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- Herausgeber: John Wiley & Sons
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
Get picture perfect with Photoshop CC
Photoshop is a stunning program that puts the power of a professional photography studio into your hands, but it can also be a jungle to navigate—with a dense proliferation of menus, panels, shortcuts, plug-ins, and add-ons to get thoroughly lost in. Written by a literal Photoshop Hall of Famer, the new edition of Photoshop CC For Dummies is your experienced guide to the technical terrain, slashing away the foliage for a clear picture of how to produce the perfectly framed and beautifully curated images you want.
Beginning with an overview of the basic kit bag you need for your journey toward visual mastery, Peter Bauer—Photoshop instructor and an award-winning fine art photographer in his own right—shows you how to build your skills and enrich your creative palette with enhanced colors and tone, filters and layering, and even how undertake a foray into digital painting. Add in instructions on combining text with images and the how-tos of video and animation editing, and you have all the tools you need to carve out a one-person multimedia empire.
- Master everything from the basics to professional insider tips
- Combine, layer, tone, and paint your images
- Explore the colorfully creative world of Photoshop filters
- Fix common problems
You'll find everything on the latest version of the software that you could dream of—and an improved shot at artistic success!
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Adobe® Photoshop® CC For Dummies®, 3rd Edition
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2021 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
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Library of Congress Control Number: 2020952052
ISBN 978-1-119-71177-3; ISBN 978-1-119-71179-7 (ebk); ISBN 978-1-119-71178-0 (ebk)
Adobe® Photoshop® CC For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Adobe Photoshop CC For Dummies Cheat Sheet” in the Search box.
List of Illustrations
Chapter 1
FIGURE 1-1: Basic Photoshop: Take photo, edit photo, print photo. Drink coffee ...
FIGURE 1-2: Some common Photoshop tasks.
FIGURE 1-3: You can use Photoshop with raster images, vector shapes, and even t...
FIGURE 1-4: Photoshop reminds you if you haven’t saved changes to an image.
FIGURE 1-5: Painting to undo with the History Brush, with the original in the u...
Chapter 2
FIGURE 2-1: That’s not really Hugo the Bulldog; it’s a bunch of tiny, colored s...
FIGURE 2-2: Each pixel is monotone, containing a single color throughout the pi...
FIGURE 2-3: More pixels (top) means better detail. Note the zoom factors in the...
FIGURE 2-4: Set a Mac’s resolution through the System Preferences (left), a PC’...
FIGURE 2-5: The Image Size dialog box includes a preview window and an automate...
FIGURE 2-6: As the smaller image shows at 300% zoom, you can reduce an image to...
FIGURE 2-7: When either Preserve Details option is selected, you’ll also see a ...
FIGURE 2-8: Scaling an image without scaling its layer styles can ruin your ima...
FIGURE 2-9: Resizing an image without constraining proportions. Interesting, ye...
FIGURE 2-10: Clear the Resample Image check box to change print size, not pixel...
FIGURE 2-11: Enter a value, and Photoshop recalculates the fields automatically...
FIGURE 2-12: The X to the left shows inkjet printer droplets and to the right, ...
FIGURE 2-13: Photoshop shows you which image features are not available in your...
FIGURE 2-14: Remember to flatten TIFF files before saving when using them outsi...
FIGURE 2-15: Use GIF for web interface items.
FIGURE 2-16: Copy vector artwork from Word and paste into Photoshop.
Chapter 3
FIGURE 3-1: Some commands have submenus, and some have dialog boxes.
FIGURE 3-2: Some commands have submenus, and some have dialog boxes.
FIGURE 3-3: Nesting and collapsing panels opens up the work area.
FIGURE 3-4: Access a panel’s menu by clicking the button in the upper right. (C...
FIGURE 3-5: Use the Option/Alt key with a selection tool to subtract from a sel...
FIGURE 3-6: Select a workspace from the menu to instantly rearrange your panels...
FIGURE 3-7: You can hide menu commands and color-code the visible commands.
FIGURE 3-8: Tool presets help you work faster and more accurately.
FIGURE 3-9: Use Photoshop’s Preferences to establish many program behaviors.
FIGURE 3-10: When working with a low Hardness setting, Normal Brush Tip is usua...
FIGURE 3-11: The magenta guides show how the layer aligns with other layers.
FIGURE 3-12: Choose wisely in the Color Settings dialog box for optimal printin...
Chapter 4
FIGURE 4-1: Photoshop‘s Home screen opens by default when the program launches.
FIGURE 4-2: Access your scanner directly from Photoshop on a Mac, scanning righ...
FIGURE 4-3: Scanning without (left) and with the scanner’s moiré reduction opti...
FIGURE 4-4: Organize with subfolders.
FIGURE 4-5: Bridge’s color scheme is automatically matched to what you choose i...
FIGURE 4-6: Assign keywords and categories to help organize (and locate) images...
FIGURE 4-7: Auto-aligning and auto-blending layers.
FIGURE 4-8: Use Batch Rename to assign informative names to files.
FIGURE 4-9: Different print sizes encompass different amounts of your image.
FIGURE 4-10: The Crop tool overlays can help when composing an image.
FIGURE 4-11: Photoshop’s Print Settings dialog box offers basic control over yo...
FIGURE 4-12: You can share your images directly from Photoshop (assuming your c...
Chapter 5
FIGURE 5-1: A nice snapshot, but not
art.
