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Adobe
Photoshop Cs
8.0
Subject: Graphic Design
nd
DIT Part 2
By Sardar Azeem
(Pict Computer Center Link Road abbottabad)
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Photoshop CS version
Exploring the Photoshop Environment

 Explore the Photoshop interface

 Customize the Workspace
 Explore the Navigation Tools

Working with Image Areas

 Select Image Areas
 Save a Selection
 Modify a Selection

Setting Color Space

 Calibrate and Profile your Monitor
 Set a Working Color Space in Photoshop
 Convert Image from one Color Space to Another
 Manage Printing and Color

Enhancing Image

 Print Strokes on an Image

 Apply Filter Effects
 Convert an Image to Black and White
 Blend Layers
 Merge Layers and Flatten Image
 Convert Color Images to Grayscale
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Working with Layers
 Create Layers
 Create Type Layers
 Transform Layers
 Alter T type Properties
 Apply Layer Styles
 Undo Previous Steps
 Arrange and Group Layers

Saving Images for Web and Print

 Save Images for Use in Print Application
 Save Images for the Web
 Save Images as PDF

Managing Assets with Adobe@ Bridge

 Explore Adobe Bridge
 Work with Adobe Bridge
 Work with Stacks and Filters in Adobe Bridge
 Apply Metadata and Keywords to Files
 Preparing Web Images
 Change Measurement Units
 Reduce File Size

Creating Web Page Layouts

 Simulate a Web Page
 Create Web Page Background
 Draw Editable Vector Shapes
 Create Effects
 Export a Web Page
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Enhancing Photographs
 Retouch Photographs Using Photoshop Tools
 Create Patterns
 Create Swatches and Gradients
 Create a Custom Brush
 Create Custom Patterns

Creating Special Effects

 Preview Text Effects Using Layer Comps
 Warp an Image

Automating Tasks
 Create an Action
 Manage Action

Adjusting RGB Color

 Meet Color Correction Objective

 Locate Highlights Shadows and Neutral Areas
 Make Automatic Color and Contrast Adjustment
 Make Basic Curve Adjustment

Sharpening Images
 Apply Un-sharp Images
 Sharpen an Image
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ADOBE PHOTOSHOP CS 8.0

Adobe Photoshop is a graphics editing program developed and

published by Adobe Systems. In computer graphics, graphics

software or image editing software is a program or collection of

programs that enable a person to manipulate visual images on a

computer. Computer graphics can be classified into two distinct

categories: raster graphics and vector graphics. Many graphics programs focus

exclusively on either vector or raster graphics, but there are a few that combine them in

interesting ways. It is simple to convert from vector graphics to raster graphics, but going

the other way is harder. Some software attempts to do this. Adobe Photoshop is a pixel

graphic software. That works on pixels.

Important Features of Photoshop

File format
Photoshop files have default file extension as .PSD, which stands for "Photoshop

Document." A PSD file stores an image with support for most imaging options available in

Photoshop. These include layers with masks, color spaces, ICC profiles, CMYK Mode

(used for commercial printing), transparency, text, alpha channels and spot colors, clipping

paths, and duotone settings. This is in contrast to many other file formats (e.g. .JPG or

.GIF) that restrict content to provide streamlined, predictable functionality. A PSD file has

a maximum height and width of 30,000 pixels, and a length limit of 2 Gigabytes.Photoshop

files sometimes have the file extension .PSB, which stands for "Photoshop Big" (also

known as "large document format"). A PSB file extends the PSD file format, increasing the

maximum height and width to 300,000 pixels and the length limit to around 4 Exabyte‘s.
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The dimension limit was apparently chosen somewhat arbitrarily by Adobe, not based on

computer arithmetic constraints (it is not close to a power of two, as is 30,000) but for ease

of software testing. PSD and PSB formats are documented. Because of Photoshop's

popularity, PSD files are widely used and supported to some extent by most competing

software. The .PSD file format can be exported to and from Adobe Illustrator, Adobe

Premiere Pro, and After Effects, to make professional standard DVDs and provide non-

linear editing and special effects services, such as backgrounds, textures, and so on, for

television, film, and the web. Photoshop's primary strength is as a pixel-based image editor,

unlike vector-based image editors. However, Photoshop also enables the creation,

incorporation, and manipulation of vector graphics through its Paths, Pen tools, Shape

tools, Shape Layers, Type tools, Import command, and Smart object functions. These tools

and commands are convenient when you want to combine pixel-based and vector-based

images in one Photoshop document, because you may not have to use more than one

program. However, if you want to create very complex vector graphics with numerous

shapes and colors, you may find it easier to use software that was created primarily for that

purpose, such as Adobe Illustrator, CorelDRAW or Xara Designer Pro. If you want to

import the complex vector object into Photoshop, you can import it as a Smart Object.

Double-click on Photoshop's layers palette to open the object in its original software, such

as Adobe Illustrator. You can make changes. When you save, Photoshop will update the

Smart Object.

Language availabilities: Photoshop is available in the following languages:Brazilian

Portuguese, Chinese Simplified, Chinese Traditional, Czech, Danish, Dutch, English,

Finnish, French, German, Hungarian, Italian, Japanese, Korean, Norwegian, Polish,

Romanian, Russian, Spanish, Swedish, Turkish and Ukrainian. The Arabic, Greek, and

Hebrew versions are available from Win soft.

