Photoshop CS3 Bible E-Book

Laurie A. Ulrich

• Herausgeber: John Wiley & Sons
• Kategorie: Wissenschaft und neue Technologien
• Serie: Bible
• Sprache: Englisch

Seitenzahl: 1685

Veröffentlichungsjahr: 2011

Beschreibung

Get the book you need to succeed in any Photoshop endeavor -- Photoshop CS3 Bible. In this totally updated edition to the international bestseller, the authors show you how to master every aspect of Photoshop -- from image-editing basics to new techniques for working with camera raw images. You'll learn how to retouch, color correct, manipulate, and combine images using Photoshop. You'll discover how to create cutting-edge special effects for digital or film-based images, and use them on the Web or in print. And you'll find out how to use the File Browser, histogram palette, Lens Blur, Match Color, the color replacement tool, customizable keyboard shortcuts, and more. The authors' easy and approachable writing style demystifies even the most complex Photoshop tasks. Order today and master Photoshop CS3. Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.

Leseprobe

Photoshop® CS3 Bible

by Laurie Ulrich Fuller & Robert C. Fuller

Photoshop® CS3 Bible

Published by Wiley Publishing, Inc. 111 River Street Hoboken, NJ 07030 www.wiley.com

Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN-13: 978-0-470-11541-1

Manufactured in the United States of America

10 9 8 7 6 5 4 3 2

1O/SX/RS/QW/IN

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, [phone], fax [phone]. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, [phone], fax [phone], or online at http://www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. No warranty may be created or extended by sales or promotional materials. The advice and strategies contained herein may not be suitable for every situation. This work is sold with the understanding that the publisher is not engaged in rendering legal, accounting, or other professional services. If professional assistance is required, the services of a competent professional person should be sought. Neither the publisher nor the author shall be liable for damages arising herefrom. The fact that an organization or Website is referred to in this work as a citation and/or a potential source of further information does not mean that the author or the publisher endorses the information the organization or Website may provide or recommendations it may make. Further, readers should be aware that Internet Websites listed in this work may have changed or disappeared between when this work was written and when it is read.

For general information on our other products and services or to obtain technical support, please contact our Customer Care Department within the U.S. at [phone], outside the U.S. at [phone] or fax [phone].

Library of Congress Control Number: 2007926393

Trademarks: Wiley, the Wiley logo, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates, in the United States and other countries, and may not be used without written permission. Microsoft is a registered trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book.

Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books.

Dedication

We’d like to thank Peter Simon, photographer and author, for his interest in our book — his artist’s eye and technical perspective are greatly appreciated. Readers can check out Peter’s work at www.petersimon.com. His magnificent images of everything from Martha’s Vineyard to the Mets are a must-see, as is his book, I and EYE: Pictures of My Generation, which you can order through his Web site.

We’d also like to thank the artists who contributed images for this book:

Krisha Martzall KLM Photography [phone] www.krishamartzall.com

Terri Shadle Terri Shadle Photography [phone] [email protected]

A special thank you is also extended to Grant Stokke of The Pennsylvania State University, whose wonderful photo of a crow being fitted with a radio collar was used in this book. We’re grateful to Grant for this image and for his work — along with his colleague, David Burkett — in helping study Lancaster, Pennsylvania’s migratory crow population and the impact of humane, non-lethal wildlife management techniques. For more information, visitwww.lancastercrows.org.

About the Authors

Laurie Ulrich Fuller. Drawing and writing since she could pick up a crayon, and telling people what to do (and how to do it) since she was able to speak, Laurie Ulrich Fuller is a graphic artist, computer trainer, and the author and co-author of more than 25 books on computers, software, and the Web. Laurie has written hundreds of training manuals for universities and corporate training centers, and in the past 16 years, she’s personally trained thousands of people to make more creative and effective use of their computers. Her classroom has expanded in recent years to include total strangers around the world — through CD-based training products and online courses.

