Photoshop Cs6

Adobe Photoshop
Lightroom
4
Adobe
Photoshop
CS6
Learn by Video
core tr aining in vi sual communic ation
EN 218 Photoshop CS6 LBV.indd 1
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Adobe Photoshop CS6: Learn by Video: Core Training in Visual Communication

video2brain GmbH Kelly McCathran
Copyright 2012 by video2brain GmbH
Peachpit Press
1249 Eighth Street
Berkeley, CA 94710
510/524-2178 510/524-2221 (fax)
Find us on the Web at www.peachpit.com
To report errors, please send a note to errata@peachpit.com
Peachpit Press is a division of Pearson Education.
Adobe Photoshop CS6: Learn by Video: Core Training in Visual Communication is published in
association with Adobe Press.
For the latest on Adobe Press books, go to www.adobepress.com
Acquisitions Editor: Victor Gavenda
Project Editor: Tracey Croom
Media Producer: Eric Geoffroy
Proofreader: Liz Welch
Package design: Charlene Charles-Will
Package imagery: Provided by Adobe Systems Inc.
Book interior design: Danielle Foster
Notice of Rights
All rights reserved. No part of this video training book may be reproduced or transmitted in any form by any
means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. The software and media files on this disc are copyrighted by the authors and Peachpit.
You have the non-exclusive right to use these programs and files. You may use them on one computer at a
time. You may not transfer the files from one computer to another over a network. You may transfer the files
onto a single hard disk so long as you can prove ownership of the original disc. For information on getting
permission for reprints and excerpts, contact permissions@peachpit.com.
Notice of Liability
The information in this video training book is distributed on an As Is basis, without warranty. While
every precaution has been taken in the preparation of the video training book, neither the trainers nor
video2brain GmbH nor Peachpit shall have any liability to any person or entity with respect to any loss or
damage caused or alleged to be caused directly or indirectly by the instructions contained in this video
training book or by the computer software and hardware products described in it.
Trademarks
Adobe Photoshop is a trademark or registered trademark of Adobe Systems Incorporated in the United
States and/or other countries. All rights reserved. Many of the designations used by manufacturers and
sellers to distinguish their products are claimed as trademarks. Where those designations appear in this
video training book, and Peachpit was aware of a trademark claim, the designations appear as requested by
the owner of the trademark. All other product names and services identified throughout this video training
book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or
other affiliation with this video training book.
ISBN-13: 978-0-321-84071-4
ISBN10: 0-321-84071-2
987654321
Printed and bound in the United States of America
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DVD Contents
1 Introducing Photoshop CS6

1.1 Introduction
1.2
How to Launch the Files and Lessons
1.3
What Is Photoshop: Raster vs. Vector
1.4

Whats New in Photoshop CS6

(Overview)
1.5
The Photoshop Family
1.6

Touring the Interface and Managing

Document Windows
1.7

The Window > Application Frame

(Mac Only)
1.8
Zooming and Navigating
1.9
Advanced Zooming and Navigating
1.10 Creating, Opening, Editing,

and Saving
Photoshop Project Explorations
Customizing Photoshop
3.1

Under the Hood: New Auto

Recovery, Customizing the Interface,
and Hidden Plug-ins (Filters)
3.2 Arranging Panels, Switching Screen

Modes, and Saving a Custom
Workspace
3.3
Customizing Keyboard Shortcuts
3.4
Customizing Photoshops Menus
3.5

Optimizing Photoshops
Performance: GPU, CPU, RAM,
VRAM and More
3.6
Rulers, Guides, and Grids
4 Image Editing Concepts

4.1 Resolution, File Size, and
Compression
2.1

Using Multiple Undos and the

History Brush Tool
4.2
RGB vs. CMYK
4.3
Importing Camera Images
2.2
Redesigned Mini Bridge
4.4
Reviewing and Rating Images
2.3
Adobe Bridge and Batch Renaming
4.5
Organizing Your Image Library
2.4

Removing Unwanted Objects with

Content-Aware Fill
4.6
Nondestructive Editing
4.7
Selections: Rectangular and Elliptical
2.5

Content-Aware Move, Patch,

and History Brush Tools
4.8

Selections: The Lasso and Polygonal

Lasso Tools
2.6
Plug-ins a.k.a. Filters/Up in Smoke
4.9
Selections: The Magic Wand Tool
2.7
Automatic Color Correction
2.8
Flawless Faces: Women
4.10 Selections: The Quick Selection Tool

and Refine Edge
2.9
Flawless Faces: Men
2.10 Cropping and Straightening an Image
4.11 Using Refine Edge for Image

Extraction
2.11 Content-Aware Scaling
4.12 Converting to Black-and-White
2.12 Making Selections

Ad obe P hotoshop C S6 : Learn by V i d eo
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DVD Contents
Layers and Masks

5.1
Removing Solid Backgrounds
5.2
Overview of Layers
5.3
Adding New Layers
Creating Beautiful Digital

Images with Adobe Camera Raw
7.1

What Is Adobe Camera Raw and

What Files Can It Correct?
5.4 Merging Two Images for One Perfect

Shot
7.2

Reading a Histogram and Using

the Info Panel
5.5 Layer Masks, the Key to Flawless

Retouching
7.3
Reading and Applying Metadata
7.4
Creating Metadata Templates
5.6

Creating Special Effects with

Layer Masks
7.5

Removing Color Casts and Improving

Contrast With ACR
5.7

Correcting Color and Contrast Using

a Layer Mask
7.6

Correcting a Series of Photos and the

Image Processor
5.8
Using Layer Styles
7.7
Cropping in Adobe Camera Raw
5.9
Changing Colors Using Layers
7.8

Boosting Color With Adobe

Camera Raw
7.9 Selective Color in Adobe Camera

Raw
Photo Retouching
6.1
Removing Red-Eye
6.2

Skin Perfection, Eye Brightening, and

Double-Chin Removal
6.3
Creating Hollywood Skin
6.4

Realistic Retouching Using the

History Panel
6.5 Dodging and Burning to

Draw Attention
7.10 Painting in Corrections with the

Adjustment Brush
7.11 Using the Targeted Adjustment Tool
Working with Type and

Creating Mock-Ups
8.1
Typography in Photoshop
6.6

Differences in the Primary

Retouching Tools
8.2
The Character Panel
8.3
The Paragraph Panel
6.7
Repairing Skin to New Layers
6.8
Did the Makeup Artist Go Too Far?
8.4 Creating and Sharing Paragraph

Styles
6.9

Drop 10 Pounds Without Dieting

Using the Liquify Tool
8.5
Character Styles
8.6
Creating Mobile Buttons
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11 Outputting Your Images
8.7

The Coolest Keyboard Shortcuts for

Formatting Text
8.8

Using Guides and Layer Groups to

Perfect the Layout
11.1 Building a Web Photo Gallery
8.9
Advanced Blending Options for Type
11.3 Saving Images for the Web
11.2 Creating a Contact Sheet

11.4 Color Settings
11.5 Preparing Press-Quality Images
3D and Video Editing

9.1
Making Text 3D
9.2
Creating a 3D Object
9.3
Creating a 3D Title Sequence
9.4
Video Editing in Photoshop
9.5
Adding Video Transitions
10 Just for Fun

10.1 The Tourist & Car Remover
10.2 Creating Seamless Panoramic Images
10.3 Cropiddy Crop, Crop, Crop
10.4 Cropping to Ratios, Fixed Sizes,

and Resolution
10.5 Perspective Crop Tool
10.6 Adaptive Wide Angle Correction
10.7 Blurring for Focus or Optical Illusion
10.8 Cool Lighting Effects
10.9 Warping Images
10.10 Puppet Warp
10.11 The Clone Stamp Tool
10.12 Merging High Dynamic

