Photograph Restoration and Enhancement E-Book

Vickie Ellen Wolper

• Herausgeber: Packt Publishing
• Kategorie: Fachliteratur
• Sprache: Englisch

Seitenzahl: 674

Veröffentlichungsjahr: 2024

Beschreibung

Updated for Photoshop CC 2021, this edition offers hands-on learning with a building block teaching style. Suitable for all skill levels, it teaches photo restoration and tonal correction. Learn to repair damage, improve discolored photos, colorize black and white images, digitize large photos, and adjust content for perfect shots. Tips, notes, figures, and projects help you master restorations and enhancements.
The course starts with preparing an image for Photoshop and an introduction to the software. It covers selection, layers, transformations, painting, printing, and repairing photo flaws. Advanced topics include correcting lighting, enhancing photos, and mastering trade secrets. Final chapters address special challenges and applying skills to complex projects.
These skills are vital for high-quality photo restorations. This book transitions readers from basic to advanced Photoshop techniques, blending theory with practice. Companion files with photos, projects, figures, and videos enhance learning, making this an essential resource for mastering photo restoration.

Leseprobe

PHOTOGRAPH RESTORATIONANDENHANCEMENT

Using Adobe® Photoshop CC®2021 Version

THIRD EDITION

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PHOTOGRAPH RESTORATIONANDENHANCEMENT

Using Adobe Photoshop CC2021 Version

THIRD EDITION

Vickie Ellen Wolper

MERCURY LEARNING AND INFORMATION

Dulles, VirginiaBoston, MassachusettsNew Delhi

Copyright ©2021 by MERCURY LEARNING AND INFORMATION LLC. All rights reserved.

This publication, portions of it, or any accompanying software may not be reproduced in any way, stored in a retrieval system of any type, or transmitted by any means, media, electronic display or mechanical display, including, but not limited to, photocopy, recording, Internet postings, or scanning, without prior permission in writing from the publisher.

Publisher: David PallaiMERCURY LEARNING AND INFORMATION22841 Quicksilver DriveDulles, VA [email protected](800)-232-0223

V. E. Wolper. PHOTOGRAPH RESTORATION AND ENHANCEMENT USING ADOBE® PHOTOSHOP® CC 2021, 3/EISBN: 978-1-68392-598-9

The publisher recognizes and respects all marks used by companies, manufacturers, and developers as a means to distinguish their products. All brand names and product names mentioned in this book are trademarks or service marks of their respective companies. Any omission or misuse (of any kind) of service marks or trademarks, etc. is not an attempt to infringe on the property of others.

Library of Congress Control Number: 2020949765

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This book is dedicated to myfamily, special friends, and colleaguesfor their unending supportof my writing, teaching,and photograph restoration work.

CONTENTS

Credits

Preface

Part One:Preparing Your Photographs for Restoration and Enhancement

Chapter 1: Readying an Image for Adobe Photoshop

In This Chapter

1.1Before We Begin

1.2Clarifying Resolution

1.2.1Pixelation: PPI and DPI

1.2.2Choosing a Resolution Based on Your Final Output Needs

1.2.2.1Resolution Considerations for Enlargements: the “Final Factor”

1.2.3Resolution Considerations When Combining Images Together

1.3Scanning Basics

1.4The Three Expert Scanning Options You Need to Know

1.4.1Cropping an Area to Scan

1.4.2Choosing the Resolution to Scan At

1.4.3Scanning Transparencies

1.4.3.1Scanning a 4" x 5" Negative

1.4.3.2Scanning 35 mm Negatives and Slides

1.5An Introduction to Bit Depth

1.5.18 Bits/Channel Versus 16 Bits/Channel Depth

1.6Saving File Formats For Your Images

1.6.1TIFF File Format

1.6.2JPEG File Format

1.7Working With Images From Your Digital Camera or Smartphone

1.7.1Downloading Your Digital Images

1.7.2File Formats of Digital Cameras and Smartphones

Try It Yourself

Chapter 2: An Introduction to Working in Photoshop

In This Chapter

2.1Opening a File in Photoshop

2.1.1Working in Photoshop CC 2021

2.1.2File>Open Versus File>Open Recent Versus File>New

2.1.3Opening an Image by Using Adobe Bridge 2021

2.2Saving in Photoshop

2.2.1Saving a Before and After Version of Your Photograph

2.2.2Choosing the .psd File Format

2.2.3Saving Frequently When Working in Photoshop

2.3Converting Resolution to 300 ppi

2.4Getting Comfortable With Photoshop

2.4.1File Size

2.4.2Using the Options Bar

2.4.3Document Viewing Options

2.4.3.1Toggling Between the Two Most Important Working Views of an Image in Photoshop

2.4.3.2Fit on Screen View

2.4.3.3Increasing Magnification

2.4.3.4Decreasing Magnification

2.4.3.5Moving Around Your Chosen Magnification

2.4.3.6View>Actual Size

2.4.3.7Using the Navigator Panel

2.4.4Working With Panels and Customizing Your Workspace

2.4.4.1Separating and Grouping Panels

2.4.4.2Saving Your Personal Workspace Configuration

2.4.5Using Guides and Rulers

2.4.6Undoing Your Actions

2.5Setting and Resetting Preferences

2.5.1Customizing a Few Photoshop Preferences

2.5.2Resetting the Photoshop Settings File

Try It Yourself

Chapter 3: Selection

In This Chapter

3.1The Importance of Selection

3.2The Principle of Selection

3.3Understanding the Anti-alias Option

3.4Marquee Selections

3.4.1Rectangular Marquee Tool

3.4.1.1Additional Rectangular Marquee Tool Options

3.4.2Elliptical Marquee Tool

3.4.3Single-Row, Single-Column Marquee Tools

3.5Improving an Existing Selection

3.5.1Using the Add To Selection, Subtract From Selection, and Intersect With Selection Options to Improve a Selection