In the early 1990s, after spending way too many years working for other people, Laurie started her own firm, Limehat & Company. This venture allowed her to put her experience, ideas, and contacts to good use, providing consulting, training, Web development, and Web hosting services with a focus on the special needs of growing companies and non-profit organizations. If you’re wondering where the name “Limehat” came from, it’s a long story, but suffice to say it goes back to a childhood taunt, regarding a plaid hat she involuntarily wore to school. She still gets flashbacks.

When not writing about or teaching people to use computers, Laurie can be found working for a variety of animal and environmental advocacy groups, including the League of Humane Voters (www.lohvpa.org). You can find out more about Laurie’s work, experiences, and both personal and professional interests at www.planetlaurie.com. You can find out more about Photoshop and the Photoshop Bibles and check out online Photoshop tutorials, tips, tricks, and expert advice at www.photoshopbible.com. Laurie welcomes reader mail at [email protected]. She can’t promise an immediate response, but all mail will be answered.

Robert C. Fuller. Another year, another Photoshop update. True to form, Mr. Fuller still shuns the daylight, but just like the last time around, it took only a shiny new iMac to bring him up from the basement. While the rejuvenating effects of last year’s run-in with the eMac did not have longstanding positive effects on his mental health, at least this year he’s been speaking in complete sentences. “I really like this iMac” is all we’ve heard out of him, but at least he’s smiling and the faceless apparitions don’t seem to plague him as much.

Robert is the author of the Dreamweaver 4 and HTML Virtual Classroom books (McGraw-Hill/Osborne), as well as HTML in 10 Steps or Less (Wiley Publishing, Inc.). He has contributed to The Photoshop 7 Complete Reference (McGraw-Hill/Osborne), The Photoshop 2 Elements Bible, and Restoration and Retouching with Photoshop Elements 2 (both Wiley Publishing, Inc.), as well as last year’s Photoshop CS2 Bible Professional Edition. Robert also teaches computer topics at colleges and through online courses. You can write to him at [email protected].

Credits

Acquisitions Editor

Stephanie McComb

Project Editor

Martin V. Minner

Technical Editor

Dennis R. Cohen

Copy Editor

Gwenette Gaddis Goshert

Editorial Manager

Robyn Siesky

Business Manager

Amy Knies

Vice President & Executive Group Publisher

Richard Swadley

Vice President and Publisher

Barry Pruett

Project Coordinator

Adrienne Martinez

Graphics and Production Specialists

Jennifer Mayberry, Barbara Moore, Alicia B. South, Ronald Terry, Christine Williams

