Focal Press
An imprint of Elsevier
Linacre House, Jordan Hill, Oxford OX2 8DP
30 Corporate Drive, Burlington MA 01803
First published 2007
Copyright © 2007, Philip Andrews & Peter Bargh. All rights reserved
The right of Philip Andrews & Peter Bargh to be identified as the authors of this work has been asserted in
accordance with the Copyright, Designs and Patents Act 1988
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or
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Notice: No responsibility is assumed by the publisher for any injury and/or damage to persons or property
as a matter of products liability, negligence or otherwise, or from any use or operation of any methods,
products, instructions or ideas contained in the material herein.
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 978-0-240-52065-0
For information on all Focal Press publications visit our website at: www.focalpress.com
Printed and bound in Slovenia
Layout and design by Philip Andrews in Adobe InDesign CS2
07 08 09 10 11 11 10 9 8 7 6 5 4 3 2 1
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1
A B C D E GF IJKH L XYZWVUTSRPQONM
Accented Edges filter – Automate, Bridge
Background color – Button mode
Cache, Bridge – Cutout filter
Darken blend mode – Dust & Scratches filter
Edges – Eyedropper tool
Facet filter – Fuzziness setting
Gamut Warning – Guides, Smart
Halftone Pattern filter – Hue/Saturation adjustment layer
ICC profiles – Knockout
LAB color – LZW compression
Magic Eraser tool – Multiply blending mode
Navigator – Notes
Ocean Ripple filter – Overlay blend mode
Page Setup – Quick Selection tool – Auto Enhance
Radial Blur filter – Rulers
Sample All Layers – Swatches palette
Test in Device Central – Type Masks
Underlining type – Use All Layers
Vanishing Point filter – Vivid Light blending mode
Warp – Workspace, Photoshop
XMP – ZoomView format
23
42
61
92
105
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130
139
146
155
170
183
186
191
220
237
275
289
293
303
311
A–Z Entries
Contents
Step-by-Step Techniques
01 Importing photos into Bridge 4
02 Changing brightness 4
03 Adjusting contrast 5
04 Removing color casts 6
05 Sharpening 6
06 Speeding up Photoshop 7
07 Incorporating texture 8
08 Tinting and toning pictures 9
09 Cropping your photos 10
10 Creating panoramas 11
11 Convert color photos to black
and white 12
12 Color management 13
13 Simple line frame 14
14 Multi-layer copy 14
15 Photoshop animation 15
16 Web matting 15
17 Grouping photos 16
18 Non-destructive techniques 16
19 Adding color to black and
white photos 17
20 Recreating motion 17
21 Vignetting 17
22 Selection techniques 18
23 Layer masks 20
24 The Liquify filter 20
25 Compositing 20
26 Retouching marks and blemishes 21
27 Photoshop’s brushes 22
28 Rough frames 22
Foreword 2
Introduction 2
How to use this book 3
A–Z
CONTENTS
www.Photoshop-A-Z.com
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A–Z
2
Photoshop CS3 A–Z
Foreword
Introduction
Now in its tenth release Photoshop is undoubtedly the King of
photo-editing software and, considering the host of new and
revamped features included in the CS3 version of the program,
its position at the top of the heap is assured.
The software is so popular with photographers, designers and
illustrators that it is truly hard to recall a time when we didn’t
have Photoshop at the centre of our creative endeavors. With
the massive upsurge of digital camera owners there is now a
host of new photographers who are just discovering the pure
editing and enhancement power afforded by the program.
Given the success of previous editions it would have been easy
for Adobe to sit back and bask in the refl ected glory of the
program’s popularity but instead Adobe has been hard at work
improving what was already a great product. The CS3 version,
just like the releases before it, is a state-of-the-art image-
editing program full of the features and functions that digital
photographers and desktop image makers desire the most.
In fact, the program has become so comprehensive that
producing an illustrated A–Z book like this one is not just
a nicety, but has become a necessity. The software covers
so many areas that Photoshop users needed a quick ready-
reference guide to all the major tools and features. Peter
Bargh, in the fi rst few editions of this text, provided just such
a comprehensive guide to the program and here I add to his
excellent work. As was Peter’s approach, I haven’t stopped at
simply describing the tool or feature; I accompany the text with
illustrations of the software in action together with before and
after pictures of the applied changes.
All entries include shortcut keys, menu locations and are
cross-referenced to other Photoshop features that relate.
Many features also include step-by-step guides to their usage
and extended visual examples of the effects of using different
settings on your pictures.
Keep this ready reference handy for all those occasions when
you ask yourself ‘What does that do?’
But most of all keep enjoying your digital image making!
