List of Figures

Preface

Figure 1: The five utterly unique and original margin icons that appear inside this book. Nifty, aren't they?

Chapter 1: Painting and Brushes

Figure 1-1: Here you see the paint tools and edit tools available from the Toolbox's flyout menus .

Figure 1-2: Three lines painted with the brush and pencil tools. To create the second stroke, turn on the airbrush setting. You can create the color buildup at the bottom of the line by slowing your stroke and, at the very end, holding the cursor in place for a moment.

Figure 1-3: The effects of dragging with five of Photoshop's edit tools. The boundaries of each line are highlighted so you can clearly see the distinctions between line and background.

Figure 1-4: Using the left image as our starting point, you can create a stylized tracing by clicking and Shift-clicking with the Brush tool on a separate layer.

Figure 1-5: To create the basic structure for a bony pal, periodically press and released Shift while dragging with the Brush tool (left).

Figure 1-6: Three identical drags with the Smudge tool, subject to different Strength settings. Each example's stroke begins at the same point, and drags for the same duration.

Figure 1-7: The same three drags pictured in Figure 1-6, this time with the Finger Painting option turned on and the foreground color set to white.

Figure 1-8: The "before" image (left) features the red chair on an independent layer in front of the original photograph. The middle example shows the smudged chair with the default setting. The right example shows the chair with the Use All Layers option on.

Figure 1-9: Painting with the Burn tool creates a mask when applied within a selection (left). The Sponge tool is used to fine-tune the color effects (right).

Figure 1-10: The Brush Presets let you select from a list of predefined brush shapes and load other ones from disk. Click the arrow button in the upper-right corner to view the Brush Presets menu.

Figure 1-11: Two views of the Brushes palette, the fully expanded view on the left, and the reduced (more stackable ) view on the right.

Figure 1-12: To change the size , shape, and hardness of a brush, click the item named Brush Tip Shape in the Brushes palette.

Figure 1-13: Drag the black handles and gray arrow to change the roundness and angle of the brush, respectively. The Roundness and Angle values update automatically, as does the preview of the brushstroke at the bottom of the palette.

Figure 1-14: A 200-pixel brush shown as it appears when set to each of four Hardness percentages. In the bottom row, placing the brushes on a separate layer and applying a black fringe helps you see the effective diameter of each Hardness value.

Figure 1-15: Examples of lines stroked to a path , subject to different Spacing values. Values greater than 100 percent are useful for creating dotted line effects. The final line was created by turning off the Spacing option.

Figure 1-16: After selecting a doodle against a white background, you can turn the doodle into a custom brush.

Figure 1-17: Photoshop lets you modify the size, shape, and angle of a custom brush, all of which are accurately reflected by the brush cursor.

Figure 1-18: The Shape Dynamics panel complete with several misleading references to jitter.

Our stalwart beach denizen gets his iris brightened (middle), and a twinkle (right) created using the Fade setting.

Figure 1-19: Most Wacom tablets are sensitive not only to how much pressure you apply to a stylus, but also the angle of the stylus with respect to the tablet, known as the tilt.

Figure 1-20: The airbrush stylus includes a wheel that you can permanently set to increase or decrease the flow of paint, as with a traditional airbrush.

Figure 1-21: Several brush dynamics applied to some of Photoshop's predefined custom brushes.

Figure 1-22: Use the Dual Brush options to combine a soft round brush and a predefined custom brush to create a fairly convincing chalk effect. You can also scale and rotate the brushes to create the light eraser stamps in the corners.

Figure 1-23: Three lines painted with the Brush tool. The first was painted without dynamics, the second with Noise, and the third with Wet Edges. The enlarged details show how the edges of the strokes compare.

Figure 1-24: The difference between Opacity, which controls an entire brushstroke, and Flow, which affects individual spots of paint. When Opacity is consistent (left), Flow compounds wherever the stroke overlaps itself (middle). Tighter Spacing values also heighten the effect of Flow (right).

Figure 1-25: The specific Mode settings in the Options bar vary depending on what tool is active. The Mode pop-up menu changes to Range when using the Dodge or Burn tool.

Figure 1-26: Lines painted with the Normal (left) and Dissolve (middle) modes set to 50 percent opacity. Dissolve dithers colors to simulate translucency, as the magnified detail shows (right).

Figure 1-27: Examples of three of the four darkening modes applied to our Shift- click painting. In all cases, the Opacity setting is 100 percent.

Figure 1-28: Three of the four lightening modes. Linear Dodge tends to send a large portion of the colors to white. The same is true of Color Dodge.

Figure 1-29: The medium Overlay and extreme Linear Light modes each mix brushstrokes to darken the darkest colors in an image and lighten the lightest colors. Pin Light preserves only high frequency colors, turning less vividly colored brushstrokes invisible.

Figure 1-30: The Hard Mix mode produces a posterizing effect on your brushstroke. Difference and Exclusion modes subtract color values, resulting in colorful inversion effects.

Figure 1-31: The Hue mode mixes the hue values from the brushstrokes with the saturation and luminosity values of the underlying image. Color is only slightly different, preserving the saturation values from the brushstrokes as well. Luminosity is Color's opposite , brushing in lights and darks but leaving the colors unchanged.

Figure 1-32: The Dodge and Burn tools applied at 100-percent Exposure settings subject to each of the three applicable brush modes.

Chapter 2: Cloning, Healing, and Patterns

Figure 2-1: You can retouch an image using another portion of the same image, another open image, or a repeating pattern.

Figure 2-2: The Clone Stamp tool being dragged to paint with the image. To make things easier to see, the cloned content was applied to the white area.

Figure 2-3: During the course of a single drag, the Clone Stamp tool continues to clone from the image as it appeared before you began painting. This prevents you from creating more than one clone during a single drag.

Figure 2-4: The Clone Stamp tool merges our bird with his pal, the cheetah.

Figure 2-5: The Clone Stamp tool's blend mode set to Hard Light with the Aligned check box on. This clones the image continuously, no matter how many times you paint a new brushstroke.

Figure 2-6: If you turn off the Aligned check box, Photoshop clones each new line from the point at which you Alt+click or Option+click.

Figure 2-7: The Healing Brush heals all wounds (including those shown here), whether from the original image or from improper handling during scanning.

Figure 2-8: A close-up of the wounds (left), and their miraculous recovery (right).

Figure 2-9: The Healing Brush clones the content on the left (see the source point) onto a textured background (right). The line (left) through the ape shows the path of the source point throughout the brushstroke. The line surrounding the brushstroke (right) shows the outer edge of the brushstroke.

Figure 2-10: When set to the Normal brush mode, the Healing Brush clones the texture from the source image (above) in its entirety. The only thing that changes is the color and shade (bottom five strokes).

Figure 2-11: Examples of the Healing Brush combined with four brush modes across a light-to-dark gradient.

Figure 2-12: With the Patch tool, draw a selection outline around the part of the image to heal (top), drag the selection over the clone source (middle), and release to watch the original selection heal away (bottom).

Figure 2-13: A not-so- shabby photograph, ruined by a bad scanning process.How do you improve such a wretched image insidePhotoshop?

Figure 2-14: For this photo, you can either apply Dust &Scratches, which is quick, but gives blobby detail (left), or fix the image manually, which takes forever but produces better results (right).

Figure 2-15: The final touch is to sharpen the image using the Unsharp Mask filter.

Figure 2-16: The photo on the left has seen better days. Then again, it is more than 60 years old. The photo on the right shows the results of about an hour of work with the Clone Stamp tool and Healing Brush.

Figure 2-17: A quick peek through the color channels shows the red channel (left) to be the best choice. The blotches are most evident in the blue channel, enlarged in the bottom row.

Figure 2-18: Don't leave distracting elements, even seemingly insignificant one in your photos. For example, the sunbather creates obvious visual "noise."

Figure 2-19: Clone the content that obscures the unwanted portion of the image in this case, sand will bury the sunbather.

Figure 2-20: Click and drag to keep applying sand from the source point.

Figure 2-21: With a little softening, some tight, tiny cloning, and in this case, a little "cheating" with the Burn tool to darken an edge or two, this photo is distraction free of sunbathers, beachcombers, and that stain from the tape.

Figure 2-22: Both the Pattern Stamp tool and the Healing Brush offer variations for painting with repeating patterns.

Figure 2-23: The starting point for the image (left) flanked by a 64-x-64-pixel neutral noise pattern (right). You create this pattern by filling the image with medium gray and then applying the Add Noise filter with an Amount value of 6 percent and Monochromatic turned on.

Figure 2-24: The Pattern Stamp tool paints a series of Neutral Noise 6% strokes over the most prominent blemishes an image (left). Using the Healing Brush to paint those exact same brushstrokes (right), you eliminate many of the wrinkles .

Figure 2-25: With the Aligned check box off, Photoshop starts each pattern with the beginning of the brushstroke (top), and overlapping brushstrokes clash . With the Aligned check box on, patterns align in all brushstrokes to match up perfectly (bottom), to create an intact weave .

Figure 2-26: Seven samples from the dozen predefined patterns that Photoshop loads by default the first time you launch the program (and thereafter until you make changes). The seventh sample, Wood, appears in the background.

Figure 2-27: A handful of preset patterns from Photoshop's other pattern libraries. To open any one of these patterns, choose its library name from the bottom of the Pattern palette menu.

Figure 2-28: The five displacement maps that you can use to refract colors in your image (the top left image is the original) appear here. Displacement maps give the effect of looking through textured glass.

Figure 2-29: A series of four different background textures created using commands from the Filter menu, as noted. The background contains the Rusted Metal pattern fill, with the Crumble displacement map applied via the Filter Distort Displace command.

Figure 2-30: Crafting a pattern with the Pattern Maker filter is a three-step process, provided that you regard repeatedly clicking the Generate button as a single step.

Figure 2-31: The Tile History area lets you peruse the last 20 created patterns. When you see a pattern you like, click the disk icon to save the pattern withPhotoshop's presets.

Figure 2-32: Offset the tiles to vary the overall pattern created by the repeated single tile. Here you see no offset (top), a horizontal 50% offset (right) and a 50% vertical offset (bottom).

Figure 2-33: This close-up of an owl seems a perfect starting point for a repeating pattern (top). But surely something better than what the Pattern Maker comes up with (bottom) can be created.