Quality Control Technicians

Laura Albert, John Greenough, Christy Pingleton

Proofreading

Aptara

Indexing

Aptara

Cover Design

Michael Trent

Cover Illustration

Joyce Haughey

Contents

Title

Preface

About This Edition of the Book

Conventions

Contact

Part I: Welcome to Photoshop

Chapter 1: Welcome to Photoshop CS3

Image-Editing Concepts

What’s New in Photoshop CS3

Summary

Chapter 2: Photoshop Inside Out

Diving in with the Splash Screen

Using the Photoshop Workspace

Navigating in Photoshop CS3

Customizing the Interface

The Preference Panels

Summary

Chapter 3: Image Management

Size versus Resolution

Changing the Printing Resolution

Changing the Page-Layout Resolution

Knowing the Best Resolution

The Resolution of Screen Images

Opening, Duplicating, and Saving Images

Using the Bridge

Saving an Image to Disk

File Format Roundup

Adding Annotations

Resampling and Cropping

Using the Analysis Menu Tools

Creating Custom Actions

Steps: Recording an Action

Summary

Part III: Painting and Retouching

Chapter 4: Defining Colors

Specifying Colors

Using the Color Picker

Typing Numeric Color Values

Working in Different Color Modes

Using Color Libraries

Introducing Color Channels

Trying Channels on for Size

Other Channel Functions

Color Channel Effects

STEPS: Using Multichannel mode as an intermediary step

Summary

Chapter 5: Painting and Brushes

Getting to Know the Painting and Editing Tools

Basic Techniques

Brush Size and Shape

Brush Dynamics

Opacity and Strength, Flow and Exposure

Brush Modes

Summary

Chapter 6: Filling and Stroking

Filling Selections with Color or Patterns

The Paint Bucket Tool

The Fill Command

Backspace and Delete Key Techniques

Applying Gradient Fills

Applying Strokes and Arrowheads

Summary

Chapter 7: Retouching and Restoring

Using the Tools of the Trade

Cloning and Healing

Retouching Photographs

Restoring an Old Photograph

Stepping Back through Time

Summary

Part III: Selections, Masks, and Filters

Chapter 8: Selections and Paths

Understanding How Selections Work

Geometric Selection Outlines

Free-form Outlines

Magnetic Selections

STEPS: Making Sense of the Magnetic Lasso Tool

The Magic(al) Wand

The Quick Selection Tool

Ways to Change Selection Outlines

STEPS: Removing an Element from an Image

Moving and Duplicating Selections

Drawing and Editing Paths

STEPS: Creating a Selection with the Path Tools

Importing and Exporting Paths

Summary

Chapter 9: Masks and Extractions

Painting and Editing Inside Selections

STEPS: Painting and Editing Inside a Selection Mask

Working in Quick Mask Mode

Generating Masks Automatically

STEPS: Extracting Content from its Surroundings

Creating an Independent Mask Channel

Summary

Chapter 10: Corrective Filtering

Looking at Filters

Understanding How Filters Work

Fading a Filter

Heightening Focus and Contrast

Blurring an Image

Understanding Noise Factors

Summary

Chapter 11: Distortions and Effects

Creating Bizarre Effects

Using the Filter Gallery

Playing with the Pixelate Filters

Working with Edge-Enhancement Filters

Distortion Filters

STEPS: Creating a vanishing point

Adding Clouds and Spotlights

STEPS: Lighting an image

Summary

Chapter 12: Custom Effects

Creating Homegrown Effects with the Custom Filter

Displacing Pixels in an Image

Using Displacement Maps

STEPS: Creating a pattern

Summary

Part IV: Layers, Objects, and Text

Chapter 13: Working with Layers

Sending a Selection to a Layer

Layer Basics

Selecting the Contents of Layers

Moving, Linking, and Aligning Layers

Creating and Using Smart Objects

Applying Transformations

Masking and Layers

Working with Layer Comps

3D Image Editing

Summary

Chapter 14: The Wonders of Blend Modes

Opacity and Fill

Blend Modes

Advanced Blending Options

Dropping Out and Forcing Through

Whole Image Calculations

STEPS: Applying the Apply Image command

Summary

Chapter 15: Shapes and Styles

Drawing Polygons, Lines, and Custom Shapes

Beauty on the Inside

Beauty on the Outside

Modifying and Saving Effects

Summary

Chapter 16: Fully Editable Text

The Five Flavors of Text

Text as Art

Using the Type Tool

Creating and Manipulating Text in a Frame

Applying Character Formatting

Applying Paragraph Formatting

Finding and Replacing Text

Fitting Type on a Path

Warping Text

Editing Text as Shapes

Summary

Part V: Color and Output

Chapter 17: Essential Color Management

A Typical Color-Matching Scenario

Color Conversion Central

Custom CMYK Setup

STEPS: Creating a CMYK profile

Synchronizing Bridge Color Settings

Summary

Chapter 18: Mapping and Adjusting Colors

Color Effects and Adjustments

Colors in Need of Adjustment

Quick and Automatic Color Effects

Quick and Automatic Corrections

Adjusting Hues and Colorizing Images

STEPS: Eliminating out-of-gamut colors

STEPS: Boosting the saturation of digital photos

Making Custom Brightness Adjustments

Adjustment Layers

The Advantages of Layer-Based Corrections

Correcting Camera Raw Images

Summary

Chapter 19: Animating and Working with Video

Working with Video, Image Sequences, and Animation

STEPS: Creating an action

Creating Animations

STEPS: Building an animation

STEPS: Setting up video display

STEPS: Rendering your video and image sequences

Creating Animated GIF Images

STEPS: Creating an animation

Rotoscoping

Summary

Chapter 20: Printing and Publishing with Photoshop

Understanding Printing Terminology

Printing Composites

Creating Color Separations

STEPS: Printing color separations

Printing Duotones

STEPS: Reproducing a duotone (or tritone or quadtone)