Philip Andrews
Adobe has been through some incredible changes since
Photoshop CS2 was released. The acquisition of Macromedia
enabled us to build an incredibly strong portfolio of world-class
products; and it also enabled us to share software in the form
of public betas. First in Photoshop Lightroom, and then later in
Photoshop CS3, we were able to speed forthcoming technology
to you, our eager users during several months of free, pre-release
trial downloads. At the formal launch of the 3rd Creative Suite,
we premiered another new member of the Photoshop family in
our release of Photoshop CS3 Extended.
It goes without saying that thorough, accurate, well-written text
is essential not just to learning this software, but also to keeping
abridged of the many changes. Being a passionate Photoshop
user since version 3.0, and a former tester of the application, I
tend to approach tech editing such texts with a very detailed
eye. As of the book you’re holding, I have now had the pleasure
of working with Philip Andrews on several different projects.
Philip’s work here is true to the diligence and consistency that
I’ve come to expect from his writing. Beyond just delivering
accurate information, Philip makes certain that it is always
up to date and very enjoyable to read. Philip’s descriptions and
tutorials make my job as a tech editor very easy, and they deliver
to you an easy, approachable style rarely found in software
instruction.
My respect and trust for Philip’s work were never more obvious
to me than the last time I saw him at Photo Plus East in New
York. There I was, on the busy tradeshow fl oor, inundated with
a litany of very technical questions, and I looked up to see Philip,
patiently waiting for me to fi nd a pause. Realizing that I wasn’t
likely to be free anytime soon, I invited Philip to step into the pod
and help demo some of his techniques to the eager folks around
us. Watching and listening to Philip was like reading his books, I
was quickly put at ease by his confi dent and easy going style.
I know that you’ll fi nd this book an extremely valuable reference
as you wade through the many new features in Photoshop CS3. I
hope and trust that you’ll enjoy your time and learning with it as
much as I have.
Have fun,
Bryan O’Neil Hughes
Photoshop Product Manager
Adobe Systems Inc.
FOREWORD/INTRODUCTION
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A–Z
3
Feature summary
Before and after examples
Step-by-step application
Edge tabs
Online extensions
Tips and reminders
CS3 features highlighted
How to use this book
The before and after examples illustrate
how features, tools and techniques can be
used to change the way that your pictures
look.
There is a completely new step-by-step
section at the front of the book designed
to demonstrate how to use major tools
and features. These mini-tutorials can be
used to extend your understanding as well
as build your editing and enhancement
skills.
The colored edge tabs change for each letter
section. They can be used in conjunction
with the contents page to quickly thumb
through the book to locate a particular
group of entries.
Don’t forget about the book’s website –
www.photoshop-a-z.com. Here you
will fi nd video tutorials on how to use the
top new features in Photoshop CS3, the
example pictures used in the step-by-step
guides, links to all the featured plug-in
vendors and much more.
Important ideas and techniques are
highlighted with the Remember icon
and the tips and tricks used by working
professionals are noted with the ‘Pro’s Tip’
ticked box.
Each feature and tool entry is headed with
a summary table that details the menu
where the feature can be found, any
keyboard shortcuts associated with the
tool, the version of Photoshop that contains
the feature and any other features that are
linked to the feature.
In order to make the most of this book, take a couple of minutes to read the
following. This will let me introduce a few of the special features that I have
included to help you fi nd the information that you need fast. Apart from the
basic A–Z structure that lists the topics, features and tools alphabetically, I have
also used the following design devices to make ‘search and locate’ missions
speedier and more productive.
The entries detailing new or substantially
changed or revamped features in Photoshop
CS3 are highlighted in red.
HOW TO USE THIS BOOK
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Step by step
4
Photoshop CS3 A–Z
Finally, choose what other actions Bridge
will take after downloading the fi les. Here
you can select to open Bridge after the
transfer is complete, automatically convert
the images to DNG format and even make
a backup of the originals to another drive.
Clicking the Get Photos button will transfer
your pictures to your hard drive.
3
After fi nding and selecting the source of
the pictures adjust the Import Settings.
Browse for the folder where you want the
photographs to be stored and if you want
to use a subfolder select the way that this
folder will be named from the Create
Subfolder drop-down menu.
2
Select the From Camera or Card Reader
option from the File menu, or select the
Bridge option from the pop-up dialog that
is displayed when the card reader is
connected to the computer. Choose the
Standard dialog.
1
As well as performing the basic setup
actions indicated in the Standard step-by-
step to the left, you can add in metadata
details to be attached to each downloaded
fi le. Here, the Basic Metadata option is used
to add simple author and copyright
information. Use the drop-down menu to
select any presaved metadata templates.