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Plugins:
Photoshop functionality can be extended by add-on programs called Photoshop plugins (or

plug-ins). Adobe creates some plugins, such as Adobe Camera Raw, but third-party

companies develop most plugins, according to Adobe's specifications. Some are free and

some are commercial software. Most plugins work with only Photoshop or Photoshop-

compatible hosts, but a few can also be run as standalone applications.

There are various types of plugins, such as filter, export, import, selection, and automation.

The most popular plugins are the filter plugins (also known as a 8bf plugins), available

under the Filter menu in Photoshop. Filter plugins can either modify the current image or

create content. Below are some popular types of plugins, and some well-known companies

associated with them:

 Color correction plugins (Alien Skin Software, Nik Software, OnOne Software,
Topaz Labs Software, The Plugin Site, etc.)
 Special effects plugins (Alien Skin Software, Auto FX Software, AV Bros.,
 Flaming Pear Software, etc.)
 3D effects plugins (Andromeda Software, Strata, etc.)

Adobe Camera Raw (also known as ACR and Camera Raw) is a special plugin, supplied

free by Adobe, used primarily to read and process raw image files so that the resultant

images can be processed by Photoshop. You use Camera Raw by opening an image file,

rather than using the 'Filter' menu. Like other plugins, Camera Raw's help information is in

the 'Help > About Plug-In' menu (as "Camera Raw"). You can use Camera Raw also by

Adobe Bridge, by clicking on any image and selecting 'File > Open in Adobe Camera Raw'.
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Tools
Upon loading Photoshop, a sidebar with a variety of tools with multiple image-editing

functions appears to the left of the screen. These tools typically fall under the categories of

cropping and slicing; drawing; painting; measuring and navigation; selection; typing;

and retouching. Some tools contain a small triangle in the bottom right of the toolbox icon.

These can be expanded to reveal similar tools. While newer versions of Photoshop are

updated to include new tools and features, several recurring tools that exist in most versions

are discussed below.

Cropping and Slicing

The crop tool can be used to select a particular area of an image and discard the portions

outside of the chosen section. This tool assists in creating a focus point on an image and

excluding unnecessary or excess space. The "slice" and slice select tools, like the crop tool,

are used in isolating parts of images. The slice tool can be used to divide an image into

different sections, and these separate parts can be used as pieces of a web page design once

HTML and CSS are applied. The slice select tool allows sliced sections of an image to be

adjusted and shifted.

Drawing

Photoshop includes a few versions of the pen tool. The pen tool creates precise paths that

can be manipulated using anchor points. The freeform pen tool allows the user to draw

paths freehand, and with the magnetic pen tool, the drawn path attaches closely to outlines

of objects in an image, which is useful for isolating them from a background.

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Measuring and Navigation

The eyedropper tool selects a color from an area of the image that is clicked, and samples it

for future use. The hand tool navigates an image by moving it in any direction, and the

zoom tool enlarges the part of an image that is clicked on, allowing for a closer view.

Selection

The marquee tool can make selections that are single row, single column, rectangular and

elliptical. Once an area of an image is highlighted, the move tool can be used to manually

relocate the selected piece to anywhere on the canvas. The lasso tool is similar to the

marquee tool, however, the user can make a custom selection by drawing it freehand. In

addition, the lasso tool can make magnetic and polygonal selections.

Typing

Photoshop also provides tools for adding and editing text. The type tools create an area

where text can be entered, and the type mask tools create a selection area that has the shape

of text. The type tool creates vector-based text, so symbols, letters and numbers in various

fonts and colors can be re-sized while maintaining the same resolution.

Retouching

There are several tools that are used for retouching, manipulating and adjusting photos,

such as the clone stamp, eraser, burn, dodge, smudge and blur tools. The clone stamp tool

samples a selected portion of an image, and duplicates it over another area using a brush

that can be adjusted in size, flow and opacity. The smudge tool, when dragged across part

of an image, stretches and smudges pixels as if they are real paint, and the blur tool softens

portions of an image by lowering the amount of detail within the adjusted area. The eraser
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tool removes pixels from an image, and the magic eraser tool selects areas of solid color

and erases them. The burn and dodge tools, which are derived from traditional methods of

adjusting the exposure on printed photos, have opposite effects; the burn tool darkens

selected areas, and the dodge tool lightens them.

Content-Aware
Content-awareness is a useful aspect of Photoshop where image editing is done

automatically and intelligently. It comes in two forms which are content-aware scaling and

content-aware filling, in which elements in a background automatically recompose

according to the areas a user of the program decides to fill or scale. More specifically,

content-aware scaling works by rescaling an image and causing its content to adapt to the

new dimensions and preserving important areas of it. Content-aware filling functions by

matching tone, color, and noise of an area of the image that contained an object or detail in

which the user decides to remove.

Healing Tools
With improvement retouching tools like the Clone Stamp tool and Healing Brush tool,

imperfections of an image can easily be removed. These tools essentially function by

locating a source point (or multiple source points) that can be scaled or rotated in order to

cover an imperfection or unwanted detail in a specific area of an image.