FIGURE 5-2: One simple tonal adjustment darkens, lightens, enriches color, and ...
FIGURE 5-3: The histogram is skewed to the right because of the many white pixe...
FIGURE 5-4: Too many pixels in the leftmost column make the distribution for th...
FIGURE 5-5: The Enhance Brightness and Contrast algorithm is selected by defaul...
FIGURE 5-6: Compare the Levels histogram and the Histogram panel.
FIGURE 5-7: Change the Levels adjustment blending mode to Luminosity with the F...
FIGURE 5-8: Use the eyedroppers in Levels to set the black and white points; th...
FIGURE 5-9: A simple “S-curve” adjustment makes the image more dramatic.
FIGURE 5-10: Drag up to lighten, down to darken. Adjustments are applied throug...
FIGURE 5-11: Shadows/Highlights does a rather good job with these very common p...
FIGURE 5-12: Some images need help to show detail in both shadows and highlight...
FIGURE 5-13: “Painting” the fence with the Burn tool to darken the rails.
FIGURE 5-14: Use the Dodge tool to minimize wrinkles without removing them.
FIGURE 5-15: A wide-gamut image (on the left) and the same picture with a small...
FIGURE 5-16: You typically use CMYK images for bulk-print materials.
FIGURE 5-17: Bitmap images contain only black and white pixels; no grays, no co...
FIGURE 5-18: Choose your preferred color model from the Color panel menu.
FIGURE 5-19: Compare the Histogram panels to see posterization (below).
FIGURE 5-20: Photoshop’s flexibility is truly evident on the Image?⇒?Adjustment...
FIGURE 5-21: Correct each channel individually with Curves to adjust color in y...
FIGURE 5-22: Hue/Saturation can cure three problems at once.
FIGURE 5-23: Black & White enables you to determine grayscale tones by mixing c...
FIGURE 5-24: Color lookup tables are often used to match lighting in a computer...
FIGURE 5-25: Using more colors in your gradient produces more detail.
FIGURE 5-26: Tweaking the Neutrals can adjust the overall appearance of an imag...
FIGURE 5-27: Using selections of water in both images adjusts color throughout ...
FIGURE 5-28: Make a selection and change the selection’s hue, saturation, and l...
FIGURE 5-29: The problem is only in one area of each channel, but you can fix i...
FIGURE 5-30: These are guidelines only, not absolute values!
FIGURE 5-31: Use the panel options to set up the Info panel.
Chapter 6
FIGURE 6-1: The impressive Camera Raw window, with the Basic section of the Edi...
FIGURE 6-2: Click and hold to open the menu, or click-click-click to rotate thr...
FIGURE 6-3: The Crop tool can ensure perfect aspect ratio.
FIGURE 6-4: Camera Raw’s Spot Removal tool offers both healing and cloning mode...
FIGURE 6-5: The Visualize spots option.
FIGURE 6-6: Minimize the haunted red eye effect right in Camera Raw.
FIGURE 6-7: Paint to make adjustments to exposure, brightness, contrast, and mo...
FIGURE 6-8: Like using a graduated filter when shooting, but with more control!
FIGURE 6-9: The Basic section is where you do the bulk of your image correction...
FIGURE 6-10: You make changes to tonality on the Tone Curve tab.
FIGURE 6-11: Reducing noise and sharpening can greatly improve the overall appe...
FIGURE 6-12: Hold down the Option/Alt key while dragging to preview the sharpen...
FIGURE 6-13: Grayscale “greenery” contrasts nicely with highly saturated blooms...
FIGURE 6-14: A photo of a bland building in front of an overcast sky is improve...
FIGURE 6-15: Correct aberrations created by a lens by using a preset, or making...
FIGURE 6-16: The Camera Calibration sliders might be useful for correcting a co...
Chapter 7
FIGURE 7-1: Sometimes only part of the image needs changes.
FIGURE 7-2: The selection (visible to the right) restricts the change to some p...
FIGURE 7-3: Make a selection, copy, switch to another image, and paste.
FIGURE 7-4: A close-up look at no feathering, feathering, and lots of featherin...
FIGURE 7-5: Anti-aliasing helps smooth the appearance of curves and diagonals.
FIGURE 7-6: Marquee selection tools come in four flavors, two of which are tast...
FIGURE 7-7: The buttons at the left on the Options bar control selection intera...
FIGURE 7-8: The basic options for the lasso selection tools match those for the...
FIGURE 7-9: Drag through an area of color to select the pixels under the brush ...
FIGURE 7-10: Select and Mask is a very powerful feature for fine-tuning selecti...
FIGURE 7-11: The Deselect or Reselect command — or both — are always grayed out...
FIGURE 7-12: The Color Range feature selects by color.
FIGURE 7-13: Color Range offers four ways to preview — five, if you include Non...
FIGURE 7-14: Selecting subjects is now a one-step feature in Photoshop.
FIGURE 7-15: The many faces of selection transformations.
FIGURE 7-16: You can change the opacity and color of the Quick Mask overlay.
FIGURE 7-17: When you already have an active selection, an alpha channel can re...
FIGURE 7-18: You can see just the alpha channel itself (left) or as a red overl...
FIGURE 7-19: To the left, the Adjustments panel; to the right, a Curves adjustm...
FIGURE 7-20: Restrict an adjustment to one layer by clipping it to the layer.
Chapter 8
FIGURE 8-1: To the left, the Red Eye tool being dragged; to the right, the resu...