Range Images
11.6 Printing Images
12 Artistic Expression and

Special Effects
12.1 Turn Your Photo Into a Work of Art

with Oil Paint
12.2 Creating Hand-Painted Artwork from

a Photo with the Mixer Brush
12.3 Using Adobe Camera Raw for

Painterly Effects
12.4 Creating Abstract Artwork with

the Art History Brush
12.5 Using Actions for Special Effects
12.6 Record Your Hand-Drawn
Painting
12.7 Create a Cartoon Avatar Using the

Filter Gallery
12.8 Creating and Applying Patterns
13 Closing Thoughts
13.1 Closing Thoughts
10.13 Vanishing Point

10.14 Using Blending Modes and Adding

a Mask

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Booklet Contents
Introduction
vii
Copyrighting Your Digital Images
Nondestructive Image Editing
Nondestructive Image Editing

with Adjustment Layers . . . . . . . . . . 6
Working with Smart Filters . . . . . . . . 9
Nondestructive Image Sharpening . . . 12
Adjusting Shadows and Highlights . . . 14
Tips & Tricks
17
Tips for Working with Rulers,

Guides, and the Grid . . . . . . . . . . . 18
Using the History Panel Feature . . . . 19
Saving Memory with Adjustment
Layers . . . . . . . . . . . . . . . . . . . . 20
Enlarging JPEG Images . . . . . . . . . . 21
Printing a Hard Proof . . . . . . . . . . . 22
Glossary
vi
25
B ooklet Contents
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Introduction
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Introduction
Welcome to
Adobe Photoshop CS6
Learn by Video
Adobe Photoshop CS6 is the most powerful
Photoshop yet, with remarkable video and
3D capabilities, new character and paragraph
styles, a redesigned interface, and many more
new and enhanced features. In this video training course youll get comprehensive coverage
of all its features, old and new.
The course begins with a series of Project Explorations that demonstrate what Photoshop CS6
can do. Then youll get a tour of the interface,
see how to customize it to suit the way you
work, and learn core image editing concepts
like color modes, nondestructive editing, selections, layers, masks, and more.
After mastering these basics, youll have the
opportunity to learn advanced skills for photo
retouching, adding and formatting type, working with video and 3D, and creating artistic
effects. And of course youll get lots of tips for
sharing your images by putting them on the
web or by making prints or contact sheets.
The lessons are wrapped in a feature-rich
interface that lets you jump to any topic and
bookmark individual sections for later review.
Full-Screen mode provides a hi-def, immersive
experience, and Watch-and-Work mode shrinks
the video into a small window so you can play
the videos alongside your application. This
course also includes project files so you can
follow along and try out new techniques as you
learn them.
viii
About This Book

The material in this booklet serves as a valuable
supplement to the video training. The first chapter explains what you need to know about copyright and how it applies to your digital images.
The second chapter looks at one of the most
important principles you need to understand
when working with Photoshop: nondestructive
image editing. Finally, the third chapter provides
some valuable tips and tricks to help make your
work in Photoshop CS6 easier.
How to Use This Course

The video2brain interface is easy to use, but it
also has a large number of options. Weve provided this brief guide to give you a tour of the
interface and make sure you dont miss out on
any of its features.
This course comes in a few different flavors. You
can run the Mac application (labeled Start or
Start.app) or the Windows application (.exe)
file, or you can open start.html in your browser.
Most people will use one of the application
versions of the course. If youre working with an
operating system that doesnt support one of
these two options, such as Linux, the browser
version is a great alternativeit works on
any browser with a current version of Adobe
Flash. The main difference between running
the course as an application versus opening it
in your browser is that the application versions
include an option, discussed in more detail later
in this guide, called Watch-and-Work mode.
Watch-and-Work mode lets you watch the course
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in a smaller window while you follow along in

another application. This option doesnt exist in
the browser version of the course.
Whether youre using the application or brow
ser version, when you first launch the course,
you will see the Welcome screen.
Entering a word or phrase in the Search field

in the upper right of the screen will search
the courses titles and descriptive text to help
you find what youre looking for.
Starting the Course

When youre ready to dive in, you have several
options for how to get started:
To begin at the beginning and play all the

way through, click Play All Videos.
To access a list of every video available in the
training, click Table of Contents.
To start with Chapter 1 (or any chapter that
appeals to you), click the chapter name on
the left of your screen.
The Welcome Screen

From here, there are a few ways you can
proceed:
Click the Play icon in the middle of the

screen to watch a video that introduces you
to the instructor(s) and gives you an overview of whats covered in the course.
For onscreen help and a users manual, click
either the Help item on the menu at the top
of your screen or the Need Help item at the
bottom of the Content panel. You can also
access help by pressing F1 on your keyboard.
You can navigate the Table of Contents and

Chapter views using your mouse, or using the
keyboard to arrow up and down, left and right.
When youve selected a movie, you can press
the right arrow to play that movie.
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Introduction
4
In the Table of Contents or Chapter view, any

time you move your mouse over the name of a
chapter or video, text describing the contents
of that item will appear on the right side of your
screen. This area is known as the Sidebar and is
discussed in detail on the next page.
If you click the name of a chapter, youll see a

list of all the videos in that chapter. Choose the
video you want to start with or click Play All
Chapter Videos to start with the first video in
the chapter and go all the way through.
Navigating Inside a Video

While watching a video, you can use the buttons
along the bottom right of your screen to toggle
both Full-Screen mode 1 and video smoothing
2 on and off. You can adjust the volume 3
from here as well. You can also click and drag
the green line 4 in the timeline at the bottom
of the screen to move around within the video.
When the video ends, click the Next Video button at the top right of the window to go directly
to the next lesson. (This will happen automatically if you clicked Play All Chapter Videos to
launch the chapter.) At the end of a chapter, this
option will change to Next Chapter. You can
also click Training Content at any time to leave
the player and choose another lesson or click
the navigation bar near the top of the screen to
access the table of contents.
Keyboard Shortcuts for the Player
Spacebar: Play/pause
Right Arrow: Jump forward
Left Arrow: Jump backward
Tab: Show/hide Sidebar
B: Add bookmark
M: Show/hide navigation bar
Esc: Turn off Full-Screen mode
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Resizing Your Window
Using Bookmarks
The player interface gives you a few different

options for resizing your window to fit your
needs.
Its easy to create a bookmark in the video to

mark where you left off or make note of something you want to refer back to later. Just click
the Bookmark button at the bottom right or use
the B keyboard shortcut. You will see the Create
Bookmark dialog box.
Click the Full-Screen icon 1 to enter FullScreen mode. You can exit Full-Screen mode
by clicking the icon again or by pressing the
Esc key. You can also dynamically resize your
window while watching simply by grabbing the
lower-right corner of the window and dragging
until the window is the size you want.
In the application versions of the course, you
can also choose Watch-and-Work mode 2 from
the player. This takes you to a smaller screen
that leaves room for you to work in another
application alongside the course. Click the Standard button to return to a regular-size screen.
The Sidebar
The Sidebar is an area on the
right side of the player
where additional information, such as a description of
the video youre watching, is
displayed. At the bottom are
buttons that enable you to
access your bookmarks or a
list of videos in the chapter. To turn the Sidebar
on or off, you can press Tab or click the button
in the navigation bar.
Enter a name for your bookmark and an optional

note, then click Save or press Enter/Return. The
bookmark will then be visible as a thin line in
the timeline. You can access your bookmarks by
clicking My Bookmarks at the top of the screen
or via Video Bookmarks in the Sidebar. Just click
the bookmark to go to your previously marked
point. To delete a bookmark, click the Trashcan
icon to the right of the bookmark and confirm
your deletion by clicking Yes.
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Introduction
Test Yourself
This course includes a number of Test Yourself sections, each of which contains a series
of questions about the topics covered in that
chapter.
After answering any question, click the Submit