Puppet Warp
Similar to the content-aware tool, the puppet warp tool reveals Photoshop‘s intelligence by

allowing a user to reposition an object in an image such as a flower or arm. This is done by
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using points that outline the structure of an object and easily repositioning in the wanted

orientation.

Video Editing

In Adobe CS5 Extended edition, video editing is comprehensive and efficient with a broad

compatibility of video file formats such as MOV, AVI, FLC, MPEG-4, and FLV formats and

easy workflow. Using simple combination of keys video layers can easily be modified, with

other features such as adding text and the creation of animations using single images.

3D

With the Extended version of Photoshop CS5, 2D elements of an artwork can easily

become three-dimensional with the click of a button. Extrusions of texts, an available

library of materials for three-dimensional and even wrapping two-dimensional images

around 3D geometry are all possible with this version of Photoshop. Realism can also be

added to an image using the 3D features of Photoshop such as animating image-based lights

and depth of field.

Mobile Integration

Third-party plugins have also been added to the most recent version of Photoshop where

technologies such as the iPad have integrated the software with different types of

applications. Applications like the Adobe Eazel painting app allows the user to easily create

paintings with their fingertips and use an array of different paint from dry to wet in order to

create rich color blending.

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Camera Raw

With the Camera Raw plug-in, RAW images can be processed without the use of Adobe

Photoshop Light room, along with other image file formats such as JPEGs, TIFFs, or

PNGs. The plug-in allows users to remove noise without the side-effect of over-sharpening,

add grain, and even perform post-crop vignetting.

Techniques

Extraction of foreground and manipulation of both foreground (artistic filter) and

background (blur)

Extracting

A widely used technique is extraction. By this technique a part of the image, normally the

foreground, such as a person, is isolated from the rest of the image and put on a new

background. Alternatively both background and the extracted foreground can be

manipulated and put back together as shown on the example. To make the extraction a line

must be drawn around the foreground figure to select it. Several tools can be used for this

process for instance the lasso tool; however, in this case the filter-extraction tool has been

used. The latter is normally the preferred tool for extracting figures with hair or fur.
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Cultural impact
Photoshop and derivatives such as Photoshopped (or just Shopped) have become verbs that

are sometimes used to refer to images edited by Photoshop, or any image manipulating

program. "Photoshop" is also used as a noun to refer to image editing programs in general.

Such derivatives are discouraged by Adobe because, in order to maintain validity and

protect the trademark from becoming genericized, trademarks must be used as proper

adjectives.

A landscape photo composited and manipulated in Photoshop

Photoshop art has become popular. For example, Tao Lin has a column employing only

Photoshop for captioned pieces of art for Vice Magazine. Flickr features many groups

devoted to Photoshop art, including one with over 11,000 members.

Graphic design
Photoshop has been a useful tool for graphic designers to create artwork conveniently and

aesthetically. For example, a studio based in Barcelona called Vasava use Photoshop in

order to visualize their vision on an initial concept and then move onto different media to

complete the concept. The studio takes traditional art and pushes the limits on the medium

in order to create artwork for print and web. Some of the many other graphic design studios

that use Photoshop are Zee Design and American Greetings.

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Magazines

Before any type of print media is published, whether it is a magazine, newspaper, or even

novel it is likely the case that Photoshop has been used to enhance and clean up the imagery

on many if not all of the pages. Magazines use Photoshop and many of its tools in order to

enhance the imagery and text in their publications. Many Health and Beauty Magazines

employ in-house designers to retouch photos of models to enhance their beauty. They add

finishing touches to the imagery by using tools that balance color and add drop shadows,

among other edits.

Photoshop Disasters
This is done by readers of the website who send emails to the administrator of the site who

find these disasters. Many of the disasters range from missing limbs to incorrect

composition to overdone photo retouching on fashion models among the many others

presented on the website.

Versions of Photoshop
CS1

The first Photoshop CS was commercially released in October 2003. Photoshop CS

increased user control with a reworked file browser augmenting search versatility, sorting

and sharing capabilities and the Histogram Palette which monitors changes in the image as

they are made to the document. Match Color was also introduced in CS, which reads color

data to achieve a uniform expression throughout a series of pictures. Photoshop CS

integrated Camera Raw version 2.0 functionality, which enabled direct manipulation of raw

media in an greater set of professional-grade digital cameras. With the implementation of

Layer Comps, it was easier to quickly capture design variants in a single file, then create
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alternates for clients to review. Eye-catching typographic designs were possible thank to

the new ability to manipulate fully editable text on any path or inside any closed path.

Photoshop CS enabled photographers to work more closely with raw media from even

more digital cameras and included extensive editing support for 16-bit color images. Color

levels across images could be synchronized effortlessly with the new Match Color and

Shadow/Highlight features, to cure exposure problems while maintaining mid-tones.

Photoshop CS is a tool that helps design sequences for videos and films by removing the

guesswork for film and video professionals. The non-square pixels, typically found in

videos, have been a reoccurring challenge when trying to accurately create imagery to

display on screens since computer-generated graphics tend to appear distorted. With non-

square pixel support in Photoshop CS, videographers could see the image as it would

appear on the destination device. The 16-bit support in Photoshop CS preserves the rich

color palette of film and the product is closely integrated with Adobe's industry-leading

video editing applications: Adobe Premiere Pro, Adobe Encore DVD and Adobe After

Effects.