Optimizing Images for Web Publication

Choosing the Right Web Graphic Format

Optimizing Images into GIF and PNG-8 Formats

Optimizing Images into JPEG and PNG-24 Formats

Resizing Images

Slicing and Dicing an Image

Publishing from the Bridge

Batch Processing

Summary

Part VI: Appendixes

Appendix A: The Keyboard and Menus, and Making Photoshop Your Own

Hidden Shortcuts and Modifiers

Customizing Keyboard Shortcuts

The Great-Grandmother of All Shortcut Tables

Appendix B: What’s on the CD-ROM?

System Requirements

Using the CD

What’s on the CD

Troubleshooting

Customer Care

Wiley Publishing, Inc. End-User License Agreement

Preface

Welcome to the Photoshop CS3 Bible, the latest edition of the bestselling book on Photoshop in publishing history. We’ve done our best to cover everything thoroughly, accurately, and whenever we could, in such a way as to remind you that even though Photoshop is a powerful tool, it’s also fun to use. Of course, we hope you learn lots of good stuff, but we also hope you have a wonderful time while you’re at it, because if you’re not having a good time, what’s the point?

Before you begin delving into the actual Photoshop portion of this book, let us tell you a little something about this book overall. Now in its 13th year, the Photoshop Bible is the longest continuously published title on Adobe Photoshop. Not coincidentally, it also happens to be the best-selling reference guide on the topic, with more than 15 U.S. editions, dozens of localized translations around the globe, and more than a million copies in print worldwide. This makes it not only the most successful book of its kind, but also one of the most successful books on any electronic publishing topic ever printed.

We’ve made it our mission to address every topic directly, and we haven’t always spared you our personal opinions and experience, even if they’re not entirely flattering to the software. We believe this is a good thing, because you’re not buying a brochure or some marketing piece from Adobe here — you’re buying a book about Photoshop from people who use it, teach it, and dive into all its features, every day. If something works well and is a great feature, we say so. If it doesn’t do what you’d expect or it’s not the most elegant tool in the toolbox, we say that, too. We share workarounds, tips, tricks, and give you the benefit of our experience wherever we feel it will be helpful.

About This Edition of the Book

This particular edition has undergone a design overhaul, including new front and back covers, new interior design, and new graphics throughout the book. Couple this with the large-scale update that Photoshop has undergone with the release of CS3, and you’ve got a book that’s in many ways nothing like its predecessors. Of course, legacy material remains, for areas of the software that haven’t changed in years — and the quality, scope, and depth of the coverage remains a positive constant. And good news for more advanced users — we’ve also brought in much of the content found in the CS2 Professional Edition, which means that more of the specialized and in-depth coverage deemed “for professionals only” last year is now found within this enlarged, enhanced, “for everyone” edition for Photoshop CS3.

We’ve also added a CD that contains many of the images used in the book, as well as tutorials for a wide variety of Photoshop’s tools and features. You don’t need to use the CD to learn Photoshop, but it’s there as a visual backup for people who like to learn by doing, not just reading. To find out what’s on the CD-ROM, check out Appendix B, where the individual tutorials and the tools, features, and skills they cover are discussed in detail.

Conventions

Every computer book conforms to its own special brand of logic, and this one is no exception. While we generally find conformity and convention to be annoying and well, conventional, the book does have some features that we figured you’d want to find and be able to count on — so here they are:

Vocabulary

Call it computerese, call it technobabble, call it the indecipherable gibberish of incorrigible propeller head geeks. Whatever you call it, we can’t explain Photoshop in graphic (pardon the pun) detail without occasionally reverting to the specialized language of the trade. However, to help you keep up, we can and have italicized vocabulary words (such as bit depth) with which you may not be familiar or which are used in an unusual context. An italicized term is followed by a definition.

