Preface |
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vii | |
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1 | (44) |
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3 | (2) |
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5 | (2) |
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7 | (7) |
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7 | (1) |
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Painting a perpendicular line |
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8 | (1) |
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Painting with the Smudge tool |
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9 | (3) |
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Mopping up with the Sponge tool |
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12 | (2) |
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14 | (1) |
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14 | (9) |
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15 | (2) |
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17 | (5) |
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22 | (1) |
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23 | (10) |
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24 | (1) |
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24 | (6) |
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Additional brush dynamics |
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30 | (2) |
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Noise, Wet Edges, and the rest |
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32 | (1) |
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Opacity and Strength, Flow and Exposure |
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33 | (3) |
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36 | (9) |
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36 | (7) |
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The three dodge and burn modes |
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43 | (2) |
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Cloning, Healing, and Patterns |
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45 | (46) |
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The Gentle Art of Retouching |
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45 | (2) |
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47 | (14) |
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47 | (6) |
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53 | (6) |
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59 | (2) |
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61 | (30) |
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Restoring an old photograph |
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63 | (3) |
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Eliminating distracting background elements |
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66 | (4) |
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Applying Repeating Patterns |
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70 | (1) |
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Retouching with a pattern |
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71 | (3) |
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74 | (1) |
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Creating patterns and textures |
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75 | (6) |
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81 | (4) |
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Building your own seamless pattern |
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85 | (6) |
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91 | (22) |
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92 | (4) |
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96 | (4) |
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96 | (1) |
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96 | (4) |
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100 | (1) |
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Retouching with the History Brush |
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100 | (6) |
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101 | (2) |
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Painting with the snapshots |
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103 | (3) |
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106 | (7) |
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113 | (28) |
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Working in Quick Mask Mode |
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115 | (10) |
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How Quick Mask Mode works |
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115 | (3) |
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118 | (1) |
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119 | (6) |
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Generating Masks Automatically |
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125 | (4) |
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Using the Color Range command |
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125 | (4) |
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A few helpful Color Range hints |
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129 | (1) |
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Creating an Independent Mask Channel |
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129 | (4) |
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Saving a selection outline to a mask channel |
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129 | (3) |
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Converting a mask to a selection |
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132 | (1) |
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132 | (1) |
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Building a Mask from an Image |
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133 | (8) |
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141 | (50) |
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Layers, Layers Everywhere |
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142 | (1) |
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Sending a Selection to a Layer |
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143 | (4) |
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Other ways to make a layer |
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144 | (2) |
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146 | (1) |
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147 | (13) |
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147 | (2) |
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Understanding transparency |
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149 | (2) |
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Modifying the background layer |
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151 | (3) |
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154 | (1) |
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155 | (1) |
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156 | (2) |
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158 | (1) |
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159 | (1) |
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Saving a flattened version of an image |
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159 | (1) |
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Selecting the Contents of Layers |
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160 | (1) |
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Moving, Linking, and Aligning Layers |
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161 | (5) |
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161 | (2) |
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Organizing layers in groups |
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163 | (3) |
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Creating and Using Smart Objects |
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166 | (5) |
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Creating a new Smart Object |
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166 | (1) |
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167 | (2) |
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Exporting and replacing Smart Objects |
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169 | (1) |
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170 | (1) |
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171 | (8) |
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Transforming the entire image |
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171 | (1) |
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Transforming layers and selected pixels |
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172 | (4) |
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176 | (2) |
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Numerical transformations |
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178 | (1) |
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Intelligent alignment with Smart Guides |
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178 | (1) |
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179 | (8) |
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179 | (3) |
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Creating layer-specific masks |
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182 | (3) |
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Pasting inside a selection outline |
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185 | (1) |
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185 | (2) |
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187 | (4) |
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Blend Modes and Knockouts |
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191 | (48) |
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192 | (1) |
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193 | (3) |
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196 | (20) |
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The hierarchy of blend modes |
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213 | (2) |
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Sandwiching a filtered image |
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215 | (1) |
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Advanced Blending Options |
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216 | (13) |
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Blending interior layer effects |
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219 | (3) |
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Masking and unmasking effects |
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222 | (4) |
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Dumping whole color channels |
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226 | (1) |
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226 | (3) |
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Dropping Out and Forcing Through |
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229 | (10) |
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231 | (3) |
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234 | (5) |
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239 | (40) |
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240 | (12) |
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The pros and cons of shapes |
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240 | (1) |
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241 | (2) |
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The shape drawing process |
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243 | (3) |
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Combining and editing shapes |
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246 | (2) |
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Editing the stuff inside the shape |
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248 | (4) |
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The Bold and Beautiful Layer Styles |
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252 | (20) |
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The basic varieties of layer effects |
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253 | (8) |
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Inside the Layer Style dialog box |
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261 | (11) |
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Modifying and Saving Effects |
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272 | (7) |
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273 | (1) |
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273 | (1) |
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Scattering effects to the four winds |
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274 | (1) |
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Effects and blending options |
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274 | (1) |
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275 | (4) |
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279 | (56) |
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280 | (6) |
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280 | (1) |
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280 | (2) |
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282 | (1) |
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283 | (3) |
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Heightening Focus and Contrast |
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286 | (14) |
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Using the Unsharp Mask filter |
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286 | (9) |
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Sharpening grainy photographs |
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295 | (3) |
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Using the High Pass filter |
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298 | (2) |
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300 | (19) |
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Applying the Gaussian Blur filter |
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301 | (1) |
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302 | (8) |