FIGURE 8-2: The Camera Raw filter offers Pet Eye removal.
FIGURE 8-3: The Clone Stamp (lower left) covers wrinkles, whereas the Healing B...
FIGURE 8-4: Rotate a selection to pinch in a waist.
FIGURE 8-5: Burning and dodging can reduce even a very prominent double chin.
FIGURE 8-6: The original beltline is shown to the lower left.
FIGURE 8-7: Coffee and caps; Dodge tool digital correction; show-biz-white teet...
FIGURE 8-8: The Reduce Noise filter keeps your image sharp while eliminating RG...
FIGURE 8-9: The Smart Blur filter is a good choice for luminance noise reductio...
FIGURE 8-10: The original photo (left); using Content-Aware Fill in the selecte...
FIGURE 8-11: One small step for Photoshop, one giant leap for mankind!
FIGURE 8-12: The original in the upper left; layered and cloned in the upper-ri...
FIGURE 8-13: The original is shown to the lower left.
FIGURE 8-14: Adaptive Wide Angle is another filter for adjusting photos.
FIGURE 8-15: The original image, with a cloudy sky, is shown to the lower left.
Chapter 9
FIGURE 9-1: Elements on different layers form a single image.
FIGURE 9-2: Filters applied to the Smart Object are listed under Smart Filters.
FIGURE 9-3: Blending modes control the interaction between the gradients and th...
FIGURE 9-4: Paint on a layer set to Color to retain the detail of the layer bel...
FIGURE 9-5: Where you see the lower layer, the upper layer is transparent.
FIGURE 9-6: Option+click or Alt+click the line between two layers to clip the u...
FIGURE 9-7: Drag anchor points to transform.
FIGURE 9-8: Use the Warp transformation to distort layers or selections.
FIGURE 9-9: Duplicating a color channel is often the fastest way to a great alp...
FIGURE 9-10: Use the Create Planes tool to identify surfaces.
FIGURE 9-11: Option+drag or Alt+drag with the Marquee tool to copy your pasted ...
Chapter 10
FIGURE 10-1: Each element in most vector art has a single specific color.
FIGURE 10-2: Paths define the outline of an object — the snake’s tongue, in thi...
FIGURE 10-3: Using text as an example shows the advantage of vector artwork whe...
FIGURE 10-4: The shape tools are collected in one spot in Photoshop’s Toolbox.
FIGURE 10-5: Dragging a shape tool creates both a shape layer and the path that...
FIGURE 10-6: The Fill and Stroke options are available for all shape-creation t...
FIGURE 10-7: You now import and export custom items, such as shapes (shown here...
FIGURE 10-8: Name your new shape and click OK.
FIGURE 10-9: A simple layer style makes your shape jump off the page.
FIGURE 10-10: Dressing up the shapes can make a world of difference.
FIGURE 10-11: Layer masks determine layer visibility.
FIGURE 10-12: Paths have square anchor points and circular control points.
FIGURE 10-13: Use the menu to the left on the Options bar to determine whether ...
FIGURE 10-14: You don’t need to be precise; just more or less follow the four p...
FIGURE 10-15: The Pen tool has a couple of tricks up its sleeve!
FIGURE 10-16: Tracing around an object that contrasts with the background is si...
FIGURE 10-17: The Paths panel is your key to organizing and controlling vectors...
FIGURE 10-18: Think about whether you want to stroke first (left) or fill first...
FIGURE 10-19: The pairs of paths are shown in color, which you select by clicki...
FIGURE 10-20: Two (or more) paths can interact with each other, creating a comp...
FIGURE 10-21: The buttons control how a second path (and any subsequent paths) ...
FIGURE 10-22: You can convert vector type to shapes and edit the individual cha...
Chapter 11
FIGURE 11-1: Strokes, shadows, and bevels are just some of the effects availabl...
FIGURE 11-2: You can add a layer style through the Layers panel.
FIGURE 11-3: Some layer effects need transparent areas on the layer, or they wo...
FIGURE 11-4: The Styles panel holds your preset and saved layer styles.
FIGURE 11-5: You can use the Layer Style menu to apply layer effects and more.
FIGURE 11-6: Sometimes shadows in your artwork shouldn’t all use the Global Lig...
FIGURE 11-7: The Layer Style dialog box has separate options for each layer eff...
FIGURE 11-8: The Bevel and Emboss layer effect is very versatile.
FIGURE 11-9: Many illustrations in this book use the Bevel and Emboss layer eff...
FIGURE 11-10: The Stroke effect can stand alone or be used with other layer eff...
FIGURE 11-11: Inner shadows can be soft or hard, light or dark.
FIGURE 11-12: Inner Glow offers more control than Inner Shadow.
FIGURE 11-13: The Satin layer effect is very effective with complex shapes.
FIGURE 11-14: Color Overlay can produce subtle or dramatic changes in your artw...
FIGURE 11-15: In keeping with its name, the Gradient Overlay effect overlays a ...
FIGURE 11-16: The Pattern Overlay layer effect adds texture to your layer’s art...
FIGURE 11-17: An Outer Glow layer effect (seen here on the left) is a multipurp...
FIGURE 11-18: Drop shadows can visually separate the upper layer from the lower...
FIGURE 11-19: The Opacity and Fill Opacity sliders control the visibility of a ...
FIGURE 11-20: Using the Glass Type effect is a great way to add copyright info ...
FIGURE 11-21: Make a white background disappear with the Blend If sliders.