Figure 2-34: To build the repeating pattern shown in its final state in Figure 2-37, a grid of nine image tiles was created.

Figure 2-35: Use the Clone Stamp tool to copy pixels, extending the owl's feathers to the edges of the tile. As you may still see a gap between the tiles, running vertically, the edges of each tile might need some cleanup.All of this can be eliminated to create seamless tiling.

Figure 2-36: After completing a smooth transition between the upper-central tile and the tiles above and to the left of it, theEdit Define Pattern was used on a selected portion of the image.

Figure 2-37: This montage is the result of applying he finished pattern with the Fill command.

Chapter 3: Undo and History

Figure 3-1: The History palette records each significant event as an independent state. To return to a state, just click on it.

Figure 3-2: Selecting Allow Non-Linear History from the History Options dialog box permits Photoshop to keep states that you have undone.

Figure 3-3: A simple flower, waiting to be defiled.

Figure 3-4: After painting a random series of black brushstrokes over an image (left), select the Art History brush and paint in a rough translation of the original (right).

Figure 3-5: Choose an option from the Style menu to change the type of strokes the Art History brush applies.

Apply the Displace filter (left) and add canvas texture with the Texturizer filter (right). After two minutes, you have something suitable for any dentist's office waiting room.

Figure 3-6: With the help of the History brush, you can transform a soft and grainy old photo (left) into a sharp and smooth vintage image (right).

Figure 3-7: After sharpening an image, you can create a snapshot.

Figure 3-8: A snapshot of the image documents the retouching performed to this point. Give your Snapshot a name so that you know what you're recording.

Figure 3-9: After making sharpened snapshot the source state for the History brush, paint around the important details in the image to sharpen them.

Figure 3-10: After switching the source state to the Median snapshot, the Fill command is used, set to History at 50 percent. Then the History brush, likewise set to lower Opacity values, paints away the grain.

Figure 3-11: To punch up the tone of the image, some small increases in brightness and contrast were made.

Figure 3-12: While we love the bat as is, it needs a little push. Hence, a "Bat out O Hell, the new file name.

Figure 3-13: Here the Add Noise, Motion Blur, Unsharp Mask, and Ripple filters were combined to dissolve the bat into a series of wavy motion trails.

Figure 3-14: With the Allow Non-Linear History check box on, I restored the Open state, set the second Motion Blur state as the source, and brushed in a unidirectional motion blur.

Figure 3-15: To introduce the Ripple state as motion trails, set it as the source and paint it in with the History brush set to the Overlay mode. To burn in the original edges, brush in the Open state using the Multiply mode.

Figure 3-16: To create fire, set the foreground and background colors to red and yellow, respectively, applying the Clouds filter, and then the Difference Clouds.

Figure 3-17: After reverting to the state prior to Clouds, I tagged the final Difference Clouds state as the source and brushed in the raging fire.

Chapter 4: Masks and Extractions

Figure 4-1: The outline of a feathered selection (left) and the physical mask itself (right).

Figure 4-2: In Quick Mask Mode, you see how the mask actually affects the image.

Figure 4-3: The marching ants -style selection (left) shows that the eyes and most of the head are selected. Clicking the Quick Mask Mode icon instructs Photoshop to express the selection temporarily as a rubylith overlay (right).

Figure 4-4: A soft-edged brush enlarges the selected area (left). In Quick Mask Mode, use the Brush and Smudge tools to accent a feature of your images, in this case, a wolf's face (right).

Figure 4-5: To clone a selection, marquee-drag around it, press Ctrl+Alt ( z -Option on the Mac) (left) and drag it into a new position relative to the original selection (right).

Figure 4-6: The Quick Mask Options dialog box lets you change the color and opacity of the protected or selected areas when you view it in the Quick Mask Mode.

Figure 4-7: In this section, a linear gradient is used in Quick Mask Mode to make the skeleton (left) rise from the stormy plain (right).

Figure 4-8: After drawing a linear gradation in the Quick Mask Mode over the bottom of the image (left), hide the image and apply the Add Noise filter with an Amount of 10 (right).

Figure 4-9: Select the upper portion of the skeleton using a gradient mask and then Ctrl-drag ( z -dragging on the Mac) and drop the selection onto the plain. More tweaking creates a rather Bergmanesque tableau.

Figure 4-10: This time around, you'll surround the foreground image with a gradual filtering effect.

Figure 4-11: Inside the Quick Mask Mode, drag from each of the four corners with the Gradient tool (green arrows) and apply the Add Noise filter (in this example, set to 10 percent) to create your special effect.

Figure 4-12: The Difference Clouds effect creates the green haze (left). I've added lightening bolts from another image to a new layer, and used the selection to remove its center (right). The new layer's opacity is 50 percent.

Figure 4-13: The Color Range dialog box enables you to generate a mask by dragging with the eyedropper tools and adjusting theFuzziness option.

Figure 4-14: The options in the Selection Preview pop-up menu change the way the Color Range command previews the selection in the image window.

Figure 4-15: The Save Selection dialog box enables you to convert your selection outline to a mask and save it to a new or existing channel.

Figure 4-16: The details and indistinct transitions in this head of hair are too much for Photoshop's selection and extraction tools. This is a job for manual masking.

Figure 4-17: Of the three color channels, the blue channel offers the best contrast between hair and background.

Figure 4-18: After cloning the blue channel (left), apply the High Pass filter with a Radius value of 16 to highlight the edges in the image (right).

Figure 4-19: The results of applying the Levels command to the mask after the High Pass step (left) and without High Pass (right). High Pass has a very positive effect on the edge detail.

Figure 4-20: By selecting the area outside the object and filling it with white, you can clearly distinguish between foreground and background. The example still shows a few messy edges, identified by the circle.

Figure 4-21: You can fix problem areas by hand using the Brush tool (left). You can then invert the entire mask so the area inside the object is white and the area outside is black (right).

Figure 4-22: Thanks to the wonders of masking, our girl has found a new life in a more sultry location.

Chapter 5: Working with Layers

Figure 5-1: Layer flexibility allows you to arrange elements one way one moment (top) and quite differently the next (bottom). You can modify a composition without sacrificing quality.

Figure 5-2: Dropping a portion of an image into a different image window creates a new layer. In the Layers palette, the moon becomes a new layer in front of the background landscape.

Figure 5-3: With many commands in common, the Layers palette menu and the Layer menu help you control the appearance and functioning of layers.

Figure 5-4: Press Alt (or Option on the Mac) when making a new layer to force the display of the New Layer dialog box, which lets you give the layer a name.

Figure 5-5: You can duplicate the layer into an entirely different image by Alt+dragging (or Option+dragging) the layer onto the new layer icon in the Layers palette.

Figure 5-6: The image window's contextual menu lists all of the layers in the image that contain pixel data at the spot where you clicked.

Figure 5-7: When you hide the background layer, you see a checkerboard pattern that represents the transparent portions of the layer.

Figure 5-8: Applying the Invert command to the skeleton ayer inverts only the skeleton without affecting any of the transparent pixels. The moon and the background landscape are unaffected.

Figure 5-9: After converting the background landscape to a layer, the path was selected, the selection inversed, and the transparent void below was revealed.

Figure 5-10: A new background sky was added behind the mountains , and then outer glows were added to both the mountains and the moon to create a more preternatural feel.

Figure 5-11: Drag a layer between two other layers to make the all-important black bar appear (left). Then release the mouse to change the layer's hierarchy (right).

Figure 5-12: Turn on Layer Edges to display a helpful box that surrounds the active layer.

Figure 5-13: The blend mode pop-up menu and the Opacity and Fill option boxes enable you to mix layers without making any permanent changes to the pixels.

Figure 5-14: Select the layers you want to link, and then click the Link Layers button, found at the lower left end of the Layers palette buttons .

Figure 5-15: Choose the Create a New Group command to create a new group (here named Group 1 because it's the first group created in this image).

Figure 5-16: A new group and its layers.

Figure 5-17: Select three layers (left images shows the "before" version of the Layers palette) and turn them into a Smart Object (right-hand version of the palette), complete with Smart Object icon in lower-right corner of the Smart Object thumbnail.

Figure 5-18: Take this good advice to make sure your edited Smart Object can return to the image from whence it came.

Figure 5-19: One Smart Object becomes a new image.

Figure 5-20: The Lock buttons at the top of the Layers palette let you protect certain layer attributes.

Figure 5-21: This blossom and its shadow reside on separate layers. But because they are linked together, they will transform as one.

Figure 5-22: Rotating an image.

Figure 5-23: A free-form skew.

Figure 5-24: Grab any grid intersection, corner, or bounding box handle, and pull, stretch, twist, and generally abuse the selected layer.

Figure 5-25: Use the Warp tool's Options bar to apply a preset Warp to the layer, and then drag the lone grid handle to resize the layer and change the scale of the layer's distortion.

Figure 5-26: Normally, the options in the Options bar change only when you select a different tool, but choosing Free Transform adds a series of controls that transform a selection or layer numerically .

Figure 5-27: When those hot Magenta lines flash you know you're lined up properly. Smart Guides are a big help when aligning both horizontally and vertically, with or without ruler-derived guides in use.

Figure 5-28: The Lock Transparency button enables you to paint inside the layer's transparency mask without harming the transparent pixels.

Figure 5-29: The layered moon as it appears on its own (top) and when the woman 's face has been CloneStamped in with the Lock Transparency button turned on (bottom).

Figure 5-30: The black areas of the gradient in the layer mask (visible in the thumbnail view in the Layers palette) translate to transparent pixels in the layer, making the moon appear to fade out along its bottom left-hand side.

Figure 5-31: Alt+click (Win) or Option+click (Mac) the horizontal line between two layers to group them.

Figure 5-32: After combining the pool water and type layers into a single clipping mask, Photoshop applies the type layer's transparency mask to the pool layer.

Figure 5-33: The Layer Comps palette enables you to leap through time without having to save up for that vintage DeLorean.

Chapter 6: Blend Modes and Knockouts

Figure 6-1: Six identical layers mixed in a variety of ways with the background image via a different blend mode option.

Figure 6-2: The blend mode menu, and Opacity and Fill sliders located on Photoshop's Layers palette

Figure 6-3: Skeletons at 100 percent Opacity (left) and faded by 50 percent (right). Control Fill opacity in the field directly beneath the Opacity field in the Layers palette.