3.5.2Transforming a Selection

3.5.3Feathering a Selection

3.5.4Contracting or Expanding a Selection

3.5.5Improving a Selection Using the Quick Mask Mode

3.6Using Alpha Channels to Save Selections

3.6.1Saving a Selection into an Alpha Channel

3.6.2Reactivating a Selection

3.6.3Channels Panel Basics

3.6.3.1Deleting a Channel

3.7Lasso, Polygonal Lasso, and Magnetic Lasso Tools

3.7.1Lasso Tool

3.7.2Polygonal Lasso Tool

3.7.2.1Combining the Polygonal Lasso With the Lasso Tool

3.7.3Magnetic Lasso Tool

3.8Selecting By Content, Contrast, or Color

3.8.1Select Subject Command

3.8.2Object Selection Tool

3.8.3Quick Selection Tool

3.8.4Magic Wand Tool

3.9Getting the Most Efficient as Well as the Most Accurate Selections

3.9.1Using the Select>Inverse Command

3.9.2Using the Select and Mask Dialog Box

3.9.2.1Fine-tuning Your Selection

3.9.2.2Output Settings

3.9.2.3Using the Refine Edge Brush Tool for Hair

3.9.2.4Using the Refine Edge Brush Tool for Fur

3.9.3Favorite Selection Method

Try It Yourself

Chapter 4: Working in Layers

In This Chapter

4.1The Importance of Using Layers

4.2The Basics of Layers

4.2.1Understanding the Background Layer

4.2.1.1Panel Options

4.3Working With a Multilayered File

4.3.1Layer Visibility

4.3.2Layer Order

4.4Moving Layer Content

4.4.1Moving Selections Versus Moving Layers

4.4.1.1Wrong Tool Error

4.4.1.2Empty Selection Error

4.5Adding Layers to Your File

4.5.1New Layer Command

4.5.2Adding a Layer Through Importation

4.5.3Converting a Selection to a Layer

4.5.4Duplicating a Layer

4.5.5Converting a Background Layer to a Regular Layer

4.6Managing Layers

4.6.1Naming Layers

4.6.2Locking Layers

4.6.2.1Lock Transparent Pixels

4.6.2.2Lock Image Pixels

4.6.2.3Lock Position Versus Lock All

4.7Multiselecting, Linking, Grouping, and Filtering Layers

4.7.1Multiselecting Layers

4.7.2Linking Layers

4.7.3Grouping Layers

4.7.3.1Removing Layers From a Group Versus Deleting the Group

4.7.4Filtering Layers

4.8Aligning Layers

4.9Merging Layers

4.9.1Merge Down Command Versus the Merge Layers Command

4.9.2Deleting Layers Versus Flattening or the Merge Visible Command

4.9.2.1Save As a Copy Alternative to Flattening

4.9.2.2Merge Visible Option

4.10Additional Pixel Selection Options When Using Layers

4.10.1Sample All Layers

4.10.2Layer Mask

4.10.3Additional Output Options Available in the Select and Mask Dialog Box

4.11Layer Transparency, Adjustment Layers, and Layer Effects

Try It Yourself

Chapter 5: Transformation Essentials

In This Chapter

5.1An Introduction to Pixel Transformation for Photograph Restoration and Enhancement

5.2Transforming Pixels Versus Transforming a Selection

5.3Cropping Fundamentals

5.4Understanding Resampling

5.4.1Applying Resampling When Cropping

5.5Cropping Using the Rectangular Marquee Tool

5.5.1Cropping a File With Multiple Layers Versus Cropping Layer Content

5.6Transforming an Image

5.6.1Straightening an Image

5.6.1.1Using the Crop Tool Option to Straighten a Photograph

5.6.1.2Using the Ruler Tool Straighten Option to Straighten a Photograph

5.6.1.3Using the Ruler Tool Combined With the Arbitrary Dialog Box to Straighten a Photograph

5.6.2Cropping Canvas

5.6.3Adding Canvas to an Image

5.7Transforming Layer Content

5.7.1Scaling Layer Content

5.7.2Rotating Layer Content

5.7.3Distorting Layer Content

5.7.4Using the Free Transform Command

Try It Yourself

Chapter 6: Painting and Printing

In This Chapter

6.1Painting Fundamentals

6.2Assigning Brush Sizes and Settings

6.2.1Choosing a Brush Type and Size

6.2.2Choosing Brush Settings

6.2.3Defining Cursor Display Preferences

6.3Choosing and Applying Colors

6.3.1Using the Eyedropper Tool

6.3.2Using the Color Picker

6.4Painting With the Brush Tool

6.5Color Management

6.5.1Calibrating Your Monitor

6.5.2Understanding the RGB Versus CMYK Color Working Spaces

6.5.3Assigning Color Settings

6.5.4Color Management Policies

6.5.4.1Profile Mismatches

6.5.4.2Handling Missing Profiles

6.6Assigning the Proper Color Management Settings

6.6.1Turning the Printer’s Color Management Off

6.7Ten Tips to Maximize Print Quality While Minimizing Cost and Waste

Try It Yourself

Part Two:Restoring and Enhancing Your Photographs

Chapter 7: Repairing Tears, Folds, and Holes

In This Chapter

7.1Starting a Restoration

7.2Repairing Through Cloning

7.3Using the Clone Stamp Tool

7.3.1Clone Stamp Tool Basic Operation

7.3.2Understanding the Clone Sampling Methods

7.3.2.1When the Aligned Option is Checked

7.3.2.2When the Aligned Option is Unchecked

7.3.3Assigning Opacity

7.3.4Choosing the Layer to Sample From and the Ignore Adjustment Layers Options

7.3.5Working With the Clone Source Panel

7.3.5.1Using the Show Overlay and Clipped Options When Cloning

7.3.5.2Using the Rotate Source Feature

7.4Using the Patch Tool

7.4.1Understanding the Source Versus the Destination Versus the Content-Aware Application Options

7.4.1.1Using the Source Method

7.4.1.2Using the Destination Method

7.4.1.3Using the Content-Aware Mode

7.4.2Combining the Patch Tool With the Clone Stamp Tool

7.4.3Additional Cloning Tools

7.5Repairing Using the Layer Via Copy Command

7.5.1Using the Layer Via Copy Command When a Repair Requires Distortion

7.5.2Using the Layer Via Copy Command for Repairing Curved Content

7.5.3Using the Eraser Tool With the Layer Via Copy Command

7.6Handling Color Mismatches When Using the Layer Via Copy Command

7.7Choosing the Best Method to Repair a Damaged Area

Try It Yourself

Chapter 8: Repairing Minor Surface Flaws

In This Chapter

8.1Types of Damage

8.2Defining the Job First

8.2.1Cropping Before Restoring

8.2.2Viewing and Printing Before Restoring

8.3Using the Healing Brush Tool

8.4Using the Spot Healing Brush Tool

8.4.1Applying the Spot Healing Brush Tool to Scratches

8.4.2Applying the Spot Healing Brush Tool to Small Areas of Surface Damage

8.5Repairing Using the Dust and Scratches Filter

8.5.1Combining the Dust and Scratches Filter With the Erase to Repair Technique

8.6Repairing Using a Blur Filter

8.6.1Using the Gaussian Blur Filter

8.6.2Using the Surface Blur Filter

8.6.2.1Understanding the Difference Between the Gaussian Blur Filter and the Surface Blur Filter