Chapter 12
FIGURE 12-1: Photoshop gives you lots of tools and menus for working with text.
FIGURE 12-2: Use the Character Styles and Paragraph Styles panels to ensure con...
FIGURE 12-3: You can also use type as symbolic or decorative elements.
FIGURE 12-4: ⌘/Ctrl+click a type layer’s thumbnail to make a text-shaped se...
FIGURE 12-5: Vertical type stacks the individual characters. You can rotate hor...
FIGURE 12-6: Use the Options bar to quickly and easily change the primary attri...
FIGURE 12-7: Select specific characters, such as the words SELECTING THEM, to c...
FIGURE 12-8: Some fonts have many styles available.
FIGURE 12-9: Select any individual character and change its font, color, size, ...
FIGURE 12-10: More choices!
FIGURE 12-11: Tool presets can save you lots of time.
FIGURE 12-12: Most of this panel is only for paragraph type.
FIGURE 12-13: “Clip” the upper layer to the lower layer.
FIGURE 12-14: Add layer styles to the lower layer so that the effects are visib...
FIGURE 12-15: A plus sign in the lower-right anchor point warns you that text d...
FIGURE 12-16: Compare the left and right margins of each column of text.
FIGURE 12-17: Default hyphenation values give you good results and a pleasing a...
FIGURE 12-18: The illustration uses two separate type layers, each with its own...
FIGURE 12-19: Text alignment determines where the text goes from the point wher...
FIGURE 12-20: Sometimes you need to create two separate type layers, using two ...
FIGURE 12-21: When you drag the cursor across the path a short distance, type f...
Chapter 13
FIGURE 13-1: Make the primary decisions about painting tool behavior from the O...
FIGURE 13-2: Changing the Spacing makes the individual brush tip instances visi...
FIGURE 13-3: Airbrushing and spray painting with the Airbrush option for the Br...
FIGURE 13-4: The Brush and Brush Presets panels, with their panel menus, provid...
FIGURE 13-5: Use jitter to add variation to the application of your selected br...
FIGURE 13-6: Use the Color Picker to define colors with precision. The Eyedropp...
FIGURE 13-7: Erodible, airbrush, and watercolor tips add fine-art capabilities.
FIGURE 13-8: The upper stroke is “wet” and the lower is “dry.”
FIGURE 13-9: Photoshop offers several non-brush ways to add color to your image...
FIGURE 13-10: Control gradients with the Options bar, Gradient panel, and Gradi...
Chapter 14
FIGURE 14-1: Smart Filters are more like layer styles than adjustment layers.
FIGURE 14-2: Blurry backgrounds help the subject stand out.
FIGURE 14-3: Despite its name, Unsharp Mask actually sharpens your image.
FIGURE 14-4: Smart Sharpen does a great job with appropriate images.
FIGURE 14-5: Shake Reduction is a great way to sharpen images captured with a s...
FIGURE 14-6: The Blur Gallery offers five filters, often best used with an imag...
FIGURE 14-7: Lens Blur can use an alpha channel (mask) to control the blur.
FIGURE 14-8: In the preview area the outer edges show the original distortion o...
FIGURE 14-9: In addition to the extensive control in the Custom panel, Lens Cor...
FIGURE 14-10: Oil Paint creates artistic renderings of photographic images.
FIGURE 14-11: The expansive Filter Gallery interface.
FIGURE 14-12: Liquify gives you unbelievable control over the pixels in your im...
FIGURE 14-13: Neural Filters use machine learning to, among other processes, id...
FIGURE 14-14: Among the beta Neural Filters is Smart Portrait.
FIGURE 14-15: A point light in the upper left, a spot light in the lower left, ...
FIGURE 14-16: The Clouds filter produces pleasant backgrounds.
Chapter 15
FIGURE 15-1: The Actions panel menu includes sets of Actions you can load into ...
FIGURE 15-2: After you click the New Action button, you see the New Action dial...
FIGURE 15-3: Using Insert Menu Item leaves a dialog box open when playing the A...
FIGURE 15-4: Insert a Stop to show a message when the Action is played.
FIGURE 15-5: Insert Conditional is accessed through the panel menu, Conditional...
FIGURE 15-6: The Batch command is much simpler than it looks!
FIGURE 15-7: Some folks will get hooked on this new feature!
FIGURE 15-8: PDF is a great format for sharing images as presentations or as do...
FIGURE 15-9: If you need a printed record of your images, consider Contact Shee...
FIGURE 15-10: To maintain image orientation, don’t use the Rotate for Best Fit ...
FIGURE 15-11: Use a contrasting background to help Crop and Straighten Photos f...
FIGURE 15-12: Image Processor can batch-convert to speed your workflow.
Chapter 16
FIGURE 16-1: You can open a video file or create a new project.
FIGURE 16-2: Video groups and layers outside of groups can overlap to play simu...
FIGURE 16-3: Drag the ends of segments to trim; click the gray arrow at the rig...
FIGURE 16-4: The “regular” layer will be visible in the video for the entire du...
FIGURE 16-5: Drag transitions to the timeline to blend adjacent video segments.
FIGURE 16-6: Use keyframes to specify start and end points of special effects.
FIGURE 16-7: Over the course of the animation, the red ball and blue square exc...
FIGURE 16-8: Photoshop generated 10 of the 13 frames automatically.
FIGURE 16-9: Select all of the frames and assign a frame rate to control playba...