Figure 6-4: The difference between Opacity and Fill. Opacity makes layer and effects translucent (left); Fill alters the layer, but not its layer effects (right).

Figure 6-5: As the Fill is reduced (from left to right), the Opacity remains the same, leaving less of the layer content, but all of the layer effects.

Figure 6-6: The default order of the images is the order pictured here the face (top), followed by the Blistered Paint pattern (one of the predefined patterns included with Photoshop), the gradient, and the tranquil background (bottom). However, sometimes the pattern and gradient layers will be slid around if it better suits the discussion.

Figure 6-7: The face layer subject to the Normal mode when combined with Opacity values of 100 percent (top) and 60 percent (bottom). The superimposed characters indicate the keyboard shortcut Shift+Alt+N (Shift+Option+N on the Mac) and 6 for 60 percent opacity.

Figure 6-8: Here the Dissolve mode is applied to a layer at 100 percent (top) and 60 percent (bottom) Opacity settings. Instead of creating translucent pixels, Dissolve turns pixels on and off to simulate transparency.

Figure 6-9: A backdrop composed of the background, pattern, and gradient layers followed by an application of the face in the Darken mode. Only those pixels in the face that are darker than the pixels in the patterned backdrop remain visible.

Figure 6-10: The Multiply blend mode produces the same effect as holding two overlapping transparencies up to the light.

Figure 6-11: After applying Screen to the pattern layer, the Color Burn (top) and Linear Burn (bottom) blend modes were applied to the face layer. Although the background is lighter, many portions of the face appear darker than they did after a single application of Multiply.

Figure 6-12: Here a dark background was prepared by assigning Multiply to the gradient layer. Then Lighten was applied to the face layer and its drop shadow changed to white.

Figure 6-13: The Screen mode produces the same effect as shining two projectors at the same screen. In this case, one projector contains the background layers, and the other contains the face.

Figure 6-14: After slightly darkening the gradient layer and fading the pattern layer, Color Dodge (top) and Linear Dodge (bottom) were applied to the face. Never subtle, both modes simultaneously bleach the image and draw out some of the dark outlines from the Blistered Paint pattern.

Figure 6-15: With the pattern layer in front, the Overlay mode was applied (top), its Opacity setting reduced to 50 percent (middle), and finally, the layer was set to Soft Light mode with an Opacity of 100 percent (bottom).

Figure 6-16: Here the face layer is set to Hard Light in front with the gradient set to Screen behind it.

Figure 6-17: The effect of setting the face to the Vivid Light (top) and Linear Light (bottom) modes. Because the effects are so hot, they were sandwiched between a Soft Light pattern layer and a Screen gradient layer, each with Opacity settings of 50 percent.

Figure 6-18: After returning the face to the Normal mode, the gradient layer was set to Pin Light. Then the face was cloned, the edges sharpened using the Unsharp Mask filter, and the Pin Light mode applied to keep just the lightest and darkest pixels.

Figure 6-19: Here, only the face layer is set to Hard Mix. Although it is by no means smooth or anti-aliased, Hard Mix isolates the eyes from the other details in the face (by completely obliterating those details).

Figure 6-20: When you apply the Difference mode (top), white pixels invert the pixels beneath them; black pixels leave the background untouched. The Exclusion mode (bottom) performs a similar effect, but instead of inverting medium colors, it changes them to gray.

Figure 6-21: Examples of the Hue (top), Saturation (middle), and Color (bottom) blend modes, each applied to the red-to-white gradient. The gradient is constant in hue and varies in saturation, which is why the top of the face appears so vivid in the Saturation and Color examples.

Figure 6-22: The results of applying the Luminosity mode to the red-to-white gradient layer.

Figure 6-23: After establishing two layers, moon and man, the moon was placed on top and Overlay was applied to get the third image. Then the order of the layers was switched and Overlay was applied to the man to get the last image.

Figure 6-24: The fixings for a blend mode sandwich include the original image layer (left) and a cloned version on an independent layer subject to the Charcoal filter (right).

Figure 6-25: Each of two blend modes applied to the filtered layer in front of the original image.

Figure 6-26: When you've got a hunger, only a full sandwich will do. Here several top slices of bread have been thrown on, each slathered with a different, delicious blend mode.

Figure 6-27: Using the Advanced Blending options, you can turn a layer into a floating hole, make specific color ranges invisible, and more.

Figure 6-28: The results of taking a layer subject to an interior effect and two exterior effects (top), reducing the Fill Opacity value to 60 percent (middle), and then selecting the Blend Interior Effects as Group check box (bottom).

Figure 6-29: The default image (top), and the effect of the Difference blend mode when applied to the yacht layer with Blend Interior Effects as Group turned off (middle) and on (bottom).

Figure 6-30: Beginning with the woman masked inside the circle (top), a layer mask was added to the circle layer using the gradient tool (middle). But instead of fading the effects, the mask shoved the Inner Glow so far upward it began to obscure the face (bottom).

Figure 6-31: After fading out the Inner Glow and Stroke effects by selecting the Layer Mask Hides Effects check box (top), Transparency Shapes Layer was turned off, which permitted the Pattern Overlay effect to fill most of the image (middle). Then a vector mask was added to the stamp layer, leaving the Vector Mask Hides Effects check box off, as by default (bottom).

Figure 6-32: Selecting Shallow or Deep from the Knockout menu determines how deep a hole you're going to punch through the layers of your image.

Figure 6-33: Using this collection of layers and layer groups, you can punch through to either the gradient layer or the black background layer depending on the knockout option you choose.

Figure 6-34: With the knockout option for the crow layer set to Shallow and its Fill Opacity set to 0 percent, the layer only punches through to the very next layer beneath the layer group the gradient layer.

Figure 6-35: The final product has the crow layer's knockout option set to Deep, and a gradient Stroke layer effect.

Figure 6-36: Use the This Layer sliders to drop pixels out of the active layer, and the Underlying Layer sliders to force pixels through from lower layers.

Figure 6-37: Examples of modifying the blend mode and This Layer settings inside the Layer Style dialog box. The final image shows the copy of the face set to Multiply layered in front of the copy set to Screen to get a high-contrast effect.

Figure 6-38: Here the Underlying Layer settings were changed to force through the darkest (top) and lightest (middle) pixels from the sculpted face and tranquil background layers. The third image shows the two effects combined.

Figure 6-39: By Alt-dragging (Win) or Option-dragging (Mac) a This Layer slider triangle, you can create gradual transitions between the opaque and transparent portions of a layer.

Figure 6-40: Combining the Linear Dodge and Multiply blend modes, you can use both the This Layer and Underlying Layer slider bars to drop out foreground colors and force through background colors.

Chapter 7: Shapes and Styles

Figure 7-1: Click the rectangle tool to display the shape tool's flyout menu, or press U and Shift+U to switch between tools.

Figure 7-2: Use the options in the Options bar to specify the kind of shape you want to draw.

Figure 7-3: A shape layer is actually a vector mask that masks a color, gradient, pattern, or other fill directly inside Photoshop.

Figure 7-4: The five compound path buttons control the interaction of compound paths. The last four are available only when editing or adding to an existing shape layer.

Figure 7-5: Gradients and patterns inside a shape layer are considered a dynamic fill, which means you can edit them simply by double-clicking the layer contents thumbnail and editing the options described in this section.

Figure 7-6: Add a layer mask to a shape layer to add pixel-based softening to the razor -sharp vector mask.

Figure 7-7: Applying the Gaussian Blur (left) and Crystallize filters to the layer mask mixes a soft pixellated effect with the hard edges provided by the vector mask (right).

Figure 7-8: Starting with an independent layer, click the Add Layer Style icon at the bottom of the Layers palette and choose an effect (top). Then adjust the settings inside the sprawling but highly capable Layer Style dialog box (bottom).

Figure 7-9: Drop shadows (left) make it look like the affected layer hovers above the layer behind it, and inner shadows (right) invert the illusion.

Figure 7-10: The two glow styles can make your layer glow with outer (left) or inner (right) beauty.

Figure 7-11: Even if you never venture beyond the Shadow and Glow styles, you can invent some intriguing combinations.

Figure 7-12: The examples above demonstrate four of the effects available when you choose Layer Layer Style Bevel and Emboss.

Figure 7-13: Available when using a Bevel and Emboss style, the Contour option enables you to sculpt around the boundary of a layer (left). Meanwhile, the Texture option applies a lighted surface texture to the shape (right).

Figure 7-14: First the Satin option was applied (left) and then a contoured inner bevel to produce a more dramatic effect (right).

Figure 7-15: You can combine the Gradient Overlay (top left) and Pattern Overlay (top right) options to create the graduated effect (bottom-left). You can then add in the Satin and Inner Bevel effects (bottom-right).

Figure 7-16: A blue Color Overlay effect as it appears when you add it to the final two examples from Figure 7-15. In each case, the blend mode is set to Overlay and the Opacity is 100 percent.

Figure 7-17: The Stroke effect is an editable alternative to the Edit Stroke command that you can use in combination with a stroke emboss (left) as well as other layer effects (right).

Figure 7-18: A modified snapshot of the Layer Style dialog box, featuring the Drop Shadow, Inner Glow, Bevel and Emboss, and Texture panels.

Figure 7-19: Starting with the last example in Figure 7-17, Photoshop added a white inner shadow (left) to create a soft glossy beveling effect and then surrounded the whole thing with a dark red outer glow (right).

Figure 7-20: The effect of raising the Spread percentage value from 0 (top left) to 100 (bottom right) on the now-familiar crown. Note that for purposes of contrast, the color of the Satin effect was changed to white.

Figure 7-21: Four Contour presets combined with an Outer Glow effect. Note that the final Contour (Ring Triple) is available only if you bring up the menu off the Contour pop-up palette and choose the Contours library. The settings used throughout include the Screen blend mode, 100-percent Opacity, 15-percent Spread, and Softer Technique.

Figure 7-22: Using the examples from the previous figure, the Technique option has been set to Precise, which makes the effect hug the shape's corners a little better.

Figure 7-23: The two settings for the Source option in the Inner Glow panel. The other settings used in both examples are as follows Blend Mode :   Screen, Opacity :   100 percent, Technique :   Precise, Choke :   15 percent, and Size :   40 pixels.

