Adobe Photoshop 7.0 for Photographers
Focal Press
An imprint of Elsevier Science
Linacre House, Jordan Hill, Oxford OX2 8DP
225 Wildwood Avenue, Woburn MA 01801-2041
First published 2002
The right of Martin Evening to be identified as the author of this work
has been asserted in accordance with the Copyright, Designs and
Patents Act 1988
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or not transiently or incidentally to some other use of this publication) without
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London, England W1T 4LP. Applications for the copyright holder’s written
permission to reproduce any part of this publication should be addressed
to the publisher
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloguing in Publication Data
A catalogue record for this book is available from the Library of Congress
ISBN 0 240 51690 7
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Copyright © 2002, Martin Evening. All rights reserved
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Contents
v
Contents
Introduction xiii
Acknowledgments xv
Getting started xvi
What’s new in Photoshop 7.0 xvi
Mac OS X and Windows XP support xvii
File Browser xvii
Healing brush and patch tool xviii
Brushes engine xviii
Interface refinements xviii
Automation xix
Auto Color xix
Filter menu xx
Web features xx
Extras xx
Chapter One – Digital Capture 1
Structure of a digital image 2
Scanners 4
What to look for in a scanner 6
Resolution 6
Dynamic range 7
Bit depth 8
Scanning speed 8
Software 10
Visual assessment 10
Purchasing bureau scans 10
Kodak Photo CD and Picture CD 11
Image quality 11
Optimum Photo CDs 13
Opening a Photo CD image 13
In conclusion 14
Digital cameras 15
Consumer cameras 15
35 mm SLR features 16
Hot mirror filters 17
Medium format CCD cameras 18
Making every pixel count 20
Scanning backs 23
Is it time to go digital? 24
Camera software and storage 25
Conclusion 27
Chapter Two – Resolution 28
Pixels versus vectors 29
Terminology 31
Repro considerations 33
Inkjet output resolution 34
Creating a new document 35
Altering the image size 35
Practical conclusions 39
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Adobe Photoshop 7.0 for Photographers
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Chapter Three – Configuring Photoshop 40
Buying a system 41
Monitor display 42
Video cards 43
Extras 43
Retailers 44
Improving Photoshop performance 45
Chip speed 45
Chip acceleration 46
RAM memory and scratch disks 46
Clearing the Photoshop memory 49
Configuring the RAM memory settings (Macintosh OS 9) 49
Configuring the RAM memory settings (Windows and Mac OS X) 49
Photoshop and Mac OS X 50
Installing Mac OS X and Photoshop 51
Shared and non-shared items 52
Windows XP 52
Office environment 53
System software 54
Chapter Four – Color Management 55
The need for color management 55
Why not all RGB spaces are the same 56
The way things were 57
CMYK color management 58
RGB devices 58
Not all RGB color devices are the same 59
ICC profiled color management 59
Switching on Photoshop ICC color management 63
Monitor profiling 63
Monitor calibration 64
Mac OS X calibration 65
Contrast and brightness 65
Neutralizing the color 66
Target Gamma 66
White point 67
Conclusion 67
Calibrating a PC monitor with Adobe Gamma 68
The value of a calibrated display 69
The Photoshop color engine 69
The profiled approach 71
The versatility of RGB 72
Choosing an RGB work space 73
Apple RGB 74
sRGB IEC-61966-2.1 74
ColorMatch RGB 74
ProPhoto RGB 74
Adobe RGB (1998)
74
The ideal RGB working space 75
Photoshop color management interface 76
The Color Settings 76
Color management policies 77
Managing the Color Settings 80
Profile conversions 81
Converting to the work space 83
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Contents
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Handling Grayscale 84
Handling legacy files 85
Advanced color settings 87
Blend RGB colors using gamma 88
Desaturate monitor colors 89
Customizing the RGB and work space gamma 89
RGB to CMYK 90
CMYK setup 91
Advanced CMYK settings 91
Conversion options 91
Rendering intent 93
Black Point Compensation 94
Use Dither (8-bit per channel images) 94
Creating a custom CMYK setting 94
Ink Colors 95
Dot gain 96
Separation options 97
Black generation 98
Opening CMYK and Lab files 98
Information palette 99
The ICC color managed workflow 101
Chapter Five – File Management and Output 102
RGB output to transparency and print 103
CMYK output 104
Fine art printing 104
Inkjet CMYK output 105
Inkjet media 105
The ideal inkjet 106
Photoshop print controls 107