8.7Repairing With the Smudge Tool

8.7.1Using the Smudge Tool to Define Edges

8.7.2Using the Smudge Tool to Repair Small Surface Damage

8.8Repairing With the Blur Tool

8.9Using Layers to Manage Blurs

8.10Combining Tools, Commands, and Techniques for Professional Restorations

Try It Yourself

Chapter 9: Correcting Lighting, Contrast, and Discoloration

In This Chapter

9.1Before We Begin

9.2Using Adjustment Layers

9.3Converting Color Photographs to Grayscale Photographs

9.3.1Converting to Grayscale Using the Image>Mode>Grayscale Command

9.3.2Applying the Black & White Command Before Converting a Photograph to Grayscale

9.3.3Applying the Channel Mixer Command Before Converting a Photograph to Grayscale

9.3.4Choosing the Most Effective Grayscale Conversion Method

9.4Applying Tonal Adjustments to Grayscale Photographs

9.4.1Applying the Auto Tone/Auto Contrast Commands to Grayscale Photographs

9.4.2Applying the Brightness/Contrast Command to Grayscale Photographs

9.4.3Understanding the Histogram Panel

9.4.3.1Comparing the Histogram of a 16 Bits/Channel Versus a 8 Bits/Channel Grayscale Photograph

9.4.4Applying the Levels Command to Grayscale Photographs

9.4.5Applying the Curves Command to Grayscale Photographs

9.4.5.1Adjusting the Midtone Range of a Grayscale Photograph Using the Curves Command

9.5Applying Adjustment Layers When Using the Layer Via Copy Command

9.6Eliminating Stains and Isolated Discoloration in Grayscale Photographs

9.7Applying Tonal Adjustments to Color Photographs

9.7.1Applying the Auto Tone/Auto Contrast Commands to Color Photographs

9.7.2Applying the Brightness/Contrast Command to Color Photographs

9.7.3Applying the Levels Command to Color Photographs

9.7.3.1Applying the Levels Command to Selections

9.7.4Applying the Curves Command to Color Photographs

9.8Adjusting Shadows and Highlights

9.8.1Applying the Shadows/Highlights Command to an Image

9.8.2Applying the Shadows/Highlights Command to a Selection

9.9Correcting an Overall Color Cast

9.9.1Correcting a Color Cast Using the Auto Color Command

9.9.2Color Theory Basics

9.9.3Correcting a Color Cast Using the Color Balance Command

9.9.4Correcting a Color Cast Using the Levels Command

9.9.5Correcting a Color Cast Using the Curves Command

9.10Correcting Saturation in a Color Photograph

9.11Replacing Color

9.11.1 Replacing Color Using the Replace Color Command

9.11.2 Replacing Color Using the Hue/Saturation Command

9.11.2.1 Using the Hue/Saturation Eyedroppers to Select an Area to Affect

9.12Using Tools to Correct Lighting and Discoloration

9.12.1 Replacing Color Using the Color Replacement Tool

9.12.2 Using the Dodge Tool to Lighten Areas of a Photograph

9.12.3 Using the Burn Tool to Darken Areas of a Photograph

9.12.4 Using the Sponge Tool to Saturate or Desaturate Areas of a Photograph

Try It Yourself

Chapter 10:Enhancing Photographs by Adding, Deleting, and Blurring Content

In This Chapter

10.1Adjusting Resolution When Adding Content to a Photograph

10.2Adjusting Sizes, Tonal Ranges, and Lighting When Combining Images

10.2.1 Adjusting Sizes and Tones When Combining Images

10.2.2 Matching Light Sources When Combining Images

10.3Enhancing a Photograph by Removing Distracting Content

10.3.1Removing Distractions Using the Content-Aware Technology

10.3.1.1Using the Edit>Fill>Contents>Content-Aware Command

10.3.1.2Using the Content-Aware Fill Workspace

10.3.2Removing Distractions Using Duplicated Content

10.3.3Removing Distractions by Applying a Gradient

10.3.3.1Creating a Gradient to Remove a Distracting Complex Background

10.3.3.2Creating a Gradient Background Layer

10.3.3.3Applying a Gradient to Remove a Distracting Simple Background

10.4Enhancing a Photograph by Moving or Replacing Content

10.4.1Enhancing a Photograph Using the Content-Aware Move Tool

10.4.2Enhancing a Photograph by Replacing Content

10.5Adjusting an Image’s Focal Point

10.5.1Adjusting an Image’s Focal Point by Minimizing Distraction

10.5.2Adjusting an Image’s Focal Point by Redefining Its Depth of Field

Try It Yourself

Chapter 11: Tricks and Trade Secrets

In This Chapter

11.1Enriching Your Restorations and Enhancements With Tricks and Trade Secrets

11.2Enhancing Photographs Using Artistic Cropping

11.2.1Creating an Artistic Crop Using Existing Content

11.2.2Creating an Artistic Crop By Adding Content

11.3Correcting Keystone Perspective Distortion

11.3.1Using the Perspective Crop Tool

11.3.2Using the Lens Correction Filter

11.3.3Using the Edit>Transform>Distort Command

11.3.3.1Adjusting Height When a Perspective Crop Has Been Applied

11.4Applying the Unsharp Mask Filter

11.4.1Using the Unsharp Mask Filter to Improve Definition

11.4.2Using the Unsharp Mask Filter to Enhance the Effects of Aerial Perspective

11.5Tricks for Improving Skies

11.5.1Improving a Sky Using a Gradient

11.5.2Improving a Sky by Replacing It

11.5.2.1Replacing a Sky Using the Sky Replacement Command

11.5.2.2Replacing a Sky Manually

11.5.3Improving an Existing Sky Through Isolation

11.6Learning the Weight Reduction Trick

11.6.1Moving Content to Its Own Layer Before Applying the Liquify Filter

11.7Applying a Transitional Tonal Correction to a Photograph

11.7.1Creating a Seamless Tonal Integration Using a Feathered Selection

11.7.2Creating a Seamless Tonal Integration Using a Gradient Quick Mask Selection

11.8Applying a Sepia Tone to a Photograph

11.9Colorizing Photographs

11.9.1Restoring Color to a Photograph with an Extreme Color Cast

11.9.2Returning Color to a Photograph Converted to Grayscale

11.9.3Colorizing a Grayscale Photograph

11.9.4Changing the Color of an Item Within a Photograph to Enhance Its Aesthetic Appearance