Answer button at the bottom left to indicate
that youre finished. A dialog box will pop up
to let you know whether you got the question
right. (If you get a question wrong and want to
see the correct answer, press and hold F, A, and
N on your keyboard at the same time. A check
mark will appear in the box next to the right
answer.) This dialog box also contains a button
that will take you to the next question.
When youre finished answering all the questions, click Training Content to return to the
table of contents.
Just click the box for the right answer.
xii
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About the Authors
About video2brain
About Kelly McCathran
video2brain (video2brain.com) has been

Europes premier source for video training
since 2002. We produce high-quality English,
German, French, and Spanish video training
on a variety of software topics, with a special
emphasis on graphics, web design, photography, and programming. Our customers include
people just starting out, professionals, educational institutions, and global corporations as
well as home enthusiasts.
Kelly McCathran has

been teaching Adobe
applications since 1992
and computer classes
since 1989. Shes an
Adobe Certified Instructor in InDesign, Photoshop, Illustrator,
Acrobat, and PageMaker. Kelly has traveled
North America and abroad, teaching applications to the largest printshops and ad agencies
in the world. In addition to creating video training for video2brain.com, Kelly is the co-founder
of onlineinstruct.com.
All of our courses are available in 1280 x 720

Hi-Def video, with a full-screen mode that
creates an immersive learning experience. They
also include an interactive, easy-to-use interface; custom bookmarks that let you annotate
your course and remember where you left off;
and Watch-and-Work mode, so you can practice as you learn.
Were passionate about teaching and about
helping you build exceptional skills so you can
create extraordinary work. Our mission is to
provide the best and most affordable video
training possible, and to offer you a feature-rich
learning environment aimed at enhancing the
effectiveness of ourtraining.
video2brain was founded by Gerhard Koren,
a v2b trainer himself. Our home office is
nestledamong the mountains of the Austrian
Alps in the city of Graz, a student city with six
universities.
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Copyrighting Your
Digital Images
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Copyrighting Basics
Copyright is the exclusive legal right, granted to
you by law (title 17, U. S. Code), to control
the reproduction, distribution, public display,
and derivative use of your original works of
authorship, and to sue for unauthorized use
(infringement) of your work.
Copyright literally means the right to copy.
This right begins the moment your original work
is created in a fixed, tangible form. In other
words, you automatically own the copyright
to your creative works. Copyright protection is
available for both published and unpublished
works. Copyrightable works include anything
that fits into one of these categories:
Literary works (including computer programs)
Musical works (including any accompanying

words)
Dramatic works (including any accompanying music)
Pantomimes and choreographic works
Pictorial, graphic, and sculptural works
Motion pictures and other audiovisual works
Sound recordings
Architectural works
Although many things are copyrightable, some

are not. To be copyrightable, the work must be
original. Originality is essential to copyright. For
example, if you copy a photograph, that copy
cannot be copyrighted since it is not original.
In fact, you would need the original photographers permission to copy their image.
The following types of works are not

copyrightable:
Ideas and concepts. Only the original expression of those ideas and concepts in some
tangible form, like a photograph, can be
copyrighted. You might have an idea for a
great photograph, but that idea cannot be
copyrighted.
Procedures, methods, systems, principles,
discoveries, or devices. However, written
or recorded descriptions, explanations, or
illustrations of such things are protected by
copyright.
Works that have not been fixed in a tangible
form, such as speeches or performances that
have not been written or recorded.
Works that consist entirely of information
that is common property and contain no
original authorship, such as familiar symbols
and designs.
Titles, names, short phrases, and slogans.
However, some titles and words may be protected under trademark law if their use is associated with a particular product or service.
How to Obtain a Copyright

The way in which you obtain copyright protection is often misunderstood. It is important to
understand that no publication, registration,
or other action in the U.S. Copyright Office is
required to secure a copyright. Copyright is
automatically secured the moment the work is
created in tangible form. However, copyrights
can be formally registered with the U.S. Copyright Office in Washington, DC (www.copyright.
gov), and there are fees involved.
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Even though registration is not a requirement

for protection, it does establish a public record
of the copyright and is required before an
infringement lawsuit can be filed. You should
always seek legal advice from a qualified attorney before threatening a copyright infringement
action.
Notice of Copyright
Copyright notice informs the public that your
work is protected by copyright, identifies who
owns the copyright, and shows the year of first
publication. It is a way of saying, This is my
work. If you want to use it, first ask my permission. A notice reinforces the asset value of your
work and alerts people that you are prepared to
protect that value.
Under U.S. law, you are no longer required to
use a copyright notice. This requirement was
eliminated when the United States adhered
to the Berne Convention. However, the use of
a notice is still required for works distributed
before March 1, 1989. The use of a copyright
notice is your responsibility; you are not required to get permission from, or register with,
the U.S. Copyright Office.
For photographs and other types of visually
perceptible copies, the copyright notice consists of the symbol , followed by the year of
first publication of the work and the name of
the copyright owner.
Example: 2012 John Doe
The word Copyright, or the abbreviation
Copr. can be used instead of the symbol. Either form is recognized, but use of the symbol
can provide additional international protection,
as can the words All Rights Reserved.
Duration of the Rights

Under current law, the copyright term for works
created by individuals is the life of the author
plus 70 years after the authors death. The copyright term for works made for hire is 95 years
from publication or 120 years from the date of
creation, whichever expires first. Works made
for hire are works created by employees for
employers, as well as certain types of specially
commissioned works.
Fair Use Doctrine

Anytime you make an unauthorized copy of a
copyrighted work or create derivative works
based upon the work without permission, you
are technically violating or infringing on the
rights of the copyright owner. However, the
law does permit some limited copying of copyrighted works as a fair use of the works.
So is copying defined as fair use? The reproduction of a copyrighted work for purposes such as
criticism, commentary, news reporting, teaching, scholarship, or research is generally not an
infringement of copyright. The fair use exemption of U.S. copyright law was created to enable
educators, researchers, and journalists to reuse
copyrighted works without having to ask the
author for permission, because usually these
applications do not impinge on the commercial
value of the work.
There are four factors that you need to
consider when determining whether the use
of someones copyrighted work is a fair use of
that work:
1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes.
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2. The nature of the copyrighted work.
Protecting Your Images on the Internet
3. The amount and substantiality of the portion
Image theft on the Internet is a growing and

intractable problem, but there are ways to
protect your images on the web.
used in relation to the copyrighted work as a

whole.
4. The effect of the use upon the potential market for or value of the copyrighted work.
The distinction between fair use and copyright infringement is not easily defined. For
every situation, all four factors must be weighed
by the courts to determine whether or not a
work qualifies for fair use protection. In other
words, there is no definitive yes or no to fair
usethere is no absolute method of assessing
whether or not a use is fair until after a judicial
ruling in an infringement suit.
The safest way to avoid copyright infringement
is to always get permission from the copyright
owner before using their copyrighted material.
Simply acknowledging the source of the copyrighted material does not substitute for obtaining permission.
The best security is to apply a watermark across

your image; in case of theft, this shows where
the image came from. But of course this can
have a negative impact on the appearance of
your images. One alternative is to include the
images in a SWF (Flash) movie; this prevents
them from being downloaded directly. However, keep in mind that even this method will
never fully protect your images. As soon as your
images are published on the Internet, there is
a possibility that they can be copied and used
elsewhere (for instance, someone can take a
screenshot of the SWF movie). The only way to
fully protect a valuable image is not to publish
it online.
Notice
U.S. copyright law is ever-changing. Every effort
has been made to make this information as
up to date as possible. This information is not
intended to be legal reference material.
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Nondestructive
Image Editing
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Nondestructive Image Editing with Adjustment Layers

