mark galer
philip andrews
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First published 2007
Copyright © 2007, Mark Galer and Philip Andrews. Published by Elsevier Ltd. All rights reserved
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ISBN: 978-0-240-52064-3
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07 08 09 10 11 11 10 9 8 7 6 5 4 3 2 1
Acknowledgements
To our families:
Dorothy, Matthew and Teagan and
Karen, Adrian and Ellena
for their love, support and understanding.
We would like to pay special thanks to Mark Lewis and Bryan O’Neil Hughes for their
advice and editorial input and to Stephanie Barrett and Margaret Denley at Focal Press
for all their hard work in getting this book to press.
Picture credits
Paul Allister; Magdalena Bors; Andrew Boyle: Dorothy Connop; Catherine Dorsen;
Samantha Everton; Serena Galante; Shari Gleeson; John Hay; Paulina Hryniewiecka;
Jeff Ko; Anitra Keogh; Seok-Jin Lee; Anica Meehan; Chris Mollison; Chris Neylon;
Serap Osman; Rod Owen; Craig Shell; Daniel Stainsby; Jennifer Stephens; Akane
Utsunomiya; Victoria Verdon Roe.
Also our thanks go to www.iStockphoto.com for supporting this venture by supplying
various tutorial images.
All other images and illustrations by the authors.
Contents
foundation module
Introduction xii
A structur learning approach
A structured oach xiii
xiii
Supporting DVD xiii
Research and resources xiii
Essential information xiv
The Digital Darkroom 1
Digital setup 2
Monitor settings 3
Choosing a working space 5
Getting started with Photoshop 5
Settings and preferences 8
Navigation and viewing modes 10
Rulers and guides 13
Digital Basics 15
Introduction 16
Channels and modes 17
Levels 18
Hue, Saturation and Brightness 19
Color and light overview 21
Bit depth and mode 23
File size 24
File formats 25
Image compression 28
Resolution 30
Image size 34
Interpolation 37
Bridge 41
Introduction 42
Bridge turns 2.0! 43
Setting up Bridge 44
Using Bridge 48
Using Bridge to access the project resources 53
iv
Contents
Capture and Enhance 55
Introduction 56
Advantages and disadvantages of 16-bit editing 57
Foundations project 1 58
Image capture – Step 1 58
Cropping an image – Step 2 59
Tonal adjustments – Step 3 61
Color adjustments – Step 4 66
Cleaning an image – Step 5 68
Sharpening an image – Step 6 69
Saving a modified file – Step 7 70
Adobe Camera Raw 75
Introduction 76
Processing Raw data 77
Processing projects – images on supporting DVD 77
Straighten, crop and size – Step 1 78
Color space – Step 2 79
Choosing a bit depth – Step 3 80
White balance – Step 4 81
Tonal adjustments – Step 5 82
Saturation and vibrance – Step 6 84
Noise reduction and sharpening – Step 7 85
Digital exposure 86
Adjusting exposure in ACR 87
Dust on the sensor – batch removal 93
Archiving Raw files as digital negatives 94
Digital Printing 97
Introduction 98
Monitor calibration and working color space 100
Pre-flight checklist 101
Preparing a test print 102
Printer manages color 103
Photoshop manages color 105
Analyzing the test print 107
Maximizing shadow and highlight detail 108
Creating a ‘ringaround’ 109
In conclusion 109
Printing using a professional laboratory 110
Printing monochromes 112
Multi-black printers 113
v
Contents
advanced skills module
Layers and Channels 115
Introduction 116
Layers overview 117
Layer types 121
Channels 124
Adjustment and filter layers and editing quality 126
Layer masks and editing adjustments 127
Selections 129
Introduction 130
Selection Tools overview 130
Shape-based selections with the Marquee Tools 130
Drawn selections using the Lasso Tools 131
Customizing your selections 133
Refining selections 135
Saving and loading selections 136
Feather and anti-alias 137
Defringe and Matting 138
A magic workflow 139
Quick Mask or Refine Edge 141
‘Color Range’ 143
Channel masking 145
Selections from paths 147
vi
Contents
Layer Blends 153
Introduction 154
The ‘Darken’ group 156
The ‘Lighten’ group 159
The ‘Overlay’ group 162
Blend modes for tinting and toning 164
Luminosity 166
Difference and Exclusion 167
Creating a simple blend 168
Filters 171
Filtering in Photoshop 172
Smart Filters in CS3 173
The Filter Gallery 175
Fade Filter command 176
Improving filter performance 176
Installing and using third party filters 177
Filtering a shape or text (vector) layer 177
The great filter round-up 177
Extract filter 178
Liquify filter 180
Vanishing Point 182
Artistic filters 186
Brush Strokes filters 187
Blur filters 188
Distort filters 190
Noise filters 192
Pixelate filters 195
Render filters 195
Sharpen filters 196
Stylize filters 197
Sketch filters 198
Texture filters 199
Video filters 200
Other filters 200
Filter DIY 201
vii
Contents
imaging projects module
Retouching Projects 203
Correcting perspective – Project 1
Correcting perspective – Project 1 204
204