11.10 Adding Highlights to the Eyes of People and Pets

11.10.1Adding Highlight Spots to Peoples’ Eyes

11.10.2Adding Highlight Spots to Pets’ Eyes

11.11 Correcting Flash Reflection

11.11.1Eliminating Red-Eye

11.11.1.1Eliminating Red-Eye Using the Red Eye Tool

11.11.1.2Eliminating Red-Eye by Applying the Sponge and Burn Tools

11.11.2Eliminating Flash Reflection in Pets’ Eyes

11.11.3Minimizing Flash Reflection in Eyeglasses

11.12 Learning the Age Reduction Trick

11.13 Whitening Teeth

11.13.1Whitening Teeth Using the Replace Color Command

11.13.2Whitening Teeth Using the Hue/Saturation Command

Try It Yourself

Chapter 12: Conquering Special Challenges

In This Chapter

12.1Digitizing Challenges

12.1.1Scanning Photographs Larger Than the Scanner Bed

12.1.2Assembling a Composite Image in Photoshop

12.1.2.1Adjusting Tonal Variations When Creating a Composite Image

12.1.3Scanning a Photograph Stuck to Glass

12.1.4Photographing a Picture That Can Not Be Scanned

12.1.4.1Photographing the Artwork With Your Camera’s Flash Off

12.1.4.2Photographing the Artwork at an Angle

12.2Selective Redo Solutions: How to Redo Without Starting Over

12.2.1Using Content From the Background Layer If It Was Duplicated

12.2.2Using Content From the Original File

12.3Thinking Outside the Box: Solving Nontraditional Challenges

12.3.1Repairing a Photograph Applied to Metal

12.3.2Repairing Missing Text

12.4Top Ten Best Practices for Your Future Professional Restoration and Enhancement Work

Try It Yourself

Chapter 13:Putting It All Together: Applying Your Skills to Complex Restoration and Enhancement Projects

In This Chapter

13.1Choosing to Follow the Step-By-Step Project Completion Format

13.1.1Black Dog Photograph Enhancement Step-By-Step

13.1.2Soldier Photograph Restoration Step-By-Step

13.1.3Portugal Photograph Enhancement Step-By-Step

13.1.4Portrait Painting Restoration Step-By-Step

13.2On Your Own

Index

CREDITS

The following list of friends and patrons have generously given their permission to have their precious memories included in this book:

Anderson, Jr., Albert

Chapter 6:Figure 6.20

Chapter 13:Figure 13.27, Figure 13.29, Figure 13.30, Figure 13.31,Figure 13.32, Figure 13.33, Figure 13.34, Figure 13.35

Chapter 13:Title Page

Beamish, Susan

Chapter 12:Figure 12.6

Bohn, Meredith

Chapter 7:Figure 7.27

Chapter 9:Figure 9.63, Figure 9.64

Casey, Michele Harris

Chapter 13:Figure 13.1, Figure 13.2, Figure 13.3

Chapter 13:Title Page

Connarn, John

Chapter 4:Figure 4.8

Chapter 9:Figure 9.12

Demers, Sarah

Chapter 11:Figure 11.37

Duckoff, Richard

Chapter 1:Figure 1.15, Figure 1.16, Figure 1.17

Chapter 3:Figure 3.2, Figure 3.3

Chapter 7:Figure 7.12, Figure 7.14, Figure 7.15, Figure 7.16, Figure 7.17, Figure 7.18, Figure 7.19, Figure 7.22

Chapter 7:Title Page

Chapter 9:Figure 9.17, Figure 9.18, Figure 9.21, Figure 9.55

Chapter 11:Figure 11.32

Chapter 12:Figure 12.25, Figure 12.26Cover Design

Part 2:Opening Collage

Fernandez, Lisa

Chapter 4:Figure 4.27, Figure 4.28

French, Bess L.

Chapter 4:Figure 4.21, Figure 4.22, Figure 4.23

Hersey, Richard

Chapter 3:Figure 3.37

Chapter 7:Figure 7.26

Chapter 9:Figure 9.20

Chapter 12:Figure 12.13, Figure 12.14, Figure 12.15, Figure 12.16,Figure 12.17, Figure 12.22, Figure 12.23, Figure 12.24,Figure 12.27, Figure 12.28, Figure 12.19

Chapter 12:Title Page

Jenkins, John A.

Chapter 3:Figure 3.8

Chapter 9:Figure 9.22

Krupa, Michalena

Chapter 8:Figure 8.22, Figure 8.42, Figure 8.43, Figure 8.44, Figure 8.45

Chapter 8:Title Page

Chapter 11:Figure 11.27, Figure 11.28, Figure 11.29, Figure 11.30, Figure 11.31

Langelier, Wendy A.

Chapter 2:Figure 2.14

Loiselle, Angela

Chapter 10:Figure 10.13, Figure 10.14, Figure 10.15, Figure 10.18,

Figure 10.19, Figure 10.20, Figure 11.45

Martel, Eva

Chapter 3:Figure 3.1

Medzela, Mary Ann

Chapter 8:Figure 8.29, Figure 8.30, Figure 8.31, Figure 8.32, Figure 8.33, Figure 8.36, Figure 8.40, Figure 8.41

Chapter 8:Title Page

Miller, David

Chapter 4:Figure 4.7

Chapter 8:Figure 8.1, Figure 8.2, Figure 8.3, Figure 8.4, Figure 8.5

Nadeau, Clémence

Chapter 2:Figure 2.18

Chapter 3:Figure 3.7, Figure 3.10, Figure 3.11, Figure 3.12, Figure 3.13,

Figure 3.14, Figure 3.15, Figure 3.18, Figure 3.20, Figure 3.30,

Figure 3.31, Figure 3.32

Chapter 5:Figure 5.15, Figure 5.18, Figure 5.20

Chapter 7:Figure 7.24, Figure 7.25

Chapter 7:Title Page

Chapter 8:Figure 8.10, Figure 8.11, Figure 8.13, Figure 8.14, Figure 8.15, Figure 8.16

Chapter 9:Figure 9.4, Figure 9.5, Figure 9.6, Figure 9.9, Figure 9.11,Figure 9.13, Figure 9.60

Chapter 10:Figure 10.8, Figure 10.9, Figure 10.10, Figure 10.11,Figure 10.12

Chapter 11:Figure 11.20, Figure 11.22

Part 2:Opening Collage

Reed, Bobby L.

