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Get picture perfect with Photoshop CC
Photoshop is a stunning program that puts the power of a professional photography studio into your hands, but it can also be a jungle to navigate-with a dense proliferation of menus, panels, shortcuts, plug-ins, and add-ons to get thoroughly lost in. Written by a literal Photoshop Hall of Famer, the new edition of Photoshop CC For Dummies is your experienced guide to the technical terrain, slashing away the foliage for a clear picture of how to produce the perfectly framed and beautifully curated images you want.
Beginning with an overview of the basic kit bag you need for your journey toward visual mastery, Peter Bauer-Photoshop instructor and an award-winning fine art photographer in his own right-shows you how to build your skills and enrich your creative palette with enhanced colors and tone, filters and layering, and even how undertake a foray into digital painting. Add in instructions on combining text with images and the how-tos of video and animation editing, and you have all the tools you need to carve out a one-person multimedia empire.
You'll find everything on the latest version of the software that you could dream of-and an improved shot at artistic success!
Peter Bauer is a member of the Photoshop Hall of Fame and an award-winning fine-art photographer. The author of more than a dozen books on Adobe Photoshop, Adobe Illustrator, computer graphics, and photography, he is also the host of video-training titles at Lynda.com and a contributing writer for Photoshop User magazine.
Introduction 1
About This Book 1
Conventions Used in This Book 2
Icons Used in This Book 3
How to Use This Book 3
Part 1: Getting Started with Photoshop CC 5
Chapter 1: An Overview of Photoshop 7
Exploring Adobe Photoshop 7
What Photoshop is designed to do 8
Other things you can do with Photoshop 9
Viewing Photoshop's Parts and Processes 10
Reviewing basic computer operations 10
Photoshop's incredible selective Undo 12
Installing Photoshop: Need to know 14
Chapter 2: Knowing Just Enough about Digital Images 17
What Exactly is a Digital Image? 18
The True Nature of Pixels 18
How Many Pixels Can Dance on the Head of a Pin? 21
Resolution revelations 21
Resolving image resolution 22
File Formats: Which Do You Need? 30
Formats for digital photos 31
Formats for web graphics 33
Formats for commercial printing 34
Formats for PowerPoint and Word 36
Chapter 3: Taking the Chef's Tour of Your Photoshop Kitchen 37
Food for Thought: How Things Work 38
Ordering from the menus 39
Your platter full of panels 40
The tools of your trade 42
Get Cookin' with Customization 44
Clearing the table: Custom workspaces 44
Spoons can't chop: Creating tool presets 47
Season to Taste: The Photoshop Settings 48
Standing orders: Setting the Preferences 48
Ensuring consistency: Color Settings 55
When Good Programs Go Bad: Fixing Photoshop 57
Chapter 4: From Pics to Prints: Photoshop for Beginners 59
Bringing Images into Photoshop 59
Downloading from your digital camera 60
Scanning prints 61
Keeping Your Images Organized 66
Creating a folder structure 66
Using Adobe Bridge 67
Renaming image files easily 69
Printing Your Images 71
Cropping to a specific aspect ratio 71
Remembering resolution 73
Controlling color using File ¿ Print 74
Considering color management solutions 75
Printing alternatives 76
Sharing Your Images 77
Emailing and AirDropping your images 78
Creating PDFs and websites 78
Part 2: Easy Enhancements for Digital Images 79
Chapter 5: Making Tonality and Color Look Natural 81
Adjusting Tonality to Make Your Images Pop 82
Histograms Simplified 82
Using Photoshop's Auto Corrections 84
Levels and Curves and You 85
Level-headed you! 86
Tonal corrections with the eyedroppers 89
Adjusting your curves without dieting 90
Grabbing Even More Control 92
Using Shadows/Highlights 93
Changing exposure after the fact 96
Using Photoshop's toning tools 96
What is Color in Photoshop? 97
Which color mode should you choose? 98
Does a color model make a difference? 101
Why should you worry about color depth? 102
Making Color Adjustments in Photoshop 104
Choosing color adjustment commands 106
Manual corrections in individual channels 117
The People Factor: Flesh Tone Formulas 118
Chapter 6: The Adobe Camera Raw Plug-In 121
Understanding the Raw Facts 121
What's the big deal about Raw? 123
Working in Raw 124
The Camera Raw Interface 126
Camera Raw's Tools and buttons 126
The histogram 132
The preview area 132
Workflow Options and presets 133
Making Adjustments in Camera Raw's Edit Panel 134
The Basic section 134
The Curve section 137
The Detail section 137
The Color Mixer section 138
The Color Grading section 138
The Optics and Geometry sections 140
The Effects section 141
The Calibration section 141
The Camera Raw Cancel, Done, and Open buttons 142
