List of Figures

Chapter 1: Stepping into Photoshop

Figure 1-1: By default, the Welcome Screen appears every time you start up Photoshop.

Figure 1-2: The General page is the first of many pages of Photoshop preferences.

Figure 1-3: The Photoshop workspace looks something like this.

Figure 1-4: The Status bar gives useful information about the current document and tool.

Figure 1-5: The Open dialog box shows a thumbnail of selected files.

Figure 1-6: The Photoshop File Browser is a powerful tool in finding and opening files.

Figure 1-7: You can choose a preset image size.

Figure 1-8: You can zoom using the Navigator palette.

Figure 1-9: Drag the red rectangle in the Navigator to move around within your image.

Figure 1-10: Photoshop’s online help displays in your default web browser.

Figure 1-11: Use the Keyboard Shortcuts dialog box to assign new keyboard shortcuts.

Figure 1-12: Standard screen mode shows all open documents.

Figure 1-13: Full-screen mode hides all documents but the currently selected one.

Figure 1-14: The Toolbox palette offers a wide variety of tools.

Figure 1-15: Photoshop’s basic tools offer a wide variety options.

Figure 1-16: The Brush Tool options bar offers still more options.

Figure 1-17: Click here to set the History Brush to paint from this layer of the History palette.

Chapter 2: Creating, Importing, and Saving Images

Figure 2-1: Browse and manipulate your images in the File Browser

Figure 2-2: Select multiple images by pressing and holding CTRL while clicking on their thumbnails.

Figure 2-3: Search for files with the Search dialog box.

Figure 2-4: You can import and manipulate camera raw files in Photoshop.

Chapter 3: Making Selections

Figure 3-1: Filters and adjustments are only applied to the active selection, if any.

Figure 3-2: For more control, use the Magic Wand options bar.

Figure 3-3: You can change the Lasso and Polygonal Lasso Tool options.

Figure 3-4: You can change the Magnetic Tools options.

Figure 3-5: The Extract Filter workspace provides many options.

Figure 3-6: You find many options on the Background Eraser options bar.

Figure 3-7a: Clean with Quick Mask: A selection made with the Magic Wand Tool.

Figure 3-7b: Switching to Quick Mask mode …

Figure 3-7c: … to clean up unselected bits with the Brush Tool.

Chapter 4: Using Layers

Figure 4-1: You can control layers in the Layers palette.

Figure 4-2a: Before Copy Merged, this document is made up of many interacting layers.

Figure 4-2b: When the merged document is copied to the clipboard, it can be pasted to a new document or to another program as a single layer.

Figure 4-3a: If the text is above the other layer, it is visible.

Figure 4-3b: If it is beneath the other layer, it is hidden.

Figure 4-4: Paint with the Brush Tool to create a new mask.

Figure 4-5: The gradient mask causes the top layer to fade in, from left to right.

Figure 4-6: A radial gradient creates a different effect, in this case radiating out from the eye.

Figure 4-7: Pressing ALT while you click a mask thumbnail displays the mask full screen.

Figure 4-8a: Applying a drop shadow to the layer containing this photo has no discernable effect.

Figure 4-8b: The same drop shadow to a layer with a smaller shape is perfectly visible.

Figure 4-9: You access some layer effects via the Layer Style dialog box.

Figure 4-10: Add Drop Shadows and other effects from the Layer Style dialog box.

Figure 4-11: You can create a drop shadow with layer effects.

Figure 4-12: Create a rectangular marquee where you want the frame to go.

Figure 4-13: This simple outline is the basis for the picture frame.

Figure 4-14: Changing the fill to a wood pattern makes it look much more like a picture frame.

Figure 4-15: Adding a bevel effect gives the frame a 3-D look.

Figure 4-16: Move or resize the hidden shape, and the frame will follow.

Figure 4-17a: Here is a photo layer at 50 percent Opacity.

Figure 4-17b: Here is a photo layer at 50 percent Fill.

Figure 4-18a: Here you see text with a blue Stroke effect applied.

Figure 4-18b: Reducing the Fill leaves layer effects intact.

Figure 4-18c: Reducing the Opacity affects the entire layer.

Figure 4-19: Set a layer’s transparency in the Layers palette.

Figure 4-20: Use Photoshop’s blend modes to combine layers for a multitude of different effects.

Figure 4-21: This is the original Mask photograph.

Figure 4-22: You can create a new adjustment layer via the Layer menu.

Figure 4-23: Hiding the adjustment layer shows that the original scan is untouched.

Figure 4-24: Here is a scanned photograph.

Figure 4-25: The original photo is sepia toned, thanks to Color blend mode.

Figure 4-26: The original black-and-white scan is on the left; the sepia-toned version is on the right.