Chapter 12:Figure 12.18, Figure 12.19, Figure 12.20, Figure 12.21

Chapter 12:Title Page

Reno, Catherine

Chapter 8:Figure 8.37, Figure 8.46, Figure 8.47, Figure 8.48, Figure 8.49

Chapter 9:Figure 9.16

Sharpe, Rich

Chapter 11:Figure 11.33, Figure 11.34, Figure 11.35, Figure 11.36,

Figure 11.65Cover Design

Slater, Sandy

Chapter 13:Figure 13.4, Figure 13.5, Figure 13.6, Figure 13.7, Figure 13.8, Figure 13.9, Figure 13.10, Figure 13.11, Figure 13.12,

Figure 13.13, Figure 13.14, Figure 13.15, Figure 13.16

Chapter 13:Title Page

Part 2:Opening Collage

Smith, Shaunna

Chapter 10:Figure 10.23, Figure 10.24, Figure 10.25, Figure 10.26

Stevens, Randy

Chapter 11:Figure 11.66, Figure 11.67, Figure 11.68, Figure 11.69Cover Design

Wolper, Barry F.

Chapter 2:Figure 2.6, Figure 2.13

Chapter 2:Title Page

Chapter 3:Figure 3.28, Figure 3.29

Chapter 3:Title Page

Chapter 4:Figure 4.30, Figure 4.31

Chapter 5:Figure 5.1, Figure 5.2, Figure 5.6, Figure 5.9, Figure 5.11,Figure 5.12, Figure 5.13, Figure 5.14, Figure 5.19, Figure 5.28,Figure 5.29, Figure 5.30

Chapter 5:Title Page

Chapter 6:Figure 6.2, Figure 6.4, Figure 6.6, Figure 6.8, Figure 6.9

Chapter 6:Title Page

Chapter 7:Figure 7.4, Figure 7.6, Figure 7.7, Figure 7.8, Figure 7.9,Figure 7.13

Chapter 9:Figure 9.10, Figure 9.28, Figure 9.29, Figure 9.30, Figure 9.31, Figure 9.32, Figure 9.33, Figure 9.44, Figure 9.45, Figure 9.46, Figure 9.47, Figure 9.51, Figure 9.58, Figure 9.61

Chapter 9:Title Page

Chapter 10:Figure 10.4, Figure 10.5, Figure 10.36

Chapter 10:Title Page

Chapter 11:Figure 11.11, Figure 11.12, Figure 11.16, Figure 11.17

Chapter 13:Figure 13.17, Figure 13.18, Figure 13.19, Figure 13.21,

Figure 13.22, Figure 13.23, Figure 13.24, Figure 13.25,Figure 3.26

Chapter 13:Title Page

Part 1:Opening Collage

Part 2:Opening Collage

PREFACE

We all love our photographs whether they are vintage family classics, cell phone candids, or selfies. Finding some old family photographs can be exciting, yet oftentimes disappointing if they have suffered from their age: perhaps their color has faded, or they contain tears, folds, missing pieces, etc. And unfortunately, sometimes our digital photographs have extra people in them, washed out skies, unwanted backgrounds, etc. If you’d love to learn how to restore the damaged ones, and convert your digital disappointments into professional prints: this book will get you there. Rather than cover every tool and command of Adobe Photoshop, this book focuses exclusively on its restoration and enhancement features delivered in an easy to follow format. Designed for both novices and experienced users of Photoshop CC, this third edition provides many new tips, figures, and projects, making it easier than ever to master Photoshop.

Novices will learn to take command of the software through opportunities to correct and enhance images, developing the expertise to make informed decisions later in their own photograph restoration and enhancement work using either basic or more advanced methods.

Experienced users will benefit from clarifications of challenging topics such as resolution and color management, plus enrich their skills by acquiring a multitude of professional tips and tricks: employing its tools in numerous innovative applications that they most likely never thought of.

The book is divided into two sections. Part One teaches how to use Photoshop for photograph restoration and enhancement through projects that will continue to be developed and refined throughout the remainder of the text. Part Two provides a comprehensive exploration of all types of damage repair, color correction, and enhancement techniques, additionally conquering challenges such as scanning and assembling a photograph larger than your scanner’s bed, and digitizing photographs that cannot be scanned. Through dozens of hands-on projects that include opportunities to use the images provided or your own, developing a diverse portfolio of works exemplifying a wealth of experience has never been easier or more fun.

As you read this book, a variety of learning tools are included to further reinforce your learning:

•Definitions: Explanations of key photography, restoration, and color terms.

•Notes: Clarification and additional information about the content being learned.

•Click Tips: Keyboard and execution short cuts to advance your skills and proficiency.

•Companion Files: Project files, figure examples, and supplementary projects to enhance your learning. These files are available both on the companion files included with this text, as well as available from the publisher by writing to: [email protected].

•Video clips: Straightforward demonstration videos of key processes to clarify, enhance, and reinforce your learning.

Congratulations on the purchase of this book. You have taken the first step to pursuing an engaging hobby or an exciting new career!

Part One

Preparing YourPhotographs for Restoration and Enhancement

Explore the fundamentals of resolution

Learn to assign scanner settings for high resolution output

Be introduced to Bit Depth

Prepare digital camera images for work in Adobe Photoshop ®

Before opening images in Adobe Photoshop to begin their restoration or enhancement (referred to from now on in this book as simply Photoshop), this first chapter will examine their proper preparation including: scanning, downloading from a camera or smartphone, assigning resolution, and saving formats.

1.1 Before We Begin

Perhaps you’ve got some old photos damaged by torn corners, holes, or water spots. Or perhaps you have some not-so-old color photos that were never properly stored, and their colors have faded or changed with age. Or more recently, you took some photographs with your digital camera or smartphone of a special event, only to have the “guest of honor” blink, or turn away, just when you took the photo. Don’t you hate that? Or maybe you have dozens of photographs that have red-eye, are crooked, contain objects (or people) you wish weren’t in them, and so on and so on and so on. You’d love to fix all these photos yourself, and you know it could be fun and rewarding doing it, but the thought of having to learn a huge program like Photoshop is intimidating to you. Even if it’s not, you just don’t have that kind of time. This book will get you there. Learning the essential features of Photoshop specific to our type of work, we will employ the images supplied (and use your own as well), to master many rewarding techniques in photograph restoration and enhancement, without extensive training in every aspect of Photoshop.