CS2

Photoshop CS2, released in May 2005, expanded on its predecessor with a new set of tools

and features. One of which‘s included an upgraded Spot Healing Brush, which is mainly

used for handling common photographic problems such as blemishes, red-eye, noise,

blurring and lens distortion. One of the most significant inclusions in CS2 was the

implementation of Smart Objects, which allows users to scale and transform images and

vector illustrations without losing image quality as well as create linked duplicates of

embedded graphics so that a single edit updates across multiple iterations.

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Adobe had also responded to feedback from the professional media industry by

implementing non-destructive editing as well as the producing and modifying of 32-Bit

High Dynamic Range (HDR) images, which are optimal for 3D rendering and advanced

compositing. FireWire Previews could also be viewed on a monitor via a direct export

feature.

Photoshop CS2 also brought the Vanishing Point and Image Warping tools. Vanishing

Point makes tedious graphic and photo retouching endeavors much simpler by letting users

to clone, paint and transform image objects while maintaining visual perspective. Image

Warping makes it easy digitally distort an image into a shape by choosing on-demand

presets or by dragging control points.

The File Browser had been upgraded to Adobe Bridge, which functioned as a hub for

productivity, imagery and creativity, providing multi-view file browsing and smooth cross-

product integration across Adobe Creative Suite 2 software. Adobe Bridge also provides

access to Adobe Stock Photos, a new stock photography service that offers users one-stop

shopping across five elite stock image providers to deliver high-quality, royalty-free images

for layout and design (see separate press release).

Camera Raw version 3.0 was also a new addition to CS2, and it allowed settings for

multiple raw files to be modified simultaneously. In addition, processing multiple raw files,

to other formats including JPEG, TIFF, DNG or PSD, could be done in the background

without executing the Photoshop itself.

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Photoshop CS2 also brought a streamlined interface, making it easier to access features for

specific instances. In CS2 users were also given the ability to create their own custom

presets, which was meant to save time and increase productivity.

CS3
Smart Objects display filters without altering the original image (here on Mac OS X)

CS3 improves on features from previous versions of Photoshop and introduces new tools.

One of the most significant is the streamline interface which allows increased performance,

speed, and efficiency. There is also improved support for Camera RAW files which allow

users to process images with higher speed and conversion quality. CS3 supports over 150

RAW formats as well as JPEG, TIFF and PDF. Enhancements were made to the Black and

White Conversion, Brightness and Contrast Adjustment and Vanishing Point Module tools.

The Black and White adjustment option improves control over manual grayscale

conversions with a dialog box similar to that of Channel Mixer. There is more control over

print options and better management with Adobe Bridge. The Clone Source palette is

introduced, adding more options to the clone stamp tool. Other features include the

nondestructive Smart Filters, optimizing graphics for mobile devices, Fill Light and Dust

Busting tools. Compositing is assisted with Photoshop's new Quick Selection and Refine

Edge tools and improved image stitching technology.

CS3 Extended includes everything in CS3 and additional features. There are tools for 3D

graphic file formats, video enhancement and animation, and comprehensive image

measurement and analysis tools with DICOM file support. The 3D graphic formats allow

3D content to be incorporated into 2D compositions. As for video editing, CS3 supports

layers and video formatting so users can edit video files per frame.
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CS3 and CS3 Extended were released in April 2007 to the United States and Canada. They

were also made available through Adobe‘s online store and Adobe Authorized Resellers.

Both CS3 and CS3 Extended are offered as either a stand-alone application or feature of

Adobe Creative Suite. The price for CS3 is US$649 and the extended version is US$999.

Both products are compatible with Intel-based Macs and PowerPCs, supporting Windows

XP and Windows Vista.

CS4

CS4 features smoother panning and zooming, allowing faster image editing at a high

magnification. The interface is more simplified with its tab-based interface making it

cleaner to work with. Photoshop CS4 features a new 3D engine allowing the conversion of

gradient maps to 3D objects, adding depth to layers and text, and getting print-quality

output with the new ray-tracing rendering engine. It supports common 3D formats; the new

Adjustment and Mask Panels; Content-aware scaling (seam carving); Fluid Canvas

Rotation and File display options. The Content-aware scaling allows users to intelligently

size and scale images, and the Canvas Rotation tool makes it easier to rotate and edit

images from any angle.

Adobe released Photoshop CS4 Extended, which has the features of Adobe Photoshop CS4,

plus capabilities for scientific imaging, 3D, motion graphics, accurate image analysis and

high-end film and video users. The faster 3D engine allows users to paint directly on 3D

models, wrap 2D images around 3D shapes and animate 3D objects. As the successor to

Photoshop CS3, Photoshop CS4 is the first x64 edition of Photoshop on consumer

computers for Windows. The color correction tool has also been improved significantly.
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CS4 and CS4 Extended were released on October 15, 2008. They were also made available

through Adobe‘s online store and Adobe Authorized Resellers. Both CS4 and CS4

Extended are offered as either a stand-alone application or feature of Adobe Creative Suite.

The price for CS4 is US$699 and the extended version is US$999. Both products are

compatible with Intel-based Mac OS X and PowerPCs, supporting Windows XP and

Windows Vista.