2
To switch the Photo Downloader to the
Advanced version of the feature click on
the Advanced Dialog option at the bottom
of the window.
1
The small checkboxes at the bottom right
of the preview thumbnails can be used to
choose which images to transfer. All photos
are selected by default but can be
deselected by clicking the UnCheck all
option at the bottom of the preview
window. Click the Get Photos button to
start the import process.
3
01 IMPORTING PHOTOS INTO BRIDGE
From camera or card
reader (Standard)
Menu: Bridge: File > Get Photos From Camera
Shortcut: – OS: Mac, Windows
Version: Bridge 2.0 See
also:
Adobe Photo Downloader
(APD)
From camera or card
reader (Advanced)
Menu: Bridge: File > Get Photos From Camera
Shortcut: – OS: Mac, Windows
Version: Bridge 2.0 See
also:
Adobe Photo
Downloader (APD)
The simplest way to make a photo brighter
using the Curves feature is to click-drag the
midtone part of the curve upwards.
Dragging the curve downwards makes the
photo darker. Using curves to perform this
action means that both the shadows and
highlight tones are left untouched by the
changes.
Curves
Menu: Image > Adjustments > Curves
Shortcut: Ctrl/Cmd M OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Curves
02 CHANGING
BRIGHTNESS
After
IMPORTING PHOTOS INTO BRIDGE
Before
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Step by step
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Holding the Alt key whilst moving these
Input sliders will preview the pixels that are
being converted to pure black or white
(clipped). Move the sliders in until you see
the fi rst few pixels and then adjust the
sliders slightly to ensure no pixels are being
clipped.
2
To increase contrast in a photograph move
the Highlight and Shadow input sliders in
the Levels dialog towards the center of the
histogram.
1
3
To add more contrast click-drag the
highlight portion of the curve upwards and
the Shadow section downwards. This
creates a classic S shape to the curve. To
reduce the contrast reverse these actions
moving the shadows upwards and the
highlights downwards.
2
The newly revised Curves feature provides
more tonal enhancement options than ever
before. With the addition of a black and
white input slider you can perform the
same contrast enhancement step as in the
Levels feature. Just move the Highlight and
Shadow input sliders in the Levels dialog
towards the center of the histogram.
Holding the Alt key whilst moving these
Input sliders will preview the pixels that are
being converted to pure black or white
(clipped). As with the Levels sliders move
the controls inwards until you see the fi rst
few pixels and then adjust the sliders
slightly to ensure no pixels are being
clipped.
1
After
Before
Levels
Menu: Image > Adjustments > Levels
Shortcut: Ctrl/Cmd L OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Levels command
Curves
Menu: Image > Adjustments > Curves
Shortcut: Ctrl/Cmd M OS: Mac, Windows
Version: CS3 See
also:
Curves
03 ADJUSTING CONTRAST
ADJUSTING CONTRAST
The Shadow/Highlight feature provides
some brightness control using the Shadows
controls as long as the Tonal Width value
is kept pretty high. Moving the Amount
slider right brightens the darkest portions
of the image.
Shadow/Highlight
Menu: Image > Adjustments > Shadow/Highlight
Shortcut: – OS: Mac, Windows
Version: CS, CS2,
CS3
See
also:
Shadow/Highlight
The Brightness/Contrast feature provides
a quick and easy adjustment of the overall
brightness of the image. Pushing the slider
to the right lightens the midtones.
Brightness/Contrast
Menu: Image > Adjustments > Brightness/Contrast
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Brightness/Contrast
Moving the Midtone Input slider to the left
increases the brightness of the photo.
Levels
Menu: Image > Adjustments > Levels
Shortcut: Ctrl/Cmd L OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Levels command
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Step by step
6
Photoshop CS3 A–Z
05 SHARPENING
The Auto Color feature provides a handy
one-click correction of many color cast
problems. If the results are not what you
expect then undo the action by immediate-
ly selecting the Edit > Undo Auto Color
option.
Using the Variations feature requires you
to recognize the nature of the cast in your
photos and then to click on a thumbnail
sample that will help reduce the problem.
In this example Decrease Red and Increase
Green were both used to help correct the
picture.
The Amount slider is used to alter the
degree of change applied when each
thumbnail sample is pressed.
Select the sharpening type from the
Remove list. Choose Lens Blur for less halo
effects at higher sharpening settings.
3
Adjust the Radius slider to control the
number of pixels surrounding an edge that
is included in the effect.
2
Select the Smart Sharpen fi lter. Adjust the
Amount slider to control the strength of
the fi lter.