If you come across a strange word that is not italicized (that bit of italics was for emphasis), look it up in the index to find the first reference to the word in the book.

Commands and options

To distinguish the literal names of commands, dialog boxes, buttons, and so on, we capitalize the first letter in each word (for example, click the Cancel button). The only exceptions are option names, which can be six or seven words long and filled with prepositions such as to and of. Traditionally, prepositions and articles (a, an, the)don’t appear in initial caps, and this book follows that time-honored rule, too.

When discussing menus and commands, we use an arrow symbol to indicate hierarchy. For example, ChooseFileÍOpen means to choose the Open command from the File menu. If you have to display a submenu to reach a command, we list the command used to display the submenu between the menu name and the final command. Choose ImageÍAdjustmentsÍInvert means to choose the Adjustments command from the Image menu and then choose the Invert command from the Adjustments submenu.

The whole platform thing

This is a cross-platform book, which means it’s written for both Windows and Macintosh users. Photoshop is virtually identical on the two platforms, so it makes little difference. However, the PC and Mac keyboards are different. The Ctrl key on the PC translates to the Command key (Ô) on the Mac. Alt translates to Option, and because Apple’s mice do not always include right mouse buttons, right-clicking on the PC becomes Control-clicking on the Mac. Throughout this book, we try to make things as unambiguous as possible by mentioning the Windows keystroke first with the Macintosh equivalent second, usually in parentheses. You’ll also find that select figures of dialog boxes and other parts of the Photoshop workspace were shot in both operating systems; there are Mac figures and Windows figures where the two differ greatly. We don’t want anyone to feel left out, unrepresented, unloved, or unappreciated.

Version names and numbers

A new piece of software comes out every 15 minutes. That’s not a real statistic, mind you, but it’s probably not far off. When it comes to Photoshop, it started (surprisingly enough) with version 1.0, and the numbering of versions ended with Photoshop 7. With the release of Photoshop CS in 2003, Adobe abandoned numbering, but has gone back to it now (sort of) by calling last year’s model Photoshop CS2, and this year’s CS3. This book refers to older versions, but without being overly specific. While there were multiple releases of the major versions, when we write Photoshop 7, we mean versions 7.0 and 7.0.1, and so on.

It’s important to note that Photoshop CS3 comes in two flavors — an Extended version, which is what is documented in this book, and a Standard version, which sells for a slightly lower price than the Extended. The Extended version has a few “bells and whistles” that the Standard version does not, and these include:

• Enhanced cloning and healing with overlay preview

• Enhanced 32-bit HDR support

• Enhanced Vanishing Point (basic Vanishing Point features are included in the Standard version)

• 3D editing

• Motion graphics and video layers

• Enhanced animation (basic animation is in the Standard version)

• Measurement and data

• DICOM support

• MATLAB support

• Enhanced Image Stack processing (basic stack processing is present in the Standard version)

If you have purchased the Standard version of CS3, you’ll find this book completely useful and appropriate — very few core features vary between the two versions, and many of the things that exist only or are enhanced in the Extended version are highly specialized — the video and 3D features, for example. If you must have those features, you’ll want to buy the Extended version of Photoshop CS3. If you don’t care about those things, or have other software to deal with your need to edit video layers or create movies, then you’ll be perfectly happy with the Standard version and this book.

Icons

Like just about every computer book currently, this one includes compelling and visually arresting icons that focus your peepers on important information. The icons make it easy for people who like to just skim books to figure out what the heck’s going on, to “cut to the chase” in some cases, or to just provide “the highlights.” Icons exist not only for those with short attention spans, but for people who are just so darn busy that reading an entire page is just unimaginable. On the whole, the icons are self-explanatory, but here’s an explanation of them anyway.

The Caution icon warns you that a step you’re about to take may produce disastrous results. Well, perhaps “disastrous” is an exaggeration. Inconvenient, then. Uncomfortable. For heaven’s sake, be careful.

The Note icon highlights some little tidbit of information we’ve decided to share with you that seemed at the time to be at least remotely related to the topic at hand. You might learn how an option came into existence, why a feature is implemented the way it is, or how you might use the feature in an unconventional way or skip its use altogether.

