sweat-just take the Eye dropper tool back to that stock photo and choose a different color (as I did here), and refi l l that color layer with your new color.
Special Effects for Photographers
The Adobe Photoshop CS3 Book
for Digital Photographers
Creating Photo Collages
Photoshop collage techniques could easily fill a whole chapter-maybe a whole book-but the technique shown here (using layer masks) is probably the most popular, and one of the most powerful collage techniques used by professionals. Note: The term "col lage" has kind of emerged as the word most often used to describe com bining photos like this in Photoshop, but I've been told (in quite a harshly worded note, mind you) that they are actually photo "montages," so don't make the same horrible mistake I made. ;-)
Step One:
Here are the three photos we're going to collage together in Photoshop. I usually choose one of the photos as the "base" photo, which will act as the background for the other photos to blend into. In this case, I'm going to choose the red rose, but I could just as easily have chosen any one of the three.
Step Two:
Go to the first photo that you want to collage with your background rose photo (in this case, it's the piano keys). Press the letter V to switch to the Move tool, and then click-and-drag the photo right onto your background photo (as shown here). It will appear on its own separate layer above your Background layer.
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Step Three:
Cl ick on the Add Layer Mask icon at the bottom of the Layers panel (it's circled here in red) to add a layer mask to your piano layer.
Step Four:
Then, press the letter G to get the Gradient tool from the Toolbox (shown circled here). You need to use a Black to Wh ite gradient, so you can either use: (a) the default gradient, which uses your current Foreground and Background colors, and if that's the case, j ust press the letter D on your keyboard to get them to black and white (respectively); or (b) you can go up to the Gradient Picker (in the Options Bar) and choose the third gradient in the top row (which is the Black to Wh ite gradient). Once you've got a black-to-white gradient chosen, click the Gradient tool on the photo at the spot you'd like to be 100% transparent, and drag to the right to the spot where you'd like the photo to be 100% solid (as shown here, where the direction is indicated with a red arrow). You'll need to start dragging well inside the edge of the photo because you want that hard edge to be totally transparent. Continued Special Effects for Photographers
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When you release the mouse button, the photo on the top layer wil l smoothly blend from a solid image (on the right) to transparent (as it overlaps the rose on the layer below it). Once the blend is in place, if you don't like how it blended (or worse yet-you see the hard edge of the piano photo), then just press Command-Z (PC: Ctrl-Z) to undo your drag of the gradient and then try again. Remember, if you see that edge, you're dragging too close to it. Start an inch or so to the right of the edge, then drag.
Step Six:
Open another photo you'd like to blend in with your existing two photos (in this case, it's a white rose on a black back ground). Switch to the Move tool (V), and click-and-drag this photo onto the top of your collage-in-progress (as shown here). You can reposition your photo where you'd like it while you've still got the Move tool. In the exam ple shown here, I dragged it over to the left so the white rose was offset to the far left of the document.
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Click on the Add Layer Mask icon again at the bottom of the Layers panel to add a layer mask to this new layer. Switch back to the Gradient tool (press the letter G), then click the Gradient tool about a half an inch inside the right edge of the white rose photo, and drag to the left, to where you're almost touching the white rose.
Step Eight:
When you release the mouse button, the white rose photo now blends in with the rest of the photo (as seen here), You can also manually tweak the blend. For example, if you wanted to make the cen ter of the red rose less transparent, you could switch to the Brush tool (B), choose a soft-edged brush, set your Foreground color to black, and with the top layer's mask active, paint over the center of the red rose, bringing j ust the area where you paint back to full 1 00% opacity. The final step here is simply to add some text. The font shown here is Bickham Script Pro, which comes with the Adobe Creative Suite, so click the Type tool (T) on your photo and see if it's not already installed in Photoshop. It's an Open Type font, so I used the Open Type Swash characters (in the Character panel's flyout menu) for the letters L and H (the H is also a Stylistic Alternate), because it's l i ke I always say, "noth ing says I love you l i ke Open Type Swash characters." Once I entered the type, I lowered the Opacity of the Type layer to 45% to make it blend in a l ittle better, with the final collage (shown here).
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The Adobe Photoshop CS3 Book
for Digital Photographers
I nstant I nfrared Effects
Here's my digital twist on getting an infrared look from regular photos taken with your digital camera. The first three steps give you the standard infrared look, which I totally love (and which makes it kinda look like you popped a Hoya R72 infrared filter on your lens), and the last steps let you bleed some color in for some really interesting looks
Step One:
Open the RGB photo you want to apply an infrared effect to in Photoshop. Go to the Layers panel and choose Channel Mixer from the Create New Adjustment Layer pop-up menu, as shown here (it's the half-black/half-white circle icon at the bottom of the panel).
Step Two:
When the Channel Mixer dialog appears, turn on the Monochrome checkbox at the bottom of the dialog first (it's shown circled here in red). Then, drag the Red channel sl ider to the left to -50% (it's actually quicker to j ust type -50 in the field at the top right of the Red slider); set the Green channel to 200%; and set the Blue channel to -50% for the subtle infrared effect you see here. Note: There is a built-in preset Infrared conversion you can choose from the Preset pop-up menu at the top, but I think in most cases it creates too l ight an effect, especially in the sky where it should be al most black.
Special Effects for Photographers
The Adobe Photos hop CS3 Book
for D igital Photographers
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Now click Cancel, and choose Channel Mixer from the Create New Adjustment Layer pop-up menu instead. Input similar settings to what we used in Steps Two and Three, and look at the difference. If you'd l i ke a color infrared effect, then try th is: duplicate the Background layer, drag it to the top of your layer stack (in the Layers panel), change the layer blend mode at the top of the Layers panel to Overlay, then lower the Opacity to 50%. Not bad, eh?
Special Effects for Photographers
359
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Faking a Neutral Density Gradient Filter
One of the most popular lens filters for outdoor photographers is the Neutral Density filter, because often (especially when shooting scenery, l i ke sunsets) you wind up with a bright sky and a dark foreground. A Neutral Density gradient lens filter reduces the exposure in the sky by a stop or two, while leaving the ground unchanged (the top of the filter is gray, and it graduates down to transparent at the bottom). Well, if you forgot to use your ND gradient filter when you took the shot, you can create your own ND effect in Photoshop.
Step One:
Open the photo (preferably a landscape) where you exposed for the ground, which left the sky too light. Press the letter D to set your Foreground color to black. Then, go to the Layers panel and choose Gradient from the Create New Adjustment Layer pop-up menu at the bottom of the panel (as shown here).
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When the Gradient Fill dialog appears, it applies a Foreground to Transparent gradient to your photo (since you set your Foreground color to black first, it goes from black to transparent), but unfortunately this default gradient dark ens the ground, as seen here (rather than the sky), which is exactly the opposite of what we need. Luckily, it's easy to fix.
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To fix this problem, j ust turn on the Reverse checkbox (shown circled here in red) to reverse the gradient, putting the dark area of your gradient over the sky and the transparent part over the land. Your image will look pretty awful at this point (with a black sky), but you'll fix that in the next step, so just click OK to apply the gradient.
Step Four:
To make this gradient blend in with your p hoto, go to the Layers panel and change the blend mode of this adjust ment layer from Normal to Overlay. This darkens the sky, but it gradually lightens until it reaches land, and then it slowly disappears. So, how does it know where the ground is? It doesn't. It puts a gradi ent across your entire photo, so in the next step, you'll basically show it where the ground is.
Continued Special Effects for Photographers
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Step Five:
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In the Layers panel, double-click directly on the Gradient Fill adjustment layer's thumbnail to bring up the Gradient Fill dialog again. Click once on the Gradient thumbnail at the top of the dialog to bring up the Gradient Editor (seen here). You'll see a large gradient ramp towards the bottom, and on the top right of the ramp is a white opacity stop, which controls how far down your gradient extends (by default, it extends to the bottom of your photo). Ideally you want the gradient to only darken the sky-not the whole photo-so drag that white opacity stop to the left to move the bottom of your gradient upward (here's the weird th ing: it doesn't give you a l ive preview as you drag-you have to drag it, then let go of the mouse button to see the effect it's having. I know. . . it's weird). When the bottom of your gradient is safely above the horizon l ine, click OK in the Editor, and then once again in the Gradient Fill dialog to complete the effect (shown below).
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One of the questions I get asked most about my portraits is how do they look so sharp, but at the same time have a soft quality to them? It's because for all portraits of women, children, or families, I apply a three-step Photoshop finishing tech nique that does the trick. It actual ly com bines two techniques you've already learned, and introduces a third. They're all exceedingly easy (in fact, you can write an action to apply all three steps with the click of one button)-it's j ust the order you do them in, and the settings you use. Here's exactly what I do:
for Digital Photographers
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Step One:
Once you've color corrected the photo, done any retouch ing, etc., that's when you add these three finishing steps. The first step is to add a lot of sharpening to the photo (because in the second step, you're going to blur the entire photo). I always use Lab sharpening for this, so go under the Image menu, under Mode, and choose Lab Color.
Step Two:
Go to the Channels panel and click on the Lightness channel, so your sharpening is appl ied to j ust the detai l areas of the p hoto, not the color areas. When you do this, it displays the grayscale Lightness channel (as seen here). Now go under the Filter menu, under Sharpen, and choose Unsharp Mask. The settings I use are pretty strong-Amount: 1 20%, Radius: 1, and Threshold: 3-but you generally need it (however, if you have a small, low-resolu tion file, you'll need to lower the Amount to 80%). Click O K, click back on the Lab channel, then switch back to RGB mode.
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Duplicate the Background layer by pressing Command-J (PC: Ctrl-J), then you're going to apply a pretty sign ificant Gaussian Blur (20 pixels) to this layer. So, go under the Filter menu, under Blur, and choose Gaussian Blur. When the dia log appears, enter 20 pixels for a regular h igh-res digital camera photo (for a low-res file, only use 6 pixels), then click OK to apply the blur to this layer.
Step Four:
Now, in the Layers panel, lower the layer Opacity of this bl urry layer to j ust 20% (as shown here), which gives the photo almost a glow quality to it, but the glow is subtle enough that you don't lose sharpness (look at the detail in the hair and eyes).
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The Adobe Photoshop CS3 Book
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Step Five:
Press Command-E (PC: Ctrl-E) to merge those two layers together and flatten the photo. Now, you're going to add an edge vignette effect (which looks great for portraits), so start by dupl icating the Background layer again (you know the keyboard shortcut, right? Oh come on, you just did it in Step Three. I thought I was the only one with the memory retention of a hamster). Anyway, once you dupl icate the layer, change the blend mode of the layer to Multiply (which makes the layer much darker). Then get the Rectangular Marquee tool (M) and draw a rectangular selection that is about 1 /2" to 1" inside the edges of your photo (as shown here).
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Now you're going to majorly soften the edges of your rectangular selection, so go up to the Options Bar and click on the Refine Edge button to bring up the Refine Edge dialog (shown here). Below the five sliders, click on the first icon on the left, so you view your photo as a full-color composite image (as shown here). Now, to soften the edges, drag the Feather sl ider all the way to 200 pixels (if you're using a low-res file, only feather 1 00 pixels). One advantage of this Refine Edge dialog is you can see the amount of feathering as you move the slider. Now press the Delete (PC: Backspace) key on your keyboard to knock a soft-edged hole out of your darker Multiply layer (as seen here).
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Step Seven:
Press Command-D (PC: Ctrl-D) to Deselect, and you'l l see the effect is like a really soft spotlight aimed at your subjects. If the edge darkening actual ly is close enough to their faces to matter, get the Eraser tool ( E), choose a soft edged brush, and simply paint over the top of the head and hair (as shown here) to remove the edge vignetting in just that area. The final photo is seen below right. Notice the sharp eyes and hair, and general overall sharpness, but there's also a general overall softness, en hanced even more by that soft spotlight vignette you added at the end. Again, this is a perfect routine to turn into an action so it's always j ust one click away.
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After (applying all three steps)
The Adobe Photoshop CS3 Book
This is an incredibly popular effect with pro wedding photographers (in fact, I can't remember the last time I saw a wedding album without this effect in it). Basically, you're going to make a copy of the photo, remove all the color, and then just bring back color right where you want it (this is usually done on the bridal bouquet-I know, it's kind of an obvious choice). Anyway, although I'm showing it here in the context of a wedding, it's perfect for travel photography, product shots, and any instance where you want to lead the viewer using color.
for Digital Photographers
Drawing the Viewer's Eye with Color
Step One:
Open the photo where you want to lead the viewer's eye with the use of color. As I mentioned in the intro above, the classic use of this technique in wedding photography is to make the photo black and white, and bring back the color in the bouq uet. So, start by pressing Command-J ( PC: Ctrl-J), wh ich dupl icates the Back ground layer.
Step Two:
N ext, to remove the color from this dupl icate layer, press Command-Sh ift-U (PC: Ctrl-Shift-U), wh ich is the shortcut for Desaturate (if you're charging by the hour, go under the Image menu, under Adj ustments, and choose Desaturate). Once the layer is in black and wh ite, click on the Add Layer Mask icon at the bottom of the Layers panel (as shown here).
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Get the Brush tool (B), choose a medium sized, soh-edged brush, make sure your Foreground color is set to black, and begin painting over the flowers. As you do, it reveals the flowers in color from the Background layer (as shown here).
Step Four:
The rest is easy (if not a little tedious). You just continue painting over the flowers unti l the full color is revealed. As you get near the edges of the flowers, you'll have to use a smaller brush (use the Leh and Right Bracket keys on your keyboard [to the right of the letter P] to change brush sizes). Also, if you make a mistake, just press X to switch your Fore ground color to wh ite and pai nt over your mistake, and as you pai nt, it will return to black and wh ite. Once your mistake is fixed, press X again to switch your Foreground color back to black, and continue painting until the flowers are fully painted in color (as seen here). That's it!
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Photoshop has had a feature to help you stitch m ultiple photos into a single panoramic photo for years now. As long as you did everything right in the camera (shooting on a tripod with just about every auto feature turned off), Photomerge worked pretty well. However, in Photoshop (53, Photomerge is
for Digital Photographers
Panoramas Made Crazy Easy
so vastly improved that you can pretty m uch hand-hold your camera without regard to the auto settings, and Photomerge will not only perfectly align the photos, but now it will also seam lessly blend the pieces together, even if the exposure or white balance isn't "on the money." This is very cool stuff.
Step One: There are two ways to build your pano: (1) You can start by selecting the indi vidual pieces of your pano in Bridge (as I have here, where I took eight individual photos that I'd like stitched together into a single panorama), and then go under the Tools menu, under Photoshop, and choose Photomerge (as shown here). The second method (2) is simply to open all eight photos in P hotoshop, then go under the File menu, under Automate, and choose Photomerge. There's no advantage to choosing one way or the other, so choose whichever you like best.