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Using the Lens Blur filter |
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310 | (5) |
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Softening a selection outline |
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315 | (4) |
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319 | (16) |
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320 | (5) |
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Removing noise with Despeckle |
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325 | (1) |
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Averaging pixels with Median |
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325 | (2) |
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Sharpening a compressed image |
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327 | (5) |
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332 | (3) |
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Pixelate, Distort, and Render |
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335 | (68) |
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A Million Bizarre Effects |
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335 | (10) |
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345 | (1) |
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345 | (2) |
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347 | (6) |
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348 | (1) |
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349 | (4) |
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353 | (7) |
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353 | (3) |
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356 | (2) |
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Creating a metallic coating |
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358 | (2) |
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360 | (37) |
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Reflecting an image in a spoon |
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361 | (3) |
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364 | (6) |
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Creating concentric pond ripples |
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370 | (3) |
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Creating parallel ripples and waves |
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373 | (6) |
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Distorting an image along a curve |
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379 | (2) |
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Changing to polar coordinates |
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381 | (4) |
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Distorting with the Liquify command |
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385 | (12) |
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397 | (6) |
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403 | (40) |
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Homegrown Effects with the Custom filter |
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403 | (17) |
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405 | (2) |
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407 | (1) |
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408 | (1) |
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408 | (4) |
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412 | (3) |
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415 | (5) |
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Displacing Pixels in an Image |
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420 | (9) |
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421 | (4) |
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425 | (4) |
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429 | (14) |
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Applying predefined dmaps |
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429 | (4) |
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Creating your own textural dmaps |
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433 | (2) |
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Customizing a dmap to an image |
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435 | (2) |
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Designing custom transformations |
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437 | (6) |
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Correcting Hue and Saturation |
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443 | (50) |
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443 | (4) |
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A few words about color effects and corrections |
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444 | (1) |
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Using the adjustment dialog boxes |
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445 | (2) |
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Applying Color Variations |
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447 | (8) |
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448 | (2) |
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450 | (3) |
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453 | (2) |
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Using the Match Color Command |
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455 | (3) |
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Hue Shifting and Colorizing |
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458 | (16) |
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Adjusting the Hue and Saturation values |
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458 | (8) |
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Editing independent color ranges |
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466 | (5) |
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471 | (3) |
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When Variations and Hue/Saturation Fail |
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474 | (12) |
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476 | (2) |
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478 | (3) |
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Final channel-mixing tidbits |
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481 | (1) |
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482 | (1) |
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Using the Color Replacement tool |
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482 | (4) |
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486 | (7) |
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Creating an adjustment layer |
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486 | (1) |
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The advantages of layer-based corrections |
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487 | (6) |
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Levels, Curves, and Shadows |
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493 | (44) |
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Why the Brightness/Contrast Command Creates Guesswork |
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494 | (1) |
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Automatic Levels-Based Adjustments |
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495 | (5) |
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495 | (2) |
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497 | (2) |
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499 | (1) |
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500 | (5) |
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505 | (12) |
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505 | (6) |
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Applying Levels one channel at a time |
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511 | (2) |
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Customizing the Auto functions |
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513 | (4) |
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Eyedropping neutral colors |
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517 | (1) |
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517 | (16) |
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Mastering the brightness curve |
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518 | (4) |
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522 | (1) |
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523 | (3) |
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Creating and editing continuous curves |
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526 | (2) |
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Working with arbitrary maps |
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528 | (3) |
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Channel-by-channel brightness graphing |
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531 | (2) |
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The Shadow/Highlight Command |
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533 | (4) |
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File Management and Automation |
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537 | (50) |
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537 | (20) |
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539 | (1) |
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Opening images from the Bridge |
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540 | (2) |
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542 | (2) |
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544 | (1) |
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Adding an image to favorites |
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545 | (5) |
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550 | (2) |
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552 | (1) |
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Using the File Info command |
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553 | (4) |
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557 | (9) |
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557 | (3) |
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560 | (3) |
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Playing actions and operations |
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563 | (2) |
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565 | (1) |
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566 | (4) |
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Using Photomerge to Create a Panorama |
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570 | (4) |
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Correcting Camera Raw Images |
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574 | (13) |
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576 | (2) |
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578 | (1) |
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Correcting for the camera lens |
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579 | (1) |
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580 | (2) |
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Opening and saving Camera Raw images |
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582 | (1) |
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Saving your Camera Raw settings |
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583 | (1) |
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Applying your saved Camera Raw settings |
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584 | (3) |
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587 | (52) |
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587 | (1) |
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Web Graphics Dos and Don'ts |
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588 | (13) |
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589 | (2) |
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591 | (7) |
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More Web graphics guidelines |
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598 | (3) |
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601 | (2) |
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602 | (1) |
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603 | (1) |
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Preparing and Saving GIF Images |
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603 | (9) |
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The three routes to a GIF file |
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604 | (3) |
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Using the Indexed Color command |
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607 | (1) |
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607 | (3) |
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Colors, transparency, and dithering |
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610 | (2) |
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Making Side-by-Side Comparisons |
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612 | (11) |
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JPEG optimization settings |
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615 | (2) |
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GIF optimization settings |
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617 | (1) |
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PNG optimization settings |
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618 | (2) |
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620 | (2) |
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622 | (1) |
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Creating Animated GIF Images |
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623 | (3) |
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626 | (5) |
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626 | (2) |
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628 | (1) |
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628 | (3) |
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631 | (1) |
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631 | (8) |
Index |
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639 | |