Chapter 17
FIGURE 17-1: Photoshop CC includes 3D capabilities.
FIGURE 17-2: Several exposures combined into one image is just one use of Smart...
FIGURE 17-3: The cars on either side of the river, the bus, and even the fallin...
FIGURE 17-4: Tools, menus, and panels specially for working in 3D.
FIGURE 17-5: Customize the Measurement Scale.
FIGURE 17-6: Measurements can also be made in perspective with Vanishing Point.
FIGURE 17-7: Click each item and Photoshop keeps a running tally for you.
FIGURE 17-8: Review medical imagery right in Photoshop.
Chapter 18
FIGURE 18-1: You open Sidecar through System Preferences on the Mac.
FIGURE 18-2: Set up multiple screens on the Arrangement tab.
FIGURE 18-3: The iPad is extending the screen space, arranged (for convenience)...
FIGURE 18-4: Photoshop on the iPad has a very different interface but many of t...
FIGURE 18-5: You can program different features for various programs.
Chapter 19
FIGURE 19-1: You can expose for the room and lose the highlights, you can expos...
FIGURE 19-2: Merge to HDR opens after the images have been processed.
FIGURE 19-3: In 16-bit mode with Local Adaption, you have quite a bit of contro...
FIGURE 19-4: HDR Toning offers the same options as Merge to HDR Pro’s 16-bit mo...
FIGURE 19-5: The incredible range of 32-bit color requires a new way to define ...
Guide
Cover
Title Page
Copyright
Table of Contents
Begin Reading
Appendix: Photoshop CC’s Blending Modes
Index
About the Author
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Introduction
Adobe Photoshop CC is one of the most important computer programs of our age. It’s made photo editing a commonplace thing, something for the everyperson. Still, Photoshop can be a scary thing, comprising a jungle of menus and panels and tools and options and shortcuts as well as a bewildering array of add-ons and plug-ins. And that’s why you’re holding this book in your hands. And why I wrote it. And why John Wiley & Sons, Inc., published it.
You want to make sense of Photoshop — or, at the very least, be able to work competently and efficiently in the program, accomplishing those tasks that need to get done. You want a reference that discusses how things work and what things do, not in a technogeek or encyclopedic manner, but rather as an experienced friend might explain something to you. Although step-by-step explanations are okay if they show how something works, you don’t need rote recipes that don’t apply to the work you do. You don’t mind discovering tricks, as long as they can be applied to your images and artwork in a productive, meaningful manner. You’re in the right place!
About This Book
This is a For Dummies book, and as such, it was produced with an eye toward you and your needs. From Day One, the goal has been to put into your hands the book that makes Photoshop CC understandable and usable. You won’t find a technical explanation of every option for every tool in every situation, but rather a concise explanation of those parts of Photoshop CC you’re most likely to need. If you happen to be a medical researcher working toward a cure for cancer, your Photoshop requirements might be substantially more specific than what you’ll find covered here. But for the overwhelming majority of the people who have access to Adobe Photoshop, this book provides the background needed to get your work done with Photoshop.
As I updated this book, I intentionally tried to strike a balance between the types of images with which you’re most likely to work and those visually stimulating (yet far less common) images of unusual subjects from faraway places. At no point in this book does flavor override foundation. When you need to see a practical example, that’s what I show you. I worked to ensure that each piece of artwork illustrates a technique and does so in a meaningful, nondistracting way for you.
You’ll see that I used mostly Apple computers in producing this book. That’s simply a matter of choice and convenience. You’ll also see (if you look closely) that I shoot mostly with Canon cameras and use Epson printers. That doesn’t mean that you shouldn’t shoot with Nikon, or that you shouldn’t print with HP or Canon. If that’s what you have, if it’s what you’re comfortable with, and if it fulfills your needs, stick with it! I also mention Wacom drawing tablets here and there. Does that mean you should have one? If you do any work that relies on precise cursor movement (like painting, dodging, burning, path creation and editing, cloning, healing, patching, or lassoing, just to name a few), yes, I do recommend a Wacom Cintiq display or Intuos tablet, or even integrating your iPad (see Chapter 18).
One additional note: If you’re brand new to digital imaging and computers, this probably isn’t the best place to start. I do indeed make certain assumptions about your level of computer knowledge (and, to a lesser degree, your knowledge of digital imaging). But if you know your File ⇒ Open from your File ⇒ Close and can find your lens cap with both hands, read Chapter 1, and you’ll have no problem with Photoshop CC For Dummies, 3rd Edition. Also, don’t overlook Chapter 4, which I call “From Pics to Prints: Photoshop for Beginners.”
Conventions Used in This Book
To save some space and maintain clarity, I use an arrow symbol as shorthand for Photoshop menu commands. I could write this:
Move the cursor onto the word Image at the top of your screen and press the mouse button. Continuing to press the mouse button, move the cursor downward to the word Adjustments. Still pressing the mouse button, move the cursor to the right and downward onto the words Shadows/Highlights. Release the mouse button.
But it makes more sense to write this:
Choose Shadows/Highlights from the Image ⇒ Adjustments menu.
Or even to use this:
Choose Image ⇒ Adjustments ⇒ Shadows/Highlights.
I also include keyboard shortcuts (when applicable) for both Mac and Windows. Generally the shortcuts are together, with the Mac shortcut always first, and they look like this:
Move the selection to a separate layer with the shortcut ⌘ +Shift+J/Ctrl+Shift+J.