Figure 7-24: The Range setting at 30 percent (left) and 60 percent (right). The outer glow in both examples uses the Contour preset Ring Triple; the inner glow uses the Ring preset with the Source set to Center.

Figure 7-25: The return of the crown with an inner bevel Depth setting of 100 percent (left) and 1000 percent (right). In attendance are the Drop Shadow, Color Overlay, and Gradient Overlay effects.

Figure 7-26: Two Soften values compared with two different Technique settings in the Pillow Emboss effect. Note that higher Soften values (bottom two examples) smooth out the otherwise jagged Technique settings without altogether getting rid of the sculpted edges.

Figure 7-27: A couple of Gloss Contour presets with an Altitude setting of 5 degrees (top) and 30 degrees (bottom). Note that the higher setting brings out major differences between the two Gloss Contour presets.

Figure 7-28: The first and last examples from Figure 7-27 with a touch of the Soften option. These two figures use an inner bevel angle of 125 degrees, a depth of 50 percent, and a size of 40 pixels. The drop shadow is using Photoshop's default settings. There's a dark red outer glow, a bright red inner glow, and an orange color overlay.

Figure 7-29: The florin symbol indicates that one or more layer effects have been applied to the layer. Use the triangular effects toggle to hide and show the list of effects.

Figure 7-30: Here Photoshop applied the Overlay and Soft Light blend modes to the flame and crown layers, respectively, with the Blend Interior Effects as Group option turned off (upper left). Then the option was alternately turned on for the flame layer only (upper right), the crown layer only (lower left), and finally for both layers (lower right).

Figure 7-31: Click in the Styles palette (top) to display the New Style dialog box (bottom), which enables you to name the style and define exactly which attributes from the layer get saved.

Chapter 8: Corrective Filtering

Figure 8-1: A lion subjected to four corrective filters, including one each from the Sharpen, Blur, Noise, and Other submenus (clockwise from upper left).

Figure 8-2: The effects of applying four destructive filters, one each from the Distort, Pixelate, Stylize, and Render submenus (clockwise from upper left). Note that Lighting Effects is applicable to color images only.

Figure 8-3: The effects filters come from Gallery Effects, a little toy surprise that Adobe accidentally acquired when it purchased Aldus Corporation. Here we see the impact of one filter each from the Filter Artistic, Brush Strokes, Texture, and Sketch submenus (clockwise from upper left).

Figure 8-4: Press Ctrl+Shift+F ( z +Shift+F on the Mac) to mix the filtered image with the unfiltered original.

Figure 8-5: Despite the confusing name, the Unsharp Mask filter sharpens images according to your specifications in this dialog box.

Figure 8-6: The results of sharpening an image with the Unsharp Mask filter using eight different Amount values. The Radius and Threshold values used for all images were 2.0 and 0, respectively.

Figure 8-7: Repeatedly applying the Unsharp Mask filter at 50 percent (top row) is nearly equivalent on a pixel-by-pixel basis to applying the filter once at higher settings (bottom row).

Figure 8-8: Applying Unsharp Mask to a single channel or to a pair of channels creates predictable results, once you get the hang of it. For example, applying the filter to the red channel only makes the edges appear red where they're light, and makes dark turquoise (the inverse of red) wherever the image is dark.

Figure 8-9: The results of applying nine different Radius values, ranging from precise edges to imprecise.

Figure 8-10: The effects of combining different Amount and Radius settings. The Threshold value for each image was 0 levels, the default setting.

Figure 8-11: The results of applying nine different Threshold values. To best show off the differences between each image, the Amount and Radius values were set to 500 percent and 4.0 pixels, respectively.

Figure 8-12: The original photograph is a bit soft (left), a condition you can remedy with Unsharp Mask. Leaving the Threshold value set to 0 brings out the film grain(middle), but raising the value results in equally unattractive artifacts (right).

Figure 8-13: To sharpen edges, copy a channel, find the edges, and invert (left). Apply filters to expand and soften the edges (middle). Convert the mask to a selection outline, and reapply Unsharp Mask (right).

Figure 8-14: Enlarged views of the last examples from Figures 8-12 (left) and 8-13 (right). A good edge mask beats the Threshold value every time.

Figure 8-15: The High Pass filter applied to layers, with blend modes and subsequent filters applied, produces a variety of useful and interesting effects.

Figure 8-16: After applying Gaussian Blur (top left), use the Fade command to lower the Opacity to 65 percent (top right) and to apply the Darken mode with 100 percent Opacity (bottom left). Overlaying another application of Gaussian Blur with Opacity at 70 percent and Linear Dodge mode in force creates the final example.

Figure 8-17: Drag the line inside the circle to change the angle of the blur.

Figure 8-18: A single green rectangle followed by five different applications of the Motion Blur filter. Only the Distance value varied, as labeled. A 0-degree Angle value was used in all five examples.

Figure 8-19: Use the Wind filter to randomly distribute a selection in 1-pixel horizontal strips in one of two directions.

Figure 8-20: The difference between the effects of theMotion Blur filter (top) and theWind filter (other three). In each case, From the Right was selected from the Direction radio buttons.

Figure 8-21: Here you see what happens when you combine the Wind filter (top) with Motion Blur (second image), and the Lighten blend mode (third image).

Figure 8-22: Drag inside the Blur Center grid to change the point around which the Radial Blur filter spins or zooms the image.

Figure 8-23: Five examples of the Radial Blur filter set to both Spin and Zoom, subject to different Quality settings. The Amount values were 10 pixels for each.

Figure 8-24: The Lens Blur filter lets you apply realistic blurring effects to your always perfectly in-focus snapshots.

Figure 8-25: A set of spheres appears in a simple depth-of-field example, all to better help you understand Photoshop Lens Blur filter.

Figure 8-26: An alpha channel was created for use as a depth map (center). Then, the Lens Blur filter was applied, with the Invert check box selected, and the other pixels were blurred at a Radius value of 33 (right).

Figure 8-27: This delicate flower resides on an independent layer. To select it, Ctrl+click (or z +click) on its thumbnail in the Layers palette.

Figure 8-28: The Minimum filter decreases the size of the transparent area inside the Quick Mask Mode, thereby choking the selection outline.

Figure 8-29: Press Ctrl+T ( z +T on the Mac) to enter the Free Transform mode. Then Ctrl+drag ( z +drag) a corner handle to distort the shadow.

Figure 8-30: A pattern and a color-coordinated gradient combine to create a complementary background for this delicate flower.

Figure 8-31: The Add Noise dialog box asks you to specify the amount and variety of noise you want to add to the selection.

Figure 8-32: The Gaussian option (middle row) produces more pronounced effects than the Uniform option (top) at identical Amount values. Select the Monochromatic check box to apply the noise evenly in all channels (bottom).

Figure 8-33: You can limit the Add Noise filter to strictly lighter (left) or darker (right) noise by applying the filter to a layered clone. To create the rainy and scraped effects (bottom examples), applyMotion Blur and UnsharpMask to the noise layers.

Figure 8-34: The results of applying several different Add Noise-like filters, including Pointillize, Halftone Pattern, and Grain.

Figure 8-35: The effects of the Despeckle filter (upper left) and Median filter, the latter of which averages the colors of pixels in an image according to a Radius value.

Figure 8-36: After applying the Median filter, reverse the effect slightly using Edit Fade Median. Then vary the blend modes and Opacity values, as labeled beneath the images.

Figure 8-37: Captured with a 1-megapixel digital camera, this photograph suffers all the woes of many low-end and midrange digital photographs dark color, low contrast, random compression artifacts, and limited detail.

Figure 8-38: Brightness, contrast, and color are adjusted through the Levels dialog box.

Figure 8-39: Boosting the Saturation value in the Hue/Saturation dialog box by 60 percent made the photograph much more vivid. However, it also brought out JPEG compression artifacts that interrupt the natural edges and color transitions.

Figure 8-40: With the Radius values for the Median and Gaussian Blur filters set to 6 and 2 pixels, respectively, the compression artifacts are blurred away and all you have is smooth color.

Figure 8-41: The Opacity value of the filtered layer was lowered to 50 percent, evenly mixing the oversaturated filtered image with the undersaturated original.

Figure 8-42: After merging the layers, the Saturation of the image was increased by 25 percent and the Unsharp Mask filter applied with an Amount value of 100 percent and a Radius of 4 pixels.

Figure 8-43: Here the Average filter was used together with the Vivid Light blend mode and a little manual labor to smooth out color transitions and create some nice stylistic effects.

Chapter 9: Pixelate, Distort, and Render

Figure 9-1: The effect of applying the Clouds filter with blue and white as the foreground and background colors (left), followed by Difference Clouds (middle), and Difference Clouds repeated a 20 times (right).

Figure 9-2: Starting with this crisp mountain pool, the next figure gives you an idea of what's possible with the Lens Flare filter.

Figure 9-3: Here you see the four Lens Type settings available in the Lens Flare dialog box.

Figure 9-4: The Diffuse effect set to Anisotropic (left) and with UnSharp Mask heavily applied (middle). To make the effect more pronounced, apply Diffuse several times, and then add Unsharp Mask (right).

Starting with the original image (top), the foreground and background colors were set to medium green and light turquoise, respectively, and then the Halftone Pattern was applied(second). Next, the Fade command was used to select the Overlay blend mode (third) and then Luminosity was applied (bottom).

Figure 9-5: Two examples of the fun Extrude filter. Reminds you of one of those toys with hundreds of thin metal rods that you press your face into to create an impression , doesn't it? What the heck are those things called, anyway?

Figure 9-6: The Texturizer filter has four built-in patterns including the first three shown here and you can also load your own. The last example shows the Water.psd pattern.

Figure 9-7: The Filter Gallery makes it faster than ever to compromise the quality of your artwork through cheap and rampant overuse of the age-old Gallery Effects filters.

Figure 9-8: Create a heavily feathered selection outline (left) and then apply the Crystallize filter, invert the mask, and paste the original selection (right).

Figure 9-9: These images illustrate the effects of applying each of four filters to a heavily feathered selection in the Quick Mask Mode and then filling the resulting selection outlines with white.

Figure 9-10: The results of applying the Mezzotint filter set to each of four representative effects. In each case, the filter changes all pixels in each channel to black or white.