Color proofing for press output 108
Targeted CMYK printing 111
Soft proofing 112
Simulate Paper White and Ink Black 113
PostScript printing 114
Quantity printing 115
Stormy waters 116
Storing digital files 116
Image database management 117
The File Browser 118
Renaming in the File Browser 120
The future of image asset management 121
Bureau checklist 122
Image protection 123
Chapter Six – The Work Space 125
Photoshop preferences 125
Saving files 127
Display & Cursors 130
Transparency & Gamut 131
Units & Rulers 131
Guides, Grid & Slices 132
Plug-ins & Scratch Disks 133
Memory & Image Cache 134
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Adobe Photoshop 7.0 for Photographers
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Image window 135
Title bar proxy icons (Macintosh) 136
Preview box options 136
Managing document windows 136
Rulers, Guides & Grid 137
‘Snap to’ behavior 138
The Photoshop palettes 138
Palette docking 139
Workspace settings 140
File Browser 141
Navigator 142
Info 142
Tool Options bar 143
Tool Presets 144
Character 144
Paragraph 145
Brushes 145
Brushes palette 145
Styles 148
Swatches 148
Color 148
Preset Manager 148
Actions 149
History 150
Layers 150
Channels 151
Paths 151
Tools palette 152
Selection tools 153
Modifier keys
155
Lasso: freehand/polygon/magnetic 157
Move tool 160
Crop tool 161
Slicing tools 164
The paint tools 164
Healing brush/Patch tool 164
Brush 165
Pencil 165
Clone stamp/Pattern stamp 165
History brush 166
History brush and Snapshot 166
History and memory usage 168
Non-linear history 169
Art history brush 170
Eraser/background eraser/magic eraser 171
The Extract command 173
Gradients 174
Noise gradients 176
Paint bucket 177
Focus: blur/sharpen/smudge 177
Toning: dodge/burn/sponge 178
Pen and path drawing 179
Type tool 179
Shape tools 180
Annotation tools 180
Eyedropper/color sampler 181
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Contents
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Measure 182
Navigation tools – hand and zoom 182
Foreground/background colors 183
Selection mode/Quick mask 183
Screen display 183
Jump to button 184
Summary 184
Chapter Seven – File Formats 185
TIFF (Tagged Image File Format) 186
EPS 188
DCS 189
Photoshop PDF 189
PDF security 192
Importing multi-page PDF files 192
PICT 193
JPEG 193
File formats for the Web 195
Other file formats for the Internet 195
GIF 196
Save for Web 198
PNG (Portable Network Graphics) 203
IVUE 204
FlashPix 204
Future of electronic publishing 204
Chapter Eight – Basic Image Adjustments 205
Cropping 205
Orientation and canvas 207
Precise image rotation 208
Big data 208
Perspective cropping 209
Image analysis 210
Levels adjustments 211
Specular highlights 213
Assigning shadow and highlight points 216
Unsharp masking 217
Sharpening for repro 218
Amount 218
Radius 220
Threshold 220
Selective sharpening 220
Chapter Nine – Color Adjustments 222
Hue/Saturation 222
Color balancing with Levels 226
Variations 227
Auto adjustments 227
Color Balance 229
Variations 229
Curves adjustments 229
Arbitrary Map mode 235
Replace Color 236
Color Range 238
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Adobe Photoshop 7.0 for Photographers
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Adjustment layers 238
Multiple adjustment layers 238
Blending mode adjustments 239
16 bits per channel support 241
Selective Color 242
Chapter Ten – Repairing an Image 244
Basic cloning methods 244
Retouching a color negative 247
Alternative spotting technique using the history brush 249
Working with the healing brush 251
Patch tool 255
Healing brush strategies 258
Cloning selections 261
Restoring a faded image 263
Keyboard shortcuts 265
Removing moiré patterns 266
Scanning halftone images 267
Tool applications and characteristics 269
Brush blending modes 270
Beauty retouching 271
Softening the focus 275
Rescuing shadow detail 276
Dodge and burn 278
Chapter Eleven – Montage Techniques 280
Selections and channels 280
Summary of channels and selections 282
Selections 282
Quick mask mode 282
Alpha channels 282
Work paths 282
Modifying selections 284
Smoothing and enlarging a selection 284
Anti-aliasing and feathering 285
Layers 287
Blending modes 289
Masking layers 294
Adding an empty image layer mask 294
Adding an image layer mask based on a selection 294
Viewing an image layer mask in Mask or Rubylith mode 294
Applying and removing image layer masks 296
Vector masks 297
Working with multiple layers 298
Layer set management 298
Layer sets 299
Advanced blending options 301
Color coding 301
Layer locking 302
Transform commands 303
Numeric Transforms 304
