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© 2005 by Thomson Course Technology PTR. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without written permission from Thomson Course Technology PTR, except for the inclusion of brief quotations in a review. The Thomson Course Technology PTR logo and related trade dress are trademarks of Thomson Course Technology and may not be used without written permission. Adobe and Photoshop are registered trademarks of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners. Important:Thomson Course Technology PTR cannot provide software support. Please contact the appropriate software manufacturer"s technical support line or Web site for assistance. Thomson Course Technology PTR and the author have attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Information contained in this book has been obtained by Thomson Course Technology PTR from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Thomson Course Technology PTR, or others, the Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press. Educational facilities, companies, and organizations interested in multiple copies or licensing of this book should contact the publisher for quanti ty discount information. Training manuals, CD-ROMs, and portions of this book are also available individually or can be tailored for specific needs.

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Acknowledgments

Once again thanks to Andy Shafran, who realizes that a book about working with color images deserves nothing less than a full-color treatment, and knows how to publish such a book at a price that everyone can afford. Its refreshing to work for a publisher who has actually writtenbest-selling books on imaging, too. Also, thanks to senior editor Kevin Harreld, for valuable advice as the book progressed, as well as project editor Jenny Davidson; technical editor Michael D. Sullivan; book/cover designer Mike Tanamachi; interior design William Hartman; proof- reader Sara Gullion; and indexer Kelly Talbot. Also thanks to my agent, Carole McClendon, who has the amazing ability to keep both publishers and authors happy.

About the Author

David D. Buschhas been demystifying arcane computer and imaging technol- ogy since the early 1980s. However, he had a successful career as a professional photographer for a decade before he sat down at the keyboard of his first personal computer. Busch has worked as a newspaper photographer, done commercial stu- dio and portrait work, shot weddings, and roved the United States and Europe as a photojournalist. His articles on photography and image editing have appeared in magazines as diverse as Popular Photography and Imaging, Petersens PhotoGraphic,The Rangefinder, andThe Professional Photographer, as well as com- puter magazines such as MacworldandComputer Shopper. Hes currently review- ing digital cameras for CNet. Busch has written more than 80 books since 1983, including the mega bestsellers Digital Photography All-In-One Desk Reference for DummiesandThe Hewlett- Packard Scanner Handbook.Other recent books include Mastering Digital SLR Photography, Mastering Digital Photography, andMastering Digital Scanning with Slides, Film, and Transparencies, all from Thomson Course Technology PTR. He earned top category honors in the Computer Press Awards the first two years they were given (for Sorry About The Explosion, Prentice-Hall; and Secrets of MacWrite, MacPaint and MacDraw, Little, Brown), and later served as Master of

Ceremonies for the awards.

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

Chapter 1

Photoshop and Photography from

50,000 Feet 1

Images in the Digital Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Transferring Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Basic Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Lens Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Selective Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Choosing the Right Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Darkroom Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Creative Use of Black and White . . . . . . . . . . . . . . . . . . . . . . . . 12 Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Chapter 2

Camera and Lens Effects in Photoshop 15

Lens Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Perspective Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Telephoto Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Compressing Distances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Fisheye Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Contents

Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Selective Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Creating the Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Applying the Lens Blur Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Photoshop CS Photo Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Lens Distortion Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 No Perfect Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Fixing Chromatic Aberration . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Correcting Barrel and Pincushion Distortion . . . . . . . . . . . . . . 61 Correcting Vignetting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Correcting Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Chapter 3

Darkroom Techniques with Photoshop CS2 67

Manipulating Digital Negatives . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Photoshops RAW Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Using the Camera RAW Plug-In . . . . . . . . . . . . . . . . . . . . . . . . 70 Film Development Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Solarization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Reticulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Cross-Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
High-Contrast Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Grainy Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Black-and-White Infrared Film . . . . . . . . . . . . . . . . . . . . . . . . . 98 Color Infrared Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Printing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Dodging/Burning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Vignetting Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Sepia Toning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Automatically Crop and Straighten Photos . . . . . . . . . . . . . . . . . . 111 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Contents vii

