Photoshop CS4 After the Shoot E-Book

Mark Fitzgerald

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

Seitenzahl: 494

Veröffentlichungsjahr: 2011

Beschreibung

If you're a photographer on the go and want the ability toedit your photos wherever the shoot takes you, then this book isfor you. Whether you're on location, in a coffee shop, onvacation, or on a business trip, you'll find everything youneed in this 6" x 9" guide that fits easily into your camera bag orlaptop case.But, don't be fooled by the book's size. Within itare over 300 full-color pages walks you through the workflow,editing, and organizing tasks found in this after-capture softwareprograms-- Photoshop CS4. Additionally, numerous practicefiles are available online, so you can download them from whereveryou happen to be.Topics include:* Getting organized in Adobe Bridge* Working with raw files* Understanding Photoshop CS4's updated, more intuitiveuser interface* Using different techniques for tonal and color adjustments* Creating black & whites, and sepia tones* Working with selection and retouching tools* Using the new Masking and Adjustments panels to add creativeeffects* Demystifying resolution and sizing* Creating elegant panoramas from multiple photos* Printing at home or at the lab* Building slideshows and uploading Web galleries easily usingthe new Adobe Output ModuleThis easy-to-read book breaks this powerful program down intobite-sized pieces so you can quickly develop a consistent workflowthat gives you quality results with every photo. It's exactlywhat every photographer needs After the Shoot.

Leseprobe

Photoshop® CS4 After the Shoot

Table of Contents

Chapter 1: Creating an Organized System

Understanding File Formats

Organizing Different Kinds of Files

Backing Up and Archiving

Chapter 2: Overview of Bridge

Understanding the Default Workspace

Modifying the Bridge Workspace

Setting Up Preferences

Working with the Cache

Chapter 3: Downloading and Organizing Your Photos

Downloading New Photos from Your Camera

Using Keywords to Identify Photo Content

Organizing and Classifying Photos

Changing the Way Photos Are Sorted

Working with Metadata

Chapter 4: Introduction to Working with Raw Files

What Is Raw?

Working with Metadata in Raw Files

Setting Camera Raw Preferences

Converting Raw Files with Adobe Camera Raw

Chapter 5: Learning to Use the Photoshop Workspace

Deconstructing the Workspace

Working with Panels

Personalizing Photoshop

Different Ways of Viewing Images

Setting Up Preferences

Chapter 6: Adjusting Brightness and Contrast

Understanding Histograms

Adjusting Brightness and Contrast with Levels

Advanced Tonal Adjustment with Curves

Gaining Control with Adjustment Layers

Balancing Contrast with the Shadows/Highlights Command

Chapter 7: Working with Color

Calibrating Your Monitor

Understanding Color Theory

Managing Color in Photoshop

Understanding Color Channels

Using the Info Panel and the Color Sampler Tool

Adjusting a Photo’s Color

Chapter 8: Using Selections to Control Your Adjustments

Using Photoshop’s Main Selection Tools

Fine-Tuning Selections

Cutting and Pasting with Selections

Using the Transform Command

Chapter 9: Creating Flexibility with Layer Masks

What Is a Layer Mask?

Working with the Brush Tool

Creating a Layer Mask

Using a Selection to Create a Mask

Refining a Mask with the Masks Panel

Using Masks with Adjustment Layers

Combining Selections, Adjustment Layers, and Masks

Chapter 10: Improving Your Photos with Retouching

What Is Retouching?

Basic Retouching with the Clone Stamp Tool

Undoing with the History Brush Tool

Advanced Cloning Techniques

Using the Healing Brush Tool

Busting Dust with the Spot Healing Brush

Using the Patch Tool

Fixing Red Eye in a Flash

Sculpting with the Liquify Filter

Chapter 11: Getting Creative

Burning and Dodging

Using the Black and White Command

Toning a Black and White Image

Introduction to Photoshop’s Filters

Creating Panoramas from Multiple Photos

Chapter 12: Finishing the Image

Changing an Image’s Resolution and Size

Using the Crop Tool

Professional Sharpening Strategies

Chapter 13: Printing Your Favorite Photos

Soft-Proofing Your Prints on Screen

Bringing Out-of-Gamut Tones and Colors into Line

Inkjet Printing with Photoshop’s Print Command

Using a Photolab for Printing

Chapter 14: Creating Slideshows and Web Galleries

Overview of the Adobe Output Module

Preparing Photos for Slideshows and Web Galleries

Creating a PDF Slideshow

Building and Uploading Photo Galleries

Batch Processing with the Image Processor

Appendix A: Resources

Appendix B: Keyboard Shortcuts

Glossary

Photoshop® CS4 After the Shoot

Mark Fitzgerald

Photoshop® CS4 After the Shoot

Published by

Wiley Publishing, Inc.

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Indianapolis, IN 46256

www.wiley.com

Copyright © 2009 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-38986-7

Manufactured in the United States of America

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Trademarks: Wiley and the Wiley Publishing logo are trademarks or registered trademarks of John Wiley and Sons, Inc. and/or its affiliates. Photoshop is a registered trademark of Adobe, Inc. 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.