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Step Two: Either way brings up the Photomerge dialog (seen here). If you opened your pano photos from within Photoshop, you'll need to click on the button for Add Open Files, and then your photos to be merged into a pano will appear in the center column. (If you opened them from Bridge, they'll already be listed there, as shown here. 50 I guess there is an advantage to choosing the photos from Bridge-there's one less button to click.) You have five different choices for how your pano will be constructed in the lay out section on the left, and I recommend using Auto (which does a brilliant job). Continued
Special Effects for Photographers
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three: The three choices below Auto ( Per spective, Cylindrical, and Reposition Only) all give you."well" .funky looking panos (that's the best description I can give you), but suffice it to say-they don't give you that nice long pano most of us are shooting for. The Interactive Layout brings back the "old" way of stitching panos (the semi-manual way), and that's why I prefer (and recommend) the Auto method. J ust click OK, and within a minute or two (depending on how large your photos are), your pano is seamlessly stitched together (as seen here), and you'll see status bars that let you know that Auto-Align Layers and Auto-Blend Layers are both being applied to make this mini-miracle happen. Step Four: Usually, to make your pano fit perfectly together, Photomerge has to move and rearrange things in a way that will cause you to have to crop the photo down to get the final result you want (we get the easy job; cropping only takes about 10 seconds). So, get the Crop tool (C) and drag out your cropping border (like you see here, encompassing as much of the pano as possi ble without leaving any transparent areas). Step Five: When you press Return (PC: Enter), your pano is cropped down to size (as shown here). I encourage you to try shooting panos "as is" (without changing all your camera settings, or turning off the auto exposure, or auto focus, or any of those things-just hand-hold, point, and shoot as many frames as you'd like. There's now just one rule to remember: try to over lap each photo by around 20% to make things easier for Photomerge). Special Effects for Photographers
The Adobe Photos hop CS3 Book
In CS3, Adobe added a new panel that extends the power and ease of the Clone Stamp tool (okay, admittedly some of the power isn't for use in retouching-it's for the video crowd-but the ease-of-use stuff is totally for us, and so are the multiple source points). One big way the Clone Source panel helps is that it gives you a live onscreen preview of where you're cloning from even before you start cloning. That way, you can reposition your cursor, or even change the size of what you're cloning, before you start. This is a huge mondo-big timesaver.
for Digital Photographers
Easier Retouching (and Collaging) Using the Clone Source Panel
Step One: In our hypothetical situation, you've been hired to shoot a portrait of two doctors from the same practice for a brochure. The shot is to be taken at the local hospital, but getting both of them away from their patients at the same time long enough to pose together is just about impossible (notice how I carefully resisted any passing jokes regarding golf tee times, and I kept the focus strictly on the doctor/patient relationship? Hey, it wasn't easy). So, here's the first doctor. We'll call him Arnie. We'll call the two nurses behind him Tiger and Annika. Step Two: You didn't have a chance to shoot the second doctor (we'll call him Vijay) at the hospital, so you had to shoot him in his office on a wh ite seamless back ground. Luckily, the doctor's assistant, an amiable chap named Caddie, was able to help you set up the background, light ing, and carry your bags. Good thing too, because it was about 471 yards from where you started to where you were aim ing to be. You know . . . with your photo shoot. (Wink, wink.) Okay, the first thing you'll want to do with this photo is to get the Quick Selection tool (as shown here, or press W), which is new in CS3. Continued Special Effects for Photographers
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Step Three: You're going to use this new tool to select the white areas of the background. But selecting just the white background, when your subject is wearing a white lab coat like Vijay here, is usually pretty tough with something like the Magic Wand tool since it usually selects too much (the background and part of the coat) because the colors are too alike. That's why I like the Quick Selection tool. Click it on the background and it selects just that area (as shown here).
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Step Five: Another great feature that came along with the Quick Selection tool is the Refine Edge control (shown here). Although we're going to use it here on the selection we made using the Quick Selection tool, this dialog is available anytime you have an active selection in Photoshop CS3, regardless of which tool you made the selection with. So click on the Refine Edge button in the Options Bar. I want a nice tight selection around the doctor (so no white edge fringe shows around him when I clone him into the other document). To see how he would look against a black back ground, click the third icon in the row of five icons across the bottom. (The first icon from the left is the normal view. The second shows your selection as a Quick Mask. The third shows your selected area on black, the fourth on white, and the last as a mask.) Step Six: In the example above, after seeing how my selection looked on a dark back ground, I thought I 'd better tighten it up by contracting my selection by -2% (as seen i n the previous step), then I clicked OK. Now that your selection has been shrunken in a bit, you can choose Inverse again (under the Select menu), then press the Delete (PC: Backspace) key to erase those white edge pixels for good. Now, choose Inverse one last time to reselect the doctor. While he's still selected, do these two things: (1) press Command-) (PC: Ctrl-)) to copy him up onto his own separate layer, and (2) drag the Background layer into the Trash (at the bottom of the Layers panel) to make the area behind your layer transparent (this will be handy in the next couple of steps, as you'll see). Continued Special Effects for Photographers
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Step Seven: Now get the Clone Stamp tool (S) from the Toolbox. Open the Clone Source panel (seen here) from the Window menu, then press-and-hold the Option ( PC: Alt) key and click directly on the doctor's nose to sample that area. By the way, although we're adding just this doctor to the hospital photo, those five Clone Stamp tool icons at the top of the Clone Source panel let you know that you could have sampled areas from up to five separate photos (it keeps track of which open photo you sampled from as you click on the different Clone Stamp tool icons). That way, you could clone in some grass from one photo, some sand from another photo, a flag from another photo, perhaps a small white ball from another, etc. But for now, we're just going to focus on this one photo of the doctor, so Option-click (PC: Alt-click) once on his nose to sample that area. Step Eight: In the Clone Source panel, turn on the checkbox for Show Overlay, then set the Opacity to 50%. Now the fun begins. Move your cursor over the other docu ment, and a ghosted version of what you're cloning appears on screen (as shown here). That's the result of turn ing on that Show Overlay checkbox. You can immediately see two things: ( 1 ) he's too large in relation to Arnie (the other doctor), and (2) he's too close to the other doctor. That's incredibly helpful, because we haven't cloned a single pixel but we can fix two problems before we even start. Now, speaking of "before we even start," go ahead and click the Create a New Layer icon to get a new blank layer, and we'll do all our actual cloning on this blank layer (just in case).
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Step Nine: Luckily, you can actually reduce the size of the object you're cloning in the Clone Source panel. Make sure the link icon to the right of the Width and Height fields is active (this locks the fields together so your photo resizes proportional ly), then lower the amount of the Width (or Height. It doesn't matter-they're lin ked). A q uick way to do this is to click directly on the letter W and drag to the left, and your cursor changes into a scrubby slider, which is a fast, easy way to change the values in any field. In our example, I lowered the size of my clone to 88% (as shown here in the Clone Source panel). Also, in your image, move your cursor to the left until the ghosted doctor's arm is overlapping the exist ing doctor's arm by just a l ittle bit (as shown here).
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Continued Special Effects for Photographers
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Step 1 1: Continue clon ing until he's fully in place (as shown here). Because you took the time earlier to put him on his own separate layer, with a transparent background, now you can j ust clone with out fear, because you can't acci dentally clone any of that old white background into this photo since we deleted it. So you're j ust clon ing the doctor and a transparent background. You don't need that Clone Source Overlay any longer, so go ahead and turn off that Show Overlay checkbox. Now, on to making this collage retouch more believable.
Step 12: So, they're in the same document now and we've gotten rid of any white edge fringe from our cloned image (thanks to Refine Edge, which by the way also lets you add a feather or smooth an active selection, as well). But there's another problem-a white balance problem. The hospital shot is m uch m ore red, with a warmer white balance than the colder, more balanced (more technical ly correct) wh ite balance of the single doc tor (did somebody say "single doctor"?). That's an easy fix-first go to the Layers panel, press-and-hold the Command (PC: Ctrl) key, and click on the thumb nail for Layer 1 (your single doctor layer) to put a selection around him (as shown here). Next, from the Create New Adjustment Layer pop-up menu at the bottom of the Layers panel, choose Photo Filter (as shown here).
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Step 13: When the Photo Filter dialog appears, you want to choose a color that is similar to the existing colors in the photo. The default Photo Filter is a yel low warming filter, which looked pretty good, but 1 tried the standard Red filter (as shown here), and it better matched the surroundings, especially once I low ered the Density amount (th ink of it as just "the amount") to 20% (seen here). Now, click OK and our white balance in the two photos is more consistent (I still th ink it's a bit too red, but at least they're both consistent).
Step 14: To create some depth, dimension, and the feeling that both doctors were really there on location, we're going to add a drop shadow on the single doctor that casts onto the original doctor's arm. Start by going to the Layers panel, click on your single doctor layer, and press Command-J (PC: Ctrl-J) to duplicate that layer. Press D to set your Foreground color to black, then press Option-Shift Delete ( PC: Alt-Shift-Backspace) to fill the doctor on this duplicate layer with black. Use the Move tool (V) to drag this black-filled selection to the right a little. To soften the edge of this shadow, go under the Filter menu, under Blur, and choose Gaussian Blur. When the dialog appears, enter 3 pixels and click OK to add the soft edges you see here. By the way, the only reason 1 used such a low number is that the photos we're using here (courtesy of iStockphoto.com) are very low resolution. For a high-res digital camera shot, I'd use 8 or 9 pixels to get a sim ilar look. Continued Special Effects for Photographers
The Adobe Photoshop CS3 Book
for Digital Photographers
Step 15: Now you'll need to go to the Layers panel and move that black shadow layer behind your single doctor layer. You do that by just cl icking-and-drag ging the black layer below the photo layer (as seen here). Now, switch to the Eraser tool ( E), get a large, soft-edged brush from the Brush Picker up in the Options Bar, and erase along the edge of the shadow leaving only the part of the shadow that falls on the original doctor still visible (as shown here).
Step 16: The final step is to lower the Opacity of this shadow layer to between 20% and 30%, so the shadow is there, but it isn't so obvious. Here's the final retouch, which makes use of the Quick Selection tool (to get the doctor off that white background), the Refine Edge dialog (to fine-tune our selections once they're in place), and the very cool Clone Source panel, which made this whole process infinitely easier (and more fun) than it would have been back using CS2.
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Chapter 11 Sharpening Techniques
Look Sharp
sharpening techniques For those of you who bought the (S2 ver
Code, but beyond that, it's the only reason
sion of this book, you might be looking
why Joe Jackson was allowed to not only
up at that title "Look Sharp" and thin king,
name his song "Look Sharp" (like Roxette),
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but he was also al lowed to have the same
old book," and while that may be techni
name as the father of the Jackson Five, which
cally true, it's not the same song. The song
not coincidentally is (you guessed it) Joe
I referenced in the (S2 book was from the
Jackson. The more I thought about this, the
band Roxette, but the song I'm referring to
more intrigued I became, and after months
this time around is from Joe Jackson (the guy
of intense research (most of which was con
who had the '80s hit "Is She Really Going Out
ducted with the gracious help of a team at a
With H im?"). Now, you're probably wonder
small un iversity about 30 kilometers outside
ing, with copyright laws being what they
of Gstaad), we learned that Joe Jackson isn't
are today, how can two different songs have
even his real name. It's David Ian Jackson.
exactly the same name without creating an
Worse yet, his original name for the song was
avalanche of lawsuits? Well, it's because of a
actually "Unsharp Mask," but at the last min
special exemption within international trade
ute, in the recording studio, he changed the
mark and copyright laws, which stipulates
name to "Look Sharp" to avoid creating con
that the names of books or songs can't be
fusion in the marketplace with the Beatles'
copyrighted. It's because of this exemption
#1 hit from 1 968 " Lab Sharpen Man," from
that I nearly named this book The DaVinci
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Sharpening Essentials
Step One: Open the photo you want to sharpen. Because Photoshop displays your photo differently at different magnifications, choosing the right magnification (also called the zoom amount) for sharpening is critical. Because today's digital cameras produce such large-sized files, it's now pretty much generally accepted that the proper magnification to view your photos during sharpening is 50%. If you look up in your image window's title bar, it displays the current percentage of zoom (shown circled here in red). The quickest way to get to a 50% magnifica tion is to press-and-hold the Command (PC: Crrl) key and then press the + (plus sign) key or - (minus sign) key to zoom the magnification in or out.
After you've color corrected your photos and right before you save your file, you'll definitely want to sharpen your photos. I sharpen every digital camera photo, either to help bring back some of the original crispness that gets lost during the correction process, or to help fix a photo that's sl ightly out of focus. Either way, I haven't met a digital camera (or scanned) photo that I didn't think needed a little sharpening. Here's a basic technique for sharpen ing the entire photo:
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Step Three: When the U nsharp Mask dialog appears, you'll see three sliders. The Amount sl ider determ ines the amount of sharpen ing applied to the photo; the Radius slider determ ines how many pixels out from the edge the sharpen ing will affect; and Threshold deter m i nes how different a pixel m ust be from the surrounding area before it's considered an edge pixel and sharpened by the filter ( by the way, the Threshold sl ider works the opposite of what you might think-the lower the num ber, the more intense the sharpening effect). So what numbers do you enter? I'll give you some great starting points on the fol lowing pages, but for now, we'll just use these settings-Amount: 1 20%, Radius: 1, and Threshold: 3. Click OK and the sharpening is applied to the entire photo (see the After photo below).
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Sharpening Techniques 1 Chapter 1383 11
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Sharpening soft subjects: H ere are Unsharp Mask settings Amount: 150%, Radius: 1, Threshold: lO-that work well for images where the subject is of a softer nature (e.g., flowers, puppies, people, rain bows, etc.). It's a subtle appl ication of sharp ening that is very well suited to these types of subjects.
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Moderate sharpening: This is a moderate amount of sharpen ing that works n icely on everything from product shots, to photos of home interiors and exteriors, to landscapes (and in this case, a white tiger). These are my favorite settings when you need some n i ce snappy sharpen ing. Try applying these settings-Amount: 1 20%, Radius: 1, Threshold: 3-and see how you l i ke it (my guess is you will). Take a look at how it added snap and detai l to the tiger's whiskers and eyes.
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Maximum sharpening: I use these settings-Amount: 65%, Radi us: 4, Threshold: 3-in only two situations: ( 1 ) The photo is visibly out of focus and it needs a heavy appl ica tion of sharpen ing to try to bring it back into focus. (2) The photo contains lots of well-defined edges (e.g., rocks, buildings, coins, cars, machinery, etc.). In this photo, taken in Arizona's Antelope Canyon slots, the heavy amount of sharpening really brings out the detail in the rock walls.
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All-purpose sharpening: These are probably my all-around favor ite sharpening settings-Amount: 85%, Radius: 1, Threshold: 4-and I use these most of the time. It's not a "knock-you over-the-head" type of sharpeni ng maybe that's why I l i ke it. It's subtle enough that you can apply it twice if your photo doesn't seem sharp enough the first time you run it, but once will usually do the trick.
Web sharpening: I use these settings-Amount: 200%, Radius: 0.3, Threshold: O-for Web graphics that look bl urry. (When you drop the resol ution from a high-res, 300-ppi photo down to 72 ppi for the Web, the photo often gets a bit blurry and soft.) If the sharpening doesn't seem sharp enough, try increasing the Amount to 400%. I also use this same setting (Amount: 400%) on out-of-focus photos. It adds some noise, but I've seen it res cue photos that I would otherwise have thrown away.
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Coming up with your own settings: If you want to experiment and come up with your own custom blend of sharpen ing, I'll give you some typical ranges for each adjustment so you can find your own sharpening "sweet spot." Amount Typical ranges run anywh ere from 50% to 1 50%. This isn't a hard-and-fast rule-just a typical range for adjusting the Amount, where going below 50% won't h ave enough effect, and going above 1 50% might get you into sharpen ing trouble (depending on how you set the Radius and Threshold). You're fairly safe staying under 1 50%. ( I n the example here, I reset my Radius and Threshold to 1 and 4, respectively.)
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Radius Most of the time, you'll use just 1 pixel, but you can go as high as (get ready) 2 pixels. You saw one setting I gave you earlier for extreme situations, where you can take the Radius as high as 4 pixels. I once heard a tale of a man in Cincinnati who used 5, but I'm not sure I believe it. (Incidentally, Adobe allows you to raise the Radius amount to [get th is) 250! If you ask me, anyone caught using 250 as their Radius setting should be incarcer ated for a period not to exceed one year and a penalty not to exceed $2,500.)
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The Final Image For the final sharpened image you see here, I used the Moderate Sharpening setting I gave earlier, and then I just dragged the Amount slider to the right (increasi ng the amount of sharpeni ng), until it looked right to me (I wound up at around 1 40%, so I didn't have to drag too far). If you're uncomfort able with creating your own custom Unsharp Mask settings, then start with this: pick a starting point (one of the set of settings I gave on the previous pages), and then just move the Amount slider and nothing else (so, don't touch the Radius and Threshold sl iders). Try that for a whi le, and it won't be long before you'll find a situation where you ask yourself, "I wonder if lowering the Threshold would help?" and by then, you'll be perfectly comfortable with it.
Sharpening Techniques
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The Adobe Photoshop CS3 Book for Digital Photographers
Lab Color Sharpening
Step One: Open the RGB photo you want to sharpen using Lab sharpen ing. Go to the Channels panel (found under the Window men u), and you can see that your RG B photo is made up of three channels- Red, Green, and Bl ue. Com bining the data on these three channels creates a full-color RGB image (and you can see that represented in the RGB thumbnail at the top of the panel).
Step Two: Go under the Image menu, under Mode, and choose Lab Color. In the Channels panel, you'l l see that although your photo still looks the same onscreen, the channels have changed. There are still three channels (besides your full-color composite channel), but now there's a Lightness channel (the luminosity and detail of the photo) with "aU and "b" channels, which hold the color data.
Sharpening Techniques
This sharpening technique is probably the most popular technique with profes sional photographers because it helps to avoid the color halos and color artifacts (spots and noise) that appear when you add a lot of sharpening to a photo. And because it avoids those halos and other color problems, it allows you to apply more sharpen ing than you normally could get away with.