Figure 9-11: The left-hand column shows the results of applying Mezzotint with theType option set to LongStrokes in each of the three main color modes, RGB, Lab, and CMYK. To temper the effect (right column), chooseEdit Fade Mezzotint after applying each filter, changing the Mode setting to Overlay, and the Opacity value to 40 percent.

Figure 9-12: The Emboss dialog box lets you control the height of the filtered image and the angle from which it is lit.

Figure 9-13: Reliefs lit with four different Height settings and from four different angles, in increments that are multiples of 45 degrees. Imagine a light source in the center of the grouping of four images.

Figure 9-14: After applying the Emboss filter, the Fade command was used to experiment with blend modes and Opacity levels.

Figure 9-15: Before applying Emboss (second example), the Earth was floated to an independent layer.Experimentation with blend mode andOpacity give the interesting results in the third, fourth, and fifth examples. Of the three, Luminosity chokes out the black sky and white clouds with gray.The Underlying Layer settings were modified in the Layer Style dialog box, permitting the blacks and whites to show through (last example).

Figure 9-16: The top row of images demonstrates the effect of the three edge- tracing commands available from the Filter Stylize submenu. After applying each command, the Fade command was used to apply the blend modes and Opacity values demonstrated in the bottom row.

Figure 9-17: After applying Gaussian Blur and Find Edges to a layered version of the image (top left), you can composite the filtered image with the original using the Overlay mode (bottom left). The second and third columns show similar effects using the Bas Relief and Chrome effects filters.

Figure 9-18: This is your image (left); this is your image on distortion filters (right) six of them, in fact. Liquify was also used for the effects at the bottom of the image. And, if you don't think Tom Bombadill was on something, read that chapter in The Fellowship of the Ring one more time.

Figure 9-19: A kind and decent subject endures more humiliatingabuse thanks to thePinch and Spherize filters. Notice how negative values makePinch spherize, andSpherize pinch .

Figure 9-20: Spherize also lets you wrap your image around a vertical (top left) or horizontal(bottom left) cylinder. Or try your hand at wrapping the image around the inside of the cylinder (right examples).

Figure 9-21: The image was pinched 10 times and the Radial Blur filter applied with its default settings to create a conical gradation.

Figure 9-22: You can adjust the direction of the Twirl filter to suit whichever side of the equator you happen to be on.

Figure 9-23: The poor Pinch-headed subject (upper left) gets subjected to the tortures of the Twirl filter (upper right). Repeatedly applying the Twirl filter at a moderate value(bottom left) allows you to have more control over the level of Twirl achieved than applying the filter once at a high value (bottom right).

Figure 9-24: You can create surprisingly naturalistic effects using distortion filters exclusively.

Figure 9-25: Although they appear as if they might be the result of the ZigZag filter, these images were created entirely by using the Gradient tool, the Twirl filter, and a couple of transformations.

Figure 9-26: Starting with the preset Blue, Red, Yellow gradient, choose theTwirl filter (top left). Next, make extensive use of floating copies of layers with the Difference blend mode (next three examples), and finish with a littleSpherize, ZigZag, Lens Flare, andUnsharp Mask to mutate the concentric rings into vividly colored puddles(bottom).

Figure 9-27: Mr. Pinch does his duty as a proud American, resulting in a kaleidoscopic sample image.

Figure 9-28: The results of applying the ZigZag filter using Amount values of 30 percent (top row) and 100 percent (bottom row) and each of the three Style settings. In all cases, the Ridges value was 5.

Figure 9-29: The effects of the ZigZag filter using two Ridges values and each of the three Style pop-up menu settings. In all cases, the Amount value was 50.

Figure 9-30: The effects of three different Ripple filter Amount values. Notice that the transitions turn jagged between 300 and 999 percent, so high values are generally discouraged.

Figure 9-31: The effects the Ripple filter set to each of the three Size settings. Medium generally produces the most even effects.

Figure 9-32: Raising the Ripple Size value spreads out the effect; raising the Ripple Magnitude adds more depth and contrast to the ripples.

Figure 9-33: For maximum privacy while showering, choose a Glass door with high Distortion and low Smoothness settings (upper right).

Figure 9-34: The Wave dialog box lets you wreak scientific havoc on an image. Put on your pocket protector, take out your slide rule, and give it a whirl.

Figure 9-35: With all other parameters set according to the specifications at the bottom of the figure, increasing Wavelength creates a larger horizontal distance between the peaks of waves. Increasing Amplitude creates a higher wave peak.

Figure 9-36: The effects of the unsmooth Triangle and Square types, using relatively high Wavelength and low Amplitude values (top two examples) versus relatively low Wavelength and high Amplitude values (bottom two examples).

Figure 9-37: Click inside the grid line in the upper-left corner of theShear dialog box to add points to the line. Drag these points to distort the image along the curve.

Figure 9-38: If you don't like the effect achieved with a normal application of Shear (left), you can vertically distort the image with the Shear filter (right).

Figure 9-39: In effect, the Polar Coordinates dialog box enables you to map an image onto a globe and view the globe from above.

Figure 9-40: A pair of circular images (left) converted from polar to rectangular coordinates (right).The final example shows the result of applying the Polar toRectangular option to the twirl- drops image from Figure 9-26.

Figure 9-41: Using only the Liquify command, the perfectly normal-looking young woman on the left is transformed into a refugee from some anime cult classic on the right.

Figure 9-42: Choose Filter Liquify to shove pixels around in your image by dragging them with a brush.

Figure 9-43: Making big strokes with the Forward Warp tool produces bizarre results (left); short, careful drags give you more control (right). But you have to be patient. It took six strokes to make the big changes on the left and about 30 to make the subtle changes on the right.

Figure 9-44: The Twirl Clockwise tool creates a fabulous new hairstyle. You can rough in basic curls (left), and fill in the effect between the curls (right).

Figure 9-45: Armed with the Pucker tool and a lot of clicking and dragging, you can shave unsightly inches off the nose and lips. To add insult to injury , you can make the subject's eyes bug out.

Figure 9-46: Drag down on the left side of the face and up on the right to slim the face with the Push Left tool. The first image used a Brush Pressure value of 50, which produces extreme results. For the second image, the edits repeat, using a Pressure value of 20.

Figure 9-47: Using the mirror tool, drag down on the left side of the woman and up on her right side. Pixels are reflected in a clockwise direction.

Figure 9-48: Four variations created using the Turbulence tool, twice holding the mouse in place (top row) and twice dragging with the tool on the left and right sides of the face (bottom row). Throughout, the Size and Pressure were set to 400 and 100, respectively.

Figure 9-49: The Lighting Effects dialog box lets you light an image as if it were hanging in a gallery, lying on a floor, or perhaps resting too near a hot flame.

Figure 9-50: A none-too- inspiring image awaiting some flash lighting effects that incorporate juicy texture channels.

Figure 9-51: After selecting the faceplate and hopping to a new alpha channel, you can create a new texture map by applying theGaussian Blur filter to the white fill inside the selection.

Figure 9-52: The faceplate now has nicely lit beveled edges, better than those you'd get using the Bevel andEmboss layer styles. And just for good measure, sometimes, an image's best texture map is itself.The same Lighting Effects filter was run on the background, using theBlue channel as a texture map.

Chapter 10: Custom Effects

Figure 10-1: The Custom dialog box lets you design your own convolution kernel by multiplying the brightness values of pixels.

Figure 10-2: The Custom filter multiplies each matrix value by the brightness value of the corresponding pixel, adds the products together, divides the sum by the Scale value, adds the Offset value, and applies the result to the pixel being evaluated.

Figure 10-3: Raising the Scale value to reflect the sum of the values in the matrix maintains the color balance of the image.

Figure 10-4: Raising the sum of the matrix values without counterbalancing it in the Scale option lightens the image.

Figure 10-5: Raising the CMV to compensate for the lowered values in the matrix maintains the color balance of the image.

Figure 10-6: Symmetrical values can result in sharpening (left), blurring (middle), and edge detection (right) effects.

Figure 10-7: To create severe sharpening effects, enter a CMV just large enough to compensate for the negative values in the matrix (first and second examples). To heighten the sharpening effect even further, shift the negative values closer to the perimeter of the matrix (last example).

Figure 10-8: To sharpen more subtly, increase the central matrix value and then enter the sum into the Scale value.

Figure 10-9: When you soften the effect of radical sharpening, you create a thicker, higher-contrast effect, much as when raising the Radius value in the Unsharp Mask dialog box.

Figure 10-10: To create severe blurring effects, enter 1 for the CMV and fill the neighboring options with 1s and 2s (first two images). To blur more subtly, increase the central matrix value and the Scale value by equal amounts (last image).

Figure 10-11: To create severe edge detection effects, enter a negative CMV just small enough to compensate for the positive values in the matrix first two examples). To blur the edges, increase the central matrix value and then enter the sum into the Scale value (final example).

Figure 10-12: Three examples of a sharpening kernel with a sum total of 0. The only difference is that the second and third examples were lightened incrementally by entering positive values into the Offset option box.

Figure 10-13: Three examples of sharpening effects with sum totals of 2. You can darken images incrementally by entering negative values into the Offset option box.

Figure 10-14: Three examples of edge detection effects with sum totals of 2, darkened incrementally with progressively lower Offset values.

Figure 10-15: You can create high-contrast effects by exaggerating all values in the matrix and then compensating with a very high or very low Offset value (top row). When you back off the effect using Edit Fade (bottom row), these dramatic effects become interesting indeed.

Figure 10-16: Enter positive matrix values in a horizontal formation (left) or vertical formation (middle) to create slight motion blurs. By positioning positive values in opposite corners of the matrix, you create a subtle vibration effect (right) as the content is blurred in two directions, as though it's being shaken in place.

Figure 10-17: You can create embossing effects by distributing positive and negative values on opposite sides of the central matrix value.

Figure 10-18: Change the location of positive and negative matrix values to change the general direction of the light source.

Figure 10-19: You can create whole libraries of embossing effects by experimenting with different combinations of positive and negative values. To emboss more subtly, increase the central matrix value and the Scale values by equal amounts.

Figure 10-20: The Displace filter moves colors in an image (left) according to the brightness values in a separate image, called the displacement map (middle). The green arrows indicate the direction that the dmap moves colors in the displaced image (right).