Chapter 7: Fine-Tuning Your Fixes 143
What is a Selection? 144
Feathering and Anti-aliasing 146
Making Your Selections with Tools 148
Marquee selection tools 148
Lasso selection tools 152
The Object Selection tool 153
The Quick Selection tool 153
The Magic Wand tool 154
Select and Mask 155
Your Selection Commands 156
The primary selection commands 157
The Color Range command 158
The Focus Area command 159
The Select ¿ Subject command 160
The Select ¿ Sky command 161
Selection modification commands 161
Transforming the shape of selections 161
Edit in Quick Mask mode 163
The mask-related selection commands 164
Masks: Not Just for Halloween Anymore 164
Saving and loading selections 165
Editing an alpha channel 165
Adding masks to layers and Smart Objects 167
Masking with vector paths 167
Adjustment Layers: Controlling Changes 168
Adding an adjustment layer 168
Limiting your adjustments 170
Chapter 8: Common Problems and Their Cures 173
Making People Prettier 174
Getting the red out digitally 174
The digital fountain of youth 175
Dieting digitally 176
De-glaring glasses 179
Whitening teeth 179
Reducing Noise in Your Images 179
Decreasing digital noise 180
Eliminating luminance noise 181
Fooling Around with Mother Nature 181
Removing the unwanted from photos 181
Eliminating the lean: Fixing perspective 185
Rotating images precisely 187
Adding a beautiful sky 188
Part 3: Creating "Art" in Photoshop 189
Chapter 9: Combining Images 191
Compositing Images: 1 + 1 = 1 192
Understanding layers 192
Why you should use Smart Objects 194
Using the basic blending modes 195
Opacity, transparency, and layer masks 198
Creating clipping groups 199
Making composited elements look natural 200
Making Complex Selections 201
Vanishing Point 204
Creating Panoramas with Photomerge 208
Chapter 10: Precision Edges with Vector Paths 211
Pixels, Paths, and You 212
Easy Vectors: Using Shapes 213
Your basic shape tools 214
The Custom Shape tool 216
More custom shapes - free! 217
Changing the appearance of the shape layer 219
Simulating a multicolor shape layer 220
Using Your Pen Tool to Create Paths 221
Understanding paths 222
Clicking and dragging your way down the path of knowledge 222
A closer look at the Paths panel 226
Customizing Any Path 229
Adding, deleting, and moving anchor points 230
Combining paths 232
Tweaking type for a custom font 233
Chapter 11: Dressing Up Images with Layer Styles 235
What Are Layer Styles? 235
Using the Styles Panel 237
Creating Custom Layer Styles 239
Exploring the Layer Style menu 239
Exploring the Layer Style dialog box 241
Layer effects basics 242
Opacity, fill, and advanced blending 251
Saving Your Layer Styles 254
Adding styles to the Styles panel 254
Preserving your layer styles 255
Chapter 12: Giving Your Images a Text Message 257
Making a Word Worth a Thousand Pixels 258
A type tool for every season, or reason 260
What are all those options? 262
Taking control of your text with panels 266
The panel menus - even more options 269
Working with Styles 271
Putting a picture in your text 272
Creating Paragraphs with Type Containers 274
Selecting alignment or justification 276
Ready, BREAK! Hyphenating your text 277
Shaping Up Your Language with Warp Text and Type on a Path 278
Applying the predefined warps 278
Customizing the course with paths 279
Chapter 13: Painting in Photoshop 283
Discovering Photoshop's Painting Tools 284
Painting with the Brush tool 286
Adding color with the Pencil tool 289
Removing color with the Eraser tool 289
Working with Panels and Selecting Colors 290
An overview of options 290
Creating and saving custom brush tips 293
Picking a color 294
Fine Art Painting with Specialty Brush Tips and the Mixer Brush 297
Exploring erodible brush tips 297
Introducing airbrush and watercolor tips 297
Mixing things up with the Mixer Brush 298
Filling, Stroking, Dumping, and Blending Colors 300
Deleting and dumping to add color 300
Using gradients 301
Chapter 14: Filters: The Fun Side of Photoshop 305
Smart Filters: Your Creative Insurance Policy 306
The Filters You Really Need 307
Sharpening to focus the eye 308
Unsharp Mask 308
Smart Sharpen 310
Shake Reduction 311
Blurring images and selections 312
The other Blur filters 315
Correcting for the vagaries of lenses 316
Cleaning up with Reduce Noise 320
Getting Creative and Artistic 321
Photo to painting with the Oil Paint filter 321
Working with the Filter Gallery 322
Push, Pull, and Twist with Liquify 325
What Are Neural Filters? 327
The original Neural Filters 328
Neural Filters in public beta testing 329
Proposed Neural Filters 330
Do I Need Those Other Filters? 330
Adding drama with Lighting Effects 331
Maximum and Minimum 331
Bending and bubbling 332
Creating clouds 332
Part 4: Power Photoshop 333
Chapter 15: Streamlining Your Work in Photoshop 335
Ready, Set, Action! 336
Recording your own Actions 337
Working with the Batch command 342