The Adobe Photos hop CS3 Book
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Step Three: By switching to Lab color, you've separated the detail (Lightness chan nel) from the color info (the "a" and "b" channels), so click on the Lightness channel to select it. Now you'll go to the Fi lter menu, choose Sharpen, and apply the Unsharp Mask filter to just this black-and-white Lightness channel, thereby avoiding color halos because you're not sharpen ing the color (pretty tricky, eh?). Note: If you need some set tings for using Unsharp Mask, look in the previous tutorial called "Sharpening Essentials"; however, I recommend these settings-Amount: 85%, Radius: 1, and Threshold: 4.
Step Four: Once you've sharpened the Lightness channel, you may want to apply the sharpen ing again by pressing the key board shortcut Command-F (PC: Ctrl-F) for a crisper look. Then, go under the I mage menu, under Mode, and choose RGB Color to switch your photo back to RGB. Now, should you apply this brand of sharpen ing to every digital camera photo you take? I would. In fact, I do, and since I perform this function quite often, I automate the process (as you'll see in the next step).
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Step Five: Open a different RGB photo, and let's do the whole Lab sharpening thing again, but this time before you start the pro cess, go under the Window menu and choose Actions to bring up the Actions panel (seen here). The Actions panel is a "steps recorder" that records any set of repetitive steps and lets you instantly play them back (apply them to another photo) by simply pressing one button (you'll totally dig this). In the Actions panel, click on the Create New Action icon at the bottom of the panel (it looks j ust l ike the Create a New Layer icon from the Layers panel, and it's shown circled in red here).
Step Six: Clicking that icon brings up the New Action dialog (shown here). The Name field is automatically h ighl ighted, so go ahead and give this new action a name. ( I named m i ne " Lab Sharpen." I know-how original!) Then, from the Function Key pop-up menu, choose the number of the Function key (F-key) on your keyboard that you want to assign to the action (this is the key you'll hit to make the action do its thing). I've assigned mine Fll, but you can choose any open F-key that suits you (but everybody knows Fll is, in fact, the cool est of all F-keys-just ask anyone. On a Mac, you may need to turn off the OS keyboard shortcut for Fll first). You'll notice that the New Actions dialog has no OK button. Instead, there's a Record button, because once you exit this dia log, Photoshop CS3 starts recording your steps. So go ahead and click Record.
Sharpening Techniques
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Step Seven: With Photoshop recording every move you m ake, do the Lab sharpening technique you learned on the previous pages (convert to Lab color, click on the Lightness channel, and apply your favorite Unsharp Mask setting-basically repeat Steps 2-4. Also, if you generally l i ke a second helping of sharpen ing, you can run the filter again, and then switch back to RGB mode). Now, in the Actions panel, click on the Stop icon at the bottom of the panel (it's the square icon, first from the left, shown circled here in red).
Step Eight: This stops the recording process. If you look in the Actions panel, you'll see all your steps recorded in the order you did them. Also, if you expand the right-facing triangle beside each step (as shown here), you'll see more detail, including individual settings, for the steps it recorded. You can see here that I used the Amount: 120%, Radius: 1, and Threshold: 3 Unsharp Mask settings.
Continued Sharpening Techniques
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Step Nine: Now, open a different RGB photo and let's test your action to see that it works (it's im portant to test it now before moving on to the next step). Press the F-key you assigned to your action (you chose Fll, right? I knew it!). Photoshop immediately applies the sharpening to the Lightness channel for you (complete with conversions from Lab color back to RGB), and does it all faster than you could ever do it manu ally, because it takes place behind the scenes with no dialogs popping up.
Step 10: Now that you've tested your action, we're going to put that baby to work. Of course, you could open more photos and then press Fll to have your action Lab sharpen them one at a time, but there's a better way. Once you've writ ten an action, you can apply that action to an entire folder full of photos-and Photoshop will totally automate the whole process for you ( i t will l iterally open every photo in the folder and apply your Lab sharpening, and then save and close every photo-all automatically. How cool is that?). This is called batch processing, and here's how it works: Go under the File menu, under Automate, and choose Batch to bring up the Batch dialog (or you can choose Batch from the Tools menu's Photoshop submenu within Adobe Bridge CS3). At the top of the dialog, with in the Play section, choose your Lab Sharpen action from the Action pop-up menu ( if it's not already selected, as shown here). 394
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Step 11: In the Source section of the Batch dia log, you tell Photoshop which folder of photos you want to Lab sharpen. So, choose Folder from the Source popup menu (you can also choose to run this batch action on selected photos from Bridge, or you can import photos from another source, or choose to run it on images that are already open in Photoshop). Then, click on the Choose button. A standard Open dialog will appear (shown here) so you can navigate to your folder of photos you want to sharpen. Once you find that folder, click on it (as shown), then click the Choose ( PC: OK) button.
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Continued Sharpening Techniques
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Step 13: If you do choose to move them to a new folder, you can automatically rename your photos in the process. In short, here's how the file naming works: In the first field within the File Naming section, you type the basic name you want all the files to have. In the other fields, you can choose (from a pop-up menu) the automatic numbering scheme to use (adding a 1-digit num ber, 2-digit num ber, etc., and if you choose this, there's a field near the bottom where you can choose which number to start with). You can also choose to add the appro priate file extension (jPG, TIFF, etc.) in upper- or lowercase to the end of the new name. At the bottom of the dialog, there's a row of checkboxes for choos ing compatibility with other operating systems. I generally turn all of these on, because ya never know. When you're finally done in the Batch dialog, click OK and Photoshop will automatically Lab Sharpen, rename, and save all your photos in a new folder for you. N ice!
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This is a technique I learned from Photoshop color genius Dan Margulis (author of the brilliant Photoshop LAB Color book). Dan was gracious enough to let me include his technique in my book, The Photoshop Channels Book, and this pretty much breaks every rule you've ever heard about sharpening, but man does it work wonders on the right photo (and, by the way, the right photo is any photo with lots of texture, or very well-defined edges that can handle an awful
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Step One: The first step is to switch to Lab color mode, so go under the I mage menu, under Mode, and choose Lab Color (as shown here).
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Step Two: Now you're going to load the Lightness channel as a selection (remember, we're in Lab color mode, so there's a Lightness channel, where all the detail is, and an "a" color channel and a "b" color chan nel, which hold the color). To load the Lightness channel as a selection, press Command-Option-l ( PC: Ctrl-Alt-l ).
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Step Three: Once your selection is in place, you'll need to inverse it, so go under the Select menu and choose Inverse (or use the keyboard shortcut Command-Shift-I [PC: Ctrl-Sh ift-IJ). Once your selection is inversed, we want to keep that selection in place, but hide it from view (so we can see how our sharpening looks with out the distracting selection border), so press Command-H (PC: Ctrl-H).
Step Four: Now that our selection is hidden from view, go to the Channels panel and click on the Lightness channel. We're going to apply our sharpen ing to the selected area on just this channel. This lets us avoid applying our sharpening to the color channels, wh ich (as you now know) can cause a host of annoying problems. The big advantage of doing our sharpening this way is that since we're avoiding many of the problem areas of sharpening. we can actually get away with applying more sharpening without damaging our images.
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Step Five: Now you're going to apply your first round of sharpen ing using the Unsharp Mask filter (by now you know it's found under the Filter menu, under Sharpen). When the Unsharp Mask dialog appears, for Amount choose 500%, set the Radius at 1 pixel, set the Threshold to 2 levels, and click OK. This will apply a good, solid sharpening to the selected area of the Lightness channel.
Step Six: Now you're going to add a second pass of sharpening, so bring up the Unsharp Mask filter once again. Start by leaving the Amount set to 500%, but then drag the Radius slider all the way to the left. Then slowly raise the radius by drag ging the sl ider to the right, unti l the shape starts to come back. This two-pass sharpen ing is designed to be used on high-resolution i mages, and on a high resolution image, your Radius setting will probably be somewhere between 25 and 35 pixels. I turned on the Preview check box in the example shown here, so you can see what this amount of sharpen ing does to your photo. Okay, I know it's not pretty, but you're going to fix that in the next step.
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Step Seven: Once you've dialed in that Radius amount (again, it will probably be between 25 and 35), lower the Amount to somewhere between 50% and 60% (just choose which looks best to you), and click OK to apply the final sharp ening. Then go back under the I mage menu, under Mode, and choose RGB Color to return to RGB. That's it-two different passes of the Unsharp Mask fi lter that make for some i ncredibly sharp photos (as seen below in the After photo).
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One of the tricks the pros use to get incredibly sharp photos is to apply their sharpening once, and then go back and spot sharpen only those areas in the photo that can hold a lot of sharpen ing (for example, areas that contain chrome, metal, steel, buttons on cloth ing, jewelry, or even your subject's eyes in some cases). This is a really great way to make your photos appear to be m uch sharper and crisper than they really are.
for Digital Photographers
Making Photos Look Sharper Than They Really Are
Step One: Open a photo you want to appear extra sharp. Go under the Filter menu, under Sharpen, and choose U nsharp Mask. For Amount, enter 1 20%; for Radius, enter 1 ; a n d for Threshold, enter 3 (as shown here). Then click OK to apply a mod erate amount of sharpening to your entire photo.
Step Two: Press Command-J (PC: Ctrl-J) to dupli cate the Background layer. Now, on this duplicate layer, press Command-F (PC: Ctrl-F) to run the Unsharp Mask filter again, using the exact same settings. I n fact, see if you can get away with apply ing it another time (or two). Un less you're worki ng on a super-high-resolu tion photo, applying the filter three times in a row wi l l oversharpen your photo enough to where it's pretty m uch trashed (as shown here, where the photo is totally oversharpened).
Continued Sharpening Techniques
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The Adobe Photoshop CS3 Book
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Step Three: In the Layers panel, press-and-hold the Option (PC: Alt) key and click on the Add Layer Mask icon at the bottom of the Layers panel (as shown here). This adds a black mask to your super sharp layer, and this mask totally hides that layer (so you're seeing the original Background layer with just one pass of the Unsharp Mask filter). Now your photo looks regular again.
Step Four: N ow press B to get the Brush tool, choose a medium-s ized, soft-edged brush, and with your Foreground color set to white, paint over areas with lots of detail to bring out just those areas. In the example shown here, I painted over the parking light on the left-front fender of the red car (as shown here), along with the area of grill showing on the bumper. I also painted over the black rubber area connecting the side mirror, and over part of the mirror itself, as well as the window dividers on the passenger-side window. Revealing just these few sharper areas, which immediately draw the eye, makes the whole photo look much sharper (as seen on next page).
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When to Use the Smart Sharpen FiIter I nstead
Count me as a fan of the Smart Sharpen filter (introduced back in Photoshop CS2), and although at the time I felt I would switch over to it for all my filter based sharpen ing, I now pretty much find that I use it primarily when I run into a photo that is out of focus, or just needs some really serious sharpening. There are other advantages to Smart Sharpen, like being able to save your favorite set tings in a pop-up menu, and there's a new sharpening algorithm that lets you avoid color halos, among others things, but here's how I'm using it today:
Step One: Go under the Fi lter menu, under Sharpen, and choose Smart Sharpen. This filter is in Basic mode by default, so there are only two sliders: Amount (which controls the amount of sharpen ing-sorry, I had to explain that) and Radius (which determ ines how many pixels the sharpen ing will affect). The default settings are 1 00% for Amount (which I think is too high to use for just regular everyday sharpening), and the Radius is set at 1 , which usual ly does the trick. You can see the first thing I l i ke about the Smart Sharpen dialog, and that's the nice big preview window (shouldn't every Photoshop filter have a nice big preview like that? Don't get me started). Step Two: Below the Radius slider is the Remove pop-up menu (shown here), which lists the three types of blurs you can reduce using Smart Sharpen. Gaussian Blur (the default) applies a brand of sharpening that's pretty much like what you get using the regular Unsharp Mask filter (it uses a similar algorithm). Another choice is Motion Blur, but unless you can deter mine the angle of blur that appears in your image, it's tough to get really good results with this one.
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Step Three: So, which one do I recommend? The third choice-Lens Blur. This is a sharp ening algori thm created by Adobe's engineers that's better at detecting edges, so it creates fewer color halos than you'd get with the other choices, and overall I think it just gives you bet ter sharpening for most images. The downside? Choosing Lens Blur makes the filter take a little longer to "do its thing." (That's why it's not the default choice, even though it provides better quality sharpening.)
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Step Five: I've found with the Smart Sharpen filter that I use a lower Amount setting than with the Unsharp Mask filter to get a similar amount of sharpening, so I usu ally find myself lowering the Amount to between 60% and 70%. However, the photo I'm working on here is so soft that I would actually go above 1 00% to . . . well . . . whatever it takes (in this case, around 1 70%, but again, that's only because the photo was a bit bl urry from being hand-held in low light). So that's the extent of what I do with Smart Sharpen-I generally set the Amount to 60%-70%, I leave the Radius set at 1 , I choose Lens Blur from t h e Remove pop-up menu, and I turn on the More Accurate checkbox. Take a look at the before and after on the bottom of the next page to see the results of using the Smart Sharpen filter.
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Step Seven: If you click the Advanced radio button, it reveals two additional tabs with controls for reducing the sharpening in just the shadow or just the h ighlight areas that are applied to the settings you chose back in the Basic section, That's why in the Shadow and Highlight tabs, the top sl ider says " Fade Amount" rather than just "Amount," As you drag the Fade Amount slider to the right, you're reduc ing the amount of sharpening already applied, which can help reduce any halos in the highlights, (Note: Without increas ing the amount of fade, you can't tweak the Tonal Width and Radius amounts, They only kick in when you increase the Fade Amount,) Thankfully, I rarely have had to use these Advanced controls, so 99% of my work in Smart Sharpen is done using the Basic controls,
After
Sharpening Techniques
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Edge--Sharpening Technique
This is a sharpen ing technique that doesn't use the Unsharp Mask filter, but still leaves you with a lot of control over the sharpening, even after the sharpening is appl ied. It's ideal to use when you have an image (with a lot of edges) that can hold a lot of sharpening or one that needs heavy sharpening to really make it snap.
Step One: Open a photo that needs edge sharp ening. Duplicate the Background layer by pressing Command-J (PC: Ctrl-J), as shown here.
Step Two: Go under the Filter menu, under Stylize, and choose Emboss. You're going to use this filter to accentuate the edges in the photo. You can leave the Angle, Height, and Amount settings at their defaults (1 35°, 3, and 1 00%), but for low-res images, you'll want to lower the Height setting to 2 pixels (and for high-res 300-ppi images, try raising it to 4 pix els). Click OK to apply the filter, and your photo will turn gray with neon colored highlights along the edges. To remove those neon-colored edges, press Command-Shift-U (PC: Ctrl-Shift-U) to Desaturate the color from this layer. Sharpening Techniques
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Step Three: I n the Layers panel, change the layer blend mode of this layer from N ormal to Hard Light. This removes the gray color from the layer, but leaves the edges accentuated, making the entire photo appear m uch sharper.
Step Four: If the sharpen ing seems too intense, you can control the amount of the effect by simply lowering the Opacity of this layer in the Layers panel (in the After photo shown below, I lowered the layer's opac ity to 70%, as shown here).
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How to Show Your Work
Best in Show
how to show your work At some point in all of this, you're eventually
digital equivalent of a small child giving you
going to want to show your client, or more
a raspberry. The more freaked out or rushed
likely a potential client, samples (or even fin
you get, the more of those tiny silicon wafers it
ished products) of your work. Make sure you
releases, and the sleepier your printer becomes
work on this part of the process long before
until it gets to the point that it has the operat
your client is within 1 00 miles of your studio
ing functionality of a block of cheese. Now, you
because (and this is a little-known fact), hard
can fool your printer into printing again, but
wired into your color inkjet printer is a small
it's not easy. First, you have to continue to act
integrated chip that actually senses fear. That's
freaked out, but when the printer's not paying
right-if you're on a tight deadline, and you
attention you sneak out of the room and use
have to get your samples out of the printer right
your cell phone to call the studio phone near
before your client arrives, the tiny electrodes in
est the printer. Once it starts ringing, you rush
the chip sense your fear, and as a defense mech
into the studio, and looking exasperated, you
anism it releases millions of tiny silicon wafers
grab the phone and pretend it's the client
into your printer's USB port, which causes your
on the line, and they're calling to cancel
printer to basically go into sort of a prolonged
today's appointment. When your printer
hibernation mode which makes it just sit there
hears this (and trust me, this is true), it
and quietly h um. This auto-sleep or shut down
will instantly start outputting your prints.
mode is cal led "mocking mode" and is the
Try th is-it works every ti me.