CS5

A 2D landscape designed in Adobe Photoshop CS5 Extended.

Photoshop CS5 was launched on April 12, 2010. In a video posted on its official Face book

page, the development team revealed the new technologies under development, including

three-dimensional brushes and warping tools.

In May 2011, Adobe Creative Suite 5.5 (CS5.5) was released, with new versions of some of

the applications. Its version of Photoshop, 12.1, is identical to the concurrently released

update for Photoshop CS5, version 12.0.4, except for support for the new subscription

pricing that was introduced with CS5.5.

CS5 introduces new tools such as the Content-Aware Fill, Refine Edge, Mixer Brush,

Bristle Tips and Puppet Warp. The community also had a hand in the additions made to

CS5 as 30 new features and improvements were included by request. These include

automatic image straightening, the Rule-of-Thirds cropping tool, color pickup and saving

an 16-bit image as a JPEG. Another feature includes the Adobe Mini Bridge which allows

for efficient file browsing and management.

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CS5 Extended includes everything in CS5 plus features in 3D and video editing. A new

materials library was added, providing more options such as Chrome, Glass, and Cork. The

new Shadow Catcher tool can be used to further enhance 3D objects. For motion graphics,

the tools can be applied to over more than one frame in a video sequence.

CS5 and CS5 Extended were made available through Adobe's online store, Adobe

Authorized Resellers and Adobe direct sales. Both CS5 and CS5 Extended are offered as

either a stand-alone application or feature of Adobe Creative Suite 5. The price for CS5 is

US$699 and the extended version is US$999. Both products are compatible with Intel-

based Mac OS and Windows XP, Windows Vista, and Windows 7.

CS6

On March 21, 2012, Adobe released a beta version of Photoshop CS6. It adds new creative

design tools and a redesigned interface with a focus on enhanced performance. New

features have been added to the Content-Aware tool such as the Content-Aware Patch and

Content-Aware Move.

Adobe Photoshop CS6 also brings suite of tools for video editing. Color and exposure

adjustments, as well as layers are among a few things that are featured in this new editor.

Upon completion of editing, the user is presented with a handful of options of exporting

into a few popular formats.

CS6 brings the "straighten" tool to Photoshop, where a user simply draws a line anywhere

on an image, and the canvas will reorient itself so that the line drawn becomes horizontal,

and adjusts the media accordingly. This was created with the intention that users will draw
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a line parallel to a plane in the image, and reorient the image to that plane to easier achieve

certain perspectives.

CS6 also allows background saving, which means that while another document is

compiling and archiving itself, it is possible to simultaneously edit an image. CS6 also

features a customizable auto-save feature, preventing any work from being lost.

Adobe has responded to feedback from graphic designers and has modified the User

Interface accordingly. Now, it boasts a more unified, static look, and is easier to keep track

of all the palettes and documents.

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Begin by opening Adobe Photoshop CS.

On a PC, click Start > Programs > Adobe > Photoshop CS, or click on the shortcut on the
desktop.

On a Mac, click Macintosh HD > Application > Adobe Photoshop CS > Adobe
Photoshop CS shown in Figure 1, or click the icon in the Dock.

SETTING UP THE DOCUMENT

Setting up your document correctly from the start will make your job much easier as you
work through your project. This will require some advanced planning. For example, if your
final output will be a brochure, you may need to set up your document to be horizontal and
double-sided.
To create a new document, click File > New. This will open the Document Setup dialog
box.

Here you will be able to name your file, set up the correct page size, and orientation for
your document. Options include, but are not limited to:
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Page Size and Orientation
Change the page size by typing in new values for width and height. Page size
represents the final size you want after bleeds or trimming other marks outside the page. In
the Preset dropdown menu you can find such common sizes as letter, legal, tabloid, etc.
Typing in exact values for Height and Width gives you more control over the size
and orientation of your page.

Resolution
Resolution is a number of pixels on a printed area of an image. The higher the resolution,
the more pixels there are on the page, the better is the quality of the image. However, high
resolution increases the size of the file. The standard recommended resolution for printed
images is 150 - 300, for web images - 72.

Color Mode
Choose a color mode that will best fit your project. For example, when making a graphic
for a web site, choose RGB. When making an image for print, choose CMYK.

Background Contents
Choose the background: white, color, or transparent.

When you have entered all of your document settings, click OK.

OPENING AN IMAGE FROM A DISK

If the image you have is saved on a disk, select File > Open, and then navigate to the disk
drive where your image is saved. Choose the image file and click Open. At this point, you
may want to save your image under a different name so that you can always have the
original to fall back on in case of a mistake. To save you r file, select File > Save As and
type in the new name of the file in the dialogue box. Now you should be ready to go.
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I N T E R F A C E / L A Y O U T OF
PHOTOSHOP

This is the layout of Adobe Photoshop interface.

