Mastering
Photoshop CS3 ®
for Print Design and Production
Ted LoCascio
Wiley Publishing, Inc.
Mastering
Photoshop CS3 ®
for Print Design and Production
Ted LoCascio
Wiley Publishing, Inc.
Acquisitions Editor: Pete Gaughan
Development Editor: Doug Nelson
Technical Editor: Walt Dietrich
Production Editor: Sarah Groff-Palermo
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ISBN: 978-0-470-11457-5
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10 9 8 7 6 5 4 3 2 1
Dear Reader
Thank you for choosing Mastering Photoshop CS3 for Print Design and Production. This book is part
of a family of premium quality Sybex graphics books, all written by outstanding authors who
combine practical experience with a gift for teaching.
Sybex was founded in 1976. More than thirty years later, we’re still committed to producing
consistently exceptional books. With each of our graphics titles we’re working hard to set a new
standard for the industry. From the paper we print on, to the writers and artists we work with, our
goal is to bring you the best graphics books available.
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For my son, Enzo, whom I can never take enough
pictures of
Acknowledgments
First and foremost, I must thank everyone at Sybex and John Wiley & Sons for making this
book possible. Thanks to publishers Neil Edde and Dan Brodnitz and to acquisitions editor Pete
Gaughan for sharing my vision on this project and for being as genuinely enthusiastic about
Photoshop as I am. Thanks also to developmental editor Doug Nelson for helping me organize
this title and paying such close attention to the details, and to Walt Dietrich for acting as my tech-
nical editor and making sure every step, shortcut, and tip is correct.
Thank you to Dr. Taz Tally for his extensive contributions to the manuscript.
Special thanks to my copyeditor, Sharon Wilkey, for making this book read as well as it does. I
must also thank my production editor, Sarah Groff-Palermo, for working with me on the book’s
schedule and keeping everything on track. I would also like to thank compositor Maureen Forys
for doing such a great job of laying out the book.
Loving thanks to my wife, Jill, and to my son, Enzo, for being so patient while I was busy writ-
ing this book. Thanks also to Mom, Dad, Val, Bob and Evelyn Innocenti, and the rest of my
extended family for being so supportive.
I must also thank Lynda Weinman, Michael Ninness, Garo Green, Tanya Staples, Chris Mattia,
and the rest of the wonderful staff at Lynda.com for allowing me to be a part of their excellent
online instructor team and for being so much fun to work with.
I would also like to thank CreativePro.com and the InDesign Magazine staff, especially Terri
Stone and David Blatner. Special thanks also go out to Barry Anderson and all of the instructors
and staff at the Adobe CS Conference.
Thanks also to Photospin.com for allowing me to use their images in this book.
And of course, thanks to Adobe for making such great software to write about.
About the Author
Ted LoCascio is a professional graphic designer and an expert in Photoshop, Photoshop Elements,
InDesign, Illustrator, and QuarkXPress. He served as senior designer at KW Media and the
National Association of Photoshop Professionals (NAPP) for several years, and has created lay-
outs and designs for many successful software training books, videos, and magazines.
Ted is the author of InDesign CS2 at Your Fingertips, The InDesign Effects Book, and Combining
Images with Photoshop Elements. He has contributed articles to Photoshop User magazine, InDesign
Magazine, and Creativepro.com, and has taught at Photoshop World. Ted is also the video author
of InDesign CS2 Essential Training, Font Management, Illustrator CS2 Creative Techniques, Creative
Suite 2 Integration: Print Project Workflow, Getting Started with Quark Interactive Designer, and Bridge
and Version Cue CS3 Essential Training—all available at Lynda.com. And he teaches a digital graph-
ics course at St. Petersburg College in Seminole, Florida.
A graphic designer for more than 10 years, Ted’s designs and illustrations have been featured
in several national newsstand and trade magazines, such as Photoshop User, Mac Design Magazine,
Nikon’s Capture User, Great Output, AAA Going Places, and Florida Trend. As a professional
designer, he has used Adobe software to create layouts for magazines, books, and various adver-
tising and marketing materials, including brochures, product packaging, posters and signs, and
interactive PDFs.
A Chicago native (born a hopeless Cubs fan) and Columbia College alumnus, Ted relocated to
the Tampa Bay area in 1994. He currently resides in Tarpon Springs, Florida, with his wife, Jill, and
their son, Enzo.