How to Show Your Work
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for Digital Photographers
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This two-part technique is particularly important if you're putting your proofs on the Web for client approval. In the first part of this techniq ue, you'll add a see-through watermark so you can post larger proofs without fear of the client downloading and printing them; and second, you'll embed your personal copyright info, so if your photos are used anywhere on the Web, your copyright info will go right along with the file.
Step One: Open the photo you want to add your copyright watermark to, then get the Custom Shape tool from the Toolbox (as shown here), or just press Shift-U until you have the tool (it looks like a star with rounded corners).
Step Two: Once you have the Custom Shape tool, go up to the Options Bar and ( 1 ) click on the Fill Pixels icon (the third from the left), which makes your shape up of pixels (like normal), rather than as a Shape layer or path. Then, (2) click on the thumbnail to the right of the word "Shape" to bring up the Custom Shape Picker. When it pops down, (3) choose the copyright symbol, which is included in the default set of custom shapes (as shown here).
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Step Three: Create a new blank layer by clicking on the Create a New Layer icon at the bot tom of the Layers panel. Click on the Foreground color swatch at the bottom of the Toolbox, and choose a light gray in the Color Picker for your Foreground color. Then, press-and-hold the Shift key (to keep things proportional), take your Custom Shape tool, and click-and-drag j ust above the center of your photo to add a large copyright symbol shape (seen here). Once it's drawn, click on the Add a Layer Style icon at the bot tom of the Layers panel, and choose Bevel and Em boss from the pop-up menu (as shown here).
Step Four: When the Layer Style dialog appears, you don't have to change any settings-just click OK to apply a beveled effect to your copyright symbol (seen here). Now, get the Type tool (T), make sure your Text color swatch in the Options Bar matches your Foreground color, type in "Copyright," followed by the current year, and lastly the name of your studio, then position it under the copyright sym bol (as shown here).
Continued How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five: Now you're going to duplicate your Bevel and Emboss layer style and apply it to your new Type layer. To do that, just press-and-hold the Option (PC: Alt) key, and in the Layers panel click directly on the word "Effects" on your copyright symbol layer, and drag-and-drop it onto your Type layer (as shown here). Holding that Option key down tells Photoshop C53 to duplicate the effect. If you didn't hold the Option key, it wouldn't dupli cate the effect on that layer-instead it would actually move it to that layer.
Step Six: Go to the Layers panel, press-and-hold the Command (PC: Ctrl) key, and click on both layers to select them. Once they're both selected, press Command-E (PC: Ctrl-E) to merge these two layers into one single layer (don't worry-they will maintain the embossed effect look). Now, change the layer blend mode of this merged symbol layer from Normal to Hard Light (as shown here), which makes the watermark transparent. Now, you can lower the Opacity of this layer enough to where your clients can easily evaluate the photo, but there's enough watermark visible to keep them from using it as their final print (in the exam ple shown here, I lowered the Opacity to 30%).
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Step Seven: Now that the watermarking is complete, let's embed your copyright info into the file itself. Go under the File menu and choose File Info to bring up the File Info dialog (seen here). In the left column, click on Description (if it doesn't come up by default). In the center section, choose Copyrighted from the Copyright Status pop-up menu. In the Copyright Notice field, enter your personal copy right info, and then under Copyright Info U RL, enter your full Web address (so if someone downloads your photo and opens it in Photoshop, they can click on the Go To URL button to go directly to your website). Lastly, click OK and this info is embedded into the file.
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Step Eight: When you click OK, Photoshop auto matically adds a copyright symbol before your fi le's name in the title bar (shown circled in red here). Flatten your image by choosing Flatten I m age from the Layers panel's flyout menu. Now you're going to create an action to automate this entire process. Start by opening a different photo, then go to the Actions panel (found under the Wi ndow menu) and click on the Create New Action icon at the bottom of the panel. When the dialog appears, name your action (as shown here) and click the Record button.
Continued How to Show Your Work
41 5
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Nine: Now repeat the whole process of adding the copyright symbol and copyright info (Photoshop will record all your steps as you're doing them, as seen here in the Actions panel). Start at Step One and stop after Step Seven (you stop after Step Seven, before flatten ing your file, because you may want to keep your layers intact so you can reposition your watermark, depending on the image).
Step 10: When you're done, click on the Stop icon (it looks l i ke a tiny square) at the bottom left of the Actions panel. Here's where it gets fun: you can apply this action to an entire folder full of photos. Go under the File menu, under Automate, and choose Batch. In the Play section, choose your action set and new watermark action from the pop up menus. Under Source, choose Folder, then click the Choose button, navigate to your folder full of photos, and under Destination choose Save and Close. ( I f you want t o save your watermarked pho tos to a different folder, choose Folder under the Destination section, click the Choose button, and navigate to the folder you want to save them to. You'll also need to add either a Flatten Image step or a Save and a Close step to your action.) Now, click OK and your water mark and copyright will be added to each photo in that folder automatically.
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Artists always sign their work, and if you'd l i ke to have your own signature so handy that you can add it to any fin ished piece with j ust one click, then you'l l want to turn your signature into a brush. That way, you j ust grab the Brush tool, choose your signature brush, click once, and it's there. You can also do the same thing with your copyright watermark (if you download the bonus material from this book's companion website, I have a step-by-step tutorial for you on how to do j ust that). But for now, let's get on that signature project.
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Step One: The first step to all this is getting your signature into Photoshop (53. There are basically two ways: ( 1 ) take a nice black writing pen, sign your name fairly large on a piece of paper, and then scan your signature (which is what I did here); or (2) if you have a Wacom tablet with its wireless pen, just open a new document (at a resolution of 300 ppi), press D to set your Foreground color to black, get the Brush tool (B), then choose a small, hard edged brush from the Brush Picker, and sign your name at a fairly large size.
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Step Two: Now go under th e Edit menu and choose Define Brush Preset. This brings up the Brush Name dialog (shown here), where you give your new signature brush a name (I named m i ne "My Signature," which is another carefully thought-out, highly original name) and click OK (as shown here). That's all there is to creating your signature brush, and the nice thing is-you only have to do this once-it's saved into Photoshop's Brush Presets for use in the future. Now let's put this new signature brush to use.
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Continued How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three: When you want to apply your signature to a photo, open that photo, get the Brush tool (B), Control-click ( PC: Right cl ick) anywhere i nside your image area, and the Brush Picker will appear right at the location of your cursor (as seen here). The new signature brush you just created in Step Two will appear as the last brush in the list of brushes, so scroll all the way down to the bottom, and click on that very last brush (you'll see a tiny version of your signature as the brush's thum bnail).
Step Four: By default, the brush will be the size it was when you created your Brush Preset, so if you need to change the size of your brush, just drag the Master Diameter slider at the top of the Brush Picker (shown circled here in red). In my case, I needed to drag that slider to the left to make the brush much smaller, because if you look directly under the thumbnail, it shows your brush's size in pixels, and mine was 364 pixels. Kinda big, don'tcha think?
How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
Now that you've got your signature brush, and have adjusted the size, go to the Layers panel and click on the Create a New Layer icon at the bottom. In our example here, the photo has a dark background so I'll have to change my Foreground color from black to some thing easily seen on a dark background (in this case, I just chose wh ite). Then take the brush, and simply click once where you want the signature to appear (as shown here, where I clicked in the bottom-right corner).
How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
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Creating an Online Photo Gallery (Perfect for Client Proofing)
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In Photoshop C53, the Web Gallery function is still pretty limited, but Adobe has been developing something much better (and easier to use) for Adobe Bridge C53 called the Adobe Media Gallery. AMG didn't initially ship with C53, but Adobe released a free update for Bridge (version 2.1 ), and once you installed that update, you could then download the Adobe Media Gallery (from Adobe Labs at http:// labs.adobe.com) and try this new feature before it's fully integrated into Bridge (which it could well be by the time you read this).
Step One:
First, make sure you read the intro above so you know to download the free Adobe Media Gallery (AMG) script from Adobe Labs. Now, by the time you read this, Adobe may have released it as a free update to Bridge C53, so if you open Bridge and look under the Window menu, under Workspace, and see Adobe Media Gallery (as shown here), then you've already got AMG and you can continue on to Step Two. If not, then go download it (the down load address is in the intro above), install it (it takes just 60 seconds), then choose Adobe Media Gallery from the Workspace menu (as shown here). Step Two:
Once you choose AMG, an AMG Preview panel appears in the center, your photos appear in the Content panel in a filmstrip across the bottom of the Bridge window, and the Adobe Media Gallery panel now appears as the right-side panel (as seen here). That center preview area is where a preview of your Flash-based or HTML based Web photo gallery will appear. Then, you customize your gallery using that AMG panel on the right. By the way, this is really easy stuff, so don't let the panel fool you-you need no Web expe rience to design a Web gallery.
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The Adobe Photoshop CS3 Book
for Digital Photographers
Step Three:
Press-and-hold the Command (PC: Crrl) key and click on the photos in the Content panel you want in your Web gallery. Now, here's the weird thing: you won't see anything in the center AMG Preview panel until you press the AMG Preview button (as shown here). Once you do, after a few moments it displays a preview of your webpage (the default template is shown here), and sadly you have to press this button each time you want to see a change, or to see a differ ent template layout. Step Four:
You don't need that Folders panel on the left eating up all that space, so hide it from view by double-clicking directly on the vertical divider line on its right side. (See how much more room that gives you?) Next, you can customize the text that appears on your webpage using the fields in the Style Information section of the AMG panel. Just click on a field and start typing (as shown here). Now, remem ber: you can't see your new text until you press the AMG Preview button, but once you press it, in a few moments it builds the new preview (as seen in the next step). Step Five:
If you scroll down further in the panel, you'll see a field for entering your Copyright Info ( by the way, if you already added copyright info for this photo in Bridge, it uses that instead). You also can choose how long each photo appears onscreen when someone views your gallery as a slide show, and you can choose the style of transition you'd like (as shown here). Pl us, there are color swatches you can click on to customize your page's colors. . Continued How to Show Your Work
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Step Six:
At the bottom of the AMG panel, you'll see a title bar for Image Options. Click on it, and the Image Options section appears (seen here). This is where you choose how large you'd like the th umbnails, and how large you'd like the preview to appear when somebody clicks on one of the thumbnails. If you choose Extra Large as the preview size, it takes quite a bit longer to draw your preview because it creates the extra large previews from the original h igh-res file, so keep that in mind. And of course, to see any of your changes, you have to click the AMG Preview button once again, and wait until the preview draws. Step Seven:
One nice feature is that if you decide to try a different template (by choosing it from the Template pop-up menu, as shown here, where I chose the Filmstrip template), it keeps all the custom text and the email link you added intact. The bad news: to see the new template, you have to (you guessed it) press the AMG Preview button again. Arrrggghh! Anyway, that's the way it works (at least, that's the way it worked when I wrote this book), and since it's one whole heck of a lot better than the Web Gallery back in CS2, I'm not going to gripe a lot.
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Step Eight:
Gallery Name:
At the bottom of the AMG panel, there's one more section-Create Gallery (which is where you export your finished page). Click on its title bar, and you'll see a field to name your gallery, and if you click on the Save to Disk radio button (as I did here), you'll be able to choose where on your computer you want to save your exported page using the Browse button. Once selected, click the Save button, and your site is saved into that folder, ready for you to upload to the Web. How to Show Your Work
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Step Nine:
If you're a little more Web savvy, and used to administering your own website, then you can use the built-in FTP function at the bottom of the Create Gallery section (by the way, if you're thinking something like,"What the heck is FTP?" then this isn't for you). You just enter your FTP Server info, username, password, and directory for uploading. then click the Upload but ton (shown here on the left) and away it goes-straight from Bridge to live online. Not too shabby! Now, regardless of which method you use, I strongly recommend that you go back up to the top of the AMG Panel and click the Browser Preview button (as shown here on the right). This launches your default Web browser, and displays the page in your browser j ust li ke your clients will see it, and it's fully functional. so test everything-the links, the email address, etc. The final previewed page is shown here.
So that's the process, and it's really simple (here's a quick recap): ( 1 ) Open Bridge and choose Adobe Media Gallery as your workspace. (2) Select the photos you want on your webpage (then hide the left-side Folders panel). (3) Choose a template from the AMG panel, and customize the text by simply typing in the fields, then press the AMG Preview button to see your text and photos previewed in the center AMG Preview panel. (4) In the Image Options section of the AMG panel, you can custom ize the size of your thumbnails and preview images from the pop-up menus. (5) Preview your finished page by clicking the Browser Preview button, and if all looks right, (6) use the Create Gallery section to export (or upload) your finished gallery.
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The Adobe Photoshop CS3 Book
for Digital Photographers
The Trick to Putting High--Resolution Photos on the Web
When it comes to the Web, we live in a low-resolution world, which greatly limits how much detail our clients (or potential clients) can see in our work. You wouldn't think of uploading a high-res 100 MB+ photo, because it would take forever for the image to appear onscreen. Then came Zoomify. This clever technology (l icensed by Adobe and included in (53) lets you upload the full-res photo, but it loads as fast as a regular J PEG because only the area that appears in the smaller preview window displays at full resolution. As your clients pan and move around your image, each visible area (or tile) is then displayed at full res.
Step One:
Edit
You start by opening a high-resolution file in Photoshop (in this case, it's a 42" long panorama at a resolution of 240 ppi, which is made up of 29 individual photos stitched into one long pano). To get it to fit on my computer screen, I have to shrink the view to 8.33% (as seen here), so it's about impossible to see any real detail in the photo. The first step is to go under Photoshop (53's File menu, under Export, and choose Zoomify (as shown here).
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This brings up the Zoomify'" Export dialog (shown here), where you get to decide a number of options about how your high-resolution photo will be displayed on the Web. At the top of the dialog is a Template pop-up menu, and here's where you choose two things: ( 1 ) what color the back ground area surrounding your h ighres photo will be, and (2) whether or not you want to have a mini-thumb nail appear in the upper-left corner that can be used for navigating around the ful l-sized image ( kind of l i ke a mini version of Photoshop's Navigator panel). Here, I chose a gray background with the Navigator.
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Step Three:
Next you need to pick a location for the final output that Zoomify creates, so under Output Location, click the Folder button and choose where you want it saved on your computer. The Image Tile Options lets you choose the q uality of the final image (the default setting of 10 seems to work well). However, the default size in the Browser Options (which is how wide the preview area will appear on your web page) seems pretty small at 400 pixels, so I usually increase mine to a Width setting of 800 pixels (as shown here). Be sure to leave the Open in Web Browser checkbox turned on so you can see what it's really going to look l ike on the Web.
Step Four:
Once you click OK, it launches your Web browser and you see your image just as your clients will see it (in our case, with that tiny Navigator in the top-left corner, and with a medium gray background behind your image, as seen here). At the bottom of the preview window is a slider your clients can use to increase the size of your preview, along with navigation buttons to move around (or they can click-and-drag righ t within the i mage area or the Navigator to move around).
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If you're happy with the results, then look in the folder you chose to save your Zoomify image into (in our case, I saved it into a folder called Upload to Web, as seen here), and you'll need to upload both the folder (which contains the tiles of your high-res image) and the HTML file Zoomify created to your Web server, and you're good to go. Try this once-you'll be absolutely amazed. How to Show Your Work
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Getting Multiple Copies of Your Photo on One Page
Step One:
When it's time to deliver final prints to your client, you can save a lot of time and money by creating a Picture Package, which lets you gang-print common final sizes together on one sheet. Luckily, Photoshop does all the work for you. All you have to do is open the photo you want gang-printed and then Photoshop will take it from there, except the manual cutting of the final print, which is actually beyond Photoshop's capabilities. So far.
Picture Package
Open the photo you want to appear in a variety of sizes on one page, and then go under the File menu, under Automate, and choose Picture Package. (You can also choose Picture Package from Bridge (53, under the Tools menu, under P hotoshop.) At the top of the dialog, the Source Images section is where you choose your source photo. By default, if you have a photo open, Photoshop assumes that's the one you want to use (your Frontmost Document), but you can choose from the Use pop up menu to pick photos in a folder or an individual file on your drive. By default, Picture Package chooses an 8x10" page size for you, but you can also choose either a 1 0x16" or 1 1 x 1 7" page size.