Menu Bar
If you look at the top of the screen you will see the Menu bar which contains all the
main functions of Photoshop, such as File, Edit, Image, Layer, Select, Filter, View,
Window, and Help.
Tool Bar
Most of the major tools are located in the Tool bar for easy access.
Options Bar
The Options bar contains extra options for most tools. The options change as
different tools are selected. Some tools share the same settings in the options bar, for
example, painting modes and opacity, the others have specific options, for example,
the Auto Erase setting for the Pencil tool.
The Image
The image will appear in its own window once you open a file.
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Image Name
The name of any image that you open will be at the top of the image window as
shown above.
Palettes
Palettes contain functions that help you monitor and modify images. By default,
palettes are stacked together in groups. These are the palettes that are usually visible:
Navigator, Color, Histogram, Layer. If none of the palettes are visible, go to
Window in the Menu bar and choose palettes you need to work with.
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PALETTE S

Below is the description of the most commonly used palettes in Adobe Photoshop CS.
Palettes used for more advanced image editing will be covered in the Adobe Photoshop CS
Tutorial - Intermediate.

NAVIGATOR
The Navigator palette (Figure 1) allows you to resize and move around within the image.
Drag the slider, click on the Zoom In and Zoom Out icons, or specify the percentage to
navigate in the image.

Figure 1. Navigator palette

COLOR, SWATCHES, STYLE

The Color palette (Figure 2) displays the current foreground and background colors and
RGB values for these colors. You can use the sliders to change the foreground and
background colors in different color modes. You can also choose a color from the spectrum
of colors displayed in the color ramp at the bottom of the palette.

Figure 2. Color palette

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In the Swatches palette (Figure 3) you can choose a foreground or background color or add
a customized color to the library.

Figure 3. Swatches palette

The Styles palette (Figure 4) allows you to view, select, and apply preset layer styles. By
default, a preset style replaces the current layer style. You can use the styles in the palette
or add your own using the Create New Style icon.

Figure 4. Styles palette

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HISTORY
The History palette (Figure 5) stores and displays each action performed allowing you jump
to any recent stage of the image alteration. The alterations should be created during the
current working session; after saving or closing the document the History palette clears all
the contents. Each time you apply a change to an image, the new state of that image is
added to the palette. The History palette can store up to 20 stages. However, you can
always go back to the first stage, for example opening the document. It is important to
know that once you click on any of the previous stages, all the changes that were made after
it will be lost.

Figure 5. History palette

LAYERS
Layers let you organize your work into distinct levels that can be edited and viewed as
individual units. Every Photoshop CS document contains at least one layer. Creating
multiple layers lets you easily control how your artwork is printed, displayed, and edited.
You will use the Layers palette (Figure 6) often while creating a document, so it is crucial
to understand what it does and how to use it.
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A) Layer Visibility - the eye shows that the

selected layer is visible. Click on or off to see or
to hide a layer.

B) Layer Locking Options - click the checkered

square icon to lock Transparency; click the
brush icon to lock the Image; click the arrow
icon to lock the Position; click the lock icon to
lock all options.

C) Layer Blending Mode - defines how the

layer's pixels blend with underlying pixels in the
image. By choosing a particular blending mode
from the dropdown menu you can create a
variety of special effects.

D) Fill - by typing in a value or dragging the

slider you can specify the transparency of the
color of the image or object.

E) Opacity - by typing in a value or dragging a

slider you can specify the transparency of the
entire layer.

F) Layer Lock - the icon shows when the layer

is locked and disappears when it is unlocked.
Double-click the icon to unlock the layer.

G) Layer Options Menu - click the black

triangle to see the following options: New Layer,
Duplicate Layer, Delete Layer, Layer
Properties, etc. Some of the options are
presented as icons at the bottom of the Layers
palette.

H) Layer Styles - if a layer has a style, an "F"

icon shows at the bottom of the Layers palette.
Click the little black triangle to see style options.

I) Layer Mask - a grayscale image, with parts

painted in black hidden, parts painted in white
showing, and parts painted in gray shades
showing in various levels of transparency.

J) Layer Set - this option helps to organize

images with multiple layers. Click the icon to
create a folder for several layers.
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K) Create New Fill or Adjustment Layer - have
the same opacity and blending mode options as
image layers and can be rearranged, deleted,
hidden, and duplicated in the same manner as
image layers. Click the icon and select an option
to create a new fill or adjustment layer.

L) Create New Layer - click this icon to create a

new layer.

M) Delete Layer - to delete a layer, select a

layer in the Layers palette and drag it to the
trash can icon; or, select a layer and click the
icon.
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TO O LB O X
If you used other Adobe products, such as Illustrator or InDesign, you should be familiar
with the toolbox in Photoshop CS as it shares some of the tools from these applications. If
you are a novice user of Adobe products you should keep in mind that you might not need
to use all the tools. In this tutorial, only the basic tools will be discussed in depth.
To view detailed descriptions of the tools in the toolbox click on section of tools you wish
to learn about.

Link to : www.adobe.com

Selection tools

Alteration tools

Drawing and Selection tools

Assisting tools

Color boxes and Modes

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Some tools in the toolbar have additional "hidden" tools. These tools have small black
triangles in the right-hand corner. To view the "hidden" tools, click and hold down on any
tool that has a black triangle in the corner (Figure 1).