Find It Fast with Discover 344
Creating Contact Sheets and Presentations 344
Creating a PDF presentation 345
Collecting thumbnails in a contact sheet 347
Scanning Multiple Photos in One Pass 349
Sticking to the Script 350
Chapter 16: Working with Video and Animation 353
Importing and Enhancing Video Clips 353
Getting video into Photoshop 354
Adjusting the length of video and audio clips 356
Adding adjustment layers and painting on video layers 357
Transitioning, titling, and adding special effects 358
Transforming video layers 361
Rendering and exporting video 361
Creating Animations in Photoshop 362
Building frame-based animations 362
Creating frame content 363
Tweening to create intermediary frames 365
Specifying frame rate 366
Optimizing and saving your animation 366
Part 5: The Part of Tens 367
Chapter 17: Ten Specialized Features of Photoshop CC 369
Using Smart Object Stack Modes 370
The Mean Stack Mode 372
Working with 3D Artwork 372
Creating 3D objects 373
Adding 3D objects 373
Rendering and saving 3D scenes 374
Measuring, Counting, and Analyzing Pixels 374
Measuring length, area, and more 374
Calculating with Vanishing Point 376
Counting crows or maybe avian flu 376
Viewing Your DICOM Medical Records 377
Ignoring MATLAB 378
Chapter 18: Ten Ways to Integrate Your iPad 379
Using Sidecar to Add an iPad to Your Screen 379
Sidecar System Requirements 380
Arranging Your iPad's Screen 380
Mirroring the Screens 381
Maximizing the Screen Space 381
Making Use of Photoshop on the iPad 382
Using the Cloud with Photoshop on the iPad and Desktop 383
Using Other Adobe iPad Apps 384
Does the iPad Replace My Wacom Tablet? 384
Setting Wacom Tablet Preferences for Touch Keys and Touch Ring 385
Chapter 19: Ten Things to Know about HDR 387
Understanding HDR 387
Capturing for Merge to HDR Pro 389
Preparing Raw "Exposures" in Camera Raw 390
Working with Merge to HDR Pro 391
Saving 32-Bit HDR Images 394
HDR Toning 394
Painting and the Color Picker in 32-Bit 395
Filters and Adjustments in 32-Bit 396
Selections and Editing in 32-Bit 397
Printing HDR Images 397
Appendix: Photoshop CC'S Blending Modes 399
Index 403
Chapter 1
IN THIS CHAPTER
What Photoshop does very well, kind of well, and just sort of, well .
What you need to know to work with Photoshop
What you need to know about installing Photoshop
Adobe Photoshop is, without question, the leading image-editing program in the world. Photoshop has even become somewhat of a cultural icon. It's not uncommon to hear Photoshop used as a verb ("That picture is obviously Photoshopped!"), and you'll even see references to Photoshop in the daily comics and cartoon strips. And now you're part of this whole gigantic phenomenon called Photoshop.
Before I take you on this journey through the intricacies of Photoshop, I want to introduce you to Photoshop in a more general way. In this chapter, I tell you what Photoshop is designed to do, what it can do (although not as capably as job-specific software), and what you can get it to do if you try really, really hard. I also review some basic computer operation concepts and point out a couple of places where Photoshop is a little different than most other programs. At the end of the chapter, I have a few tips for you on installing Photoshop to ensure that it runs properly.
Photoshop is used for an incredible range of projects, from editing and correcting digital photos to preparing images for magazines and newspapers to creating graphics for the web. You can also find Photoshop in the forensics departments of law-enforcement agencies, scientific labs and research facilities, and dental and medical offices, as well as in classrooms, offices, studios, and homes around the world. As the Help Desk Director for KelbyOne (formerly the National Association of Photoshop Professionals), I spent more than two decades solving problems and providing solutions for Photoshop users from every corner of the computer graphics field and from every corner of the world. (It always amazed me how some people used Photoshop in ways for which the program was never designed!) Of course Photoshop is my "go-to" program for my own fine art photography and design work. Now, as a consultant, I also use Photoshop on a regular basis to identify fraudulently manipulated images and video.
Adobe Photoshop is an image-editing program. It's designed to help you edit images - digital or digitized images, photographs, and otherwise. This is the core purpose of Photoshop. Over the years, Photoshop has grown and developed, adding features that supplement its basic operations. But at its heart, Photoshop is an image editor. At its most basic, Photoshop's workflow goes something like this: You take a picture, you edit the picture, and you print the picture (as illustrated in Figure 1-1). (Of course, many images never make it to paper - they are shared only on social media.)