Figure 4-27: With the teeth layer at 50 percent Opacity, the leather shows through.

Figure 4-28: The teeth layer in Multiply mode makes things too dark.

Figure 4-29: Placing the teeth in Screen mode washes everything out.

Figure 4-30: Overlay mode is the best so far.

Figure 4-31: Placing two copies of the teeth layer in Overlay mode heightens the effect.

Figure 4-32: A copy of the leather layer, on top in Multiply mode, darkens the image up again.

Figure 4-33: Layer effects make the text look hand carved into the leather.

Chapter 5: Using Paths, Shapes and Painting

Figure 5-1: You can create stylized artwork by painting inside an image with the Art History Brush.

Figure 5-2: You can achieve a desired effect by applying multiple filters to an image.

Chapter 6: Color Correcting, Retouching, and Repairing Images

Figure 6-1: Use the grid to straighten an image.

Figure 6-2: You can straighten an image with the Measure Tool.

Figure 6-3: Adjust the cropping rectangle to the desired size.

Figure 6-4: You can modify the canvas size to add additional area to the image.

Figure 6-5: You can correct the colors of an image using Eyedroppers.

Figure 6-6: You can use the Variations command to correct the color of an image.

Figure 6-7: You can use the Shadow/Highlight command to brighten subjects that are in shadow.

Figure 6-8: Use the Clone Stamp Tool to copy pixels from one area to another.

Figure 6-10: You can add color to a grayscale image.

Figure 6-9: You can easily reduce digital noise in images.

Chapter 7: Using Type and Type Effects

Figure 7-1: The Options toolbar contains formatting tools when you select the Type Tool.

Figure 7-2: Point type entered using the Vertical Type Tool creates a useful label for photos.

Figure 7-3: The Character palette contains tools for editing text.

Figure 7-4: The Paragraph palette allows you to define paragraph attributes such as alignment, spacing and indentation.

Figure 7-5: The Check Spelling feature identifies all words that are not in the Photoshop dictionary as potential misspellings.

Figure 7-6: The Warp Text dialog box presents options for the style of warp you want.

Figure 7-7: Type text on a path for special effects.

Figure 7-8: You can type text around a closed path to create unusual effects.

Figure 7-9: Examples of effects that you can create using layer styles.

Figure 7-10: The Drop Shadow options allow you to control the shadowing very precisely.

Figure 7-11: Bevel And Emboss can give your text depth and a more professional look.

Figure 7-12: Inner Glow makes your type look as if there were an inside source of light.

Figure 7-13: The words “Puget Sound” were first cut out of the sunset part of the picture, using a type mask, and then enlarged and are now available to be moved to another image.

Chapter 8: Printing and Exporting Images

Figure 8-1: Create a contact sheet of images stored in a folder.

Figure 8-2: You can create a Picture Package with multiple images on a single sheet.

Chapter 9: Preparing Your Art for the Web

Figure 9-1: This Save For Web dialog box shows the 2-Up tab selected.

Figure 9-2: These are the optimization options for GIF and PNG-8 images.

Figure 9-3: Color Picker shows the selected color in RGB and hexadecimal notation.

Figure 9-4: The Web Content palette displays slice and image map information.

Figure 9-5: The ImageReady Optimize palette displays the options for optimizing slices.

Figure 9-6: This shows the rollover in the normal state in Internet Explorer with JavaScript code displayed.

Figure 9-7: The Web Content palette shows the rollover state context menu.

Figure 9-8: The Export Layers As Files dialog box contains the options for exporting layers.

Figure 9-9: You use the Animation Palette to set options for your animation.

Figure 9-10: When the animation runs in a browser, the HTML code is also displayed.

Figure 9-11: The Export Animation Frames As Files dialog box is used to set the options for saving animation frames as files.

Chapter 10: Saving Time with Actions and Automation

Figure 10-1: You use the Photoshop Actions palette to select and apply actions to your images.

Figure 10-2: The ImageReady Actions palette is similar to the Photoshop Actions palette.

Figure 10-3: You use the Batch dialog box to set the options for batch processing.

Figure 10-4: You use the Create Droplet dialog box to set the options for creating droplets.

Figure 10-5: You use the Picture Package dialog box to set the options for printing picture packages.

Figure 10-6: You use the file information dialog box to save information about an image as part of the image.

Figure 10-7: You use the Picture Package Edit Layout dialog box to create and save custom layouts for your picture packages.

Figure 10-8: You use the Web Photo Gallery dialog box to create web pages to display your images on the Web.

Figure 10-9: The Web Photo Gallery greatly simplifies creating web pages for your images.

Figure 10-10: You use the Photomerge dialog box to create and work with merged images.