One way to learn about image editing is by experimenting with different settings and
adjustments through trial and error. However, you may find that your willingness to
experiment is sometimes hampered by the fear of ruining your images. This is where
adjustment layers come in handythey let you play around with the appearance of
your images without changing the original image data.
Working with Adjustment Layers
Anything you can do with an adjustment layer
can also done through the Image > Adjustments
menu. However, unlike adjustment layers, the
menu does not offer the flexibility of a nondestructive workflow. Therefore it pays to get used
to working with adjustment layers right from
the beginning.
Photoshop CS6 includes a Properties panel that
allows you to easily create and edit adjustment
layers.
Icon Adjustment
Icon Adjustment
Brightness/Contrast
Photo Filter
Levels
Channel Mixer
Curves
Color Lookup
Exposure
Invert
Vibrance
Posterize
Hue/Saturation
Threshold
Color Balance
Gradient Map
Black & White
Selective Color
Creating an Adjustment Layer

1. To create an adjustment layer, activate the
Properties panel and click the icon for the
adjustment you want to add. Alternatively,
you can click the Create New Fill or Adjustment Layer icon ( ) at the bottom of the
Layers panel and select the desired command from the pop-up menu.
2. The Properties panel will show the controls

and options for the selected adjustment. Any
changes you make to the settings here will
be directly visible in your image. (Note that
the Layers panel now contains an adjustment layer with the appropriate icon, as well
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as a layer mask. If you choose to rename

the adjustment layer, you will still be able to
identify the adjustment by its icon. The table
on the previous page provides an overview.)
Constraining the Effects of

Adjustment Layers
Every adjustment layer comes with its own
layer mask by default. In some cases you might
not want to correct the entire image, but only
certain areas or subjects within the image. For
example, you might want to make the main
subject pop out more from the background by
increasing its saturation while decreasing the
saturation of the background, or vice versa. Or
you might want to selectively adjust the colors
in certain image areas, like the color of a subjects eyes or hair in a portrait photo. In these
cases, you can limit the adjustment to certain
parts of the image. In the example shown here,
we want to use a Brightness/Contrast adjustment to lighten only the rocks and the tree,
while the sky remains unchanged.
1. To achieve this effect, you would activate the

layer mask icon, select the Brush tool with
the foreground color set to black, and paint
over any parts of the picture that you do not
want to be affected by the correction.
2. You would leave any image regions that you

do want to be affected by the adjustment in
white.
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3. If there were areas of the image you wanted

to be only partially affected by the adjustment, you could paint these in gray.
Alternatively, you can also select the part of the
image you want to be affected by your adjustment prior to creating your adjustment layer.
Photoshop will then automatically create the
appropriate black-and-white regions in the
layer mask when you add the adjustment layer.
Exaggerating the Adjustment

Sometimes it is useful to overdo your adjustment, creating an exaggerated effect that can
then be dialed back by reducing the opacity of
the adjustment layer. And if you are not satisfied with a correction, you can change it at any
time by clicking the relevant adjustment layer in
the Layers panel and editing the settings in the
Properties panel.
All of these changes will leave your original image untouched; even after closing and relaunching Photoshop you can continue editing, or you
can return to your original image by deactivating or deleting the adjustment layer(s). This is
what is known as nondestructive image editing.
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Working with Smart Filters

When you apply a filter directly to an image, you permanently change the image.
This is not the case when you apply a filter as a Smart Filter.
Most filters can also be applied to Smart Objects
(like vector graphics imported from Illustrator).
The great advantage of this technique is that you
can still edit the parameters of a filter after apply
ing it, even after having closed and reopened the
file. This is not possible using standard layers and
filters, which will irreversibly alter the images
pixels. The following example will demons trate
the power and flexibility of Smart Filters.
Converting a Layer into a Smart Object

When you apply a filter as a Smart Filter, the
effect is nondestructive. This means that you
can always go back and make adjustments to
the filter, hide it, or remove it, even after saving,
closing, or reopening your document.
1. Before starting to work with Smart Filters,

you might want to create a duplicate of the
layer you want to apply the filters to. This can
be done quickly using the Ctrl/Command+J
keyboard shortcut. Now you have added
flexibility, because you can reduce the layers
opacity later in the process in order to
weaken the effects of your filters.
2. To convert the layer into a Smart Object,

simply select the layer that you want to apply
the Smart Filter to, go to the Filter menu, and
choose Convert For Smart Filters. Alternatively, you can right-click the layer name in
the Layers panel to open the context menu
and choose Convert to Smart Object. A small
symbol ( ) indicates that the layer is now a
Smart Object.

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3. Now you can safely apply a filter, knowing that youre not permanently changing
the pixels of the original image. Photoshop
provides an abundance of filters that you can
use to apply special effects to your images,
all of which you can find in the Filter menu.
Using the Filter Gallery

One easy way to apply filters in Photoshop is by
using the Filter Gallery, which can be accessed
by choosing Filter > Filter Gallery. Keep in mind
that not every filter in the Filter menu can be
applied in the Filter Gallery. For example, the
sharpening filters found in the Sharpen menu,
the effects in the Render menu, and the Blur
filters in the Blur menu are not available in the
Filter Gallery; you have to apply those filters
individually instead.
When you select a filter in the Filter Gallery, you
get a large preview of the filters effect and the
options in the right panel change to the relevant
options for that filter. Fine-tune your settings
for the best effect and click OK. The Smart Filter
shows up in the Layers panel, just below the
Smart Object layer that youve applied it to.
All the filters in the Filter Gallery can be applied
one by one, or you can combine them to get
some really creative effects. To use multiple
filters, click the Create New icon at the bottom
of the Layers panel. This creates a duplicate of
the active filter, which you can then change to
the filter of your choice.
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Editing a Smart Filter

So far, working with Smart Filters is no different
from working with standard filters. However,
the power of Smart Filters will become apparent as soon as you decide that you dont really
like one or more previously assigned filter(s).
You can click the eye icon next to a Smart Filter
to temporarily deactivate that filter and/or the
filter mask at any time. You can also drag the
filter to the trash icon to delete it, or you can
adjust the filter by simply double-clicking the
name of the Smart Filter in the Layers panel.
The Filter dialog box with your previous settings
opens up, allowing you to adjust the filter by
changing its settings.
All the changes you make in the Filter Gallery

will be applied nondestructively. In fact, since
this layer is now a Smart Object, you can also
transform the image without actually harming
its pixels.
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Nondestructive Image Sharpening

Most commands for optimizing images are also available as adjustment layers in
Photoshop. This enables you to seamlessly adjust your edits, if necessary, or to
add a mask to them. This is not the case for the all-important sharpening features,
however. But not to worryyou can also apply sharpening as a Smart Filter.
To apply sharpening as a Smart Filter:
1. Open the desired image.