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Step Three:
You can also choose the final resolution output in the Resolution field (which I lowered to 240 ppi here, because you don't really need a high resolution when you're not printing to a commercial press). Then, you can pick the color mode you'd like for your final output (in this case, I chose RGB Color in the Mode pop-up menu because I'll be printing to a color inkjet printer). The bottom-left section of the dialog is for labeling your photos, but be forewarned-these labels appear printed right across your photos, so use them only if you're creating client proof sheets, not the final prints. Note: Like the Web Photo Gallery, with the exception of adding your own custom text, this information is pul led from em bedded info you enter in the File Info dialog, found under the File menu.
Step Four:
Click OK and Photoshop automatically resizes, rotates, and compiles your pho tos into one document (as shown here). Now, it's not letter-sized-it's 8xl0", so if you print this on letter-sized photo paper (which is very common), you'll have a little more white border all the way around.
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Continued How to Show Your Work
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The Adobe Photoshop CS3 Book
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TIP: If you want to add a white border
around each photo (i ncluding the wal let-size photos), then before you open Picture Package, go under the Image menu and choose Canvas Size. Make sure the Relative checkbox is turned on and en ter the amount of white border you'd like in the Width and Height fields (i.e., 0.25 inches for a quarter inch border). Now, make sure your Back ground color is set to white (at the bottom of the dialog). When you click OK in the Canvas Size dialog. a white border will appear around your photo. Now you can choose Picture Package.
Step Five:
Another nice feature of Picture Package is that you can have two or more dif ferent photos on the same Picture Package page (say that three times fast). For example, to change just one of the 2.5x3.5" prints to a different photo, click on the preview of the image that you want to change in the Layout section (as shown here, where I'm clicking on the top one of the 2.5x3.5" photos). Step Six:
This brings up the standard Open dialog so you can select a photo to replace the one you clicked on. Navigate your way to the photo you want to appear at this size and location on your printed sheet, and click Open. That photo will appear at the right size and position (as seen here).
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This is really an optional step, but if you decide that the layout you want doesn't appear in the built-in l ist of layouts, then you can create your own custom layout. You do that by clicking on the Edit Layout button, found just below the Layout preview area (and seen in the close-up of the Layout preview area shown in the previous step-Step Seven). This brings up the Picture Package Edit Layout dialog (shown here). Adobe calls each photo cell a "zone." To delete a zone just click on it, then click on the Delete Zone button. To add a new zone, click on the Add Zone button, and the same photo you currently have selected appears in the blank space. You can grab the corners to resize it to your l i ki ng. (Note: Drag the corners outward to rotate the photo.) Also, for step-by-step instructions, make sure you download my supplement to this chapter (the Web address is found in "An U nexpected Q&A Section" at the begin n i ng of the book). How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
How to Email Photos
Believe it or not, this is one of those most-asked questions, and I guess it's because there are no official guidelines for email ing photos. Perhaps there should be, because there are photographers who routinely send me high-res photos that either (a) get bounced back to them because of size restrictions, (b) take all day to download, or (c) never get here at all because "there are no official guidelines for emailing photos." In the absence of such rules, consider these the "official unofficial rules."
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Step One:
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Open the photo that you want to email. Before you go any further, you have some decisions to make based on whom you're sending the photo to. If you're sending it to friends and fam ily, you want to make sure the file downloads fast, and (this is im portant) can be viewed within their email window. I run into people daily (cl ients) who have no idea how to down load an attachment from an email. If it doesn't show up in their email window, they're stuck, and even i f they could download it, they don't have a program that will open the file. So the goal: make it fit in their email browser. Step Two:
Go under the Image menu and choose Image Size (or press Command-Option-I [PC: Ctrl-Alt-I]). Because they'll just be viewing this onscreen, you can lower the resolution to what's called "screen resolu tion," which is 72 ppi (no matter what kind of monitor or which kind of com puter they have). Next, set the Width (in inches) to no wider than 8" (the height isn't the big concern, it's the width, so make sure you stay within the 8" width). By limiting your emailed photo to this size, you're pretty much ensuring that friends and family will be able to download it quickly, and it will fit comfortably with in their email window. How to Show Your Work
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If you're sending this to a cl ient or someone who you'll want to be able to print the photo out on their end, you'll need a bit more resolution. (Shoot for 240 ppi if they're printing to an inkj et printer, or 300 ppi, as shown here, if it will be printed on an actual printing press.) The photo's physical dimensions aren't a big concern now because the client will be downloading and printing out the file, rather than just viewing it onscreen in their email program. Step Four:
j PEG is the most popular file format for sending photos by email. To save your photo as a j PEG, go under the Edit menu and choose Save As. In the Save As dialog. choose )pEG in the Format pop-up menu, and then cl ick Save. This bri ngs up the )pEG Options dialog (shown here), where you get to choose the amount of compression applied to your image (this compression shrinks the file size for email while maintaining as much of the quality as you choose using the Quality slider. I generally save all my )pEGs at a qual ity setting of 1 0, which I think gives great compression with no visible loss of quality). Step Five:
Your goal is to email a photo that is small in file size (so it downloads quickly), yet still looks good. (Remember, the faster the download, the lower the quality, so you have to be realistic and flexible.) The chart shown here gives you a breakdown of how large the fi le size and download time would be for an image al most 1 3x9" saved with different resolutions and different amounts of )pEG compression. It's hard to beat that last one-with a 2-second download on a h igh-speed connection. How to Show Your Work
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This technique gives your work the layout of a professional poster, yet it's incred ibly easy to do. In fact, once you learn how to do it, this is the perfect technique
Fine Art Poster layout
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Step One:
Press Command-N (PC: Ctrl-N) to create a new document in the size you want for your fine art poster layout (in our exam ple here, I'm creating a standard-sized llx14" print). Set your Resolution to 240 ppi (for color inkjet printing), then click OK to create your new blank document.
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Open the photo you want to feature in your fine art poster layout. Get the Move tool (V) and click-and-drag that photo over into your fi ne art poster layout (as shown here). Press Command-T ( PC: Ctrl-T) to bring up Free Transform. Press-and-hold the Shift key, grab a corner, and drag inward to size the photo down so it fits within your layout like the photo shown here. To perfectly center your photo within the document, click on the Background layer, press-and-hold the Command (PC: Ctrl) key, and click on the photo layer to select both layers. Then go up to the Options Bar, and click on the Align Horizontal Centers icon (circled here in red) to center the photo side-toside (as shown here).
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Go to the Layers panel, and click on the Background layer to select it. Now, click on the Create a New Layer icon at the bottom of the Layers panel to create a new blank layer, then get the Rectangular Marquee tool (M) and click and-drag out a selection that is about 1 /2" larger than your photo (as shown here). You're going to turn this selection into a fake mat. Press D, then X to make your Foreground color white, then fill this selected area with white by pressing Option-Delete (PC: Alt-Backspace).
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To create the mat effect, choose Inner Glow from the Add a Layer Style pop-up menu at the bottom of the Layers panel. This brings up the Inner Glow section of the Layer Style dialog. Click on the light yellow color swatch below the Noise slider and change the color of the glow to black. You won't be able to see the glow at this point, because the default blend mode for the Inner Glow is Screen, so to see your glow, change the Blend Mode pop-up menu (near the top of the dialog) to Normal. Increase the Size of the glow to 5 (try 10 for very high-res photos), then lower the Opacity of this glow to 20% (as shown here) to create the subtle shadow of a beveled mat (as seen in the next step), and cl ick OK. Continued How to Show Your Work
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Step Five:
Press Command-D (PC: Ctrl-D) and you'll see the mat-like effect is in place around your photo. Although you want the photo centered side-to-side, you don't want the photo centered top-to bottom. Fine art posters generally have the photo well above the center of the photo, at what is called the "optical center," which is the area just above the center. To move the photo up, go to the Layers panel, select both the photo layer and the mat layer beneath it, then get the Move tool (V), and use the Up Arrow key on your keyboard to nudge the photo and mat upward until it's well above the center top-to-bottom (as seen in the next step).
Step Six:
Now it's time to add your poster text. Press the letter T to get the Type tool to add your text ( i.e., the name of your studio, the name of the poster, whatever you'd like). I chose the font Trajan Pro at 24 points, and I typed in upper- and low ercase (this font comes with the Creative Suite, so chances are you already have it installed. It actually doesn't have lowercase letters-instead, it uses large caps and smaller caps, as seen here). The extra space between the letters adds an elegant look to the type. To do that, highlight your type with the Type tool, then go to the Character panel (found under the Window menu), and in the Tracking field enter 1 20.
SCOTT KEI.BY . STOCKHOI.M. SWEDEN
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Seven:
SCOTT KE1.BY · STOCKH01.M . SWEDEN
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The easiest way to add more type is to press Command-J (PC: Ctrl-j) to duplicate the Type layer. Then you can change the size of the type, and add additional lines of text (as I did here, where I added a line underneath the top line with the date the photo was taken. Then I duplicated the Type layer again and added the bottom line of text). To center all three lines of type side-to-side perfectly within your image area, click on the Background layer in the Layers panel, and then Command-click (PC: Ctrl-click) on each Type layer so all three layers are selected. Press V to get the Move tool, and in the Options Bar, you'll see four sets of alignment icons. In the second set from the left, click on the Align Horizontal Centers icon to center your text beneath your image.
Step Eight:
Lastly, you can add your signature (either after it's printed, or right with in Photoshop C53 itself if you have a scan of your signature or a Wacom tablet where you can just use the tablet's wire less pen to create a digital signature). Here's the final photo with my signature added under the right corner, and the letters "a/p" under the left corner, which stands for "Artist Print" indicating the print was output by the photographer him/herself.
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How to Show Your Work
The Adobe Photoshop CS3 Book
for Digital Photographers
Simple Three ... Photo Balanced Layout
Step One:
This is just a simple layout that is very effective. It would work great as a template using Smart Objects, but since we've been down that road before (in Chapter 4), we'll j ust do it the old-fash ioned way. J ust don't forget that when it comes to bringing in the three photos for this layout, instead of opening them you could place them as Smart Objects. Hey, I'm just sayin'.
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Press Command-N (PC: Ctrl-N) and cre ate a new document that is very wide (the one shown here is 1 1 " wide by 3" deep). Go to the Layers panel, click on the Create a New Layer icon at the bottom of the panel, and then get the Rectangular Marquee tool (M). Press and-hold the Shift key, and on the left side of the document, drag out a square selection (since you're holding the Sh ift key-don't worry-it will be perfectly square) that is almost as tall as the document itself (leave approximately '12" of white space all the way around). Press D to set your Foreground color to black, then press Option-Delete (PC: Alt-Backspace) to fill your selection with black. Don't Deselect. Step Two:
Press V to get the Move tool from the Toolbox. Press-and-hold Option-Shift (PC: Alt-Shift), then click-and-drag your self a copy of your selected black sq uare. Drag it all the way over to approximately the same position on the right side of your document, as shown here. (Holding the Option key makes a duplicate of your square, and holding the Shift key keeps it perfectly aligned with the other sq uare as you're dragging to the right.)
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Step Three:
Deselect by pressing Command-D (PC: Ctrl-D). Switch back to the Rectangular Marquee tool, but this time don't hold the Shift key (that way, you can draw a rectangle). Now, draw a rectangular selection between the two squares, leav ing approximately the same amount of space between your shapes (as shown here). Then fil l that long rectangle with black. So, what you have is (from L to R): a black sq uare, a long black rect angle, and another black sq uare. Press Command-D (PC: Ctrl-D) to Deselect. 'IfIUnlltled-l
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Open the photo you want to appear over the square on the left. Get the Move tool and drag-and-drop it into your three-sq uare document. Once the photo appears, press Command-T ( PC: Ctrl-T) to bring up Free Transform. N ow you'll resize the photo (probably making it smaller) so it's slightly larger than the sq uare on the left (as shown here), then press the Return ( PC: Enter) key to lock in your resizing. Note: If you can't see the Free Transform handles, press Command-O (zero; PC: Ctrl-O) to zoom out to where they will show. Step Five:
Now press Command-Option-G (PC: Ctrl-Alt-G) to mask your rectangular photo into that black square (as shown here). You can get the Move tool and reposition your photo inside that black square by just clicking-and-dragging on it. Don't freak out if you see part of your photo appearing in the center rectangle (like you see here), because we'll cover that with a different photo layer.
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Now repeat the last two steps, opening two other photos, and resizing them so that they're slightly larger than the boxes they're going to be masked into. Once one of them is sized, press Command Option-G (PC: Ctrl-Alt-G) to mask it into the shape. Then do the same for the other photo. If, when you're done, any one of those photos extends into a different box, just go to the Layers panel and move that layer down one (or two) layers until that extra area is hidden behind one of the other masked photos. Step Seven:
Now, unless the three photos were taken in almost the exact same light, chances are at least one of them is going to look a bit funky (colorwise), so you might want to consider creating a tint over all three (it's an easy way to ensure the colors match). Click on the top layer in your layer stack, then choose H ue/Saturation from the Create New Adj ustment Layer pop-up menu at the bottom of the Layers panel (as shown here). Step Eight:
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When the H ue/Saturation dialog appears, turn on the Colorize checkbox, then set the H ue to 25, and the Saturation to 25, and click OK to add this slightly red dish-yellow sepia tone effect to all three photos at once. By the way, this is a great combination for instantly adding a sepia tone effect to wedding photos.
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Step Nine:
The final step is to go to the Layers panel, click on the Background layer (as shown here), and press Option Delete (PC: Alt-Backspace) to fill the Background layer with black.
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Here's the final image, and I think what makes it work is the balance and visual interest between the two square shapes on the ends and the longer rectangle shape in the middle. Remember, this can be saved as a template, and then you can use Smart Objects to quickly change out the photos (as shown a couple of different times next in this chapter).
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Multi..Photo Look from Just One Photo
I first saw this layout on a website that sells fine art prints, and I thought it was a very slick way to show your work because it's not the standard old "photo in the middle of a page" look you see again and again, and the separation between the boxes really seemed to add some visual interest. Plus, even though you're just using one photo, it has the look of a multi-photo layout (I'm going to use two of the same photos I used to create our multi-photo col lage back in the Special Effects for Photographers chapter).
Step One:
Press Command-N (PC: Ctrl-N) to create a new document in the size and resol u tion you want for your final print. Go to the Layers panel and click on the Create a New Layer icon at the bottom. Get the Rectangular Marquee tool (M), and click and-drag out a small sq uare over to the far-left side (you're going to fit five of these boxes across, so keep that in mind when choosing how big to make your first box; press-and-hold the Sh ift key while you drag to make it sq uare). Once your box selection is in place, press D to set your Foreground color to black, then press Option-Delete (PC: Alt-Backspace) to fill your square selection with black (as shown here). Don't Deselect yet.
Step Two:
Press Command-Option-T (PC: Ctrl Alt-T) to bring up Free Transform. Press and-hold the Shift key (to keep your alignment straight), then click-and-drag a copy of this square straight over to the right, leaving a small gap between the two squares (as shown here). Press Return (PC: Enter) to lock in your move.
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Step Three:
Now press Command-Option-Shift-T (PC: Ctrl-Alt-Sh ift-T), which creates another copy of your square to the right of your first two squares, with the exact same amount of spacing between the sq uares. Now, press this keyboard short cut two more times until you have five sq uares in a row (as shown here).
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Now, to perfectly center this row of five squares within your document, first click on the Background layer in the Layers panel. Then, press-and-hold the Command (PC: Ctrl) key and click on the five-squares layer to select it as well. Once both layers are highlighted (as shown here), get the Move tool (V), go up to the Options Bar, and click on the icon for Align Horizontal Centers (you can see my cursor over that icon in the Options Bar here-it's the fifth icon from the left, and it's circled in red).
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Step Five:
Now we're going to bring in our photo as a Smart Object. To do that, click on the Background layer, then j ust go under the File menu and choose Place (rather than Open). Once the photo appears, press-and-hold the Sh ift key, grab any corner point, and drag in to shrink the size or drag outward to increase the size ( basically, you want to resize your imported Smart Object photo so it's just slightly larger than the five black boxes, as shown here). Once it's sized, press Return (PC: Enter) to lock in your size change.