1
04 REMOVING COLOR CASTS
After
Before
Auto Color Correction
Menu: Image > Adjustments > Auto Color
Shortcut: Shft Ctrl/Cmd B OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Auto Color Correction
Variations
Menu: Image > Adjustments > Variations
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Variations
Adjust Sharpness
Menu: Filter > Sharpen > Smart Sharpen
Shortcut: – OS: Mac, Windows
Version: CS2, CS3 See
also:
Unsharp Mask fi lter,
Smart Sharpen fi lter
Before
Choose the More Refi ned option for more
precise sharpening results but longer
processing times.
4
REMOVING COLOR CASTS
Like the Variations feature it is important
to be able to identify the nature of the cast
before using the control. Then use the
sliders in the Color Balance feature to
remove a cast by adding in the opposite
color to the image. For example, with an
image with a red cast you will need to move
the Cyan/Red slider to the Cyan end of the
control. Color Balance also has the option
to localize the changes to a specifi c set of
tones – shadows, midtones or highlights.
Color Balance
Menu: Image > Adjustments > Color Balance
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Color Balance
The Auto Levels option can also provide
good cast removal results and it can be a
good idea to try an auto option fi rst before
moving on to more manual approaches if
necessary.
Auto Levels
Menu: Image > Adjustments > Auto Levels
Shortcut: Shft Ctrl/Cmd L OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Auto Levels,
Auto Contrast
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Step by step
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Adjust the opacity of this layer to govern
the level of sharpening. Sharpening using
this technique means that you can remove
or adjust the strength of the effect later by
manipulating the fi ltered layer.
3
With the fi ltered layer still selected switch
the blend mode to Hard Light. This mode
blends both the dark and light parts of the
fi ltered layer with the picture layer, causing
an increase in contrast.
2
Make a copy (Layer > Duplicate Layer) of
the picture layer that you want to sharpen.
Filter the copied layer with the High Pass
fi lter (Filter > Other > High Pass) and press
OK.
1
Next, apply the Find Edges fi lter (Filter >
Stylize > Find Edges) to the grayscale layer
and then invert the results (Image >
Adjustments > Invert).
2
The fi rst step to using the Find Edges fi lter
to confi ne sharpening to just the edges of
a picture is to make a copy of the back-
ground layer (Layer > Duplicate Layer)
and desaturate the color (Image >
Adjustments > Desaturate).
1
Now click back to the new Smart Object
layer and select the Unsharp Mask or Smart
Sharpen fi lter from the Filter > Sharpen
menu. Click OK to the dialog without
making any changes and then Alt/Opt click
the Smart Filter’s thumbnail mask to display
it in the main work area. Now paste the
memory contents to the mask (Ctrl/Cmd V).
With the edge mask now in place, double-
click the Unsharp Mask fi lter entry in the
Layers palette and adjust the sharpening
settings to suit.
4
You can also allocate the amount of RAM
set aside specifi cally for Photoshop in this
dialog. With the scratch disks now set up
click OK to close the window and then quit
Photoshop as the changes will not take
effect until you restart the program.
3
The Performance dialog has settings to
allocate all the hard disks you have installed
as extra RAM. It is best not to use the same
location for Windows/Mac OS virtual
memory. It is also worth selecting your
fastest drive fi rst as the extra speed will
also help increase performance.
2
The preferences settings for Photoshop are
located under the Edit > Preferences menu.
Here you will fi nd a series of settings that
allow you to adjust the default workings
of the program. To change or allocate
scratch disks select the Performance or
Plug-Ins & Scratch Disks option.
1
High Pass sharpening
Menu: Filter > Sharpen > Smart Sharpen
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Unsharp Mask fi lter,
Smart Sharpen fi lter
Find Edges sharpening
Menu: Filter > Sharpen > Smart Sharpen
Shortcut: – OS: Mac, Windows
Version: CS3 See
also:
Unsharp Mask fi lter,
Smart Sharpen, fi lter
Smart Objects
Scratch disks
Menu: Edit > Preferences > Performance
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Preferences, Photoshop
After
06 SPEEDING UP
PHOTOSHOP
Now to add the sharpening to just the
edges with the aid of the new Smart Filters
technology. Start by converting the image
layer to a Smart Object layer (Layer > Smart
Objects > Convert to Smart Object). Next
switch back to the fi ltered layer and select
all of the image content (Ctrl/Cmd A) and
copy this to memory (Ctrl/Cmd C).
3
SHARPENING
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8
Photoshop CS3 A–Z
Adjust the Amount slider to control the
strength of the fi lter, checking the results
in both the thumbnail and full image
previews. Click OK to fi nish.