Figure 10-21: After blurring the displacement map from the previous figure (left, with arrows added to show direction), this single-channel dmap was applied to the image at 20 percent (middle) and 40 percent (right).

Figure 10-22: The red (left) and green (middle) channels of a full-color displacement map (right). In a dmap, red shifts colors horizontally and green shifts them vertically.

Figure 10-23: The horizontal (left) and vertical (middle) results of applying the RGB dmap from the previous figure. The final image shows horizontal and vertical displacements combined. In all cases, the Scale values are 40 percent.

Figure 10-24: For a smoother displacement, select the entire image and stroke it with gray (left). Then blur the stroke and dmap generously(middle). The result of this dmap exhibits virtually no stretch marks (right).

Figure 10-25: Use these options to specify the degree of distortion, how the filter matches the displacement map to the image, and how it colors the pixels around the perimeter of the selection.

Figure 10-26: The results of applying the displacement map from Figure 10-21 to the letter T exclusively horizontally (top row) and vertically (bottom row) at each of several different percentage values. As illustrated by the right-hand examples, values over 100 percent can produce some surprising liquid image effects.

Figure 10-27: Using a sequence of tiny dmaps , each measuring only a sixth the size of the letter (top row), dmap was alternately stretched to fit the image (middle row) and the dmap repeated using the Tile setting (bottom row).

Figure 10-28: After creating a straightforward, single-channel gradient dmap (left), the Displace filter was applied using two different Undefined Areas settings, Repeat Edge Pixels (middle) and Wrap Around (right).

Figure 10-29: Four random files from the Displacement maps folder (typically a subfolder of the Plug-ins folder). Note that the red(left column) and green(middle column) channels often differ , thus conveying unique horizontal and vertical displacement information. The final column shows the full-color dmap, with the blue channel set to 50 percent gray.

Figure 10-30: The stock photo from the Corbis image library (left) displaced horizontally (middle) or vertically (right) using the dmaps featured in the previous figure.

Figure 10-31: More applications of Photoshop's predefined dmaps, this time using independentHorizontal and Vertical Scale values.

Figure 10-32: Examples of an image displaced with thePentagons dmap. By setting the Scale values to 10 percent apiece, you assign each pentagon its own solid color (top left). Other values result in glass-refraction effects.

Figure 10-33: You create the gooey texture dmap (left) by applying the Add Noise, Crystallize, and Gaussian Blur filters to a new image, independently in the red and green color channels. You can then use the Displace filter to apply the texture as a displacement map at 5 percent (middle) and 18 and 32 percent (right).

Figure 10-34: This dmap (left) was created by applying the Clouds filter in the red channel and then the green. Then, the dmap was applied to the image exclusively horizontally (middle) and finally using very high Scale values (right).

Figure 10-35: After blurring the dmap from the previous figure (left), it was used to displace the sculpted face. Even after applying a Horizontal Scale value of 400 percent (right), you can identify at least two faces in the distorted mix.

Figure 10-36: A displacement map can be as wild as you want it to be. Here a colorful dmap is crafted using the Color Halftone and ZigZag filters (left) in which red and green channels are unique. Then the dmap was applied to the image using small Scale values (middle and right).

Figure 10-37: The central portion of the dmap was filled with gray to protect the face(top). This way, when theDisplace filter was applied, the area around the face could be rippled without harming the features (bottom). Finally, theCustom filter was used to emboss the image using the settings shown (inset).

Figure 10-38: Everyone looks spiffy. But they've got to get closer together. This is a job for a dmap.

Figure 10-39: A neutral gray dmap with a swatch of white toward the right (top) serves to shift the boy to the left without disturbing any other elements in the photo. Unfortunately, the transition between displaced pixels and those around them is brusque, to say the least.

Figure 10-40: To soften the transitions, apply the Gaussian Blur command to the gray-and-white dmap file (top). When the Displace filter is reapplied using the same setting as before, a much more believable effect is achieved (bottom).

Figure 10-41: To complete the custom transformation, crop away the stretched pixels that appear along the right-hand side of the image. You'd never know anything was done to the image at all.

Chapter 11: Correcting Hue and Saturation

Figure 11-1: Nobody's perfect, and neither is the best of photos (left). You can modify colors in an image to achieve special effects (middle) or simply fix the image with a couple of well- targeted corrections (right).

Figure 11-2: A typical color adjustment dialog box, with a few timesaving tricks labeled. For the most part, these techniques work the same as they do when applying corrective filters.

Figure 11-3: In addition to applying a static adjustment from the Image Adjustments submenu (left), Photoshop enables you to apply a dynamic adjustment layer from the Layers palette (right).

Figure 11-4: The Variations dialog box thumbnails shift colors in a certain direction. The slider bar in the upper right corner changes the thumbnail's sensitivity. The radio buttons control which colors in the image are affected.

Figure 11-5: The results of applying each of the color thumbnails to the photo of our distant cousin.

Figure 11-6: Photoshop and other graphics applications map the visible color spectrum onto a continuous circle. Red, green, and blue are the primary colors of light. Cyan, magenta, and yellow are their complementary opposites, representing the primary printed pigments.

Figure 11-7: This original Union Jack has a distinct yellow color cast (top left). You remedy this using yellow's opposite, the More Blue thumbnail, at each of three intensity settings. In this case, medium intensity (bottom left) works best.

Figure 11-8: The effects of clicking the More Blue thumbnail when each of the first three range options is in effect, as well as all three together (bottom right). In all cases, the intensity slider triangle is one tick over from Coarse.

Figure 11-9: Clicking the Less Saturation thumbnail not only leeches away color but also increases brightness (left). More Saturation increases saturation by darkening colors (right).

Figure 11-10: A vintage photograph first colorized with yellow (left) and amber (middle) and then imbued with deep blue shadows (right). The result is a quick and easy duotone.

Figure 11-11: The Match Color command enables you to bring the color cast of one image into another.

Figure 11-12: Pick a destination image (left) and a source (middle), and Match Color can make everything copacetic (right).

Figure 11-13: The Hue/Saturation dialog box as it appears when editing all colors in the active layer(left) and when editing a select range of colors (right).

Figure 11-14: The Hue/Saturation command observes the same color circle as Variations. But instead of adding colors and subtracting complements,Hue/Saturation revolves hues around the circle according to a prescribed angle, either positive or negative.

Figure 11-15: Shoot one item and make it any color you like. You can make a red towel any other primary color by entering Hue values in multiples of 60 degrees. The Hue option accepts values only as high as +180 degrees; to achieve greater shifts (bottom row) enter negative values.

Figure 11-16: Just because an item starts off as a primary color doesn't mean it has to stay that way. By entering Hue values in every other multiple of 30 degrees (according to the labels), we're able to dye this towel in secondary colors.

Figure 11-17: The Hue value changes colors in an image relative to its original colors. So an orange object, subject to 60-degree Hue adjustments, progresses from one secondary color to another.

Figure 11-18: Assuming that the Edit pop-up menu is set to Master (as by default), the Hue option shifts all colors in an image to equal degrees. Saturation and luminosity levels remain constant.

Figure 11-19: You can add drama to an otherwise drab image (top) by increasing the Saturation. Here saturation was increased to 50% (middle) and the Variations command was used (bottom).

Figure 11-20: Some Hue shifts result in drab colors (top middle) that necessitate an increase in the Saturation value (top right). Others produce colors so hot they violate the printable CMYK gamut (bottom middle). Often, the solution is as simple as reducing the Saturation (bottom right).

Figure 11-21: When you move the eyedropper outside a color adjustment dialog box and into the image window, the Info palette lists the color values of the pixel beneath the cursor before (left) and after (right) the adjustment. You can also Shift-click to deposit as many as four fixed targets that the Info palette will track as you work.

Figure 11-22: A scrumptious pizza relegated to an independent layer and assigned a drop shadow (left), next composited against a sturdy tile background (right).

Figure 11-23: "Look what I found under the couch Marge!" By default, the Hue/Saturation command changes all colors in a selection or layer at a time, making it very easy to apply different hue and saturation settings to the tile background (left) and pizza (right). Isolating colors inside a layer, however, is another matter.

Figure 11-24: To edit some colors in a layer independently of others, select a general range from the Edit pop-up menu. Then use the color range controls at the bottom of the dialog box to modify the range or the fuzziness .

Figure 11-25: The six predefined color ranges offered by the Edit pop-up menu. Each range extends from a primary color 15 degrees in both directions. To ensure smooth transitions, the range then tapers off over the course of another 30 degrees in both directions.

Figure 11-26: After selecting Reds from the Edit pop-up menu, the Hue value was changed to +40 degrees and the Saturation value to 30 percent (right). If you're wondering why the sauce on the crust didn't shift too, it's because the crust was masked out. After all, who doesn't want sauce on their pizza?

Figure 11-27: Starting with the original image (upper left), the first attempt to shift the Cyans shifts the sea and sky as well (upper right). With only the trunks selected, you're free to edit them independently (bottom left), and the sea and sky too, if you like (bottom right).

Figure 11-28: Starting with the original image (left), an attempt to change the color of the swimsuit and hat using the Hue/Saturation command's range controls just didn't work (right).

Figure 11-29: Turning on the Colorize check box gives you a sense of the specific Hue and Saturation values you'll eventually want to use(left). Then, undo that change, select the area you want to modify, and reapply Hue/Saturation with your last colorization settings (right).

Figure 11-30: By entering the same Hue and Saturation values into the H and S option boxes of the Color Picker, you can paint in the same Colorize effects by then setting your brush mode to Color.

Figure 11-31: Many still cameras are hypersensitive to red light (left). This particular image is so heavy into the reds and yellows that neither Hue/Saturation (middle) nor Variations (right) does a satisfactory job of fixing it.

Figure 11-32: Thanks to the preponderance of red lighting, the red channel is severely overblown (left). Meanwhile, the green channel looks great (middle), and the blue channel is dark and noisy (right).

Figure 11-33: The Channel Mixer dialog box allows you to swap brightness values between your channels.

Figure 11-34: The results of changing the Red value to 50 percent Red, 60 percent Green (left) and the Blue channel to 30 percent Green, 85 percent Blue (middle). After exiting the Channel Mixer dialog box, further corrections were applied using the Variations and Hue/Saturation commands (right).