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To get your photo inside those five boxes, start by going to the Layers panel and dragging your photo layer to the top of the layer stack, so it's the top layer (as shown here). Now either go under the Layer menu and choose Create Clipping Mask (as shown here) or use the key board shortcut Command-Option-G (PC: Ctrl-Alt-G).
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Step Seven:
When you choose Create Clipping Mask (or use that keyboard shortcut), it masks your Smart Object photo inside the five boxes on the layer below it (as shown here, where the photo is clipped into those five boxes).
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The fi nal step is to add your studio name over a scan of your signature (just sign your name with a thick black pen on a white piece of paper, and scan it on a flatbed scanner. Of course, if you have a Wacom tablet and wireless pen, you can j ust get a small hard-edged brush and sign your name right in your document). Position your signature so it's centered at the bottom of the five boxes, about halfway between the bot tom of the document and the bottom of the boxes. Lower the opacity of your signature to around 40% or 50% so it looks li ke a medium gray color. Now, take the Type tool (T) and add your studio's name (or your name), and posi tion this type centered, right over your signature (I used the font Trajan Pro, which is installed automatically when you install the Adobe Creative Suite). To add a l ittle elegance to this type, increase the amount of tracking (the spacing between letters) to 200 (this is done in the Character panel). Continued How to Show Your Work
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Step Nine:
Since you brought in your photo as a Smart Object, you can easily change your photo, and it will automatically be masked into those five boxes. To do that, go to the Layers panel, Control-click (PC: Right click) on your Smart Object layer, and choose Replace Contents. Now choose a different photo (I chose the piano shot from our collage images from the Special Effects for Photographers chapter), and when you do, it automati cally appears within your five boxes (as shown here). Yet another advantage of using Smart Objects.
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I originally came up with the idea for this when playing around with Print template designs in Adobe Photoshop Lightroom (Adobe's workflow tool for professional photographers), and what it does is takes any photograph and presents it as a panorama. When I showed this "instant pano" template in a Lightroom sem inar I was teachi ng. the crowd loved it so m uch, I knew then I had to find a way to do the same thing in Photoshop CS3 (wh ich I did, and here's how it's done).
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Step One:
Press Command-N ( PC: Ctrl-N) to create a new document in whatever size and resolution you'd like (in my example, I created a wide letter-sized document (1 1 x8W') at a resolution of 240 ppi (for inkjet printing). Once you've opened the document, choose Solid Color from the Create New Adjustment Layer pop-up menu at the bottom of the Layers panel (as shown here).
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This brings up a Color Picker, prompt ing you to Pick a Solid Color. Since our background is white (which is the default setting in the New document dialog), choose white as your solid color (as shown here), and click OK. This fills your new adjustment layer with solid white (okay, it's kind of hard to see a white filled layer on top of a white background, so you'll j ust have to trust that it worked. Well. for now anyway).
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Step Three:
Get the Rectangular Marquee tool from the Toolbox, or just press M, and click and-drag a wide rectangle about 2" from the top of the document (as shown here). Don't make the selection too deep (in fact, while you're dragging out your selection, try dragging it out in the shape of a panorama-wide, but not very deep). Once your selection is in place, press the letter X on your keyboard to switch your Foreground color to black, then press Option-Delete (PC: Alt Backspace) to fill your selected area with black. Now, you're only filling the white Solid Color adj ustment layer's mask with black, so you won't see anything change onscreen. To confirm that your black fill worked, take a look in the Layers panel, and you should see a black rectangle in the adjustment layer's mask thumbnail (as shown circled here).
Step Four:
Click on the Background layer, then go under Photoshop's File menu and choose Place ( importing a fi le using Place, rather than Open, automatically makes the photo a Smart Object. You'll see why it's so smart in just a moment). Now, locate the photo you'd like to have become an instant pano, and click OK to import that photo. When your photo appears, you'll see a large bounding box around the entire photo (with a big X over the image area). Press-and-hold the Shift key, click on one of the corner handles, and drag inward to scale the photo down to size, so it's just slightly larger than your pano opening.
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Once you have it sized the way you'd like it, you can click in the center and drag it up or down to reveal a different part of the image, then press the Return ( PC: Enter) key to complete your resiz ing. But remember: since you imported this as a Smart Object, if you ever need to resize the photo, it draws upon the original file (which is automatically em bedded into your document), so your resized photo looks pristine (but that's not the main reason we made it a Smart Object-that's com ing in a moment). N ow that your photo is placed as a Smart Object, the cool thing is it already looks like a pano, because all you can see of it is that wide, not very tall opening (which was the selected area you filled with black in the previous step).
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Step Six:
Now that your photo is in place, you can add any poster-style text you'd like using the Type tool (T). Here, I added a text and-signature look that I showed you how to create in the previous tutorial.
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Step Seven:
Now, we're going to add a thin border around our photo that you'll be able to turn on/off, depending on how it looks with the particular photo you've imported, in j ust one click. Go to the Layers panel, click on your Solid Color adj ustment layer, and choose Stroke from the Add a Layer Style pop-up menu at the bottom of the panel. When the Layer Style dialog appears, click on the red Color swatch to bring up the Color Picker, then choose black as your stroke color and click OK. Set the Size to 1 pixel, set the Position to Inside (this makes the corners of your stroke nice and square), then lower the Opacity to 40% (this makes your stroke appear thinner), and click OK.
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At this point, you've created an Instant Pano template that can be used again and again, and it's the Smart Object (yes, we finally get to take advantage of it) that makes the template process so easy. So, first save this file (in Photoshop format) as a tem plate (name it "Pano Template"). Now, let's say it's a week or so later and you want to turn a differ ent photo into an instant pano. Open your template, then go to the Layers panel, Control-click (PC: Right-click) on your photo layer's name, and a contex tual menu will appear. Choose Replace Contents (as shown here).
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Now navigate to a different photo you'd like to see as an instant pano (here's the photo that we're going to use-I'm just showing it to you here so you can see the full photo before i t's brought into your tem plate).
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Step 1 0:
When you click the Place button, it replaces your current photo with the photo you just selected, and if the pho tos were the same size (and if they came from your digital camera, they're proba bly the exact same size), it automatical ly resizes to perfectly fit inside your pano open ing (as shown here). If it's not the same size, you'll be able to change the size using the big bounding box (press and-hold the Shift key, grab a corner point, and draw inward). Then hit the Return ( PC: Enter) key to lock in your resize. To reposition your photo inside the pano opening, j ust take the Move tool (V), click on the photo layer and drag up or down (as shown here), and you can easily reposition it to get it right where you want it (here it's positioned a l ittle h igh for my taste. You'll see a better positioning in the next step). Continued How to Show You r Work
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111 Pane Template.psd @ 100% (Maine Poster 1,
Step 1 1 :
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Remember that thin black border we added (well, at 40% opacity it actually looks gray)? Once you've imported your photo, you can decide whether it looks better with or without a border, and you can turn that border on/off with just one click. In the Layers panel, under your Solid Color adjustment layer, you'll see the word Effects with an Eye icon to the left of it. Click on that Eye icon to hide the stroke. To make it visible again, click where the Eye icon used to be.
Step 1 2:
Here's the final image. Now, since you've created a template, at this point you'd want to flatten the image and do a Save As, and give your file a different name. That way, your template stays intact, and the next time you want to try a different photo as an instant pano, you just open the original template, Control click (PC: Right-click) on the Smart Object layer, choose Replace Contents, and choose a new photo. Once you've set this up like th is, instant panos are about 30 seconds away. S C O T
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Chapter
13
My Step-by-Step Workflow
Working for a Livin '
my step-by-step workflow
This is the first time this chapter has appeared
she got pretty hammered, went into Walmart,
in any version of this book, and the only reason
shoved a copy of Back to the Future into her
it's here is because I promised my assistant
purse, ran out to the parking lot, jumped into
Kathy that I would find a way to include a
her DeLorean, and nearly sideswiped a kid on
Huey Lewis song as one of my chapter titles,
a skateboard wearing a red sleeveless hunting
but by the time the book was done, I didn't
vest.) Anyway, this chapter, an homage to the
have one, and there's no way she was going to
song "Working for a Livin'" by Huey Lewis &
let this book go to press without one. (She has
the News, is where I bring the whole process
an unnatural obsession with '80s singer Huey
together, from importing the photos into
Lewis. She's seen the movie Duets [where he
Bridge, to correcting the images, sharpening,
plays a karaoke singer] 316 times as of the writ
and printing-the whole thing, in the same
ing of this book. By the time it comes off press,
workflow order I use everyday in my own work.
she will have seen it 321 times, based on past
So, this is the mini-chapter where it all comes
experience. It's sad to see someone destroying
together. It's where the rubber meets the road.
her life like this, so I've been trying to focus
Where the brick meets the pavement. Where
her attention on something more positive
the goose gets the gander. Where Bartles meets
like drinking or shoplifting, and she's making
jaymes. Where the roaster grinds the coffee
some progress there. Sadly though, one day
(where the roaster grinds the coffee?), etc.
My Step-by-Step Workflow
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My Digital Photography Workflow
I've been asked many times, "What is your digital photography workflow?" (What should I do first? What comes next? Etc.) So, I thought I would add this chapter here in the back to bring it all together. This chapter isn't about learning new techniq ues (you've already learned all the things you'll need for your workflow), it's about seeing the whole process, from start to finish, in order. (Every photographer has a different workflow that works for them, and I hope that sharing mine helps you build a workflow that works for you and your style of work.)
Step One:
Our first step is to get the photos off our camera or memory card, and into our computer (and Adobe Bridge C53) so we can start to work with them. So, start by going under Bridge's File menu and choosing Get Photos from Camera (as shown here).
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Step Two:
When the Photo Downloader appears, in the Save Options section, choose the location where you want your photos saved to on your computer, and I recom mend turning on the option to rename your files as you import them (choose a descriptive name). You can find out more about this im porting process back on page 2.
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In the Advanced Options section of the dialog. turn on the checkbox to Open Adobe Bridge, and most impor tantly, turn on the Save Copies To checkbox and choose an external hard drive where a copy of your imported photos will be automatically backed up. That way, one copy of the photos on your memory card gets saved to your computer (these you can edit all you want, delete, and basically do whatever you want with as these are your working copies), and the second set of copies (the ones backed up to your external hard drive) act as your originals-your untouched negatives. In the Apply Metadata section, choose your copyright template to have your copyright and contact info embedded directly into your imported photos (see page 64 for how to create a Meta data template), then click Get Photos.
Step Four:
As the photos are imported, they appear in Bridge (as shown here) because you turned on that Open Adobe Bridge checkbox in the previous step. The default Bridge workspace is shown here.
Continued My Step-by-Step Workflow
455
The Adobe Photoshop CS3 Book
for Digital Photographers
Step Five:
The problem with the default workspace is that the Preview panel where you see your photos is way too small. You'll want to switch to a workspace that gives you the largest possible preview (whether your photo is in landscape or portrait orientation), and that is a modified version of the Vertical Fi lmstrip work space. Go under the Window menu, under Workspace, and choose Vertical Filmstrip. The left-side navigation panels will be open, but since the photos we want to view are already visible in Bridge, you can close those panels and give your self a lot more viewing space. To h ide those left-side panels, double-click directly on the vertical divider line and those left panels tuck away out of sight.
Step Six:
In my workflow, I'm trying to deter mine two things: (1 ) which photos are the very best from the shoot, and (2) which photos are so bad (way out of focus, taken by m istake, left the lens cap on, flash didn't fire, etc.) I just want them off my com puter, because they're j ust wasting space. To com pare one or more photos at the same ti me, j ust click on the first photo, then press and-hold the Com mand ( PC: Ctrl) key, and click on any photos you want to compare (here I've cl icked on four pho tos in the filmstrip, and all four photos appear in the Preview panel, as seen here). If a photo is so bad you want it off your computer, j ust click on it and press the Delete ( PC: Backspace) key on your keyboard. This brings up a dialog aski ng if you want to mark it as a Reject (for deleting later) or move it to your com puter's Trash (PC: Recycle Bin) right now (the choice is yours). My Step-by-Step Workflow
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After looking at a few photos, I found one where I liked the composition, but the photo was clearly overexposed. To edit this photo, just click on it in Bridge, and then press Command-R (PC: Ctrl-R), which opens your photo in Bridge's Camera Raw, as seen here (just to clarify-it's not opening in Photoshop-Bridge has its own Camera Raw). If you look up in the histogram, you can see that not only is the photo overexposed (the bulk of the graph in the histogram is way over to the right), but the highlights are clipping as well. Although I usually adjust the white bal ance first, in this case the exposure is so bad, I'll start there first (in problem photos, I generally fix the biggest prob lem first, or the problem that I find most annoying or distracting).
Step Eight:
To create a more balanced exposure, go to the Exposure slider and drag it to the left to lower the overall exposure. To bring back some of those clipped highlights, press-and-hold the Option (PC: Alt) key and drag the Recovery slider to the right until the white areas (the clipped areas) turn solid black. If you look up in the h istogram you can see the h igh l ight clipping warn ing triangle is now off ( i t's black again), and the h istogram is m uch more bal anced. However, on the left side of the h istogram there's a big drop off, which tells you there are really no deep shadow areas in this photo, so the photo is prob ably lacking in contrast and depth.
Continued My Step-by-Step Workflow
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Step Nine:
Grab the Blacks slider and drag to the right, and as you do, you'll see the contrast increase and the saturation of the color in the shadow areas increase as well (as shown here).
Step 10:
You can see from the photo that the sun (your light source) was beh i nd the building and when your subject is backlit like this, it's usually somewhat in the shadows (like this photo, where the subject is the towers). To open up those shadow areas j ust a bit, grab the Fill Light slider and drag to the right, and as you do those darker areas open up quite a bit (compare the tower in the foreground here, with the same tower in the previous capture and you'll see that this tower is now brighter, but the sky is pretty m uch the same. That's because the tone of the sky is mostly covered by the Exposure slider and the Recovery sl ider).
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Step 1 1 :
To add some nice punchy contrast to the photo, click on the Tone Curve icon, and then click on the Point curve tab to make the Point Curve visible. Choose Medium Contrast from the pop-up menu (as shown here) to make the darker areas darker, and the brighter areas brighter (which adds contrast). You can see how this adds points to the curve, and if you wanted to create even more contrast, all you'd have to do is make the curve steeper. To do that, click on the top-right point, then use the Up Arrow key on your keyboard to move that point upward. Then, click on the bottom-left point, and use the Down Arrow key to move that point lower. This makes the curve steeper, which increases the contrast.
Step 1 2:
Now that we've fixed the exposure and addressed the lack of contrast, let's properly set our white balance (again, I usually start by fixing the white balance, but in this case, since the exposure was off by so m uch, I started there first). To set the white balance, get the White Balance tool (from the tool bar up top), then click once in an area that's sup posed to be light gray (as shown here). If it looks good-you're set. If not, but you think it's pretty close, then you can use the Tem perature sl ider to make the white balance more blue (cooler) or more yellow (warmer). In this case, I thought the white balance looked pretty good where I clicked (look back at how blue the bui lding actual ly looked in the previous step).
Continued My Step-by-Step Workflow
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Step 1 3:
After adj usting the white balance, if you think the photo could sti l l use a little more contrast (I do), then head back to the Tone Curve panel. This time, choose Strong Contrast from the pop-up menu (as shown here), and use it as your start ing point for adding more contrast. If you think it looks good now, then move on to the next step. If you think it needs even more contrast, click on the top point and move it up, and the second-from the-bottom point and move it down. In the next step, we'll add our first level of sharpening (because this photo has lots of wel l-defined edges, you can get away with applying a lot of sharpening. If this was a portrait, or any photo where the subject was of a softer nature, I'd prob ably skip the sharpen ing here and just apply it once in Photoshop).
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Lastly, after I sharpen, I come back to the Basic panel, and near the bottom (right above the Vibrance and Saturation sl iders) is a slider called Clarity, which does an amazing job of adding what appears to be a com bination of both contrast and sharpen ing to the midtone areas of your image. I have to say, I've really fallen in love with adding "clarity" to my photos l ike this (by the way clarity is a pretty good name for it), just don't overdo it. In most cases, you can stay between 20% and 50% without mak ing your m idtones look overadj usted.
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Okay, that's enough tweaking in Camera Raw, let's head over to Photoshop, so click the Open Image button in Camera Raw. When the photo opens in Photo shop, the sky still seems a bit weak, so we'll use a quick layer mask trick to fix that sky. Start by pressing Command-J (PC: Ctrl-J) to duplicate the Background layer. Then, in the Layers panel, change the layer blend mode to Multiply (as shown here) to make the photo appear m uch darker.