Adjustment layers – Project 2
Adjustment layers – Project 2 214
214
Shadow/Highlight – Project 3
Shadow/Highlight – Project 3 226
226
Clone and stamp – Project 4
Clone and stamp – Project 4 231
231
Advanced sharpening techniques – Project 5
Advanced sharpening techniques – Project 5 240
240
Advanced Retouching 249
Black and white – Project 1 250
Gradient maps – Project 2 259
Creative depth of field – Project 3 269
Smart Objects – Project 4 273
The smooth tone technique – Project 5 281
Time of day – Project 6 287
viii
Contents
Montage Projects 297
Layer masks – Project 1 298
Creating a simple blend – Project 2 308
Paths and selections – Project 3 314
Extracting hair – Project 4 319
Replacing a sky – Project 5 326
Shadows and blur – Project 6 332
High dynamic range – Project 7 342
Displace and Liquify – Project 8 351
Composite lighting – Project 9 359
Creating a panorama – Project 10 365
Special Effects 375
Posterization – Project 1 376
Digital diffusion – Project 2 381
Digital Polaroid transfer effect – Project 3 387
Lith printing – Project 4 392
Portrait makeovers – Project 5 396
Advanced blending – Project 6 401
Glossary 407
Keyboard Shortcuts 417
Web Links 419
Index 420
ix
Contents DVD
The DVD is a veritable treasure trove of supporting files for the projects in this book as well as a resource
for your own creative projects. The images and movies on the DVD are divided into their respective chapters
and can be accessed via Bridge (see Bridge > page 53). Most of the images in the Foundation and Advanced
Skills modules of the book can be found on the DVD together with all of the images from the Imaging
Projects module. The movies are an invaluable resource, allowing you to start, stop and rewind so that
the skills can be quickly and easily acquired at your own pace. The DVD also contains multi-layered
image files (PSDs) of the completed projects, uncompressed TIFF files with saved selections, RAW files
and high-quality 16 Bits/Channel files. Loadable Actions and Presets are also available to enhance your
software, together with a rich stock library of royalty-free images.
Install the movie player on the
supporting DVD if required
Contents
THE DVD PROVIDES EXTENSIVE SUPPORT IN THE FORM OF:
Over eight hours of movie tutorials to guide you through all of the projects in this book. You may
need to install the QuickTime movie player from the supporting DVD to watch the movies.
High-resolution, high-quality JPEG images to support all of the imaging projects.
Full-resolution TIFF images with ‘saved selections’ for users interested in completing
the projects in the least amount of time whilst achieving maximum quality.
Camera RAW and 16 Bits/Channel files.
High-resolution images courtesty of iStockphoto.com.
Multi-layered Photoshop documents (PSD files) of completed projects.
A stock library of 100 high-resolution, royalty-free images for creative montage work.
Adobe presets (Layer Styles, Custom Shapes and Gradients) to enhance the
performance capabilities of your Adobe Photoshop Elements software.
Photoshop Action files to fast-track your workflows and editing tasks.
Printable PDF file of keyboard shortcuts to act as a quick and handy reference guide to
speed up your image-editing tasks.
Receive a 10% discount on additional images purchased from iStockphoto.com by
quoting the code that is available on the supporting DVD.
dvd
essential skills: photoshop CS3
Introduction
Photoshop has helped revolutionize how photographers capture, edit and prepare their images
for viewing. Most of what we now see in print has been edited and prepared using the Adobe
software. The image-editing process extends from basic retouching and sizing of images, to the
highly manipulated and preconceived photographic montages that are commonly used by the
advertising industry. This book is intended for photographers and designers who wish to use the
‘digital darkroom’ rather than the traditional darkroom for creative photographic illustration.
The information, activities and assignments contained in this book provide the essential skills
necessary for competent and creative image editing. The subject guides offer a comprehensive
and highly structured learning approach, giving comprehensive support to guide Photoshop
users through each editing process. An emphasis on useful (essential) practical advice and
activities maximizes the opportunities for creative image production.
Acquisition of skills
The first section of this book is a
foundation module designed to help
the user establish an effective working
environment and act as a guide for
successful navigation through the
image-editing process from capture
to print. Emphasis is placed on the
essential techniques and skills whilst the
terminology is kept as simple as possible
using only those terms in common usage.