Icons Used in This Book
Icons appear in the margins throughout this book, and they indicate something special. Here, without further ado, is the gallery:
This icon tells you that I’m introducing a new feature, something just added to the program with this version of Photoshop CC. If you’re brand new to Photoshop yourself, you can ignore this icon — it’s all new to you. If you’re an experienced Photoshop user, take note.
When I have a little secret or shortcut to share with you — something that can make your life easier, smoother, more convenient — you see the Tip icon.
This icon doesn’t appear very often, but when it does, read carefully! I reserve the Warning icon for those things that can really mess up your day — things that can cause you to lose work by ruining your file or preventing Photoshop from fulfilling your wishes. If there were to be a quiz afterward, every Warning would be included!
The Remember icon shows you good-to-know stuff, things that are applicable in a number of different places in Photoshop, or things that can make your Photoshop life easier.
You might notice this icon in a place or two in the book. It’s not common because I exclude most of the highly technical background info: you know, the boring techno-geek concepts behind Photoshop. But when you do see the icon, it indicates something that you probably should know.
How to Use This Book
This is a reference book, not a lesson-based workbook or a tips-and-tricks cookbook. When you have a question about how something in Photoshop works, flip to the Table of Contents or the index to find your spot. You certainly can read the chapters in order, cover to cover, to make sure that you get the most out of it. Nonetheless, keep this book handy while you work in Photoshop. (Reading cover to cover not only ensures that you find out the most about Photoshop but also guarantees that you don’t miss a single cartoon or joke.) If Photoshop is, in fact, something new to you, I do recommend reading Chapters 1 through 4 in order before you start getting busy with the software.
Unless you’re borrowing a friend’s copy or you checked this book out of the library or are reading it on your iPad, I suggest you get comfortable with the thought of sticky notes and bent page corners. Photoshop is a very complex program — no one knows everything about Photoshop. And many concepts and techniques in Photoshop are hard to remember, especially if you don’t use them often. Bookmark those pages so that they’re easy to find next time because you’re sure to be coming back time and again to Photoshop CC For Dummies, 3rd Edition.
Also be sure to check out this book’s Cheat Sheet. Go to www.dummies.com and search for “Photoshop CC For Dummies Cheat Sheet.”
Part 1
Getting Started with Photoshop CC
IN THIS PART …
Get an introduction to Photoshop.
Discover “pixels” and see how they form a digital image.
Find out which file formats you need and when you need them.
Develop an understanding of Photoshop’s menus, panels, and tools.
Bring images into Photoshop, organize the image files, and get those pictures on paper with your own printer or a photo lab: Photoshop for Beginners.
Chapter 1
An Overview of Photoshop
IN THIS CHAPTER
What Photoshop does very well, kind of well, and just sort of, well …
What you need to know to work with Photoshop
What you need to know about installing Photoshop
Adobe Photoshop is, without question, the leading image-editing program in the world. Photoshop has even become somewhat of a cultural icon. It’s not uncommon to hear Photoshop used as a verb (“That picture is obviously Photoshopped!”), and you’ll even see references to Photoshop in the daily comics and cartoon strips. And now you’re part of this whole gigantic phenomenon called Photoshop.
Before I take you on this journey through the intricacies of Photoshop, I want to introduce you to Photoshop in a more general way. In this chapter, I tell you what Photoshop is designed to do, what it can do (although not as capably as job-specific software), and what you can get it to do if you try really, really hard. I also review some basic computer operation concepts and point out a couple of places where Photoshop is a little different than most other programs. At the end of the chapter, I have a few tips for you on installing Photoshop to ensure that it runs properly.
Exploring Adobe Photoshop
Photoshop is used for an incredible range of projects, from editing and correcting digital photos to preparing images for magazines and newspapers to creating graphics for the web. You can also find Photoshop in the forensics departments of law-enforcement agencies, scientific labs and research facilities, and dental and medical offices, as well as in classrooms, offices, studios, and homes around the world. As the Help Desk Director for KelbyOne (formerly the National Association of Photoshop Professionals), I spent more than two decades solving problems and providing solutions for Photoshop users from every corner of the computer graphics field and from every corner of the world. (It always amazed me how some people used Photoshop in ways for which the program was never designed!) Of course Photoshop is my “go-to” program for my own fine art photography and design work. Now, as a consultant, I also use Photoshop on a regular basis to identify fraudulently manipulated images and video.
What Photoshop is designed to do
Adobe Photoshop is an image-editing program. It’s designed to help you edit images — digital or digitized images, photographs, and otherwise. This is the core purpose of Photoshop. Over the years, Photoshop has grown and developed, adding features that supplement its basic operations. But at its heart, Photoshop is an image editor. At its most basic, Photoshop’s workflow goes something like this: You take a picture, you edit the picture, and you print the picture (as illustrated in Figure 1-1). (Of course, many images never make it to paper — they are shared only on social media.)
FIGURE 1-1: Basic Photoshop: Take photo, edit photo, print photo. Drink coffee (optional).
Whether captured with a digital camera, scanned into the computer, or created from scratch in Photoshop, your artwork consists of tiny squares of color, which are picture elements called pixels. (I explore pixels and the nature of digital imaging in-depth in Chapter 2.) Photoshop is all about changing and adjusting the colors of those pixels — collectively, in groups, or one at a time — to make your artwork look precisely how you want it to look. (Photoshop, by the way, has no Good Taste or Quality Art button. It’s up to you to decide what suits your artistic or personal vision and what meets your professional requirements.) Some very common Photoshop image-editing tasks are shown in Figure 1-2: namely, correcting red eye and minimizing wrinkles (both discussed in Chapter 8); and compositing images (see Chapter 9).