FIGURE 1-1: Basic Photoshop: Take photo, edit photo, print photo. Drink coffee (optional).
Whether captured with a digital camera, scanned into the computer, or created from scratch in Photoshop, your artwork consists of tiny squares of color, which are picture elements called pixels. (I explore pixels and the nature of digital imaging in-depth in Chapter 2.) Photoshop is all about changing and adjusting the colors of those pixels - collectively, in groups, or one at a time - to make your artwork look precisely how you want it to look. (Photoshop, by the way, has no Good Taste or Quality Art button. It's up to you to decide what suits your artistic or personal vision and what meets your professional requirements.) Some very common Photoshop image-editing tasks are shown in Figure 1-2: namely, correcting red eye and minimizing wrinkles (both discussed in Chapter 8); and compositing images (see Chapter 9).
Astronaut image courtesy of NASA
FIGURE 1-2: Some common Photoshop tasks.
Photoshop works with actual vector shapes, such as those created in Adobe Illustrator. Photoshop also has a very capable brush engine, including erodible brush tips (they wear down and need to be resharpened) and airbrush and watercolor brush tips, further extending the fine art painting capabilities of the program. Figure 1-3 shows a comparison of raster artwork (the digital photo, left), vector artwork (the illustration, center), and digital painting (right). The three types of artwork can appear in a single image, too. (Creating vector artwork is presented in Chapter 10, and you can read about painting with Photoshop in Chapter 13.)
FIGURE 1-3: You can use Photoshop with raster images, vector shapes, and even to paint.
Photoshop also includes some basic features for creating web graphics, including slicing and animations (see Chapter 16 for info on video and animation). (Web work is best done in a true web development program, such as Dreamweaver. If you want to learn about creating websites, pick up a copy of Dreamweaver CC For Dummies [Wiley].)
Admittedly, Photoshop just plain can't do some things. It won't make you a good cup of coffee. It can't press your trousers. It doesn't vacuum under the couch. It isn't even a substitute for Zoom, Microsoft Excel, or TurboTax - it just doesn't do those things.
However, there are a number of things for which Photoshop isn't designed that you can do in a pinch. If you don't have InDesign, you can still lay out the pages of a newsletter, magazine, or even a book, one page at a time. If you don't have Dreamweaver, you can use Photoshop to create a website, one page at a time, sliced and optimized and even with animated GIFs. You can create multipage PDFs and PDF presentations (see Chapter 15). And although you're probably not going to create the next blockbuster on your laptop with Photoshop, the video editing capabilities can certainly get you through the family reunion or that school project (see Chapter 16).
In many respects, Photoshop is just another computer program - you launch the program, open files, save files, and quit the program quite normally. Many common functions have common keyboard shortcuts. You enlarge, shrink, minimize, and close windows as you do in other programs.
Chapter 3 looks at Photoshop-specific aspects of working with floating panels, menus and submenus, and tools from the Options bar, but I want to take just a little time to review some fundamental computer concepts.
You can launch Photoshop (start the program) by double-clicking an image file or through the Applications folder (Mac) or the Start menu (Windows). Mac users can drag the Photoshop program icon (the actual program itself, with the .app file extension) to the Dock to make it available for one-click startup. (Chapter 3 shows you the Photoshop interface and how to get around in the program.)
.app
Never open an image into Photoshop from removable media (CD, DVD, your digital camera or its Flash card, jump drives, and the like) or from a network drive. Although you can work with Cloud-based images, it's usually a good idea to copy the file to a local hard drive, open from that drive, save back to the drive, and then copy the file to its next destination. You can open from internal hard drives or external hard drives, but to avoid the risk of losing your work (or the entire image file) because of a problem reading from or writing to removable media, always copy to a local hard drive or work with images stored in your Cloud documents.
Within Photoshop, you work with individual image files. Each image is recorded on the hard drive in a specific file format. Photoshop opens just about any current image file consisting of pixels as well as some file formats that do not. (I discuss file formats in Chapter 2.) Remember that to change a file's format, you open the file in Photoshop and use the Save As command to create a new file. And, although theoretically not always necessary on the Mac, I suggest that you always include the file extension at the end of the filename. If Photoshop won't open an image, it might be in a file format that Photoshop can't read. It cannot, for example, open an Excel spreadsheet or a Microsoft Word document because those aren't image formats - and Photoshop is, as you know, an image-editing program.
If you have a brand-new digital camera and Photoshop won't open its Raw images, check your Creative Cloud Manager's Updates section to see whether a newer version of Camera Raw is available. (But remember that it takes a little time to prepare Camera Raw for new file formats. If you purchase a new camera on its first day of release, you may need to use the software that came with the camera until the next Camera Raw update is released.)
You must use the Save or Save As command to preserve changes to your images. After you save and close an image, some of those changes may be irreversible. When working with an important image, consider these...
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