About the Author

Mark Fitzgerald is a Photoshop trainer and workflow consultant who specializes in helping professional photographers thrive in the digital age. He has taught countless photographers how to smooth out their workflow and get the most from their images — through private training, classes, and workshops. Mark is an Adobe Certified Photoshop Expert and an Adobe Certified Photoshop Instructor. He and his wife, Julia (with their three dogs, Ruby, Hazel, and Sam), live in Portland, Oregon, where Mark owns a consulting business called The Digital Darkroom (www.ddroom.com).

Credits

Acquisitions Editor

Courtney Allen

Senior Project Editor

Cricket Krengel

Technical Editor

George Maginnis

Copy Editor

Lauren Kennedy

Editorial Manager

Robyn B. Siesky

Vice President & Group Executive Publisher

Richard Swadley

Vice President & Publisher

Barry Pruett

Business Manager

Amy Knies

Senior Marketing Manager

Sandy Smith

Media Development Project Manager

Laura Moss-Hollister

Media Development Assistant Project Manager

Jenny Swisher

Media Development Associate Producer

Josh Frank

Book Designer

Kathie S. Rickard

Project Coordinator

Erin Smith

Graphics and Production Specialists

Ana Carrillo, Andrea Hornberger, Kathie Rickard, Erin Zeltner

Quality Control Technicians

John Greenough, Catie Kelly

Proofreading

Lynda D’Arcangelo

Indexing

Broccoli Information Management

In memory of Jerry Auker, a caring and giving person who used photography to change the lives of people in his community and beyond.

Acknowledgments

I would like to thank my family, my friends, and most importantly, my clients for allowing me to disappear into my cave while writing this book. Your understanding and flexibility allowed me to focus on the task at hand.

I also want to thank the following photographers for letting me use their images:

• Bob Bahner, Bob Bahner Photography: www.bobbahnerphotography.com

• Dave Hutt, Dave Hutt Photography: www.davehuttphotography.com

• Cindy Kassab, Cindy Kassab Photography: www.cindykassab.com

• Kathi Lamm, Lamm Photography: www.lammphoto.com

• John McAnulty, Inner Focus Photography: www.pro.corbis.com (search for John McAnulty)

• Brannon McBroom, Brannon McBroom Photography: www.bmcbphotography.com

• Wayne McDonnell, Cavalier Images: www.cavalierimages.com

• Connie Morrison, Connie Morrison Photography: www.conniemorrison.com

• Jordan Sleeth, Jordan Sleeth Photography

• Jan Sonnenmair, Jan Sonnenmair Photographer: www.sonnenmair.com

• Denyce Weiler, Something Blue Photography: www.somethingbluephotography.com

• Gary Wilson, Gary Wilson Photo/Graphic: www.garywilsonphoto.com

Please visit the Web sites of these photographers to see more of their work.

Thanks to the editing team at Wiley: copyeditor Lauren Kennedy, who noticed so many small details that made big differences; technical editor George Maginnis, who stepped in on short notice to lend his extensive expertise; and Senior Project Editor Cricket Krengel, who expertly managed this project from start to finish. I can’t imagine writing a technical book without the support of a talented team like this one.

I especially want to thank Courtney Allen, Acquisitions Editor for Wiley Publishing, who so kindly invited me into the Wiley fold. Without her, this book would not be a reality.

Chapter 1: Creating an Organized System

© Cindy Kassab

When photographers were mostly shooting film, their filing systems weren’t very complicated. They labeled and stored sets of slides or negatives and proofs in places like boxes and filing cabinets. Though some photographers were more organized than others, the system was intuitive because it was similar to the way other important documents are organized and stored. As photographers began to capture digital files, this organizational system became less intuitive due to the virtual nature of the image files. This problem was compounded by the large number of original files generated by digital shooters, as well as the ease of creating derivative files that are nearly identical the original photo. In this chapter you learn about the different kinds of files digital photographers use and some of the strategies used to organize them. By the time you finish this chapter you’ll be ready to create an organizational system that makes sense.

Understanding File Formats

Think of file formats as different languages. When a book is printed in a particular language, only someone who reads the language can understand it. If the reader knows a second language, he can translate the book into that other language, making it available to other people. This is similar to the way file formats work in Photoshop. Certain file languages are used for different purposes. As an image moves through the digital workflow, it’s translated into the language that’s most appropriate for that particular portion of the workflow.

When discussing how file formats fit into the workflow, it’s useful to divide them into three groups — image capture formats, editing formats, and output formats. Image capture file formats are the file types that come directly out of a digital camera. Editing formats are file types that are created during the editing process in Photoshop. Output formats are used for specific output purposes such as printing or Web display.

Image capture formats

Digital photographers tend to capture images in one of these two file formats: JPEG and camera raw. The decision about which file format you use can have a huge impact on the possibilities of what you can do during the editing process.

JPEG

The JPEG file type (JPG when used as a file extension) was designed to be a space-saving file format. It was created in 1992 by a committee called the Joint Photographic Experts Group (JPEG). The committee’s goal was to establish a portable standard for compressing photographic files that would be universal for all kinds of editing software. This compression results in smaller, more portable files.

File compression is a system of analyzing a file and looking for common strings of data. When several identical stings are located, they’re replaced by a single representative string with references to all the places where it appears in the image. Compression can substantially reduce file size, especially when images contain lots of the same tones, such as solid backgrounds.