2. Choose Layer > Smart Objects > Convert to
Smart Object or Filter > Convert for Smart
Filters.
3. Go to the Layers panel (F7). The thumbnail of

the image layer now displays a special Smart
Object icon.
4. Choose Filter > Sharpen > Unsharp Mask

from the menu.
5. Check the Preview checkbox and enter the

desired settings. Dont be afraid to choose
high values; you can compensate for this
later by reducing the opacity of the layer.
6. Click OK to close the dialog box and apply

the image correction.
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You can subsequently alter the sharpening

values you entered, just as with an adjustment
layer:
1. In the Layers panel, double-click Unsharp

Mask. This will bring up the Unsharp Mask
dialog box, where you can adjust your settings and click OK to apply the changes.
2. To weaken the sharpening effect, go to the

Layers panel and click the icon ( ) to the
right of Unsharp Mask.
3. Reduce the opacity in the Blending Options

dialog box. The more you reduce it, the more
the sharpening effect will fade.
4. Click OK.
To weaken the sharpening effect locally:
1. Activate the Brush tool and choose black as

your foreground color.
2. In the Layers panel, click to activate the mask

of the Smart Filter.
Paint any areas you dont want to sharpen
black. Or, you can fill the entire Smart Filter
mask with black as a first step, and then overpaint areas you want to sharpen using white as
the foreground color.
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Adjusting Shadows and Highlights

The Image > Adjustments > Shadows/Highlights command is one of Photoshops
best features when it comes to quickly improving the bright and dark portions of a
photograph. Unfortunately, it is not available as an adjustment layerbut you can
still apply it nondestructively.
To apply a Shadows/Highlights adjustment
nondestructively:
1. Open the desired image.

2. Choose Layer > Smart Objects > Convert to
Smart Object.
3. In the Layers panel, you will see that a Smart

Object icon has been added to the layers
thumbnail.
4. Choose Image > Adjustments > Shadows/

Highlights.
5. Choose the desired settings and feel free to

exaggerate them a little bit; you can compensate for this later by reducing the opacity
of the layer.
Tip : To see the advanced settings for this

adjustment, check the Show More Options
checkbox at the bottom of the Shadows/
Highlights dialog box.
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6. Click OK to close the dialog box and assign

your adjustment to the image.
7. If you want to change the adjustments settings afterward, you can simply double-click
Shadows/Highlights in the Layers panel.
To make additional adjustments to your Shadows/Highlights Smart Filter, proceed as follows:
1. To reduce the overall effect of the assigned

Shadow/Highlights adjustment, double-click
the icon ( ) to the right of the Shadows/
Highlights label in the Layers panel.
2. In the Blending Options dialog box, reduce

the opacity value. The more you reduce this
value, the weaker the effect of the Shadows/
Highlights command will be on your image.
Note : For certain purposes you may want

change the blend mode, which you can do via
the Mode drop-down menu.
3. Click OK.
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If you only want to weaken the filter in certain

areas of the image, go to the Layers panel and
click the mask for the Smart Filter to activate it.
Choose the Brush tool from the Toolbar, select
black as the foreground color, and paint any
areas you want to exclude from the effect in
black. For smooth transitions, reduce the hardness of your brush tip.
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Tips & Tricks
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Tips for Working with Rulers, Guides, and the Grid

In this section well look at Photoshops rulers, grids, and guides, which can be very
helpful in situations where precise alignment is required. Youll get some valuable
tips on setting up and working with these tools.
Determining the Rulers Unit
There are several ways to change the measurement unit for the rulers. The quickest way is to
double-click one of the rulers in the document
window (you can show both rulers by selecting View > Rulers). This brings up the Preferences dialog box with the category set to Units
& Rulers. Now you can go to the Units section
to change the unit of measurement. You can
choose among pixels, inches, centimeters, millimeters, points, picas, and percent.
Enabling Snapping
Snapping is a feature that allows you to align
layers, shapes, text, etc. with other objects,
guides, or the grid. To enable snapping, choose
View > Snap To, and make sure the desired
items are checked in the submenu that appears.
You should now be able to align objects easily
and precisely. If youre using the Shape tools to
draw accurate shapes for screen and web use,
you can enable the Snap To Pixels checkmark
under the Shape Options.
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Using the History Panel Feature

Retouching in Photoshop can be tricky. This section looks at using the History panel
to gain greater control over your work.
The History Panel
The Undo and Redo buttons are frequently used
to undo or redo the most recent image editing
steps. Or you can use Ctrl/Command+Z and Ctrl/
Command+Y, which enable you to work even faster. But Photoshop also includes a handy History
panel that keeps track of every step youve taken
during your editing session. If you decide that you
want to return to any earlier version of your work,
you can just click that version in the History panel.
Note that any steps that were taken after this will
be grayed out, but still remain accessible.
Changing History Preferences

By default, Photoshop remembers 20 editing steps. For extensive retouching work that
involves many Brush tool clicks, 20 wont be
enough. Choose Edit > Preferences > Performance. In the History & Cache section, click the
arrow next to History States to access a slider
that allows you to adjust the number of recorded
history states all the way up to a value of 1000.
Please note: The more history states you choose,
the more RAM the software will require.
Purging the History

If you are absolutely satisfied with the current
state of your image, you can empty your History
panel by choosing Edit > Purge > Histories. This
means that you can no longer recover your previous editing steps, but more RAM will be available
on your computer and Photoshop may speed up if
your memory was clogged previously.

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Saving Memory with Adjustment Layers

Photoshop files containing numerous layers can take up a considerable amount of
hard disk space and RAM. In this section, youll learn a simple way to reduce your file
sizes by using adjustment layers.
Duplicate layers are used quite frequently in
Photoshop. For example, to increase the
contrast in a photo, you can duplicate the
image layer and assign the Overlay or Color
Burn blend mode to the duplicate. (If the effect
is too crude, you may choose to reduce the
layers opacity in the Layers panel.)
The only problem with this is that the duplicate
layer doubles the pixel count in the document,
therefore doubling the size of your PSD file. You
can easily solve this problem by using an adjustment layer instead of the duplicate layer:
1. Go to the menu and choose Layer > New

Adjustment Layer. From the submenu that
appears, select any type of adjustment layer,
for example Levels.
2. Click OK to close the New Layer dialog box.

Do not make any adjustments in the Properties panel.
3. Return to the Layers panel and set the

desired blend mode and opacity value.
The result is the same as with the duplicate layer, but the increase in file size is much smaller.
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Enlarging JPEG Images

If you try to print an image that was downloaded from the Internet, you will often
find that these images have poor resolution and may include blocky artifacts result
ing from JPEG compression. If you want to use an image like this for print output,
you usually need to severely scale it down to prevent the artifacts from showing.
The following process allows you to double the
pixel size of a JPEG image in a way that makes it
still printable. Its certainly not going to become
crisp and detailed, but at least the artifacts
wont be visible.
1. Go to the menu and choose Image > Image

Size.
2. In the Document Size section of the Image

Size dialog box, enter 200% into the Width
and Height fields.
3. Check the Resample Image checkbox at the

bottom of the dialog box and make sure
the Bicubic Automatic option is selected
from the drop-down list below. Click OK to
confirm.
4. Go to the menu and choose Filter > Noise >

Despeckle. The image will be softened.
5. Repeat the above steps (except for the

Despeckle filter) to double the image size.
6. Choose Filter > Stylize > Diffuse from the

menu.
7. Select Anisotropic mode from the Diffuse

dialog box and click OK.
8. Go back to the Image Size dialog box and

reduce both image width and height to 50%
this time.
9. Choose Enhance > Unsharp Mask from the

menu. Your image is now ready for print
output.