Continued My Step-by-Step Workflow
461
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Step 1 7:
Click the Add Layer Mask icon at the bottom of the Layers panel to add a blank layer mask to your darkened layer (as seen here). Now, what you want to do next is put a selection all the way around the building. Since the building's edges are all straight, this is an easy job for the Polygonal Lasso tool, which makes straight-line selections. Get the tool (it's nested below the Lasso tool), click once along the edge, then move your cursor up a wal l and click again, and it draws a straight selection between the two points. Now, you're basically just going to trace around the building, clicking once to lay down a point, then moving your cursor to the next spot, and clicking again. When you get back to where you started, click on the first point to make a complete selection (as seen here).
Step 18:
Make sure your Foreground color is set to black, then press Option-Delete (PC: Alt Backspace) to fill your selected area with black, which reveals the building on the Background layer. So now what you have is the darker sky from the top layer, with the lighter building from the bottom layer (as seen here, where the bui lding is no longer dark). Press Command-D ( PC: Ctrl-D) to Deselect.
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Step 20:
Flatten your layers by going to the Lay ers panel's flyout menu and choosing Flatten I mage. We're one step away from saving the file, so let's go ahead and hit it with an U nsharp Mask (our second pass of sharpening), but let's apply it to the Lightness channel of Lab color mode (see page 390 for more on this). Go under the Image menu, under Mode, and choose Lab Color. Then go to the Channels panel and click on the Lightness channel (as shown here). Now go under the Filter menu, under Sharpen, and choose U nsharp Mask. When the dialog appears, for Amount enter 120, for Radius enter 1, and for Threshold enter 3, and click OK. Now go back under the I m age menu, under Mode, and choose RGB Color to return to regular RGB mode. Continued
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Print
Step 21 :
Now it's time to print the photo, so go under the File menu and chose Print. When the dialog appears, choose your printer from the pop-up menu at the top of the center column. If you need to change your page size, click on the Page Setup button below that. On the right side of the Print dialog, set the Color Handling pop-up menu to Photoshop Manages Colors, then from the Printer Profi le pop-up menu choose the paper profile for the exact paper and printer you're printing to (more on th is, starting on page 200). In our case, we're printing on Epson Premium Luster P hoto paper to an Epson Stylus Pro 3800 printer. For Rendering Intent, choose Relative Colorimetric, and leave the Black Point Compensation checkbox turned on, then click the Print button.
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Now go to the Print Settings section (the Advanced dialog on a PC), choose the exact type of paper you'll be print ing to, turn on the Advanced Settings, choose your Print Quality (as shown here), and if the H igh Speed checkbox is on, turn that off. Okay, that's it. Now you can click Print. The final results are shown below. So that's it-from import, to finding the photo you want to keep, to applying some edits in Camera Raw, another round of edits in P hotoshop, and then printing the fi nal i m age (which is what it's all about, right?).
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Before
After
My Step-by-Step Workflow
1
Chapter 13
1 465
Index
I (Forward Slash key), 1 41 [ ] ( Bracket keys), 3 1 9 1 6-bit images, 92, 261
B
Batch dialog,
batch processing
A Accent Color pop-up menu,
29
actions
em bedding copyright info, 4 1 5-416 Lab sharpen i ng techniq ue, 392-394 Actions panel, 392-393, 4 1 5-416 A d d N o ise fi lter dial og, 348 adj ustment layers, 2 1 8-220 Adobe Bri dge. See Bri dge Adobe Gamma uti lity,
1 87 - 1 88
Adobe Media Gallery (AM G),
420-423 Adobe RGB color space
camera configuration, 1 82 - 1 8 3 convert i n g sRGB p hotos to/from, 1 86, 230 Photoshop configuration, 91, 1 84- 1 86 Advanced Photo Downloader, 3 Amount slider
Lens Vignetting controls, 1 1 8, 1 1 9 S hadows/ H ighl ights dialog, 259 S harpening controls, 1 0 1 , 1 02, 1 03, 460 Smart S harpen fi lter, 404, 406 U n sharp Mask dialog, 383, 387, 400 Apply I m age dialog, 343-345 aspect ratio, 1 50-1 5 1 Auto button
Black a n d W h ite dialog, 239, 241 Camera Raw image adj ustmen ts, 87, 1 2 1 Auto-Align layers function, 275, 280 Auto-Blend Layers fun ction, 282 auto-n um bering feature, 62
466
6, 455 394-396
backing up photos,
1
Index
e m beddi ng copyright i n fo, 4 1 6 ren a m i ng fi les, 60-63, 396 s harpe n i ng photos, 394-396 Batch Rename dialog, 61 -62 bit depth, 92 Black and Wh ite dial og, 238-24 1 , 359
resizing display of, 31 sl ide show feature, 44-47 stacking p h otos i n, 68-71 two-m o n i to r setup, 58-59 brighten i n g eyes, 309-3 1 2 Brightness s l i der, 86 Brown, Russe l l Preston, 1 66 Brush Name dialog, 4 1 7 Brush Picker, 1 1 0, 229, 269 Brush tool
color correction a n d, 229 dodgi ng/burning a n d, 269 double-processing a n d, 1 1 0 o pacity settings for, 269, 270 portra i t retouching and, 308, 3 1 0, 3 1 2, 3 1 9 sharpen i n g tech n i q ues a n d, 402 signature brush and, 4 1 7-41 9 special effects and, 34 1 , 347, 357, 368
black-and-white conversions,
233-251 Black and White dialog for, 238-241 Calculations dialog for, 246-248 Camera Raw method for, 1 26-1 29, 249-251 h igh-contrast tec h n i q ue for, 242-245 Lightness channel method for, 234-237
burn i n g and dodging m ethod,
268-271
black-and-white photos
converting color photos to, 1 26-1 29, 233-251 q uadtoning effects for, 334-339 Blacks slider, 85, 89, 250, 458 blemish removal, 290-292 blending layers, 282 Bl oat tool, 306 body sculpting
love handle removal, 330-331 s l i m m i ng/tri m m i n g tec h n i q ue, 328-329 See also portrait retouch i ng Bri dge
accessing/openi ng, 1 4, 455 Adobe Media Gal lery i n, 420-423 custo m izing appearance of, 28-31 deleting files/folders in, 41 finding photos i n, 48-53 i m porting p hotos i n to, 2-7 m etadata i n fo i n, 54-57, 64-67 Preferences dialog, 7, 23, 28 previewing photos i n, 1 4-21
C Calculations dialog,
246-248
cal i brating
Camera Raw for cameras, 1 06 m o n itors for printing, 1 87- 1 94 Camera Cal i b ration panel, 1 06 Cam era Data ( EXI F), 32, 55 Camera Raw, 73-1 35 Auto function, 87, 1 2 1 B&W conversion i n, 1 26-1 29, 249-251 Blacks slider, 85, 89 Brightness slider, 86 cali brating for cameras, 1 06 C h romatic Aberration s l iders, 1 1 2-1 1 3 Clarity slider, 90 color adj ustments, 1 24- 1 2 5 Crop tool, 94-96 double-processi n g in, 1 08- 1 1 1 edge vignetting a n d, 1 1 8-1 1 9
The Adobe Photoshop CS3 Book
editing m ultiple p hotos in, 98- 1 00 Exposure slider, 82-84, 89 getting photos i n to, 74-76 noise reduction options, 1 07 open ing in Bridge, 46, 75 Recovery s l i der, 84, 89 red-eye removal, 1 33 - 1 35 Retouch tool, 1 30-1 32 saving fi les i n, 120 Sharpening sliders, 1 0 1 - 1 05, 460 slide shows and, 46 Split Ton i n g sliders, 1 22-123 spot removal in, 283-286 Straighten tool, 97 Tem perature slider, 79 Tint slider, 79 Tone Curve options, 1 1 4-1 1 7 W h ite Balance settin gs, 77-8 1 , 88, 254-256, 459 Workflow Options dialog, 91 -93 See also RAW i m ages cameras. See digital cam eras Canvas Size dialog, captions,
1 1 , 428
10
converting to B&W, 1 26-1 29, 233-251 i m provi ng appearance of, 342-345 sam p l i n g from i mages, 351 C o l o r Balance dial og, 228 C o l o r b l e n d mode, 352 c o l o r cast, 1 06 color correction, 207-230 adjustment layers for, 2 1 8-220 Curves dialog and, 209-210, 21 2-2 1 7 digital camera i m ages a n d, 209-2 1 7 drag-and-drop method for, 220 email or Web optim ized, 230 fi nding neutral m idtones for, 2 1 6, 223-225 flesh tone adjustments, 226-227 i n door lighting and, 254-256 i n itial setup for, 208 m ultiple p hotos and, 21 8-220 prob l e m areas and, 228-229 studio portraits and, 221 -222 Color Dodge blend m ode, 308 Color Handling pop-up men u,
39-40
color labels,
contact sheets for, 8 - 1 3 See also DVDs Channel Mixer, 1 26, 238, 241, 358-359 Chan nels panel, 301 -304, 390-391 chromatic aberration, 1 1 2-1 1 3 Clarity slider, 90, 461
1 82-205 camera configuration, 1 82-1 83 m on itor cali bration, 1 87 - 1 94 P h otoshop configuration, 1 84- 1 86 printer configuration, 1 95-205 Color Picker, 2 1 0-2 1 1, 243, 445 color profiles, 195- 1 99 Color Range dialog, 307 Color Setti ngs dialog, 1 84
highlights, 82-83, 249 shadows, 86 Clone Source panel, 374-376 Clone Stamp tool
portrait retouching a n d, 295-296, 3 1 5-3 1 6 special effects a n d, 374 col l age techniq ues, 354-357, 371 -378 collections, 53 color
accentuating in o bj ects, 367-368 adj usti ng in Camera Raw, 1 24- 1 2 5
creat i n g for CDs/ DVDs, 8- 1 3 making for key shots, 1 2 setting o ptions for, 9, 1 1 Content panel, 1 4 contrast
adj usti n g with Curves, 1 1 4- 1 1 7, 2 1 6-2 1 7, 250, 459, 460 controls for adj usting, 2 1 9 h igh-con trast portrait effect, 346-350 Contrast s l i der, 2 1 9 Convert t o Grayscale ch eckbox, 1 26, 249 Convert to Profile dialog, 230 Copies & Pages pop-up m e n u, 203 copying p h otos, 24 copyright i n formation, 6 e m bedding i n to fi les, 41 5-4 1 6 m e tadata tem plates a n d, 64 watermarks a n d, 4 1 2-4 1 4 C reate C l ipping Mask command,
442-443 64 1 40- 1 42 Camera Raw a n d, 94-96 Lights Out cropping a n d, 1 43 rule-of- t h i rds cropping and, 1 47 standard size options, 1 48- 1 49 tool presets for, 1 52 - 1 54 cropping p hotos, 1 40- 1 54 aspect ratio a n d, 1 50- 1 5 1 Camera Raw option for, 94-96 creati n g custom tools for, 1 52 - 1 54 L i ghts O ut m ode for, 1 43 panorama stitc h i n g a n d, 370 rule of t h i rds a n d, 1 44- 1 47 sizing/resizing a n d, 1 48-1 5 1 steps i n process of, 1 40- 1 43 straigh ten i ng a n d, 1 76-1 78 Cross, Dave, 223, 305 Create Metadata Template dialog, Crop tool,
201, 464
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color management,
color space
camera configuration, 1 82 - 1 83 P h otoshop configuration, 9 1 , 1 84- 1 86 color swatch card, 221 Colorize checkbox, 438 colum ns, 1 38 Com pact m ode, 3 1 com paring ph otos, 20-2 1 , 456 Contact S h eet II dial og, 9 contact sh eets, 8- 1 3 captions added to, 1 0
Curves
color correction usi n g, 209, 2 1 2-2 1 6 con trast adjustment usi n g, 1 1 4-1 1 7, 2 1 6-2 1 7, 250, 459, 460
Index
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The Adobe Photoshop CS3 Book
Curves dialog,
for Digital Photographers
209-2 1 7, 2 1 9, 222,
309, 463 Custom Shape tool,
1 44-1 45, 4 1 2,
413 custom izing
Bridge appearance, 28-31 workspaces, 1 7- 1 8 D 295-296 262, 3 1 5 Darks sli der, 1 1 6, 1 1 7 date information, 4 Default button, 87 dark circle removal,
Darken blend m ode,
deleting
fi l es/fo lders, 4 1 m etadata, 66-67 photos, 25, 27, 4 1 , 456 See a/50 removing Desaturate com mand, 245, 346, 353, 367 Deselect com m and, 1 42 Detail sl ider, 1 04, 460 Difference blend m ode, 223 digital cameras
cal i brating Camera Raw for, 1 06 color space configuration, 1 82 - 1 8 3 i mage color correction, 209- 2 1 7 i m porting photos from, 2-7, 454 resizing photos from, 1 57-1 59 wh ite balance setting, 254 digital noise reduction, 1 07 digital photography workflow,
454-465 digital photos
backing up, 6 color correcti ng, 207-230 com pari ng, 20-2 1 , 456 cropping, 94-96, 1 40-1 54 deleting, 25, 27, 41, 456 double-processing, 1 08- 1 1 1 duplicating, 24 editing m ulti ple, 98- 1 00 emailing, 430-431 finding, 48-53
468 1
Index
i m porting, 2-7, 454-455 labeling, 39-40 m oving, 24, 25 n u m bering, 62 opening m u l tiple, 2 1 8 previewi ng, 1 4-21 rati ng, 37-40 rejecting, 25, 26-27 renam i ng, 4-5, 34, 60-63 rotating, 35 sharpen i n g, 1 0 1 - 1 05, 381 -409, 460 showing, 4 1 1 -450 s izing/resizing, 1 57- 1 73 sorti ng, 36-40 stacki ng, 68-71 straighten ing, 97, 1 74-1 78 watermarking, 41 2-4 1 4 Disp lay Cali bration Assistant,
1 89 - 1 9 1 displaying photos. See showing
E 408-409 edge vignetting, 1 1 8- 1 1 9, 365 edge sharpeni ng, editing
m etadata i n formation, 56-57 m ultiple p hotos, 98- 1 00 P icture Package layouts, 429 effects. See special effects
430-43 1 408 Eraser tool, 366, 378 EXI F m etadata, 32, 54, 55
emailing ph otos, Em boss fi lter,
exposure corrections
Camera Raw settings for, 82-89, 457 overexposed photos and, 264-267, 457 underexposed photos and, 264-265 Exposure sli der, 82-84, 89, 249, 457 Eye icon, 262 eye retouch ing
brightening eyes, 309-3 1 2 dark circle rem oval, 295-296
ph otos
Distort fi lter,
293
DNG (Digital Negative) format
converting photos i nto, 5 saving RAW fi les in, 1 2 0 Dodge and Burn tools, 268 dodging and burn i ng method,
268-271 293-294 1 08-1 1 1 downsizing ph otos, 1 7 1 - 1 73 double chin reduction,
double-processing i mages, drag-and-drop method
for color correction, 21 8-220 for sorting photos, 36 dual-monitor setup, 58-59 duotone effects, 1 23, 334, 339, 351 -353 Duotone Options dialog, 336, 338, 339 duplicating
photos, 24 S mart O bj ects, 1 6 1 dust removal, 283-286 DVDs
arch iving photos on, 7 contact sheets for, 8 - 1 3
Eyedropper tool
color correction and, 208, 2 1 0-21 1 , 2 1 2, 222, 225 finding neutral m idtones wi th, 224-225 sam p l i ng colors w i th, 3 5 1 eyeglass reflections, 274-278 F facial retouch ing. See portrait retouch ing
407 3 5 1 - 353 Favorites panel, 22-23 Feather Selection dial og, 3 1 3
Fade Amount s l ider, fake duotone effect,
fi l e names
adding to contact sheets, 1 0 batch processing of, 60-63 changing for photos, 4-5, 34 fi les
deleting in Bridge, 4 1 e m beddi ng copyright i nfo i n, 4 1 5-41 6 m etadata i n fo i n, 6, 32-33, 54-57
The Adobe Photoshop CS3 Book
Healing Brush tool, 290-292,
Fill dialog, 223
297-300
Fill Light slider, 458 Filter panel, 26,38,40, 51
hiding
Find dialog, 52-53
metadata, 54
finding photos, 48-53
panels,15,16
flattening images, 265, 282, 335, 348, flesh tone adjustments, 226-227 folders
J JPEG files Camera Raw and,46, 74, 76, 113, 255 converting to DNG format,5
High Pass filter dialog, 322 high-contrast B&W technique,
415, 463
242-245
for Digital Photographers
saving photos as, 431 JPEG Options dialog, 431
high-contrast portrait effect, 346-350
deleting,41 duplicating photos in,24
highlights
favorite, 22-23
adjusting in photos,259-263
moving photos between, 24, 25
clipping warning for,82-83, 249
renaming images in, 60-63
color correcting,211, 212, 215
Folders panel, 22,24-25
Highlights slider, 116, 117, 260
Font pop-up menu, 10
high-resolution photos, 424-425
Free Transform command, 161, 172,
"Hollywood Highlights" effect, 301-304
328,432,437
Horizontal Filmstrip workspace, 18 hot spot removal, 315-316
G gang-printed photos, 426 Gaussian Blur filter collaged images and,377 portrait retouching and,317, 325, 364 Gaussian Blur removal option, 404
HSL/Grayscale panel, 124-125, 126, 249 Hue/Saturation dialog color correction and, 227 portrait retouching and, 314 three-photo layouts and,438
Get Photos from Camera command,
K keywords, 48-53 assigning to photos, 48-50 finding photos using, 51-53 Keywords panel, 48-50
l Lab color mode B&W conversions using, 234-237 improving colors using,342-345 sharpening methods using, 363, 390-396,397-400,463 labeling photos, 39-40 Lasso tool color correction and,226 portrait retouching and,293, 313 Layer Style dialog, 413,433, 448 layers
2,7, 454
adjustment,218-220
glasses, fixing reflections in,
ICC profiles, 196,198 Image Backdrop slider, 29
274-278
aligning, 275, 280 blending, 282
Gradient Editor dialog, 243,244, 362
Image Processor dialog, 166-167
Layers panel, 218, 219, 264,439, 461
Gradient Fill dialog, 360-361
Image Size dialog, 93, 157-159,
layouts
Gradient Map dialog, 242,243,334
importing photos, 2-7,454-455
Gradient picker, 355 Gradient tool, 355, 357 grayscale conversions.