Astronaut image courtesy of NASA
FIGURE 1-2: Some common Photoshop tasks.
Photoshop works with actual vector shapes, such as those created in Adobe Illustrator. Photoshop also has a very capable brush engine, including erodible brush tips (they wear down and need to be resharpened) and airbrush and watercolor brush tips, further extending the fine art painting capabilities of the program. Figure 1-3 shows a comparison of raster artwork (the digital photo, left), vector artwork (the illustration, center), and digital painting (right). The three types of artwork can appear in a single image, too. (Creating vector artwork is presented in Chapter 10, and you can read about painting with Photoshop in Chapter 13.)
FIGURE 1-3: You can use Photoshop with raster images, vector shapes, and even to paint.
Photoshop also includes some basic features for creating web graphics, including slicing and animations (see Chapter 16 for info on video and animation). (Web work is best done in a true web development program, such as Dreamweaver. If you want to learn about creating websites, pick up a copy of Dreamweaver CC For Dummies [Wiley].)
Other things you can do with Photoshop
Admittedly, Photoshop just plain can’t do some things. It won’t make you a good cup of coffee. It can’t press your trousers. It doesn’t vacuum under the couch. It isn’t even a substitute for Zoom, Microsoft Excel, or TurboTax — it just doesn’t do those things.
However, there are a number of things for which Photoshop isn’t designed that you can do in a pinch. If you don’t have InDesign, you can still lay out the pages of a newsletter, magazine, or even a book, one page at a time. If you don’t have Dreamweaver, you can use Photoshop to create a website, one page at a time, sliced and optimized and even with animated GIFs. You can create multipage PDFs and PDF presentations (see Chapter 15). And although you’re probably not going to create the next blockbuster on your laptop with Photoshop, the video editing capabilities can certainly get you through the family reunion or that school project (see Chapter 16).
Viewing Photoshop’s Parts and Processes
In many respects, Photoshop is just another computer program — you launch the program, open files, save files, and quit the program quite normally. Many common functions have common keyboard shortcuts. You enlarge, shrink, minimize, and close windows as you do in other programs.
Reviewing basic computer operations
Chapter 3 looks at Photoshop-specific aspects of working with floating panels, menus and submenus, and tools from the Options bar, but I want to take just a little time to review some fundamental computer concepts.
Launching Photoshop
You can launch Photoshop (start the program) by double-clicking an image file or through the Applications folder (Mac) or the Start menu (Windows). Mac users can drag the Photoshop program icon (the actual program itself, with the .app file extension) to the Dock to make it available for one-click startup. (Chapter 3 shows you the Photoshop interface and how to get around in the program.)
Never open an image into Photoshop from removable media (CD, DVD, your digital camera or its Flash card, jump drives, and the like) or from a network drive. Although you can work with Cloud-based images, it's usually a good idea to copy the file to a local hard drive, open from that drive, save back to the drive, and then copy the file to its next destination. You can open from internal hard drives or external hard drives, but to avoid the risk of losing your work (or the entire image file) because of a problem reading from or writing to removable media, always copy to a local hard drive or work with images stored in your Cloud documents.
Working with images
Within Photoshop, you work with individual image files. Each image is recorded on the hard drive in a specific file format. Photoshop opens just about any current image file consisting of pixels as well as some file formats that do not. (I discuss file formats in Chapter 2.) Remember that to change a file’s format, you open the file in Photoshop and use the Save As command to create a new file. And, although theoretically not always necessary on the Mac, I suggest that you always include the file extension at the end of the filename. If Photoshop won’t open an image, it might be in a file format that Photoshop can’t read. It cannot, for example, open an Excel spreadsheet or a Microsoft Word document because those aren’t image formats — and Photoshop is, as you know, an image-editing program.
If you have a brand-new digital camera and Photoshop won’t open its Raw images, check your Creative Cloud Manager’s Updates section to see whether a newer version of Camera Raw is available. (But remember that it takes a little time to prepare Camera Raw for new file formats. If you purchase a new camera on its first day of release, you may need to use the software that came with the camera until the next Camera Raw update is released.)
Saving your files
You must use the Save or Save As command to preserve changes to your images. After you save and close an image, some of those changes may be irreversible. When working with an important image, consider these tips:
Work on a copy of the image file.
Unless you’re working with a digital photo in the Raw format (discussed in
Chapter 6
), make a copy of your image file as a backup before changing it in Photoshop. The backup ensures that should something go horribly wrong, you can start over. (You never actually change a Raw photo — Photoshop can’t rewrite the original file — so you’re always, in effect, working on a copy.)
Activate auto recovery.
In Photoshop’s Preferences ⇒ File Handling panel, make sure that the Automatically Save Recovery Information Every option is selected and set to an appropriate time interval. If Photoshop crashes while you’re working, when you reopen the program, it will (hopefully) be able to present you with your artwork at the stage when last saved for auto recovery.
Save your work as PSD file, too.
Especially if your image has layers, save it in Photoshop’s PSD file format (complete with all the layers) before using Save As to create a final copy in another format. If you don’t save a copy with layers, going back to make one little change can cost hours of work.