1.2 Clarifying Resolution

The visual quality or clarity of an image is determined by its resolution. Resolution can be one of the hardest concepts to grasp when learning to work with photographs digitally. To be successful in photograph restoration and enhancement, you do not have to know everything about resolution, or even ever fully understand it: you just need to learn how to work with two of its unique features. The first of those is what resolution your images need to start with in order to meet your quality expectations when they are printed. The other feature is an idiosyncrasy of resolution that arises when images are merged together, that is critical to be aware of, so that you can avoid frustration and disappointment when you want to combine some yourself.

So…why are we starting our training with what was just referred to as “one of the hardest concepts to grasp”? The answer is simple. Before you even open your images in Photoshop, familiarity with these basics of resolution is a fundamental key contributor to your future success when working with digital images, whether they are scanned in, or downloaded from your digital camera or smartphone. But, don’t be concerned…you will learn what you need to know.

1.2.1Pixelation: PPI and DPI

Figure 1.1 shows a small area of an image on a computer screen. This example allows you to clearly see that when photographs are converted to digital images, they are transformed into square blocks of color, called “pixels.”

A copy of each figure shown in this chapter can be viewed in the companion files included with this book.

PPI stands for “pixels per inch.” When two photographs are of the same physical dimensions (e.g., 4" x 6"), if one of them has a smaller number of ppi than the other, it means that each pixel or square block of color within that image will be further apart that the same size photograph with more ppi. The more ppi (or more “square blocks of color” per inch) a digital image contains, the more flexible it will be when enlarged before the “squares” become so far apart from each other, that they begin to clearly be noticeable as individual blocks of color.

Figure 1.1 Pixelation.

So if that’s PPI, then what’s DPI? Often mistakenly referred to as the same thing, DPI stands for “dots per inch, “ for printing purposes. The correct term for denoting the resolution of your photographs, and the phraseology that will be used in this book, is to refer to their ppi.

Definition

DPI (dots per inch): refers to the number of printing dots of ink per inch. A 1200 dpi printer will place 1200 minuscule droplets of ink within each square of the document being printed.

1.2.2Choosing a Resolution Based on Your Final Output Needs

1.2.2.1Resolution Considerations for Enlargements: the “Final Factor”

Although we will learn the process of cropping using Photoshop in Chapter Five, let’s look at cropping for now from a resolution standpoint. We will examine some original images, then cropped versions of them to further “clarify” resolution. The following two original spring ice photographs shown in Figure 1.2 both have the same physical dimensions of 4" x 6", however the image on the left is comprised of 72 ppi, and the one on the right contains 300 ppi.

Figure 1.2 Same image at 72 ppi and 300 ppi.

Figure 1.3 Cropped images.

When viewed at their original physical dimensions, even the low resolution version looks decent. Figure 1.3 illustrates when the problem becomes more noticeable. When cropped and enlarged, the low resolution image suffers dramatically in quality, as the “square boxes” of color become more evident, and the details, such as the icicles, become noticeably less defined.

Perhaps at some point you have tried to print a low resolution photo as a large print, and experienced this problem yourself. You may not have understood why it happened, or how it could have been resolved by using a higher resolution photograph to start with. Figure 1.3 also exemplifies the typical type of compromise in quality when an original low resolution image with physical dimensions of 4" x 6" for example, is enlarged to a size such as 8" x 12", or even worse 12" x 18". The end result will most likely be disappointingly poor. So how can you get a high quality photo enlargement? What resolution would it need to be? 300 ppi or even larger than that? The answer lies in a little mathematical computation, referred to in this text as the “final factor.” When an image is either scanned in or downloaded, it contains a certain number of pixels for its width and height, based on its assigned resolution. These pixel dimensions (or number of pixels) remain constant, even if either the physical dimensions or resolution of the image are changed later on. When the document size (physical dimensions) of an image is enlarged, the resolution is decreased (the boxes of color are spread out), or increased if the physical dimensions are changed to a smaller size (the boxes of color are condensed). Because these two factors are interconnected, if the resolution is changed instead to a higher number, the image’s physical dimensions will decrease, or conversely, will increase if the resolution is lowered. All the while, the assigned original pixel dimensions for the width and height of the image never change. Perhaps just in learning this, you can guess what you need to do. You must start with a high enough resolution of your original to be able to enlarge it later to the size you want, and still end up with enough ppi to look good. How to know what resolution you need to start with will be covered later in this chapter when we discuss the principles of scanning. How to make the resolution/size adjustments to enlarge your image after you have determined the required pixel width and height and scanned your image using those calculations will be covered in Chapter Two once we are working in Photoshop. At this stage of your learning, understanding what pixelation is, and just knowing that you can avoid it by starting with a high enough resolution photograph, one with enough pixels per inch based on your “final factor” desires, is a great start. You are on your way to a successful and fun experience in photograph restoration and enhancement.

1.2.3Resolution Considerations When Combining Images Together

When you combine photographs or parts of photographs together as you will do later in this book, they should be the same resolution whenever possible: “apples with apples” so to speak. The following examples will help to understand why.

Both of the photographs shown in Figure 1.4, the snow scene, and the lake scene, have the same physical dimensions of 6" x 4". The lake scene photo’s resolution however, is 300 ppi while the snow scene photo’s is only 72 ppi. If the low resolution snow scene image is imported into the high resolution lake scene image, the pixels that are “spread out” in their original 72 ppi configuration are automatically compressed together to align pixel for pixel to the 300 ppi of the lake scene, making the imported image much smaller. A photograph imported into another photograph will always be converted to the destination resolution. Because we have already learned that the original assigned pixel width and height totals remain constant, the imported image will be automatically transformed as it needs to in order to do that, as shown in Figure 1.5. even though it is still the original 6" x 4" photograph, the snow scene image becomes much smaller when added to the high resolution lake scene photograph.

Figure 1.4 Snow scene 72 ppi image compared to lake scene 300 ppi image.

Conversely, when a high resolution image is imported into a low resolution image…can you guess the result? It will spread out as needed to once again align pixel for pixel with the lower ppi photograph it is brought into. Figure 1.6 illustrates this scenario. The “handles” we can see beyond the dimensions of the snow scene identify the outer edges of the 300 ppi lake scene photograph, representing how much larger the lake scene image has become than the snow scene it has been imported into.

Figure 1.5 72 ppi imported into 300 ppi.

Let’s carry this concept one step further. The pixel width and height (not physical dimensions) of the high resolution lake scene are 1800 px x 1200 px respectively. The pixel width and height (not physical dimensions) of the low resolution snow scene are 432 px x 288 px.