Figure 1. "Hidden" tools

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SELECTION TOOLS
BUTTON TOOL DESCRIPTION

Marquee Selects an object by drawing a rectangle or an ellipse around

it.
Click the tool button, choose a rectangular or an elliptical
marquee. Drag the marquee over the area of the image you
wish to select.
Move Used to select and move objects on the page.
Click the tool button, then click on any object on the page you
wish to move.
Lasso Selects an object by drawing a freehand border around it.
Click the tool button, drag to draw a freehand border around
the are of the image you wish to select.
Polygonal Selects an object by drawing a straight-edge border around it.
Lasso Click the tool button, click on the starting point on the image,
drag to draw a straight-edge border, click and drag again to
select the are of the image you wish to select. Double-click to
finish.
Magnetic Selects an object by drawing a border that snaps to the edges
Lasso of the defined area of the object.
Click on the starting point on the image, drag around the are of
the image. The tool will make fastening points at the edges. To
finish selecting, drag the border to the starting point and click
precisely in the point.
Magic Selects all objects in a document with the same or similar fill
Wand color, stroke weight, stroke color, opacity, or blending mode.
By specifying the color range, or tolerance, you can control
what the Magic Wand tool selects.
Click the tool button, then click on the area of the image you
wish to select.
Crop Tool Selects and cuts parts of an image.
Click the tool button, then click and drag the tool over the part
of the image that you want to keep. Resize the selected area
dragging the squares at the sides and corners. Click the
RETURN key when your crop box is sized correctly.
Slice Tool Used to cut images into slices, which can be exported to a web
page.
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ALTERATION TOOLS

BUTTON TOOL DESCRIPTION

Healing Corrects small blemishes in scanned photos.

Brush Select the tool, hold down the ALT key and left-click on the
base color you need to heal. Then left-click over the
blemish.

Brush Tool Draws lines of different thicknesses and colors.

Select the tool. Then click on the selected area, drag to
draw lines. Use the Options bar to change the Brush,
Mode, Opacity, and Flow.

Clone Stamp Takes a sample of an image and applies over another

image, or a part of the same image.
Select the tool. Hold down the ALT key and left-click on a
certain point of the document where you want to start your
copy point. Then, put your mouse over whatever part of the
new document you want the picture to go to. Hold down
the left mouse button and drag the mouse across the page
to copy the picture.

Art History Paints over an image using the source data from a
specified history state or snapshot.
Select the tool, specify the Brush, Blending Mode,
Opacity, Style, Area, and Tolerance.

Erase Tool Removes part of an existing path or stroke. You can use
the Erase tool on paths, but not on text.
Select the tool, click on the part of the image you wish to
erase. Drag to erase pixels.

Paint Bucket Fills and entire area with a specific color of your choice.
Tool Select the tool. Choose a foreground color in the Color
Box. Select an area you wish to apply the color to. Click
the tool button, then click on the selected area.

Gradient Tool Applies a gradient fill to a selected part of the image or to

an entire layer.
Select an area you wish to apply gradient to, click the tool
button, choose a fill in the Options bar, click on the starting
point, hold the mouse down and drag to the end point.
Blur Tool Blurs the sharp edges of an image.
Select an area where you wish to apply the tool. Click the
tool button, choose the Brush, Mode, and Strength. Drag
the brush along the edges.
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Dodge Tool Lightens areas in an image
.
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DRAWING AND SELECTION TOOLS

BUTTON TOOL DESCRIPTION

Direct Selects paths and path segments.

Selection
Tool Select the tool, click anywhere on the path.

Type Tool Types text on a page. Every time you click the Type Tool
on a new portion of the page a new layer will be created.

Select the tool, click on the page and begin to type. You
can specify the font and size in the Options bar. You can
also resize and transform the text box by dragging the
squares at the sides and corners. Use the Move Tool to
move the text on the page.

Pen Tool Draws smooth-edged paths.

Select the tool, click on the page, drag to draw a path.

Click and drag the anchor points to modify the path.

Rectangle Draws a rectangle shape. Other shapes that are hidden in

Tool this tool are: Rounded Rectangle Tool, Ellipse Tool,
Polygon Tool, Line Tool, and Custom Shape Tool.

Select the tool, click and drag on the page to draw a

shape. The shape will be automatically filled with the
current foreground color.
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ASSISTING TOOLS
BUTTON TOOL DESCRIPTION

Notes Tool Serves as a comment feature. Usually used for electronic

text edits.

Select the tool, click on the spot on the page where you
wish to make a comment. Type in the text box.

Eyedropper Takes color samples from colors on the page and displays
Tool them in the Color Boxes.

Select the tool, click on the color in the image you wish to
sample. The Color Box will display this color.

Hand Tool Allows you to move around within the image.

Select the tool, click on the spot on the page, hold the
mouse button down, drag to move in the area.

Magnifying Magnifies or reduces the display of any area in your image

Glass Tool window.

Select the tool, choose Zoom In or Zoom Out in the

Options bar, click on the area of the image you wish to
magnify or reduce.
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COLOR BOXES AND MODES

BUTTON TOOL DESCRIPTION

Color Boxes The foreground color appears in the upper color selection
box and represents a color that is currently active. The
background color appears in the lower box and represents
an inactive color.
To change the foreground color, click the upper color
selection box in the toolbox.
To change the background color, click the lower color
selection box in the toolbox.
To reverse the foreground and background colors, click the
Switch Colors icon (the arrow) in the toolbox.
To restore the default foreground and background colors,
click the Default Colors icon (the little black and white
boxes) in the toolbox.