Contents at a Glance
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
Chapter 1 • Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter 2 • Making Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Chapter 3 • Working with Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Chapter 4 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Chapter 5 • Tonal and Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Chapter 6 • Enhancing and Retouching for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Chapter 7 • Combining Image Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Chapter 8 • Layer Styles and Filter Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Chapter 9 • Reducing Noise and Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Chapter 10 • Editing in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381
Chapter 11 • CS3 Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Chapter 12 • Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473
Chapter 13 • Saving, Printing, and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .497
Appendix • The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .539
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .557
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
Chapter 1 • Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
What’s New in CS3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
New Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Enhanced Curves Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Smarter Smart Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Quick Selection Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Refine Edge Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Preferences for Print Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
A New Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
File Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Cursors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Transparency & Gamut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Units & Rulers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Guides, Grid, Slices, & Count . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Setting Up a Workspace for Print Design/Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Managing Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Saving a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Using Screen Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Customizing Menus and Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Editing Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Editing Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Color Management: What Color Settings Should I Use? . . . . . . . . . . . . . . . . . . . . . . . . . . .31
What’s an ICC Color Profile? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Monitor Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Synchronized Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Understanding Resolution for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Pixel Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
What’s My Resolution? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Chapter 2 • Making Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Defining Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
The Selection Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
x CONTENTS
The Tools Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
The Marquee Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Identifying Which Selection Tools to Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
The Lasso Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
The Magic Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
The Background Eraser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Making Color Range Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Modifying and Transforming Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Adding and Subtracting Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Changing a Selection’s Edge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
Saving Selections with Paths and Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Saving a Selection as an Alpha Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Working with Paths and Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Using the Extract Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Chapter 3 • Working with Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
The Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Graphics Tablet Pressure Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103
Brush Tool Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
The Preset Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Customizing and Creating Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Brush Tip Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109
Shared Brush Setting Concepts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Shape Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Scattering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113
Dual Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Color Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Other Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Additional Brush Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Defining a Brush Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Saving a Brush Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Brushes and Layer Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122
History Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Chapter 4 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Replacing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Hue/Saturation Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Blend Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Color Replacement Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Colorizing a Grayscale Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Hue/Saturation Adjustment Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Brushes, Layers, and Blend Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
Converting Color to Grayscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Black And White Adjustment Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
Channel Mixer Adjustment Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
CONTENTS xi
Applying Spot Color in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Spot Color Defined . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Adding a Spot Color Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Spot Color Knockout and Trapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Saving Images with Spot Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
Creating Duotones and Tint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
Duotone Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
Sepia and Other Tint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Chapter 5 • Tonal and Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Image Adjustment Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Color Correction and Data Loss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164
Color Correction Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .165
Tools to Avoid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
Levels and Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Auto Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192
Selective Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194
Photo Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197
Shadows/Highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202
Chapter 6 • Enhancing and Retouching for Print . . . . . . . . . . . . . . . . . . . . . . . . .203
Enhancing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Repairing Image Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204
Cloning to Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Cloning to Remove Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Cloning between Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215
Retouching People . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221
Brightness and Contrast and Color Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .222
Retouching Linear Blemishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226
Retouching Spot Blemishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229
Retouching Area Blemishes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230
Detailed Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .232
Subtlety Is Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Geometric Enhancements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .238
Straightening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
Removing Lens Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247
Chapter 7 • Combining Image Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Opacity and Blend Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Adjusting Layer Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Applying Blend Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253
xii CONTENTS
What Is a Mask? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .267
Black Conceals, White Reveals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .269
Blending with Masks and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Gradient Blending with Layer Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Clipping Masks and Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .282
Vector-Based Clipping Masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .286
Blending Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .298
Chapter 8 • Layer Styles and Filter Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Layer Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Using the Layer Style Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .300
Utilizing Layer Style Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .303
Using the Styles Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310
Copying Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .313
Clearing Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315
Creating Layers from Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Filters and the Filter Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
A Word of Warning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Applying Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .319
Smart Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321
The Filter Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .324