3
Tick the Monochromatic option to restrict
the effect to changes in the tone of pixels
rather than color.
2
Select the Add Noise fi lter from the Noise
section of the Filter menu. Adjust the
thumbnail preview to a view of 100% and
tick the Preview option. Select Uniform for
an even distribution of new pixels across
the image, or pick Gaussian for a more
speckled effect.
1
Move the Scaling slider to change the size
of the texture. Adjust the Relief slider to
control the dominance of the fi lter. Select
a Light direction to adjust the highlights
and shadow areas of the texture.
2
Select the Texturizer fi lter from the Texture
section of the Filter menu. Adjust the
thumbnail preview to a view of 100%.
Select Texture type from the drop-down
menu.
1
Tick the invert box to switch the texture
position from ‘hills’ to ‘valleys’ or reverse
the texture’s light and dark tones. Click OK
to fi nish.
3
Once back at the Texturizer dialog, move
the Scaling slider to change the size of the
texture. Adjust the Relief slider to control
the dominance of the fi lter. Select a Light
direction to adjust the highlights and
shadow areas of the texture. Click OK to
fi lter the photo.
3
Pick the Load Texture item from the drop-
down list in the Texture menu. Browse
folders and fi les to locate texture fi les. Click
fi le name and then open to select.
2
Shoot, scan or design a texture image and
save as a Photoshop fi le (.PSD). Next, select
the Texturizer fi lter from the Texture
heading in the Filter menu.
1
07 INCORPORATING TEXTURE
After
Before
Adding noise
Menu: Filters > Noise > Add Noise
Shortcut: Ctrl F OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Add Noise fi lter
The Texturizer fi lter
Menu: Filters > Texture > Texturizer
Shortcut: Ctrl F OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Texturizer fi lter
DIY texture
Menu: Filters > Texture > Texturizer
Shortcut: Ctrl F OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Texturizer fi lter
INCORPORATING TEXTURE
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With the dialog still open use the Hue slider
to alter the color of the tint. Traditional
looking sepia tone is approximately a value
of 30 and a blue tonier equivalent can be
found at a value of 215. The strength of the
color is controlled by the Saturation
slider.
3
After the Hue/Saturation dialog is opened
proceed to the bottom right-hand corner
of the dialog and select the Colorize option.
Immediately the image will be changed to
a tinted monochrome.
2
The simplest way to add a tint to your color
photos and convert them to monochrome
in one step is to make use of the Colorize
option in the Hue Saturation feature in the
Image > Adjustments menu.
1
With the Filter dialog open either select a
preset fi lter from the drop-down menu or
choose a color as the basis of the fi ltering.
Unlike monochrome tinting this fi lter keeps
the underlying color of the picture.
1
The new Black & White feature in Photoshop
CS3 not only provides a method for creating
customized grayscale conversions from
color originals, but it also contains a Tint
option as well. Ticking the Tint checkbox
at the bottom of the dialog activates the
Hue and Saturation controls, which then
behave in a similar way to those found in
the Hue/Saturation feature.
Adjust the Density setting to fi ne-tune the
strength of the fi lter. To maintain the
overall contrast ensure that the Preserve
Luminosity option is selected. Alternatively,
to emphasize the fi lter color deselect this
setting.
2
Without closing the Variations dialog now
check the Shadows option and add a
different color to these image tones. In the
example the shadows were colored blue
by clicking the Increase Blue thumbnail
repeatedly. Click OK to apply the split
toning changes.
3
Next select the Variations option from the
Image > Adjustment menu. Check the
Highlights option and then click on the
thumbnail for the color to apply to these
tones. Here I decreased Blue.
2
Change any grayscale photos to RGB mode
(Image > Mode > RGB Color). If you are
starting with a colored photo convert it to
a monochrome using the Image >
Adjustments > Desaturate.
1
08 TINTING AND TONING PICTURES
After split toning
Before
Simple tints
Menu: Image > Adjustments > Hue/Saturation
Shortcut: Ctrl/Cmd U OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Hue/Saturation
Color temperature tints
Menu: Image > Adjustments > Photo Filters
Shortcut: – OS: Mac, Windows
Version: CS, CS2,
CS3
See
also:
Photo Filter
Split toning
Menu: Image > Adjustments > Variations
Shortcut: – OS: Mac, Windows
Version: 6.0, 7.0, CS,
CS2, CS3
See
also:
Variations
After temperature tint
TINTING AND TONING PICTURES
Black & White tints
Menu: Image > Adjustments > Black & White
Shortcut:
Shift Ctrl/Cmd
Alt/Opt B
OS: Mac, Windows
Version: CS3 See also: Black & White
1
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