The New Feature icon explains an option, a command, or a feature that is either bright, shiny, and new to this latest revision, or it’s something that’s been changed more than slightly. If you’re already familiar with previous versions of Photoshop, you might just want to plow through the book looking for Photoshop CS3 icons and see what new stuff is out there. A description of what’s new also can be found at the beginning of Chapter 2, if you’re interested in a quick tour. Again, those in search of instant gratification need not be put off by the girth of this book; we’ve accommodated both the cover-to-cover reader and those of you who’ll hardly crack the binding, but will want to know that when they need us, we’re there.

This book is bursting with tips and techniques. If we were to highlight every one of them, entire pages would be gray with light bulbs popping out all over the place. The Tip icon calls attention to shortcuts that are specifically applicable to the Photoshop application. For the bigger, more useful power tips, you’ll have to — gasp — actually read the text.

The Cross-Ref icon tells you where to go for information related to the current topic. It’s about as straightforward as an icon can get, so you won’t have any trouble with this one.

Contact

Even in its millionth edition, scanned by the eyes of hundreds of thousands of readers and scrutinized intensely for months at a time by the authors and our editors, we bet someone, somewhere, will still manage to locate errors and oversights. If you notice those kinds of things and have a few spare moments, please let us know what you think. We always appreciate readers’ comments. Really, we do.

If you want to share your insights, comments, or corrections, send a note to [email protected]. Don’t worry if you don’t get a response immediately. While every letter does get read and every constructive idea is considered, it would be impossible, due to volume, to respond immediately or at great length. We will endeavor to respond to all emails, however, and thank you in advance for your patience.

Please, do not write to ask why your copy of Photoshop is misbehaving on your specific computer. Neither of the authors of this book was involved in developing Photoshop, we are not employed by Adobe, and we cannot possibly provide product support via email or phone. Adobe can answer your technical support questions way better than anyone can, so leave it to the experts.

Okay, that’s enough out of us. Now you need to get on with things and start reading the actual book part of this book. Soon, you’ll know much more about Photoshop CS3 than you did before, and you’ll feel more like you can become a real expert — at least in terms of the features that are most important and useful to you. We thank you for your time and your confidence in us by purchasing this book, and we wish you all the best. Enjoy the book!

Part I

Welcome to Photoshop

In This Part

Chapter 1 Welcome to Photoshop CS3

Chapter 2 Photoshop Inside Out

Chapter 3 Image Management

Chapter 1: Welcome to Photoshop CS3

In This Chapter

Introducing Photoshop

Understanding how image editing works

Knowing the difference between pixels and vectors

Touring the new features in Photoshop CS3

Getting to know the enhancements and changes

Photoshop has been around long enough that the name has become a verb in our cultural lexicon (“You can tell THAT’S been Photoshopped!”). But simply because a term gets bandied about in general parlance doesn’t mean everyone knows what Photoshop truly is or does. Granted, you may be one of the many graphics professionals who have been using this program for years. But you may just as likely be one of the greater majority who, while having a general idea of Photoshop’s capabilities, has little or no experience using it—and with this book have decided to change all that.

As you move forward and get to “What’s New in Photoshop CS3,” the playing field should level out, and as you move through the rest of the book, no matter what level of user you are now, you’ll find a great deal of new and useful information throughout.

So what exactly is Photoshop and what does it do? Adobe Photoshop—Photoshop is the name of the software, Adobe Systems is the name of the company that develops and sells it—is a professional-level image-editing application. It allows you to create images from whole cloth or, more likely, modify scanned artwork and digital photographs. Photoshop is available for use on computers equipped with either Microsoft Windows or Apple’s Macintosh operating system.

Of course, Photoshop isn’t just an image-editing application. It’s the most powerful, most ubiquitous image-editing application in the world. Despite hefty competition, where professional image editing is concerned, Photoshop’s not just the market leader—it’s the only game in town—and as you’ll discover (or you may already know), that status is well deserved.