168-170,171, 430-431
See black-
and-white conversions Grayscale Mix, 126-129
instant pano, 445-450 multi-photo mask,440-444
backup options,6,455
Picture Package, 426-429
file handling options,3
poster, 432-435
metadata options, 6
three-photo, 436-439
renaming options,4-5
workspace, 16,456
Grayscale mode, 234, 237, 334, 335
Info panel, 145
Lens Blur removal option, 405
grid, 145
infrared effects, 358-359
Lens Vignetting controls, 118-119
group shots, 279-282
instant pano layout, 445-450
Levels dialog, 260, 311, 340
Inverse command, 303, 372,373,398
lighting
H Hard Light blend mode, 414 hardware calibration, 192-194
Invert command, 310,341 IPTC Core metadata, 32,55,56
color correcting for indoor, 254-256 taming/refocusing light,340-341
Index
1469
The Adobe Photoshop CS3 Book
for Digital Photographers
Lightness channel B&W conversion using, 234-237 sharpening technique using, 397, 398, 463
poster layouts and, 432, 434, 435
double-processing and, 110
rule-of-thirds cropping and, 146
edge sharpening and, 409
three-photo layouts and, 436, 437
exposure adjustments and, 265 portrait retouching and, 300, 304,
moving photos between folders,
Lightness slider, 314
310, 312, 320, 324, 325
24, 25
Lights Out cropping mode, 143
multi-photo mask layout, 440-444
poster layouts and, 433
Lights slider, 116, 117, 250
multiple photos
shadow/highlight adjustments and,
lips, enhancing, 305-308
color correcting, 218-220
Liquify dialog, 294, 306, 326, 330
editing in Camera Raw, 98-100
262 special effects and, 345, 350, 378
Loupe feature, 19, 21
opening simultaneously, 218
watermarking process and, 414
love handle removal, 330-331
spot removal from, 283-286
Open Adobe Bridge checkbox, 455
Luminosity blend mode, 312, 341
Multiply blend mode, 236, 266, 365, 461
opening multiple photos, 218 organizing photos sorting and, 36-40
My Pictures folder, 3
M Magnetic Lasso tool, 305, 313
stacks used for, 68-71 overexposed photos, 264-267, 457
Magnifying Glass cursor, 19
N
Margulis, Dan, 342, 397
naming/renaming
Masking slider, 104, 105, 460
batch, 60-63, 396
Master Diameter slider, 418
contact sheet images, 10
memory cards
imported photos, 4-5
card reader for, 2 importing photos from, 2-7
individual photos, 34
Overlay blend mode, 268-269, 307, 343-344, 347, 361 oversharpening photos, 401
p
nested panels, 18, 139
Page Setup dialog, 200
Metadata Focus workspace, 66
neutral density effect, 360-362
panels
metadata information
neutral midtones, 216, 223-225
collapsing, 15, 138
editing, 56-57
New Action dialog, 392
expanding, 15, 138
import process and, 6
New dialog, 155, 156, 432
Aoating, 139
stripping from photos, 66-67
New Document Preset dialog, 156
hiding, 15, 16
templates for, 64-65
New Layer dialog, 268, 280
viewing, 32-33, 54-55, 57
New Preset dialog, 115
Metadata panel, 15, 32-33
New Synchronized Window option,
midtones color correcting, 211, 212, 216 finding neutral, 216, 223-225 monitors
58 noise
nesting,18, 139
See also specific panels panoramas instant layout for, 445-450 stitching photos into, 369-370
adding, 348-349
paper selection, 204, 464
reducing, 107
Parametric curve, 114, 116-117
hardware calibration, 192-194
Noiseware Professional, 107
Patch tool, 298
software calibration, 187-191
nose retouching, 326-327
Pen tool, 276
two-monitor setup, 58-59
numbering photos, 62
Photo Downloader, 2-7, 454 Advanced Options section, 5-6
montages, 354-357 Motion Blur removal option, 404 Move tool collage techniques and, 354, 356, 377 eyeglass reAections and, 274-278 group shot fixes and, 280 instant pano layout and, 449 multi-photo mask layout and, 441
470 I
Index
Apply Metadata section, 6
o Opacity settings B&W conversions and, 237, 244, 247 back-screened look and, 161, 162 cropping process and, 143 dodge/burn process and, 269, 270
Save Options section, 3-5 Photo Filter dialog, 377 photographs.
See
digital photos
Photomerge dialog, 369-370
Photoshop Channels Book, The (Kelby), 397
The Adobe Photoshop CS3 Book
Photoshop CS3
for Digital Photographers
previewing photos, 14-21
sharpening, 101-105
Adobe RGB configuration,184-186
Print dialog, 201-205,464-465
split toning effects,122-123
interface overview,138-139
Print Quality options, 204,465
spot removal from,283-286
Photoshop LAB Color (Margulis), 342, 397 Photoshop Lightroom
Print Settings options, 204
straightening, 97
Printer Profile pop-up menu, 202
white balance settings,77-81,88,
printing, 195-205
Lights Out mode,143
color profiles for,195-199
ProPhoto RGB color space,185
steps in process of,200-205, 464-465
Picture Package, 426-429 Picture Package Edit Layout dialog, 429 Pictures folder, 3
ProPhoto RG B color space, 185
Plastic Wrap filter, 306 Point curve, 114-115,459 Polygonal Lasso tool, 462 portrait retouching, 289-331 brightening eyes,309-312 double chin reduction,293-294 enhancing lips,305-308 "Hollywood Highlights" effect, 301-304 hot spot removal,315-316 love handle removal,330-331 nose size reduction,326-327 skin softening, 317-325 slimming/trimming technique, 328-329 whitening teeth,313-314 wrinkle reduction,297-300 portraits high-contrast effect,346-350 sharpening,363,384 three-step finishing technique, 363-366 poster layouts, 432-435 poster-sized prints, 168-170 Preferences dialog, 7,23,28 Preserve Cropped Pixels option, 96 Preview panel, 15-21 comparing photos in,20-21 expanding the size of,15-16 workspace layout in,16-18,456 zooming photos in,19,21
Rectangular Marquee tool cropping photos with,142,146
Push Left tool, 330
instant pano layout and,446 making selections with,280 multi-photo mask layout and,440
Q quadtone effects, 334-339 Quality slider, 431 Quick Selection tool, 371-372
portrait finishing with,365 poster layouts and,433 three-photo layouts and,436,437 Red Eye Removal tool, Camera Raw, 133-135
blemish removal,290-292 dark circle removal,295-296
See a/50 Camera Raw
Recovery slider, 84,89,249,457
Pucker tool, 326,331
Pinch dialog, 293 Place command, 160,446
254-256,459 workflow settings,91-93
R
Red Eye tool, Photoshop CS3,
Radius slider Camera Raw Retouch tool,284 High Pass filter dialog, 322-323 Shadows/Highlights dialog,258,259 Sharpening controls,103,460 Smart Sharpen filter,404 Unsharp Mask dialog, 383,388,399 rating photos, 37-40 RAW images, 73-135 calibrating for,106 chromatic aberration fix, 112-113 clarity applied to,90 color adjustments,124-125 contrast adjustments, 114-117 converting to B&W, 126-129, 249-251 cropping,94-96 double-processing, 108-111 edge vignetting, 118-119 editing multiple,98-100 exposure settings,82-89 getting into Camera Raw,74-76 noise reduction,107 red-eye removal,133-135 retouching, 130-132 saving in DNG format,S,120
272-273 red-eye removal Camera Raw tool for,133-135 instant method for,272-273 Refine Edge dialog, 365,373 reflections, eyeglass, 274-278 refocusing light, 340-341 rejected photos, 25,26-27,456 removing spots,283-286 vignettes,118
See a/50 deleting
Rename button, 62 renaming.
See naming/renaming
Rendering Intent options, 202,464 Replace Contents command, 448, 450 Resample Image checkbox, 158,171 resizing.
See sizing/resizing
resolution contact sheet,9 image size and, 155-159, 171 print-optimized,431 RAW image, 93 screen,430 Retouch tool, 130-132,284
Index
1471
The Adobe Photoshop CS3 Book
for Digital Photographers
retouching Camera Raw option for,130-132, 284
See a/50 portrait retouching Rotate Canvas dialog, 175
basic sharpening, 382-389
slide shows
batch sharpening, 394-396
Camera Raw editing option,46
Camera Raw and,101-105, 460
keyboard shortcuts for,47
edge sharpening, 408-409
music added to,47
image details and,401-403
playing in Bridge,44-47 setting options for,44-46
rotating photos, 35
Lab color sharpening,390-396, 463
rule of thirds, 144-147
portrait sharpening, 363, 384
Ruler tool, 174, 175
sample settings,383-389
Slideshow Options dialog, 44-46
Smart Sharpen filter and,404-407
slimming/trimming technique,
rulers, displaying, 157
soft subjects and,384 three-step portrait finishing,
s Saturation slider B&W conversion and,241 color correction and,227 portrait retouching and,314 Save Collection dialog, 53 Save Copies To checkbox, 6 Save Workspace dialog, 17 saving automated resizing and,166-167 collections,53 custom workspaces,17 imported photos,3 metadata templates,65 photos as JPEGs, 431 RAW files, 120 Screen blend mode, 264, 309 screen resolution, 430 scrubby sliders, 375 searching for photos, 48-53 selections softening edges of,226 tools for making,276, 371-372 sepia tone effect, 123, 438 shadows adjusting in photos,257-263 clipping warning for,86 color correcting, 210, 212, 213-214 Shadows slider, 116, 117, 260 Shadows/Highlights dialog, 258259, 261, 262 Shadows/Highlights Smart Filter, 261-263 Shape Picker, 145 Sharpening sliders, 101-105 sharpening techniques, 381-409
4721
Index
363-366 two-pass super sharpening, 397400 Web graphics and,386 Show Metadata Placard option, 54 Show Overlay checkbox, 374, 376 Show Reject Files checkbox, 26 showing photos, 411-450
transitions used in,46
328-329 Smart Filters Gaussian Blur,325 Shadows/Highlights,261-263 Smart Objects double-processing and, 111 instant pano layout and,446, 447, 448 multi-photo mask layout and,442, 444
copyright info for,412-416
portrait retouching and,325
email rules for,430-431
resizing photos using, 160-165
instant pano layout for,445-450
shadows/highlights adjustment
multi-photo mask layout for, 440-444 Picture Package layouts for,426429 poster layouts for,432-435
and, 261-263 three-photo layout and,436, 439 Smart Sharpen filter, 404-407 Soft Light blend mode, 307, 323, 344, 347
signature brush for,417-419
soft subject sharpening, 384
three-photo layout for,436-439
sorting photos, 36-40
uploading high-resolution images, 424-425 watermarking process for, 412-414 Web gallery for,420-423 signature brush, 417-419 Size pop-up menu, 92 sizing/resizing aspect ratio and,150-151
color labels for,39-40 drag-and-drop method of,36 star ratings for,37-40 special effects, 333-378 collage techniques,354-357, 371-378 color accentuation of objects, 367-368
automated saving and,166-167
fake duotone effect,351-353
cropping and,148-151
high-contrast portrait effect,
digital camera photos,157-159
346-350
downsizing process and,171-173
improving drab colors,342-345
poster-sized prints,168-170
instant infrared effect,358-359
RAW images,92
neutral density effect,360-362
resolution and,155-156, 171
panorama stitching, 369-370
Smart Objects for,160-165
portrait finishing technique,363-366
thumbnails,14 skin softening technique, 317-325
quadtoning B&W photos,334-339 taming/refocusing light,340-341
The Adobe Photoshop
split toning effects, 122-123
two-pass super sharpening
spot removal, 283-286 sRGB color space, 182,184 186,230 stacking photos, 68-71 star ratings, 37-40 Straighten tool, 97 straightening photos, 174-178 automated cropping and, 176-178
Book
for Digital Photographers
White Balance settings
technique, 397-400
Camera Raw, 77-81,88,254-256,
Type tool, 357,413,434,443,447
459
converting to/from Adobe RGB, Web design and, 185,230
CS3
indoor photo adjustments, 254256
u Ultra-Compact mode, 31 UnCheck All button, 3 underexposed photos, 264-265 Undo command, 327 Unsharp Mask filter
White Balance tool, 80-81,88,459 whitening teeth, 313-314 Workflow Options dialog, 91-93 workflow process, 454-465 workspaces creating custom, 17-18
basic sharpening and, 382-389
Camera Raw option for,97
efficient setup for, 138-139
Lab color sharpening and,391,399,
steps in process of,174-175
463
Strong Contrast option, 460
oversharpening photos with, 401
studio portrait correction, 221-222
portrait finishing and,363
Synchronize dialog, 285-286
sample settings,383-389
See a/50 sharpening techniques
selecting layouts for,16,456 wrinkle reduction, 297-300
z Zoom tool
T
uploading high-res images, 424-425
chromatic aberration and,112
taming light, 340-341
Use Filename As Caption checkbox,
digital noise reduction and, 107
teeth whitening technique, 313-314
10
Temperature slider, 79,459
Use Legacy checkbox, 219
templates
User Interface Brightness slider, 28
instant pano layout, 448,450 metadata information, 64-65 three-photo layout,436,439 three-photo layout, 436-439 Threshold slider, 383,388 thumbnails captions for,10 resizing, 14 rotating, 35 selecting,15 setting preferences for,30 viewing metadata for, 31 TIFF files Camera Raw and, 46,74,76, 113
portrait retouching and,290,295, 319 red-eye removal and,272 spot removal and, 283 Zoomify Export dialog, 424-425
v Versace, Vincent, 168,242 Vertical Filmstrip workspace, 16, 456
zooming checking photos by, 19 comparing photos by, 21
viewing metadata information, 32-33, 54-55,57 photos in Bridge, 14-21 using two monitors, 58-59 vignette effects adding, 119,365 removing, 118
converting to DNG format,S Tint slider, 79 Tone Curve panel, 114-117,129,250, 459,460 Tool Presets panel, 152-154 tritone effects, 334,338 Tungsten preset, 254-255 two-monitor setup, 58-59
w watermarking photos, 412-414 Web photo gallery, 420-423 websites color space for, 185,230 creating galleries on, 420-423 high-resolution photos on,424-425 sharpening photos for,386
Index
1473
The Recipe for Getting This Type ofShol
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