This means that the lake scene photo can “fit” over 16 copies of the snow scene inside of it, as shown in Figure 1.7, even though both images’ original physical dimensions were the same, 6" x 4".

Figure 1.6 300 ppi imported into 72 ppi.

Figure 1.7 Multiple 72 ppi images in one 300 ppi image.

Undoubtedly, this can be a very difficult concept to understand. In actuality, you don’t need to ever fully understand it, as long as you understand what will happen if you combine two photographs with different resolutions. Just remember “apples with apples”: if you plan to import even a small piece of one photograph into another, be sure the photo to be imported is the same resolution as that of the destination image before you combine them. Once we start working in Photoshop, if you add part of one photograph into another and it suddenly appears disproportionately larger or smaller than you know it should, you will be able to recognize that the two photographs are most likely not the same resolution.

So what do you do if you have two different resolution photos and need to combine them together? Although not recommended, that can be done through a process known as resampling. We will examine resampling in depth as it pertains to cropping images in Chapter Five, and explore ways to minimize its ramifications when content from an image comprised of a different native resolution is required to enhance a photograph, in Chapter Ten. For now, with these two main features of resolution clarified, we are ready to learn how to prepare photographs to work with them in Photoshop by scanning them.

1.3 Scanning Basics

All medium and high-end flat-bed scanners (the cover lifts, and you lay your photograph on the “bed” to be scanned) have the same basic features, with each brand scanner and its applicable scanning software defining the features perhaps a little different than the next one. Because of that, this section will focus on the critical ones that relate to scanning for importation into Photoshop, not the basic operation of your particular scanner, and will assume that one of the available scanning mode choices in its software is called either “Advanced,” “Expert,” or “Professional.” That is the mode we will use, and when discussed in this chapter, it will be referred to as “professional.” For your work in photograph restoration and enhancement, you will need to use some specific options this mode will have that the rest of the scanning mode choices your scanner software may have available will not. Don’t be intimidated; you will be a professional in no time.

1.4 The Three Expert Scanning Options You Need to Know

When using a scanner in its professional mode, a variety of settings come to life that were most likely not available when in its Auto type mode for general scanning. The scanning modes shown in Figure 1.8 are those of an Epson Perfection V800 Photo scanner, with settings comparable to other manufacturer’s medium to high-end scanners. Let’s take a look at the typical main components of the professional mode as shown in Figure 1.9.

Figure 1.8 Epson Scanning modes.

DOCUMENT TYPE: If a scanner includes the capability to scan transparency, Document Type is the option to choose that alternative document type rather than the default option of Reflective for scanning prints.

IMAGE TYPE: This menu provides the option to scan photos in color or grayscale and choose its bit depth.

RESOLUTION: Using its menu, a predefined resolution can be selected or an alternative can be typed in that is not listed as an option.

Many scanners include basic color adjustment options such as Auto Exposure and Tone Correction as shown by the icons under the Adjustments category in Figure 1.9. There is no need to be tempted to try to “color correct” scans using features such as these if they are available within your scanner specific software, as you will soon be using Photoshop to do that. You will need to become familiar with three of the other available features of a scanner’s professional mode: how to crop the prescan to the actual size desired to scan at, how to choose the correct resolution to scan at, and what color depth, or bit depth to scan in.

Figure 1.9 Typical professional mode scanning options.

Although your scanner software may list its resolution as dpi, because Photoshop assigns resolution in ppi, all resolution calculations applied in this text will be in ppi. Additionally, when scanning black and white photographs, it is best to scan them in color, then convert the color to black and white within Photoshop. The process of converting color images to black and white will be discussed in detail in Chapter Nine.

1.4.1Cropping an Area to Scan

Beginners often scan a larger area than they need to. The Prescan feature, available when using all flat bed scanners in their professional mode, is designed to do a quick, low resolution scan. This allows us to define a dotted outline, referred to as a marquee selection, to delineate the specific area to scan at the chosen higher resolution instead of scanning the entire bed area of the scanner. If the photograph we want to scan is 4" x 6", for example, and we want all or only part of the image as the scan, after we apply the Prescan feature, the area to scan should be reduced from the full size of the scanning bed (8-1/2" x 11" for example) which will be chosen by default, down to only the outer dimensions of the desired final image area. We can adjust its dimensions by either typing them in an input area of the scanner software dialog box, or by grabbing and dragging the sides of the marquee selection to redefine its size if we want to scan the entire photograph, or smaller if only part of the image is desired, as shown in Figure 1.10. The dotted marquee selection perimeter defines the area of the prescan that will be scanned at the resolution chosen rather than the full bed area. The 4" x 6" photo shown in Figure 1.10 was scanned at 300 ppi resulting in a high resolution copy of the same size. Most likely, if you already had a 4" x 6" copy of the photo, you would not be scanning it. You would probably be scanning it because you wanted to enlarge it. That’s where our “final factor” comes in.

Figure 1.10 Scanning area defined.

1.4.2Choosing the Resolution to Scan At

Let’s carry this concept further. The physical dimensions of the original photograph shown in Figure 1.11 are approximately 3" x 2" in size.

Figure 1.11 Original little girl.

Figure 1.12 Prescan marquee selection of little girl.

Figure 1.13. Enlargement of little girl.

To enlarge just the girl sitting in the chair, a width and height for the original scan marquee selection area must be defined using the final factor based on the desired size of the resulting photo, which in this case was a 4" x 6" enlargement.

1.4.3Scanning Transparencies

The same multiplication factor we just learned to use when scanning prints, also applies when scanning film negatives and slides. The only difference lies in the fact that because the originals will usually be smaller, the required scanning resolutions will need to be higher, based on the final output size desired.

1.4.3.1Scanning a 4" x 5" Negative

In order to be able to scan negatives, a scanner must be equipped with a transparency unit. How many different size film negatives can be scanned in addition to 35 mm negatives will depend on the make and model of the scanner. After loading the negative into the scanner’s film holder that will be included with the scanner if it contains the transparency capability and after choosing to scan transparency, the type of transparent film to scan (negatives or slides) must be selected, as shown in Figure 1.14.

Figure 1.14 Selecting the file type.

Figure 1.15 Hampshire Plaza building prescan selection.

Figure 1.15 shows an old 4" x 5" film negative, with a 2" x 2.5" marquee selection defined in the prescan.

Figure 1.16 Hampshire Plaza 10" x 8".