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Printing a Hard Proof

The Photoshop Print Settings dialog box contains several options for color manage
ment. To make use of these, expand the Color Management area in the right column
of the Photoshop Print Settings dialog box and choose your desired settings.
You can print the image using its current color
profile by choosing Normal Printing from the
pop-up menu. Alternatively, you can print a
proof of your document to see how it will look
under different output conditions, such as
the CMYK mode for offset printing. To do so,
choose Hard Proofing from the pop-up menu.
The setting you selected under View > Proof
Setup will be used as your proof profile. To get
the most precise proofs, you might want to
check the Simulate Paper Color and Simulate
Black Ink checkboxes.
In the Color Handling pop-up menu, choose the
Photoshop Manages Colors option if you want
to use a printer profile for your device. Then
you can choose a profile from the Printer Profile
pop-up menu below.
If you dont have a dedicated profile for your
printer, choose the Printer Manages Colors
option instead.
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The Photoshop Tool Panel
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13
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15
16
17
18
19
20
21
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1 Move Tool The Move tool is used for moving selections, layers, and guides.
2 Rectangular Marquee Tool, Elliptical Marquee Tool,
Single Row Marquee Tool, and Single Column Marquee
Tool The marquee tools are used for making rectangular, elliptical, single row, and single column selections.
3 Lasso Tool, Polygonal Lasso Tool, Magnetic Lasso
Tool The lasso tools are used for making freehand,
polygonal (straight-edged), and magnetic selections.
4 Quick Selection Tool and Magic Wand Tool The

Quick Selection tool is used for painting a selection
with a resizable brush. The Magic Wand tool is used for
selecting similarly colored areas in an image.
5 Crop Tool, Perspective Crop Tool, Slice Tool, and
Slice Select Tool The Crop tool is used for cropping
or trimming images. Use the Perspective Crop Tool to
crop images in perspective. The Slice tool allows you to
divide an image into multiple sections that are reassembled on a web page. The Slice Select tool is used for
selecting and modifying existing slices.
6 Eyedropper Tool, 3D Material Eyedropper Tool,
Color Sampler Tool, Ruler Tool, Note Tool, and Count
Tool The Eyedropper and Color Sampler tools are used
to sample colors in an image. The 3D Material Eyedropper Tool is used to sample 3D materials already existing
in your image. The Ruler tool is used for measuring distances, locations, and angles. The Note tool allows you
to attach notes to an image. The Count tool (Photoshop
Extended only) is used for counting objects in an image.
7 Spot Healing Brush Tool, Healing Brush Tool, Patch
Tool, Content-Aware Move Tool, and Red Eye Tool The
Spot Healing Brush tool is used to remove unwanted objects and blemishes. The Healing Brush tool allows you
to paint with a sample or pattern to fix imperfections in
an image. The Patch tool allows you to fix imperfections
in a selected area of an image using a sample or pattern.
The Content-Aware Move Tool allows you to move a
previously selected image area while automatically
adjusting the background. The Red Eye tool is used to
remove the red reflection caused by a cameras flash.
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The Photoshop Tool Panel
8 Brush Tool, Pencil Tool, Color Replacement Tool,

and Mixer Brush Tool The Brush tool is used for painting
various brush strokes. The Pencil tool allows you to paint
hard-edged strokes. The Color Replacement tool is used
to replace a selected color with a new color. The Mixer
Brush Tool is used to define multiple colors on a single
tip in order to paint with subtle color blends or to blend a
photos colors to create a beautiful painting.
9 Clone Stamp Tool and Pattern Stamp Tool The
Clone Stamp tool is used for cloning parts of an image or
removing unwanted objects. The Pattern Stamp tool is
used to paint with part of an image as a pattern.
10 History Brush Tool and Art History Brush Tool The
History Brush tool is used to paint a copy of the selected
history state or snapshot. The Art History Brush tool lets
you paint with stylized strokes that simulate the look of
different painting styles, using a selected history state or
snapshot.
11 Eraser Tool, Background Eraser Tool, and Magic
Eraser Tool The Eraser tool allows you to erase pixels
and restore parts of an image to a previously saved
history state. The Background Eraser tool allows you
to erase areas of an image to transparency. The Magic
Eraser tool allows you to erase solid areas of an image to
transparency with a single click.
12 Gradient Tool, Paint Bucket Tool, and 3D Material
Drop Tool The Gradient tool is used to create blends
between colors. The Paint Bucket tool allows you to
fill similarly colored areas with the current foreground
color. The 3D Material Drop tool is used to drop a loaded
material to another part of a model, another 3D mesh,
or another 3D layer.
13 Blur Tool, Sharpen Tool, and Smudge Tool The Blur
tool allows you to soften hard edges and reduce detail
in specific areas of an image. The Sharpen tool sharpens
specific areas of an image. The Smudge tool simulates
the effect you see when you drag your finger through
wet paint.
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14 Dodge Tool, Burn Tool, and Sponge Tool The Dodge

tool makes areas of an image lighter. The Burn tool
makes areas of an image darker. The Sponge tool can
either saturate or desaturate the colors in an image.
15 Pen and Anchor Point Tools These tools are used for
drawing smooth-edged paths and shapes. They are also
used to edit existing paths.
16 Horizontal and Vertical Type Tools, Horizontal and
Vertical Type Mask Tools The type tools are used for
creating horizontal and vertical type on an image. The
type mask tools are used to create a selection in the
shape of type.
17 Path Selection Tool and Direct Selection Tool The
Path Selection and Direct Selection tools are used for
selecting, moving, and modifying the shape of vector
paths.
18 Shape Tools, Line Tool, and Custom Shape Tool The
Shape tools and Line tool are used for drawing different
shapes and lines in either a normal layer or a shape
layer. The Custom Shape tool allows you to create custom shapes.
19 Hand Tool, Rotate View Tool The Hand tool is
used for moving an image around within the document
window. The Rotate View tool allows you to nondestructively rotate the canvas.
20 Zoom Tool The Zoom tool is used to magnify and
reduce the view of an image.
21 Foreground and Background Color Boxes The current foreground color appears in the upper color box
and the current background color appears in the lower
box. The color boxes also allow you to change the foreground and background colors.
22 Quick Mask Mode Quick Mask mode allows you to
create a temporary mask, which becomes a selection
when you exit Quick Mask mode. Its often used for finetuning an existing selection.
T he P hotoshop Tool Panel
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Glossary
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Glossary
Absolute Colorimetric rendering This

render ing intent reproduces in-gamut colors
exactly and clips out-of-gamut colors to the nearest reproducible hue, sacrificing saturation and
possibly lightness. See also rendering intents.
Additive Color Mixing A reproduction process that mixes red, green, and blue light emitted
from a source to produce a wide range of colors.
See also subtractive color.
Alpha Channel Image information that defines
which parts of the image will be transparent or
semitransparent. Applications like Adobe Illustrator, Photoshop, Premiere Pro, and After Effects
support alpha channels.
Anti-Aliasing A pixel-processing technolog y
that eliminates or softens the jaggedness of
low-resolution curved edges. For the Photoshop
selection tools, the Options bar contains an
Anti-alias checkbox to help you create smooth
selection border contours. This will prevent your
selection from looking jagged or pixelated. The
Anti-alias option is very useful for photomontages, image corrections, and so on. Make sure
to keep it always on in those cases and for any
selection tool you might be using; however, for
selecting line art, screenshot areas, etc., this option should be switched off. See also feathering.
Artifacts Color faults or line faults that have a
negative visual impact on the image. Artifacts are
often the result of excessive image compression.
Audience Who is your audience? Always keep
in mind that your images may be seen by a wide
audience. Dont assume a common cultural
background, social class, education, or native
language. Therefore, you should also analyze the
26
target audience and define their gender, age,