Application of skills
The subsequent modules extend and
build on the basic skills to provide the
user with the essential techniques to
enable creative and skilful image editing.
The guides explore creative applications
including advanced retouching,
photomontage, vector graphics, special
effects and preparing images for the
web. Creative practical tasks, using a
fully illustrated and simple step-by-step
approach, are undertaken in each of the
guides to allow the user to explore the
creative possibilities and potential for
Anitra Keogh each of the skills being offered.
xii
introduction
A structured learning approach
The study guides contained in this book offer a structured learning approach and an
independent learning resource that will give the user a framework for the techniques of digital
imaging as well as the essential skills for personal creativity and communication.
The skills
To acquire the essential skills to communicate effectively and creatively takes time and
motivation. Those skills should be practised repeatedly so that they become practical working
knowledge rather than just basic understanding. Become familiar with the skills introduced in
one study guide and apply them to each of the following guides wherever appropriate.
The DVD has images and movies available to support and guide the learning process
Supporting DVD
A supporting DVD and dedicated web log (blog) has been set up to enable users to access
current information. The address for the blog site is: www.photoshopessentialskills.com.
The supporting files can be accessed through the Bridge interface (Computer > CS3_DVD).
Research and resources
You will only realize your full creative potential by looking at a variety of images from different
sources. Artists and designers find inspiration in many different ways, but most find that they
are influenced by other work they have seen and admired.
xiii
essential skills: photoshop CS3
Essential information
The basic equipment required to complete this course is access to a computer with Adobe
Photoshop CS3 (CS2 would suffice for many of the projects contained in the book). The
photographic and design industries have traditionally used Apple Macintosh computers but
many people now choose ‘Windows’-based PCs as a more cost-effective alternative. When
Photoshop is open there are minor differences in the interface, but all of the features and tools
are identical. It is possible to use this book with either Windows-based or Apple Macintosh
computers.
Storage
Due to the large file sizes involved with digital imaging it is advisable that you have a high-
capacity, removable storage device attached to the computer or use a CD or DVD writer to
archive your images.
Commands
Computer commands which allow the user to modify digital files can be accessed via menus
and submenus. The commands used in the study guides are listed as a hierarchy, with the main
menu indicated first and the submenu or command second, e.g. Main menu > Command or
Submenu > Command. For example, the command for opening the Image Size dialog box
would be indicated as follows: Edit > Image Adjustments > Image Size.
Keyboard shortcuts
Many commands that can be accessed via the menus and submenus can also be accessed via
keyboard ‘shortcuts’. A shortcut is the action of pressing two or more keys on the keyboard to
carry out a command (rather than clicking a command or option in a menu). Shortcuts speed
up digital image processing enormously and it is worth learning the examples given in the study
guides. If in doubt use the menu (the shortcut will be indicated next to the command) until
you become more familiar with the key combinations.
Note > The keyboard shortcuts indicate both the Mac and PC equivalents.
Example: The shortcut for pasting objects and text in most applications uses the key
combination Command/Ctrl + V. The Macintosh requires the Command key (next to the
spacebar) and the V key to be pressed in sequence whilst a PC requires the Control key (Ctrl)
and the V key to be pressed.
xiv
the digital darkroom
Chris Neylon
essential skills
~ Set up the computer, monitor and software preferences for effective digital image
editing.
~ Gain familiarity with the Photoshop interface.
~ Review Photoshop’s basic tools and commands for navigating images on screen.
essential skills: photoshop CS3
Digital setup
Photoshop is the professional’s choice for digital image editing. Photoshop affords precise
control over images that are destined to be viewed on screen and in print. In order to maximize
this control it is necessary to spend some time setting up the software and hardware involved in
the imaging process in order to create a predictable and efficient workflow.
This chapter will act as a pre-flight
checklist so that the user can create the
best possible working environment for
creative digital image editing. The degree
of sophistication that Photoshop offers
can appear daunting for the novice digital
image-maker, but the time required
setting up the software and hardware in
the initial stages will pay huge dividends
in the amount of time saved and the
quality of the images produced.
Commands and shortcuts
This chapter will guide you to select
various options from a list of menus on
your computer. If a command or dialog
box is to be found in a submenu, which in
turn is to be found in a main menu, it will
appear as follows: ‘Main menu > Submenu
> Command’. Many of the commands can
be executed by pressing one or more of the
keyboard keys (known as ‘keyboard shortcuts’).