Chapter 4

Secrets of Retouching 113

Retouching, the Old Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Retouching Negatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Retouching Transparencies . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Retouching Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Retouching, the New Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Dust Spots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Double Catchlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Other Defects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Tackling a Retouching Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Avoiding Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Removing Dust and Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Fixing Dual Catchlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Removing Unwanted Objects . . . . . . . . . . . . . . . . . . . . . . . . . 127 Darkening and Lightening . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Moving Boy Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Repairing Images with the Healing Brush and Patch Tools . . . . . . 131 Canceling Red Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter 5

Compositing in Photoshop CS 139

Your Compositing Toolkit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Selection Refresher Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Making Rectangular, Square, Oval, and Circular Selections . . 145 Creating Single-Row and Single-Column Selections . . . . . . . . 146 Making Freehand Selections with the Lasso Tool . . . . . . . . . . 146 Other Selection Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Adding, Subtracting, or Combining Selections . . . . . . . . . . . . 147 Other Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Magic Wand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 The Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 8 Making Selections with the Paths Palette . . . . . . . . . . . . . . . . 150 Creating a Simple Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Adobe Photoshop CS2: Photographers Guideviii

Stitching Two Photos Together . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Merging Photos the Hard Way . . . . . . . . . . . . . . . . . . . . . . . . 161 Merging Photos the Easy Way . . . . . . . . . . . . . . . . . . . . . . . . . 164 Creating a Fantasy Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Adding Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Bringing the Seashore Inland . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Adding a Castle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Compositing Close Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Extracting the Kitten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Kitten on a Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Creating a Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 More than One Way to Skin a Cat . . . . . . . . . . . . . . . . . . . . . 180 Compositing Possibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Combining Compositing and Retouching . . . . . . . . . . . . . . . . . . . 181 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Chapter 6

Correcting Your Colors 185

Wonderful World of Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Color Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Other Color Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Capturing Color Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Color Calibration and Gamma Curves . . . . . . . . . . . . . . . . . . . . . 196 Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Color Correction Made Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Using Color Balance Controls . . . . . . . . . . . . . . . . . . . . . . . . . 203 Adjusting Hue/Saturation/Brightness . . . . . . . . . . . . . . . . . . . . 205 Using Color Ring Arounds and Variations . . . . . . . . . . . . . . . 206 Image Correction Made Easier With Photoshop CS2 . . . . . . . . . . 209 Using Exposure Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Using Live Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Matching Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Replacing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 8 The Color Replacement Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Using Exposuremerge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Calibrating Your Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Contents ix

Chapter 7

Beyond Black and White 227

Why Black and White? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Converting Color to Black and White . . . . . . . . . . . . . . . . . . . . . . 230 Hue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Converting to Grayscale with Channels . . . . . . . . . . . . . . . . . . . . 238 Other Grayscale Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Antique Photograph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Orthochromatic Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Chapter 8

Using Photoshop CS"s Filters 249

What Are Filters? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 What Kinds of Filters Are Available? . . . . . . . . . . . . . . . . . . . . . . . 254 Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 Choosing the Portion of an Image to Apply a Filter To . . . . . . 255 Selecting the Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Applying the Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Saving the Image or a Snapshot . . . . . . . . . . . . . . . . . . . . . . . . 257 Photoshop CSs Filter Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Filter Gallery Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Reproducing Photographic Filters in Photoshop . . . . . . . . . . . . . . 263 Polarizing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 3 Cross-Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Split Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 Modifying Images with Photoshops Filters . . . . . . . . . . . . . . . . . . 270 Painting Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Sketching/Drawing Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Edgy Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Distortion Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 3 Pixelation and Stylizing Filters . . . . . . . . . . . . . . . . . . . . . . . . 287 Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Adobe Photoshop CS2: Photographers Guidex

Chapter 9

Hardcopies Made Easy 293

Why Prints? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 Color Prints as Proofs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 Your Output Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Laser Printers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Inkjet Printers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300quotesdbs_dbs14.pdfusesText_20

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