A common false assumption that many people make is that over-scanning (scanning higher than you need) will make the final enlargement even clearer. The image clarity is still limited to the output device (the printer), and choosing to have a higher scanning resolution than needed will only result in a larger, harder to manage file. Figure 1.17 shows an enlargement of the same prescan area of the film negative shown in Figure 1.15 scanned at 1200 ppi, resulting in an ending file size of 6.87 megabytes vs. one scanned at 2400 ppi, resulting in a file size four times larger: 27.5 megabytes. As we can see from the starburst detail of the construction lighting, quality improvements in the 27.5 MB image are virtually impossible to be seen when printed at the same size.

Figure 1.17 Hampshire Plaza enlargement.

1.4.3.2Scanning 35 mm Negatives and Slides

The Hampshire Plaza example used a 2" x 2.5" section of a 4" x 5" black and white negative. So what if you want to create an 8" x 10" print from an original as small as a 35 mm negative or slide? A common solution that you will hear is, “just scan it as high as your scanner will allow you to.” We have just see that file size and memory will become difficult to work with very quickly when working in large files. Instead of over scanning, the concept is still the same: the final factor multiplication rule we have already learned. The multiplication factor will simply need to be higher because the original is smaller. Figure 1.18 demonstrates this by showing a 1.0" x .8" marquee selection of a 35 mm color negative that when scanned at 3000 ppi generates the 10" x 8" enlargement at the 300 ppi final print quality desired.

Figure 1.18 Color negative to 10” x 8” enlargement.

1.5 An Introduction to Bit Depth

The third and final main consideration you need to know about when scanning photographs to work on in Photoshop, is something called “bit depth”: not part of the mystery of resolution, but is an available setting in the professional mode of the scanner software and in Photoshop, and can seem when learning about it, to be somewhat of a mystery in itself.

1.5.18 Bits/Channel Versus 16 Bits/Channel Depth

In Photoshop, if you scan a photograph at 48 bit color, and later decide you want to change it to 24 bit, you can do that with no negative ramifications. However, if an image is scanned at 24 bit color (or 8 bit grayscale), and later a bit depth of 48 bit (or 16 bit grayscale) is desired, the image should be rescanned at the higher desired bit depth rather than attempt to “fabricate” bit color in Photoshop.

Furthermore, when working in Photoshop, some menu options will be grayed out because they are not designed to work with higher bit depth images.

At this point, are you wondering if there are any advantages to the higher bit depth? The answer to that question will lie in the type and severity of a particular photograph’s color correction requirements. When applying color enhancement features in Photoshop, the additional color bits (or the additional tones that will produced at 16 bits/channel when working in grayscale) will provide more flexibility or “forgive-ability” in the editing process than the same image scanned at 8 bits/channel. Once we are working with color correction in Photoshop, we will compare and contrast an 8 bit grayscale image with the same image in 16 bit depth to better understand this concept. For most restoration and enhancement work, 8 bit grayscale and 24 bit color will be sufficient. You will be able to make “professional” decisions when scanning, resulting in prints and enlargements you will be proud to call your own as long as you remember the following:

•that bit depth and resolution are two very different parts of the puzzle

•that the most common bit depth is 8 bit which generates smaller, more manageable files

•that 8 bit is the one you will need for all the menu options in Photoshop to become available and for most printers to be able to output your photographs

•that between bit depth and resolution, the scanning setting you will be able to visibly see the most dramatic variation with (good or bad based on the selection) is resolution

1.6 Saving File Formats for Your Images

When saving a scan, although many scanners provide multiple file format saving options, the two most common image file format options (and the ones that will be discussed here) are TIFF (Tagged Image File Format: extension “.tif”) and JPEG (Joint Photographic Experts Group: extension “.jpg”).

1.6.1TIFF File Format

When a file is saved in the TIFF format, the two most popular options to save the format into is to save with either no compression, or with something called: “LZW” (Lempel-Ziv-Welch) compression. The LZW compression formula allows the image to be kept at the same original quality, but will be compressed to a smaller and more manageable file size (always a good decision). The TIFF format’s LZW compression method is referred to as a “lossless” compression. What lossless means is that no matter how many times it is saved, no image data will ever be deleted.

If you choose to save a scanned image as a JPEG, when prompted by your scanner software for the compression setting you want to apply, always choose the highest quality setting it provides.

1.6.2JPEG File Format

In contrast to the TIFF file format, a JPEG’s file size is smaller (that’s always good), however its method of compression is “lossy.” Every time the file is saved, a small amount of data is permanently removed from the file. A few saves will not necessarily be a problem but multiple saves while working with a photograph to restore or enhance it, could be. It is still a great, safe choice to save a scan in because we will be learning how to immediately convert a JPEG file to a PSD file (native Photoshop format “.psd”) once it is opened in Photoshop which will stop the loss of data.

When scanning, if files are saved as TIFFs instead of as JPEGs, once in Photoshop they can be left in that format, or converted to the native Photoshop file format of PSD to safely preserve the quality of all images from the time they are opened, and thereafter every time they are saved until the restorations and enhancements are complete. This best practice is the one we will use in our work.

1.7 Working With Images From Your Digital Camera or Smartphone

The resolution “final factor” and file saving formats we have just learned about for scanning are also applicable to images taken with a digital camera or smartphone, and can be adjusted once the images have been downloaded, and then opened in Photoshop.

1.7.1Downloading Your Digital Images

In Photoshop, we will see how the same multiplication “final factor” that applies to scanning, also applies to downloaded digital images, based on the megapixels that a digital camera or smartphone can produce, and the quality setting chosen when the photograph was taken. For now, follow the instructions provided by the manufacturer as to how to download your images, and be sure to download them to an easily accessible location on your hard drive for your work with them starting in Chapter Two using Photoshop.

1.7.2File Formats of Digital Cameras and Smartphones

Just as your scanner may have additional file format options besides the TIFF and JPEG formats, some digital cameras and smartphones have multiple file formatting choices available with the most universal one being JPEG. JPEG is fine because as we have just learned, once in Photoshop, the first thing you will do is open the image and convert it to the PSD file format, preserving all of its data by transforming it from a “lossy” to a “lossless” file format: safe to work on throughout the numerous resaves required during its enhancement.

Some digital cameras and smartphones can also shoot images in Raw format. Although these images can be enhanced using the Camera Raw feature of Photoshop, it will not be covered in this text. iPhones can also optionally assign Apple’s HEIF (High Efficiency Image File) format which can be opened in Camera Raw.

With a solid foundation in resolution, scanning, and downloading, we are ready to launch Photoshop.

Try It Yourself