Rather than choosing File ⇒ Open, consider making it a habit to choose File ⇒ Open As Smart Object. When working with Smart Objects, you can scale or transform multiple times without continually degrading the image quality, and you can work with Smart Filters, too! (You can read about Smart Filters in Chapter 14.)
If you attempt to close an image or quit Photoshop without saving your work first, you get a gentle reminder asking whether you want to save, close without saving, or cancel the close/quit (as shown in Figure 1-4).
FIGURE 1-4: Photoshop reminds you if you haven’t saved changes to an image.
Keyboard shortcuts
Keyboard shortcuts are customizable in Photoshop (check out Chapter 3), but some of the basic shortcuts are the same as those you use in other programs. You open, copy, paste, save, close, and quit just as you do in Microsoft Word, your email program, and just about any other software. I suggest that you keep these shortcuts unchanged, even if you do some other shortcut customization.
Photoshop’s incredible selective Undo
Here’s one major difference between Photoshop and other programs. Almost all programs have some form of Undo, enabling you to reverse the most recent command or action (or mistake). Photoshop also has, however, a great feature that lets you partially undo. The History Brush tool can partially undo just about any filter, adjustment, or tool — by painting. You select the History Brush, choose a history state (a stage in the image development) to which you want to revert, and then paint over areas of the image that you want to change back to the earlier state.
You can undo as far back in the editing process as you want, with a couple of limitations: The History panel (where you select the state to which you want to revert) holds only a limited number of history states. In the Photoshop Preferences ⇒ Performance pane, you can specify how many states you want Photoshop to remember (to a maximum of 1,000). Keep in mind that storing lots of history states takes up computer memory that you might need for processing filters and adjustments. That can slow things down. The default of 50 history states is good for most projects, but when using painting tools or other procedures that involve lots of repetitive steps (such as touching up with the Dodge, Burn, or Clone Stamp tools), a larger number (perhaps as high as 200) is generally a better idea.
The second limitation is pixel dimensions. If you make changes to the image’s actual size (in pixels) with the Crop tool, the Image ⇒ Crop command, or the Image Size or Canvas Size commands (both in the Image menu), you cannot revert to prior steps with the History Brush tool. You can choose as a source any history state that comes after the image’s pixel dimensions change but none that come before.
Here’s one example of using the History Brush as a creative tool. You open a copy of a photograph in Photoshop. You edit as necessary. You use the Black & White adjustment on the image to make it appear to be grayscale. In the History panel, you click in the left column next to a snapshot (a saved history state) or the step prior to Black & White to designate that as the source state, the appearance of the image to which you want to revert. You select the History Brush tool and paint over specific areas of the image to return them to the original (color) appearance (see Figure 1-5). There you have it — a grayscale image with areas of color, compliments of the History Brush tool!
FIGURE 1-5: Painting to undo with the History Brush, with the original in the upper-right.
Photoshop has another very powerful partial Undo in the Fade command. Found in the Edit menu, Fade can be used immediately after just about any tool or adjustment or filter or, well, almost anything that changes the appearance of the image. (You can even fade the History Brush tool.) The Fade command enables you to change the opacity, blending mode, or both of whatever alteration you most recently made to the appearance of your artwork with tools or commands. You might, for example, use a Sharpen filter and then use the Fade command to change the filter’s blending mode to Luminosity. That’s the functional equivalent of sharpening the L channel in Lab color mode without having to switch color modes at all. Keep in mind that when I use the word immediately, I really mean it — you can’t even use the Save command between applying a filter and using the Fade command.
Installing Photoshop: Need to know
If you haven’t yet installed Photoshop, here are a few points to keep in mind:
Install only into the default location.
Photoshop is a resource-intensive program. Using the Creative Cloud Manager to install it into the default location (
harddrive
⇒ Applications on a Mac and C:\Program Files for Windows) ensures that it has access to the operating system and hardware as necessary. Installing into any other location or attempting to run Photoshop across a network can lead to frustrating problems and loss of work in progress.
Disable all spyware and antivirus software before installing.
Antivirus software can intercept certain installation procedures, deeming them to be hazardous to your computer’s health. That can lead to malfunctions, crashes, lost work, frustration, and what I like to call
Computer Flying Across the Room Syndrome
. If you use antivirus software (and if you use Windows, you’d better!), turn it off before installing any program, especially one as complex as Photoshop. You might find the antivirus program’s icon in the Windows taskbar; or you might need to go to the Start menu, choose All Programs to locate the antivirus software, and disable it. On Mac, check the Dock. And don’t forget to restart your antivirus software afterward! If you already installed Photoshop and antivirus software was running at the time, I urge you to uninstall and reinstall.
If you use auto-backup software, shut it down, too.
It’s best not to run auto-backup software when installing software. Like antivirus software, it can also lead to problems by interfering with the installer.
If you have third-party plug-ins, install them elsewhere.
Third-party
plug-ins
— those filters and other Photoshop add-ons that you buy from companies other than Adobe — can be installed into a folder outside the Photoshop folder. You can then make an alias (Mac) or shortcut (Windows) to that folder and drag the alias/shortcut to Photoshop’s Plug-Ins folder. Why install outside the Photoshop folder? Should you ever need to (
gasp!
) reinstall Photoshop, you won’t need to reinstall all your third-party plug-ins. Just create a new alias/shortcut and move it into Photoshop’s new Plug-Ins folder. And don’t forget to go to the plug-ins’ websites to see whether the manufacturers offer updates!
If you have lots of plug-ins, create sets.
Plug-ins require