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .334
Chapter 9 • Reducing Noise and Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Noise Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Image Capture Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .336
Compression-Related Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .337
Halftone Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .337
Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .338
Not All Sharpening Tools Are Created Equal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .339
Unsharp Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Smart Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .344
Unsharp Mask vs. Smart Sharpening Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .348
Finding and Using Edges to Control Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352
Reducing Noise and Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .356
When to Perform Noise Reduction and Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . .356
Removing Image Capture Noise in Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .360
Removing Image Capture Noise in Composite RGB . . . . . . . . . . . . . . . . . . . . . . . . . .365
Removing Image Capture Noise in Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .367
Removing JPEG Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .371
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .379
Chapter 10 • Editing in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381
Working with RAW Images and Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381
Editing TIFFs and JPEGs in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .383
Using the Camera Raw Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .385
Camera Raw Tools and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .386
CONTENTS xiii
The Basic Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .397
Tone Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .412
HSL/Grayscale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .414
Split Toning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415
The Detail Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .416
Lens Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .419
Camera Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .422
The Presets Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423
Adjusting Multiple Images with Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .423
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .431
Chapter 11 • CS3 Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Utilizing Adobe Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Accessing Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .433
Understanding the Bridge Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .434
Choosing Bridge Workspace Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .435
Using Bridge Screen Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .443
Organizing and Inspecting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .445
Opening and Placing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .456
Synchronizing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .457
Working with Layer Comps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .459
The Layer Comps Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .459
Layer Comps and InDesign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .463
Layer Comps and Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .466
Using Photoshop with Illustrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468
Importing and Exporting Paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .468
Opening AI and PSD Layered Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .469
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .471
Chapter 12 • Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473
Working with Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473
Understanding Action Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473
Using the Actions Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .474
Recording Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .476
Running Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .477
Saving Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .478
Utilizing Built-In Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .478
Applying Automate Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .484
Using Batch Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .484
Cropping and Straightening Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .491
Creating a Contact Sheet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .492
Creating Droplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .493
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .495
Chapter 13 • Saving, Printing, and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .497
Choosing File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .497
Color Space, Gamut Conversion, Inks and Proofs . . . . . . . . . . . . . . . . . . . . . . . . . . . .500
TIFF File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .501
xiv CONTENTS
EPS File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .505
DCS 2.0 File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .510
PDF File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .514
Photoshop (PSD) File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .518
JPEG File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .523
File Formats and Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .523
Printing from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .524
Printing to High-Quality Printers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .524
Proof Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .530
Soft Proofing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .531
Converting RGB to CMYK in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .532
Custom Prepress Gamut Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .535
Using Custom ICC Color Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .538
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .538
Appendix • The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .539
Chapter 1: Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .539
Chapter 2: Making Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .540
Chapter 3: Working with Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .542
Chapter 4: Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .543
Chapter 5: Tonal and Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .544
Chapter 6: Enhancing and Retouching for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .546
Chapter 7: Combining Image Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .547
Chapter 8: Layer Styles and Filter Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .548
Chapter 9: Reducing Noise and Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .549
Chapter 10: Editing in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .550
Chapter 11: CS3 Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .551
Chapter 12: Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .553
Chapter 13: Saving, Printing, and Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .554
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .557
Introduction
For a long time now, Photoshop has reigned as the premier image-editing application for print
designers and production artists. In fact, those of us in the print and publishing fields have
become so dependent on Photoshop that it’s hard to imagine life without it. In the early days
of Photoshop, it was considered primarily a tool for graphic designers (ah…the good old
days). But with the advent of digital photography, and the development of web and multi-
media design, Photoshop’s demographic has widened considerably over the years. Nowa-
days, Photoshop is used not only by print designers, but also by web and multimedia
designers, digital photographers, videographers, and professionals in fields from medicine
to law enforcement. Our old friend Photoshop sure has come a long way.
So where does that leave print designers? Are we not important anymore? Has Photoshop
turned its back on us in favor of other forms of digital media? Well, judging by the change in
Photoshop training over the years, you might think so. I can remember a time not so long ago
when every Photoshop book on the Barnes & Noble shelf was for print designers (sigh). Now
it’s hard to even find one Photoshop book that was written specifically for you, the print
designer.
That’s where this book comes into play. I haven’t forgotten about you, because I’m one of you.
And despite evidence to the contrary, Photoshop hasn’t forgotten about you either. In fact, Photo-
shop CS3 contains a multitude of new features and improvements that can greatly enhance your
print production workflow, including a new Curves dialog box, a new Black And White adjust-
ment feature, and editable filters known as smart filters (just to name a few).
This book focuses solely on the various Photoshop features that are used on a daily basis in
print design and production. Unlike other Photoshop books that attempt to reach every avail-
able demographic (which is virtually impossible anymore, considering the depth of the appli-
cation), this book was written for you and you alone. I purposely did not include a web design
chapter or any digital photography tips. My intent was for this book to become your print
design companion. The chapters within should serve as a reliable resource that you can refer to
again and again for answers to all your print design questions—and you won’t have to wade
through pages and pages of unrelated (and unwanted) material. My hopes are that you will
come to rely on this resource almost as much as you do on Photoshop.
Who Should Read This Book
As the title implies, this book is intended for designers seeking to master their print graphic
editing skills and expand their knowledge of what is required for high-resolution output. These
designers fall into three basic groups:
◆ Mid-level print designers who have experience with Photoshop, but have not yet seri-
ously explored the application’s full capabilities.
xvi INTRODUCTION
◆ Experienced designers who are looking to expand their knowledge of Photoshop and
improve their workflow. These readers can expect to be quite familiar with the concepts
covered in this book, and the chapter lessons can provide them with new ways to work in a
fast-paced production environment.