Keyboards: Mac and PC keyboards have different layouts. The ‘Alt’ key on a PC is the
‘Option’ key on a Mac. The functions assigned to the ‘Control’ key on a PC are assigned
to the ‘Command’ key on a Mac (the key next to the Spacebar with the apple on it).
When the text lists a keyboard command such as ‘Ctrl/Command + Spacebar’ the PC
user will press the Control key and the Spacebar while the Mac user should press only
the Command key together with the Spacebar.
2
the digital darkroom
Monitor settings
Resolution and colors
Set the monitor resolution to ‘1024 × 768’ pixels or greater and the monitor colors to
‘Millions’. Monitor resolutions less than 1024 × 768 will result in excessively large palettes and
a lack of ‘screen real estate’ or monitor space in which to display the image you are working on.
Note > If the ‘Refresh Rate’ is too low on a CRT monitor the monitor will appear to flicker.
The best CRT monitors will enable a high resolution with a flicker-free or stable image.
Monitor color temperature – selecting a white point
The default ‘color temperature’ of a new monitor is most likely to be too bright and too blue
for digital printing purposes (9300). Reset the ‘Target White Point’ (sometimes referred to as
‘Hardware White Point’ or ‘Color Temperature’) of your monitor to ‘D65’ or ‘6500’, which is
equivalent to daylight (the same light you will use to view your prints). Setting the white point
is part of the ‘calibration’ process that ensures color accuracy and consistency.
With the default settings, every monitor displays color differently, even monitors of the same
model and make. Calibration attempts to set the monitor to a ‘standard’ color display. This
will help to prevent your images from looking radically different from monitor to monitor. If a
monitor calibration device cannot be used you should attempt to calibrate your monitor using the
software ‘Monitor Calibrator’ (Mac) or ‘Adobe Gamma’ (PC).
3
essential skills: photoshop CS3
Older style CRT monitors should be warmed up before starting the calibration process.
Switch on the monitor and allow the image to stabilize for at least half an hour. Then set
the brightness, contrast, gamma and color temperature of the monitor using the calibration
software. This will ensure that the appearance of an image on your screen will be the same on
any other calibrated screen. Monitor calibration will also help to ensure that your prints appear
very similar to your screen image, especially if you have an accurate profile of your printer.
Software calibration
When using Macintosh OSX go to ‘System Preferences > Displays > Color > Calibrate’. When
using the Windows operating system open the software ‘Adobe Gamma’ (found in the ‘control
panel’). This will launch the monitor calibrator software. Choose ‘6500’ as the ‘Target White
Point’ or the ‘Hardware White Point’ and ‘Adjusted White Point’ if using Adobe Gamma. The
software will also guide the user to set the contrast, brightness and ‘gamma’ of the monitor
(when using an LCD screen ignore the advice in Adobe Gamma to raise the contrast setting
to maximum). On completion of the calibration process you must save the newly calibrated
monitor settings by giving it a profile name. It is advised that when you name this profile you
include the date that you carried out the calibration. It is usual to check the calibration of a
monitor every 6 months.
Note > When you choose 6500 as your target white point your monitor will initially
appear dull and a little yellow compared to what you are used to seeing.
4
the digital darkroom
Choose a working space
It is important to select the correct Color Settings for your workflow in your Adobe software
before you start to work with any images. If you are running the Adobe Creative Suite the color
settings can be synchronized across the suite of applications in Adobe Bridge (Edit > Creative
Suite Color Settings). If setting the ‘working space’ in Photoshop CS3 go to Edit > Color Settings.
If preparing images for the web or a print service provider using the sRGB profile, select sRGB
in the RGB working space or North America Web/Internet in the Settings menu. If preparing
images for inkjet printing or for commercial prepress (CMYK) choose Adobe RGB (1998) in
the RGB working space menu or North America Prepress 2 in the settings menu. Check the
Profile Mismatches and Missing Profiles boxes so that you will be warned of mismatches or
missing profiles when opening or pasting images.
Note > If you are preparing your color settings for a print workflow consult your print
service provider or prepress operator to ensure that you are working with the optimum
settings for the intended workflow.
Getting started with Photoshop
The new interface of Photoshop CS3 is highly organized and presents the user with an effective
interface offering maximum control over the process of image editing. If all of the information
and control relating to a single image were on display there would be no room left on a
standard monitor for the image itself. Most of the features of the editing software therefore
are hidden from view but can be quickly accessed once the user starts to understand how the
software is organized. The Photoshop interface consists of the:
Menu, Tools, Options bar, Image window and Palettes
Note > The user interface (UI) is the same irrespective of the computer platform you are
working with (Mac or PC). In practical terms the main difference between the two systems
is that Windows and Macintosh use different key stroke combinations for shortcuts.
5
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