ethnic background, education, buying behavior,
and personal preferences. Find out what magazines your target audience reads and what TV
shows it watches. Your design should not only
look good, it should also match the target audience as closely as possible in terms of layout,
color scheme, fonts, and visual language. This
is a prerequisite for successful and efficient
communication.
Bit (Binary Digit) The smallest unit of information in a computer. Bits can have only two
values: 0 or 1.
Bitmap A digital image file that uses spatially
arranged pixels to store the image information.
Sometimes, the term bitmap implies a color
depth of one bit per pixel only, resulting in a
two-color image.
Black Point The darkest point in a color space.
Black points in RGB color spaces usually describe
a perfect black (lightness 0). In print, the darkest possible color value will never be completely
black. Therefore, black points in printer color
spaces are always brighter than a perfect black.
Blur The process of adding fuzziness to or decreasing the focus of an image or a certain image
region for a softer appearance or to camouflage
a defect.
Brush Tool With the Brush tool, you can select
from a variety of different brush tips in order to
create your artwork. You can also modify the
preset settings for diameter, shape, spacing,
roundness, hardness, angle, drawing mode,
opacity, and more.
G lossary
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Channel A component of a digital image that

carries information for one color parameter of
the color mode used (RGB, CMYK, HSB, or LAB).
The combination of all channels yields a fullcolor composite image.
CMM (Color management Module) The core
software component of a color management
system.
CMS (Color Management System) A program that helps to match the color of input and
output devices throughout the workflow in order
to produce predictable results.
CMYK Cyan, magenta, yellow, and black: The
process colors used in four-color printing. See
also subtractive color.
Color Conversion The process of changing
the color mode of an image. See also conversion
options.
Color Correction The process of modifying
the color of the pixels in a digital image in an
effort to improve the appearance of the image
or to correct obvious defects.
Color Depth A measure of how many colors
can be in a pixel of an image. Also called bit
depth. 1 bit equals two colors (21), 8-bit color
equals 256 colors (28), and so on. One pixel of an
RGB image, which is represented by three 8-bit
color channels, has over 16 million possible color
values (28 red channel x 28 green channel x 28
blue channel). RGB images using 8 bits per color
channel are sometimes referred to as 24-bit images (8 bits per channel x 3 channels = 24 bits).
Color Gamut The range of colors that can be
reproduced by all possible combinations of a
given systems colorants, such as the colors that

can be reproduced using process colors in commercial printing.
Color Management Policies Color management policies specify how Photoshop handles
files that are not in the preferred working space.
Each color space has its own policy. Photoshop
offers three choices. Off ignores any embedded
color profile, and the colors of the image are not
converted to the working space. This is therefore
a risky choice that should only be applied on
rare occasions. Preserve Embedded Profiles
preserves any color profile saved along with the
image. Convert to Working (color space) forces
Photoshop to take your custom RGB and CMYK
profiles into account. In most cases, it is advisable to convert RGB and CMYK images to your
working profile. However, this does not always
apply. For an image that is modified on different
computers and then finalized on the first computer, it makes sense to preserve the embedded
profile. The checkboxes in the color management
policies give you the option to choose whether
or not you will be prompted when a color conversion is required.
Color Model A mathematical model for the
description of color, such as RGB, LAB, or CMYK.
Color Separation The process of transforming color artwork into components that correspond to separate color channels, such as
process colors or spot colors, or a combination of
the two. Each ink color is reproduced as a unique
piece of film or printing plate.
Color spaces Color spaces are abstract
formations. Colors can be described very well
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Glossary
using three numeric values. Each visible color

is assigned a distinct position in terms of coordinates. The total of all possible colors inside a
given color system (like RGB or CMYK) adds up
to a virtual shape inside this coordinate system;
this shape is called a color space. Reproduction
media like computer screens cannot display all
visible colors. Printing or photographic reproduction technologies also have various intrinsic limitations of color reproduction. If colors are to be
reproduced, which means they are transported
from one medium to another, you need to know
the color limitations of the different media. This
is exactly what color spaces and gamuts are all
about: They are mathematical descriptions of the
total number of displayable colors. Color spaces
are vital components of the information being
saved in color profiles.
Commercial Printing Printing processes
include offset lithography, flexography, gravure,
and screen printing. Offset printing is the most
widely used commercial printing process.
Compression The process of reducing file size
using various mathematical algorithms. Depending on the technology, compression can be lossless or lossy, with the latter resulting in a loss of
image quality and/or resolution.
Continuous Tone An image that contains
continuous shades of color or gray tones, such
as a photograph.
Contrast The relationship and degree of difference in color and light between parts of an image.
Conversion Options These options are set in
the Color Settings dialog box. The Engine option
tells Photoshop what software will handle the
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conversion, while the Rendering Intent controls

how the colors are converted from one color
space to another.
Copyright A form of intellectual property. Permits the creator of an original work to prevent its
use without express permission or acknowledgement of the originator. Copyrights may be sold,
transferred, or surrendered contractually.
Depth of Field The portion of a scene that
appears sharp in a photograph. Only one
distance can be precisely in focus, and the
decrease in sharpness is gradual. The depth of
field also describes the range of distance still
perceived as being sharp.
Dot Gain The growth of a halftone dot that
occurs because of ink spreading across the paper
as it is soaked in. Dot gain varies with paper type.
Failure to compensate for this effect can result in
very poor results during printing.
DPI (Dots Per Inch) A measurement unit for
the resolution of page printers, phototypesetting
machines, and graphics screens.
Drop Shadow A duplicate of a graphic element
or type that is placed behind and slightly offset
from the original element, creating the effect that
the object is raised above the objects behind it.
Dynamic Range The range between the lightest and darkest area of an image. Also used to
describe the limits of luminance range that a
digital camera, scanner, or film can capture.
Exposure The total amount of light that a
photographer allows to fall on the film or sensor
when capturing an image.
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Feathering An editing technique that softens

the edges of a selection by adding a shift zone of
variable width. Collages and photo compositions
frequently require such soft selections to allow
for a gradual transition between selected and
unselected areas. This effect can be achieved by
using the Feather input field in the Options bar of
most selection tools in Photoshop. Enter a pixel
value defining the selection border sharpness;
the higher the pixel value, the less sharp the
border will be. See also anti-aliasing.
Filter In Photoshop, a routine that contains
algorithms to modify digital images by changing
the values or arrangement of specified image
areas.
Focal Length The distance from the optical
center of a lens to the focal point that is located
on the sensor or film if the subject is in focus. The
focal length also determines the field of view of
a given lens.
Grid A useful alignment tool in Photoshop. To

enable the grid, choose View > Show > Grid. To
be able to align objects perfectly along the grid
lines and subdivisions, choose View > Snap to >
Grid. If you want to change the units used for
divisions and subdivisions and the color of the
grid, go to Preferences > Guides, Grid & Slices.
HDR image When you create an HDR (high
dynamic range) image in Photoshop, you need
a series of images of the same subject taken at
various shutter speeds (this is called bracketed
exposure). Each of these individual images
will contribute its specific shadow, midtone, or
highlight details to the finished HDR file, capturing the entire dynamic range in one single image.
You can output the composite image as a 32-,
16-, or 8-bit file. However, only a 32-bit file will
be able to hold and save the complete HDR
image data.
Highlights The lightest areas in an image.
Font The complete character set (numbers,

uppercase and lowercase letters, and, in some
cases, small caps and symbols) of a particular
typeface in a specific style, such as Verdana Bold.
Histogram A bar graph representation of the

tonal values (brightness or color) in an image
based on the frequency of occurrence of each
value.
Gamma In digital imaging, gamma refers to the

encoding of linear brightness values captured by
a device (such as a camera) to match the contrast
and brightness of human perception.
JPEG A lossy compression algorithm that reduces the file size of digital images. Image quality
is reduced in direct proportion to the amount of
compression. Typically, about 10:1 compression
is possible with little perceptible loss in image
quality.
Gamut See color gamut.