Figure 11-35: Thanks to the Channel Mixer, a photographer's valiant effort at artistry has been dashed against the rocks of realism .

Figure 11-36: Zoomed in on a bad case of red eye

Figure 11-37: The original red-eyed pupils (top), followed by their appearance in each of the color channels.Granted, there's something of a problem in the red channel, but the green and blue channels are just fine.

Figure 11-38: After selecting the pupils with the Elliptical Marquee tool and feathering the selection outlines, choose theChannel Mixer command and replace the red channel with an even mix of green and blue.

Figure 11-39: The Red-eye tool and Channel Mixer seem to have equal success. The results of theColor Replacement tool aren't quite as dark, but it did a decent enough job.

Figure 11-40: These unsuspecting mailboxes (top) are perfect candidates for the Color Replacement tool. With a good bit of fiddling around with the tool's options, a fairly convincing paint job can be achieved (right).

Figure 11-41: Virtually every figure in this chapter and elsewhere throughout this book includes at least one adjustment layer.

Figure 11-42: Starting with a washed-out image (top), create a Channel Mixer adjustment layer, click OK without changing any of the values, and set the blend mode to Multiply. The result is darker, richer colors (bottom) with no increase in file size.

Figure 11-43: Photos taken outdoors often have a bluish tinge (left). Such color casts are just another burden fought and defeated with Photoshop's powerful color correction tools; a Photo Filter adjustment layer is able to nicely compensate by warming up the color temperature (right).

Chapter 12: Levels, Curves, and Shadows

Figure 12-1: This is the Average User. He is attracted to the simplicity of Brightness/Contrast. He is confused by the raw power of Levels. He should not be allowed to use Photoshop.

Figure 12-2: A less-than -ideal scan of Maxfield Parrish's Interlude (left) followed by that same image corrected with the Auto Levels and Hue/Saturation commands (right).

Figure 12-3: The Auto Levels command finds the lightest and darkest colors in each of the red, green, and blue channels (top row) and forces them to white and black (bottom row). The middle images show the effect of Auto Levels on the RGB composite.

Figure 12-4: Uncorrected CMYK channels (top row), show Auto Levels corrects the cyan, magenta, and yellow channels, ignoring black (bottom row). The result is light shadows (right). The CMYK channels, here, do not accurately stand for inked plates or pages; and are rather color overlays that indicate which channel is which.

Figure 12-5: The original appears on the left. The Auto Levels command takes away the green (middle) and Auto Contrast maintains the colors from the scan (right).

Figure 12-6: RGB (left) and CMYK (right) versions of the image after applications of the Auto Contrast command. Whereas Auto Contrast worked with the image used in Figure 12-5, it fails here.

Figure 12-7: The effects of Auto Levels (top) and Auto Color (middle) on the individual channels in an RGB image. Auto Color turned the red and green channels slightly darker than Auto Levels, but the blue channel is slightly lighter, establishing a cooler color balance in the RGB composite(right).

Figure 12-8: Looking a lot like a bar graph, the histogram describes exactly 256 brightness levels in a single channel or throughout the composite image, beginning at black and ending at white. This image has a pronounced spike in dark colors.

Figure 12-9: A series of four gradients with their brightness values graphed inside histograms. A black-to-white gradient (top) has a disproportionate number of darks and lights, and colors to taper away naturally. Adding black (second), white (third), or gray (last) shifts the distribution of colors to dark, light, or medium shades.

Figure 12-10: The Histogram fully expanded, displaying all channels

Figure 12-11: Levels drastically washed out both an 8-bit/channel and 16-bit/channel copy of an image.The 8-bit/channel copy shows extreme banding (top), but the 16-bit/channel copy is relatively undisturbed(bottom). The 8-bit histogramshows huge gaps between levels, while the 16-bit looks smoother.

Figure 12-12: Use the Levels dialog box to map existing brightness values in the selection or layer (whichLevels calls the Input Levels) to new brightness values (the Output Levels).

Figure 12-13: Orange and dull (left), the subjects are released from their dreary surroundings (right), thanks to some well-targeted brightness and contrast corrections in the Levels dialog box.

Figure 12-14: Raising the first Input Levels value to 50 (left), separately lowering the third value to 200 (middle), and combining the two changes (right). The histogram's blue portions show the dark colors that have turned black in the preview above; the red areas indicate the colors that have turned white.

Figure 12-15: The results of Alt+dragging (or Option+dragging) the black (left) and white (middle) slider triangles . The black and white overlays (right) highlight the image's large areas, which turn black or white in at least one color channel.

Figure 12-16: The middle Input Levels number and the gray slider correspond to the so-called gamma value.Identified here by its Greek symbol, the gamma value lets you adjust midtones independently of shadows and highlights.

Figure 12-17: Photoshop maps brightness values in an image along a straight line, from black to white (left). The line is called a "curve" because it can bend, and the gamma value is what does the bending. Here, the gamma value tugs the curve upward (right), thereby lightening all colors except black and white.

Figure 12-18: Raising (left and middle) and lowering (right) the gamma value to lighten and darken the midtones in an image. Dark and light colors are also affected according to their proximity to black and white. Only black and white remain entirely unchanged.

Figure 12-19: The Input Levels values generally increase the contrast of an image, while the Output Levels values always decrease the contrast. Here you see the results of experimenting with raising the first Output Levels value to 100 (left), lowering the second value to 175 (middle), and combining the two settings (right).

Figure 12-20: Starting with the photograph shown at top, the settings for the Red(second), Green (third), and Blue (fourth) channels were modified, according to the feedback provided by the histogram and the image preview. Finally, after returning to the RGB composite view, the gamma value was increased to 1.11, thus lightening the midtones (bottom).

Figure 12-21: Click the Options button to take the "auto" out of Photoshop's automatic color correction functions. These options let you apply the default Auto command (usually Auto Levels), modify the behavior of the Auto button, and adjust the target colors for shadows, midtones, and highlights.

A color-flawed digital photograph (left), the inside of one of the gray swatches was clicked in the accompanying Macbeth chart with the gray eyedropper (middle). Then the black and white eyedroppers were used to sample blacks and whites. The Input Levels were adjusted by hand to compensate for the extreme clipping (right).

Figure 12-22: Click the Shadows, Midtones, or Highlights swatches to modify the target colors.

Figure 12-23: The results of applying the Enhance Per Channel Contrast (Auto Levels) setting with the Clip values for both Shadows and Highlights set to their low (left), medium (middle), and maximum (right) values.

Figure 12-24: The Curves dialog box adjusts the luminosity of one or more color channels by adding and adjusting points along the brightness curve. By default, when editing anRGB image, black is in the lower-left corner of the graph and white is in the upper-right corner.

Figure 12-25: Diagrams of the Curves dialog box's brightness graph when editing an RGB image (left) versus a CMYK or grayscale image (right). By default, Photoshop assumes that you want to edit brightness values in RGB and ink densities in CMYK, so one graph is an inverse of the other.

Figure 12-26: Click the brightness bar to change the way in which the graph measures color either in terms of brightness values (left) or ink densities (right).

Figure 12-27: Use the Pencil tool to draw free-form lines in the brightness graph. If the lines appear too rough, you can soften them by clicking the Smooth button.

Figure 12-28: Because the eyedropper tools add points to the independent color channels and not to the composite view, you may want to select a channel before doing anything else (left). Then click with one of the eyedropper tools to map the color of the clicked pixel in the graph (middle) and edit the location of the point in the graph by dragging it (right).

Figure 12-29: Choose the Gradient Map command to apply a preset gradient as a Curves map. Here, you see the result of applying one of the most successful presets for this purpose, Copper, with the Reverse check box turned on.

Figure 12-30: A couple of gradient maps are applied to an image (top row). The Chrome map produced jagged edges, which inspired the application of the Gaussian Blur and a couple other Gradient Map variations (middle row). Then,the images are mixed with their underlying originals using theColor blend mode (bottom row).

Figure 12-31: Click with the Point tool along the brightness curve to add a single point to the curve (left). Then drag the point upward (middle) to lighten the image evenly; drag the point downward (right) to darken the image.

Figure 12-32: Create two points in the curve to adjust shadows and highlights independently, ideal for manipulating contrast. Here, the contrast was increased mildly (left), decreased a bit (middle), and sent soaring into the highlights (right).

Figure 12-33: After drawing an arbitrary brightness curve with the Point tool (left), the Pencil tool creates the modern-day successor to the ancient Arbitrary Map command (middle). Then the curve was redrawn freehand to create a wildly, perhaps ridiculously surrealistic effect (right).

Figure 12-34: After drawing a series of random lines with the Pencil tool (left), the Smooth button was clicked once to connect the lines into a frenetic curve(middle) and then it was clicked twice more to even out the curve, thus preserving more of the original image (right).

Figure 12-35: A variety of synthetic effects (top row) subject to the smoothed pencil graph featured in the second example (bottom row). Radical arbitrary maps are well suited to drawing a wealth of colors from blurry or indistinct details.

Figure 12-36: The results of layering the second row of effects in Figure 12-35 in front of the original green letter r and applying the Overlay blend mode. The bright, gooey colors from the effects appear to distort the colors inside the letter while leaving the character outline intact.

Figure 12-37: The Curves command lets you correct an image with precise or even mischievous control. The first three images show the corrected image, and a couple of glimpses of how it was achieved by lightening the contents of the Green channel(second) and increasing the contrast of the Blue (third). Finally, an arbitrary map was applied to the Red channel.

Figure 12-38: The Shadow/Highlight dialog box lets you correct exposure problems in specific areas of an image without harming other areas.

Figure 12-39: The Shadow/Highlight command does an expert job of recovering the details (see middle and right images) originally lost to the shadows (left image).

Chapter 13: File Management and Automation

Figure 13-1: Click this button to access the Bridge.

Figure 13-2: The Bridge workspace is kind of like the old File Browser on steroids.

Figure 13-3: After you select a folder, its contents appear on the right in whatever view you choose from the View menu or with the View options buttons in the lower-right corner of the workspace.

Figure 13-4: In Details view, you trade a thumbnail for the file's statistics and if the Metadata panel is showing, you see the same information.

Figure 13-5: Want to have your images shown to you, one at a time?You can start aSlide show.

Figure 13-6: Filmstrip view gives you an enlarged preview along with a series of thumbnails.