Repeat Transform 305
Transforming selections and paths 305
Drawing paths with the pen tool 306
Guidelines for drawing pen paths 306
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Contents
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Pen tool in action 308
Montages 310
Masking hair 315
Clipping groups 320
Extract command 322
Complex image blending 325
Removing a matte color 328
Ribblehead Viaduct by Ian McKinnell 328
Exporting clipping paths 332
Chapter Twelve – Shortcuts 335
Efficient running 338
Contextual menus 339
Selections 341
Window display options 341
Moving and cloning selections 341
Info and Navigator 345
Working with Actions 346
Playing an Action 346
Recording Actions 347
Troubleshooting Actions 347
Batch processing Actions 348
Automation plug-ins 349
Fit Image 350
Picture Package 351
Contact Sheet II 352
Export Transparent Image and Resize Image 353
Web Photo Gallery 354
Creating a Droplet 356
Layers and channels 358
Chapter Thirteen – Black and White Effects 366
Duotone mode 367
Printing duotones 367
Full color toning 370
Split toning 372
Solarization 373
Black and white from color 376
Infrared film simulation 379
Adding a photographic rebate 380
Chapter Fourteen – Coloring Effects 382
Cross-processing 383
Channel Mixer adjustments 386
Color overlays 387
Retouching with overlays 389
Gradient Map coloring 391
Chapter Fifteen – Layer Effects 392
Layer effects and Styles 392
Drop Shadow 393
Inner Shadow 393
Outer Glow and Inner Glow 394
Bevel and Emboss 395
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Adobe Photoshop 7.0 for Photographers
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Satin 395
Gradient Overlay 396
Pattern Overlay 396
Color Overlay 397
Stroke 397
Creating Styles 398
Applying layer styles to image layers 398
Painting effects 400
Layer effect contours 401
Transforms and alignment 403
Shadow effect 405
Spot color channels 407
Adding type 409
Vector output 410
Chapter Sixteen – Filters 411
Blur filters 412
Fade command 412
Smart blur 412
Noise filters 413
Filters for alpha channel effects 413
Distortions and displacements 417
Liquify 419
The Liquify tools explained 420
Lighting and rendering 424
Clouds and Difference Clouds 424
Lens Flare 425
Lighting Effects 426
Pattern Maker 428
3D Transform 431
Practical applications 432
Appendix 433
Adobe ImageReady™ 7.0 437
Interface 437
Jump to 437
ImageReady layers 438
Styles 439
Actions 440
Image resizing 441
Cropping 441
Color management 441
Image slicing 442
Slice content 443
Optimizing images and image slices 443
Image maps 444
Rollovers 445
Animation 446
World Wide Web contacts list 448
Index 451
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Contents
xiii
I
n 1996, a group of self-proclaimed ‘digital’ photographers met together at Ian
McKinnell’s studio in Holborn, London, to discuss the formation of a Digital
Imaging Group. At first, this was a small gathering of professional photographers.
The one thing we all had in common was a shared interest in using computers and
their potential as a photographic medium of the future.
Back then, to edit your photographs digitally was regarded as a very strange business.
If nothing else, we were to be marvelled at for our patience, as to manipulate any-
thing bigger than a 10 MB file on a desktop computer could be a notoriously slow
process. At worst we were to be distrusted as the harbingers of doom, bringing about
the end to photography as we know it. At one point it was seriously suggested by a
photographic gallery committee that ‘digital’ photographs could not be exhibited
unless accompanied by a sticker to signify that these pictures were not real
photography. Maybe now it is true to say that because of digital technology, the
photographic profession never will be the same again. But this has more to do with
the way images are being marketed rather than the means by which those images are
captured. Photographers are under increasing pressure to sign away their valuable
rights and the pressure of competition has never been greater.
When image editing work stations used to cost a cool half million, digital retouching
was the preserve of an exclusive elite. Photoshop has played an important role in
bringing professional image editing within the reach of many. That is one of the
great virtues of Photoshop – almost anyone can have a go now. Photoshop brings the
power of professional image editing within the reach of the many. And as I have
toured around Britain and the United States presenting seminars, I meet so many
Introduction
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