Grayscale An image composed exclusively of
shades of gray, varying from black of the weakest
intensity to white of the strongest, usually using
256 different tones.
Layer A function of graphics software in which

elements are isolated from each other so they
can be hidden, reordered, or otherwise manipulated without affecting other elements in the
composition.
29
5/14/12 2:30 PM
Glossary
Masking A technique used to hide certain areas

of an image or design or to exempt them from
manipulations.
Midtones The tonal range between highlights
and shadows.
Neutral Any color absent of hue, or having the
same value in all three RGB channels, such as
white, gray, or black.
Out-of-Gamut color Color that cannot be reproduced by a specific color model. For example,
some RGB colors fall outside the CMYK gamut.
Perceptual rendering This rendering intent
attempts to compress the gamut of the source
space into the gamut of the target space.
Typically, perceptual rendering desaturates all
colors to bring the out-of-gamut colors into the
target gamut while more or less maintaining the
overall relationship between colors. This helps
preserve the appearance of images. See also
rendering intents.
Pixel Picture element: the smallest unit of
information in a digital image. Pixels are usually
arranged in a two-dimensional grid. Depending
on the output device, they are often represented
using squares or dots.
Pixel Aspect Ratio When preparing images
for video use, issues like color spaces or image
resolution are subordinate; its much more
import ant how the finished product will look like
on a common TV screen. DV material is based
on rectangular pixels. When you open an image
with non-square pixels in Photoshop, it will be
displayed using pixel aspect ratio correction by
default, scaling the image in a way that makes
30
it look as it will appear on the video screen. If

desired, you can change this behavior by deactivating the View > Pixel Aspect Ratio Correction
option; then your images will be shown in their
actual proportions. If you want to create images
for video productions, you can determine a suitable pixel aspect ratio in the File > New dialog
box: From the Preset pop-up menu, choose the
Film & Video option, then proceed to the Size
pop-up menu and choose the desired image
dimensions. In the bottom part of the dialog box,
the correct pixel aspect ratio will then automatically be filled in.
Process Colors The four semitransparent inks
(cyan, magenta, yellow, and black) used in fourcolor process printing to reproduce a full range
of colors using halftone dots. See also color
separation, CMYK.
Relative colorimetric rendering This rendering intent is similar to absolute colorimetric
rendering. The difference is that relative colorimetric scales the white point of the source to the
white point of the target. Like absolute colorimetric rendering, it clips out-of-gamut colors to
the nearest reproducible hue. See also rendering intents, absolute colorimetric rendering.
Rendering INtents Rendering intents are
methods for converting colors from one color
space to another. The rendering intent defines
how out-of-gamut colors are mapped (or not) to
colors that exist in the destination color space.
The ICC profile specification defines four different
rendering intents: absolute colorimetric rendering, relative colorimetric rendering, perceptual
rendering, and saturation rendering. See also
absolute colorimetric rendering, perceptual
G lossary
5/14/12 2:30 PM
rendering, relative colorimetric rendering, and

saturation rendering.
Resampling Recalculating the pixels of an
image to change the physical size of the file.
Resolution The detail level of an image
described as density of graphic information in
dots per inch (dpi) or pixels per inch (ppi).
Retouching The process of making selective
manual or electronic corrections to images.
RGB An additive color model that uses red,
green, and blue as primary colors to describe the
RGB color space, which is a subset of the visual
color spectrum. RGB values are numeric triples
(red, green, and blue) representing how much of
each primary color is used to describe a specific
color in the RGB color space. Please note: RGB
values do not describe colors device-independently without color management.
Saturation The intensity or purity of a specific
color; a completely desaturated color is gray.
Saturation Rendering This rendering intent
maps the saturated primary colors in the source
space to the saturated primary colors in the target space. It does not address differences in hue,
saturation, or lightness. This rendering intent is
designed for rendering business graphics where
you want vivid colors and arent particularly concerned about exactly what those colors are. See
also rendering intents.
Sharpness The subjective density difference
between two tones at their boundary, interpreted as fineness of detail.
Subtractive Color Color that is observed

when light strikes pigments or dyes, caused
by the mixture absorbing certain wavelengths
of light and reflecting others. The light that is
reflected back is perceived as a color. See also
CMYK, process colors.
Transparency The quality of an image element with an opacity value below 100 percent
that allows parts of background elements or
entire elements to show through.
Unsharp Masking A digital image manipulation technique that increases the acutance, or
apparent sharpness, of photographic images. It
locates the edge between sections of differing
lightness and exaggerates the difference across
that edge, thereby increasing the edge contrast.
Vector Graphics Graphics consisting of coordinate points and mathematically drawn lines
and curves rather than discrete pixels. Vector
graphics can be freely scaled and rotated without
image degradation. Its also very easy to edit vector graphics. With the Direct Selection tool, you
can access the individual points that make up the
objects path and click and drag the handles to
reshape the object.
Vector Mask A mask that hides or displays a
distinct shape on a layer based on a path. See
also masking.
White Space The blank area between written characters or graphic regions. Proper use of
white space is critical to a well-balanced design.
31
5/14/12 2:30 PM
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Adobe Photoshop

EN 218 Photoshop CS6 LBV.indd 1

Adobe Photoshop CS6: Learn by Video: Core Training in Visual Communication

EN 218 Photoshop CS6 LBV.indd 2

1 Introducing Photoshop CS6

How to Launch the Files and Lessons

What Is Photoshop: Raster vs. Vector

Whats New in Photoshop CS6

The Photoshop Family

Touring the Interface and Managing

The Window > Application Frame

Zooming and Navigating

Advanced Zooming and Navigating

1.10 Creating, Opening, Editing,

Photoshop Project Explorations

Under the Hood: New Auto

3.2 Arranging Panels, Switching Screen

Customizing Keyboard Shortcuts

Customizing Photoshops Menus

Rulers, Guides, and Grids

4 Image Editing Concepts

Using Multiple Undos and the

RGB vs. CMYK

Importing Camera Images

Redesigned Mini Bridge

Reviewing and Rating Images

Adobe Bridge and Batch Renaming

Organizing Your Image Library

Removing Unwanted Objects with

Selections: Rectangular and Elliptical

Content-Aware Move, Patch,

Selections: The Lasso and Polygonal

Plug-ins a.k.a. Filters/Up in Smoke

Selections: The Magic Wand Tool

Automatic Color Correction

Flawless Faces: Women

4.10 Selections: The Quick Selection Tool

Flawless Faces: Men

2.10 Cropping and Straightening an Image

4.11 Using Refine Edge for Image

2.11 Content-Aware Scaling

4.12 Converting to Black-and-White

2.12 Making Selections

EN 218 Photoshop CS6 LBV.indd 3

Ad obe P hotoshop C S6 : Learn by V i d eo

Layers and Masks

Removing Solid Backgrounds

Adding New Layers

Creating Beautiful Digital

What Is Adobe Camera Raw and

5.4 Merging Two Images for One Perfect

Reading a Histogram and Using

5.5 Layer Masks, the Key to Flawless

Reading and Applying Metadata

Creating Metadata Templates

Creating Special Effects with

Removing Color Casts and Improving

Correcting Color and Contrast Using

Correcting a Series of Photos and the