Figure 13-7: Tired of cocking your head to the right to view an image thumbnail? Rotate the display and give your neck a break.

Figure 13-8: Here, the selected image already has a 2-star rating and a yellow label. The rating is about to be increased from the Label menu.

Figure 13-9: The Metadata panel's menu offers options for the panel's display and for using data to locate files.

Figure 13-10: Use the Find dialog box to locate a file based on any of the stored information about the file.

Figure 13-11: Click General, Metadata, Labels, or any of the other Bridge areas listed on the left to display options in the main dialog box.

Figure 13-12: The Keywords panel enables you to associate your images with words that will help you find the images later.

Figure 13-13: Entering a new keyword into the +Untitled Key text box.

Figure 13-14: Use the Batch Rename command to rename multiple files in a single operation. You can select naming options from a pop-up menu, or enter your own name.

Figure 13-15: You can document your image in encyclopedic detail using the wealth of options in the File Info dialog box, opened from the new Bridge File menu.

Figure 13-16: The Actions palette lets you record a sequence of operations and assign a keyboard shortcut.

Figure 13-17: When creating a new action, you can assign a name, shortcut, and color. The shortcut must involve a function key. The color shows up in theActions palette's button mode.

Figure 13-18: Triangles twirl and expand an operation to reveal settings. The check marks turn on whole sets, actions, or independent operations. Click in the second column to force the display of a dialog box.

Figure 13-19: Choose Insert Menu Item from the Actions palette menu to force Photoshop to record a command.

Figure 13-20: Choose the Button Mode command to view each action as an independent button, with shortcuts displayed (left). You can resize the palette to view buttons in multiple columns (bottom).

Figure 13-21: A photograph (top left) subjected to three of Photoshop's predefined Frames actions.

Figure 13-22: Here the Batch command is all set up to open the images last viewed in the Bridge, run the Photo Corners action on them, and save each image to a folder on your hard drive.

Figure 13-23: The Photomerge dialog box lets you choose the images that will make up your panorama.

Figure 13-24: The very large Photomerge dialog box makes every attempt to create a panorama from a group of photographs, but more often than not, you need to manually adjust the images to get the best results and the process is simple.

Figure 13-25: All pieced together, the 3-piece panorama is nearly ready. The red box indicates which of the pieces is active, and as soon as everything's lined up, you can click OK to save the Photomerge.

Figure 13-26: Think of the new Camera Raw dialog box as your first stop along the road to correcting raw images with Photoshop. Here, an image captured with Canon Powershot Pro1 digital camera is adjusted.

Figure 13-27: Similar to the Photo Filter command discussed in Chapter 11,Camera Raw'sTemperature slider takes an image (left) and lets you warm up (right) or cool down (bottom) the color temperature.

Figure 13-28: Holding down Alt or Option while using the Exposure slider (see this slider in Figure 13-26) brings up a graphic display of which pixels are being clipped to pure white (right). In this case, the brightest clouds are clipping.

Figure 13-29: In the Advanced mode, Camera Raw has its own preferences dialog box. Here Camera Raw sharpens only the previews for raw images. After opening a Camera Raw image in Photoshop, use Unsharp Mask to sharpen it as a final step.

Figure 13-30: Adjust the Chromatic Aberration sliders to shift your colors and resolve the color fringing that can occur in digital images.

Figure 13-31: The top image shows typical vignetting, where the edges of the image are darker than the center.Adjusting the VignettingAmount and VignettingMidpoint sliders can fix the problem handily, as shown in the bottom image.

Figure 13-32: Right-clicking a Camera Raw image in the Bridge and choosing Apply Camera Raw Settings lets you update Camera Raw data for images without actually opening them. Pictured here is the Advanced mode of the Apply Camera Raw Settings dialog box.

Chapter 14: Preparing Web Graphics

Figure 14-1: A graphic that started out meant for printing large and layered a 300-dpi, 24-bit graphic that measures 1398 1316 pixels and weighs in at 5MB.

Figure 14-2: Two variations of the image from the previous figure reduced in size and saved in the JPEG (the big one in the background) and GIF (the small inset) formats. The file sizes drop to 120K and 19K, respectively.

Figure 14-3: Many systems let you adjust monitor gamma, but the way you do it varies from system to system and video board to video board. Typically, you have to dig your way through an assistant (like the one shown here) or multipart control panel to find what you're looking for. Fortunately, the instructions tend to be pretty detailed.

Figure 14-4: A digital photo prepared on a calibrated monitor in sRGB color space. The photo was taken by author Raymond Mungo ( www.raymondmungo.com ) on a trip to Venice.

Figure 14-5: The image from the previous figure opened inside InternetExplorer on an iMac (top), a top-of-the-line PC (middle), and an old Windows 98 computer (bottom). The iMac display is very light, the high-end PC's display is best, and the older PC display is painfully dark.

Figure 14-6: If you do most or all of your work for the Web, choose the Color Settings command and change the first RGB option to sRGB (top). You can also mouse over the word sRGB to see a description of the color space (bottom).

Figure 14-7: If you create images for both print and the Web, you'll most likely want to do most of your work in theAdobe RGB (1998) color space. Then, when optimizing the image for the Web, convert it fromAdobe RGB to sRGB before scaling the image and saving it in the desired Web file format.

Figure 14-8: If you use the Save As command for saving Web graphics, first set Image Previews to Ask When Saving in the Preferences dialog box (top). Later, when confronted with the Save As dialog box, turn off all check boxes (bottom).

Figure 14-9: The JPEG Options dialog box provides a total of 13 compression settings, ranging from 0 (heaviest compression) to 12 (best quality). Turn on thePreview check box not only to preview the effects of your changes in the image window, but also to see the approximate file size and download time of the image at various settings.

Figure 14-10: Three JPEG settings applied to a single image, with the highest Quality setting illustrated at the left and the lowest at the right. The image goes from1.32MB (the original) to just 16K (low quality), stopping at 46.18K in the middle image, and loses quality along the way. The middle image is your best choice, as it loads quickly 9 seconds, by Photoshop's estimate and looks pretty good.

Figure 14-11: This image features high-contrast content, line art, and text, three elements that tend to work very well on the Web but react very badly to JPEG compression.

Figure 14-12: After applying the Unsharp Mask command to the full- color image (left), saving it in theJPEG format using a very low Quality setting resulted in the middle image. The saved image is a mess, riddled with compression artifacts.Fortunately, you can achieve a very similar file size by reducing the colors to 32 and saving the image as a GIF file (right).

Figure 14-13: The Indexed Color options enable you to control the reduction of colors in an RGB image. The Palette settings determine which colors Photoshop keeps; the Options settings control transparency and color mixing.

Figure 14-14: With all three versions coming in at virtually the same file size, the Adaptive palette keeps the most popular colors (left). Selective saves a wider range of color (right) and Perceptual sacrifices variety for smooth transitions (bottom).

Figure 14-15: The Local (Selective) 8-color setting on the left, with no selection made, misses the gray background, washing it green instead. After making a selection in the gray textured area before applying this same form of Indexed Color, the gray is captured more accurately (right).

Figure 14-16: After deleting the background from the image (left), the 32-color Local (Selective) palette was applied and the Transparency check box turned on. Setting Matte to White adds a white backdrop to the soft and feathered edges (right), great if you set the image against a white Web page background.

Figure 14-17: The results of combining the 32-color

Figure 14-18: Click the 4-Up tab at the top of the window to compare the original image (upper left by default) to three sets of Web compression settings. Conveniently, zooming or scrolling inside one preview zooms or scrolls them all.

Figure 14-19: JPEG image settings, displayed whenJPEG is chosen from thePreset/Settings menu. The resulting options are JPEG- specific.

Figure 14-20: To apply variable compression settings, click the mask icon next to the Quality value, select the desired mask channel, and adjust the Minimum and Maximum settings.

Figure 14-21: The sheer number of GIF options might be confusing to some, but not to you because you have opposable thumbs!

Figure 14-22: PNG-8's options are barely distinguishable from GIF's. For the appropriate image, PNG is a perfectly acceptable choice. The PNG-8 preview (lower right) shows that the image will be just a little bit smaller than its GIF128-color alternative (see upper-right preview) and will load a few seconds faster. The PNG-24 preview (see lower-left preview) will create a humongous file.

Figure 14-23: Optimizing slices (shown at top, left) independently can be dangerous because it can result in harsh edges between one slice and its neighbor when slices are assembled inside a browser (right). Link the slices to use one palette throughout (bottom, left).

Figure 14-24: A simple animation, showing the Layers and Animation palettes.

Figure 14-25: The Tween dialog box allows you to specify how many frames Photoshop should place between your frames, as well as which direction the tween should go.

Figure 14-26: A big image will load faster if you slice it up first, creating several smaller files that work together to build the image on the Web.

Figure 14-27: Double-click a slice with the slice tool to name the slice file thatPhotoshop eventually saves to disk, assign a hyperlink, and insert a status bar message.

Figure 14-28: Select the No Image option to fill a slice with text andHTML tags.

Figure 14-29: Available only when you double-click inside a slice in the Save ForWeb dialog box (andImageReady), the TextIs HTML check box can be selected to properly interpret HTML tags in the text-entry area.

Figure 14-30: Photoshop (left) and ImageReady (right) are so similar that it's easy to lose track of which program you're using. The trick is to keep an eye on the top of the Toolbox, which features one blue feather in Photoshop and two red/orange feathers inImageReady. The tools unique to ImageReady are labeled on the right-hand toolbox.

Figure 14-31: ImageReady's central image window (left), Optimize palette (upper right), and Color Table palette (lower right) were the inspiration for Photoshop's Save For Web dialog box.

Figure 14-32: ImageReady lets you draw image map buttons using the tools shown on the left. If you make a button using Layer New Layer Based Image Map Area, set the Shape option to Polygon to trace the layer's outline (bottom).

Figure 14-33: Here, the chimpanzee winks at you when you mouse over his face. The eyelid and lashes are on a separate layer, and are hidden except in an Over state. You can choose what's going to be visible in each state of your rollover, using the visibility buttons next to each layer in the Layers palette. Use the Web Content palette to set up and change states.

Figure 14-34: ImageReady CS2's Export Layers as Files and Macromedia Flash (SWF) Export dialog boxes are just the ticket when you want to import a layered Photoshop file into Flash.