◆ Highly motivated students who might be new to both Photoshop and the field of print
design and production. These are the people who will be picking the bones of this book.
The intent is to supply these readers with all they need to use Photoshop efficiently for
print design and production.
There are several ways you can use this book. The most straightforward (and demanding) is to
start at the beginning and follow all the steps to mastering Photoshop CS3 for print design and
production. Alternatively, you can skip around from chapter to chapter and follow only the steps
for the individual chapters. For this, I have included project files on the accompanying CD, where
you can find the appropriate image files for the lessons in each chapter and work through the
steps.
The Mastering Series
The Mastering series from Sybex provides outstanding instruction for readers with intermediate
and advanced skills, in the form of top-notch training and development for those already working
in their field and clear, serious education for those aspiring to become pros. Every Mastering book
features the following:
◆ The Sybex “by professionals for professionals” commitment. Mastering authors are them-
selves practitioners, with plenty of credentials in their areas of specialty.
◆ A practical perspective for a reader who already knows the basics—someone who needs
solutions, not a primer.
◆ Real World Scenarios, ranging from case studies to interviews, that show how the tool,
technique, or knowledge presented is applied in actual practice.
◆ Skill-based instruction, with chapters organized around real tasks rather than abstract con-
cepts or subjects.
◆ Self-review test “Master It” problems and questions, so you can be certain you’re equipped
to do the job right.
What Is Covered in This Book
Mastering Photoshop CS3 for Print Design and Production is organized to provide you with easy
answers to all your image-editing print design questions. Here is a brief description of what each
chapter covers:
Chapter 1: Getting Started shows you how to set up your preferences, arrange your work-
space, and choose the proper color settings for print design and production. This chapter also
includes a “What’s New in CS3” section as well as a refresher on image resolution for print.
Chapter 2: Making Good Selections explores all of the Photoshop selection tools, making it
much easier for you to identify which ones are best to use for the selection task at hand.
INTRODUCTION xvii
Chapter 3: Working with Brushes explains how to use Photoshop’s brushes, brush presets, and
the detailed brush engine in a typical day-to-day print/production environment.
Chapter 4: Working with Color shows you how to “take control” of your color by explaining
how to select, replace, and enhance color in your images. This chapter also shows you how to
add color to grayscale images, or—if your design calls for it—how to remove color from your
images and work exclusively in black-and-white.
Chapter 5: Tonal and Color Corrections sets you on the right path and shows you the
best tools and methods to use for making tonal and color corrections to print images in
Photoshop CS3.
Chapter 6: Retouching and Enhancing for Print explains how to apply local retouching adjust-
ments with final print output in mind, including the covering up or removal of elements in an
image, or the more subtle alteration or de-emphasizing of specific image areas.
Chapter 7: Combining Image Layers shows you how to use layer opacity controls, layer blend
modes, layer masks, and clipping masks to create collage graphics for print materials.
Chapter 8: Layer Styles and Filter Effects explores how to use styles and filters (including the
new “smart” filters) to add some creative flair to your print images.
Chapter 9: Reducing Noise and Sharpening explains how to mitigate or mute unwanted
noise, and use sharpening to enhance any patterns, fabrics, or edges present in an image.
Chapter 10: Editing in Camera Raw shows you how to make the most out of editing RAW,
TIFF, and JPEG files with the Camera Raw plug-in.
Chapter 11: CS3 Integration takes a look at the various ways that Photoshop can work with the
other applications in the Creative Suite 3.
Chapter 12: Automation shows you how to breeze through the grunt work quickly by apply-
ing recorded actions and automate commands.
Chapter 13: Saving, Printing, and Output defines print-friendly file formats, such as TIFF, EPS,
PSD, and PDF. This chapter also shows you how to print directly from Photoshop to a proofing
device or photo-quality ink-jet printer.
The Appendix gathers together all the Master It problems from the chapters and provides a
solution for each.
What’s on the CD
The companion CD provides image files to accompany many of the tutorials and exercises pre-
sented in the book. The images are organized into chapter folders. References to the companion
CD images and their respective filenames are included within each chapter.
How to Contact the Author
I welcome feedback from you about this book or about books you’d like to see from me in the
future. You can reach me by writing to
[email protected]. For more information about my
work, please visit my website at tedlocascio.com.