NOTE: If you are using the Gradient Tool, the currently

selected foreground and background colors will be the
default colors of the gradient.

Modes Edit in Standard Mode and Edit in Quick Mask Mode

are used for modifying images in the unmasked or masked
area.

Standard Screen, Full Screen with Menu Bar, Full

Screen are used for viewing larger or smaller are of the
image.

Edit in ImageReady is used to transfer the file for editing

in Adobe ImageReady.
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BASIC IMAGE EDITING

Now that you know how to find your way around in the Photoshop interface and are
familiar with the most common commands, pallets, and tools, you can start doing some
basic image editing. In the next few chapters of this tutorial you will learn how to crop,
resize, correct, and sharp/blur your images.

Click on one of the links below to connect to a corresponding chapter.

Cropping

Resizing

Correcting

Sharpening/Softening
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CROPPING
Cropping is one of the most basic editing techniques that can improve your images.
Cropping helps to bring out the most important features in your image and focus the
viewers' attention on these features. Cropping also allows you to make your image a
standard photo size.

There are several ways to crop images in Adobe Photoshop:

1. Cropping with the Crop Tool

2. Cropping to a specific size

3. Cropping with the Marquee Tool

CROPPING WITH THE CROP TOOL

The Crop Tool allows you to make a precise selection of an image you wish to edit. To
crop with the Crop Tool, follow these steps:

1. Open the image you wish to crop (see Getting Started for detailed instructions).

2. Select the Crop Tool from the Toolbox (see Selection Tools for location and
description).

3. Click on your image once and drag the mouse out to make a cropping border

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4. Resize the border by dragging the squares at the sides and corners till you are satisfied
with the way your image looks.

NOTE: You can also rotate your cropping border. Move the cursor outside the border, you
will see how it turns into a double-headed arrow (Figure 2). Drag the arrows in the
directions you wish to rotate your selection.

5. Once you are completely satisfied with your cropped image, press ENTER.

CROPPING TO A SPECIFIC SIZE

If you wish to print your digital photos or other images on standard size photo paper, you
will have to crop your images to a specific size, such as 8x10. To crop an image to a
specific size, do the following:

1. Open the image you wish to crop.

2. Select the Crop Tool from the Toolbox.

3. In the Options bar, specify the values for Width and Height.

4. Click in your image and drag the cropping border. Notice that the border is

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constrained - you cannot make it wider or longer than the specified values (Figure 4). For
example, if you entered 8 for Width and 10 for Height, whatever size you make the
border, the area within it will fit on an 8x10 photo.

5. Once you are completely satisfied with your cropped image, press ENTER.

CROPPING WITH THE MARQUEE TOOL

If you are in a hurry and need just a simple crop, you can use the Marquee Tool and a menu
command. To crop with the Marquee Tool, follow the steps below:

1. Open the image you wish to crop.

2. Select the Rectangular Marquee Tool from the Toolbox (see Selection Tools).

3. Click in your image and drag the mouse to draw a marquee around the area you wish to
crop.

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4. In the main menu, go to Image > Crop (Figure 6). The image will be immediately
cropped.

RESIZING
Resizing in Photoshop can help you print your images in standard photo sizes, resize and
preserve the high quality of digital photos, and enlarge small images to a poster size.

RESIZING TO A SPECIFIC SIZE

To resize your image to a preset size, follow the steps below:

1. In the main menu, go to File > New.

2. In the New dialog box, click on the Preset dropdown menu. You will see several preset
sizes, such as 2x3, 4x6, 5x7, 8x10 with the preset resolution of 300 ppi.

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Figure 1. Preset size in the New dialog box

3. Choose the size that you wish and click OK.

NOTE: All the preset sizes are in portrait orientation. If you wish to resize an image with
the landscape orientation, you need to create your own preset. To create your own size,
do the following:

1. Type in the values for Width and Height, for example 7x5.

2. Type in your desired resolution (150 ppi is enough for high quality printing, and
72 ppi is good for the web images).

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3. Click the Save Preset button (Figure 2).

Figure 2. Saving a preset size

RESIZING DIGITAL PHOTOS

Digital photos usually have large dimensions but low resolution, 72 ppi, which effects
their quality when their size is decreased or increased. When printed, the photos with the
changed size will look pixilated. To resize the digital photos without loosing the quality,
follow these steps:

1. Open the digital photo you wish to resize.

2. In the main menu, go to View > Rulers. You will be able to see the dimension of
your photo (Figure 3).

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Figure 3. Dimensions of a digital photo - 11.111 x 8.333

3. In the main menu, go to Image > Image Size.

4. In the Image Size dialog box, check the Resample Image box off (Figure 4).
Type in your desired resolution (anything between 150 and 300 ppi). The photo is
now 6.667 x 5 inches.

Figure 4. Changing resolution.

ENLARGING

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If you want to make your digital photo into a poster size image, you can do it in the
Image Size dialog box. However, just increasing the dimensions will make the image
appear blurry and pixilated. To enlarge the image without loosing the quality, follow
these steps:

1. Open the digital image you wish to enlarge.

2. In the main menu, go to Image > Image Size.

3. In the Image Size dialog box, make sure the Resample Image box is checked
off and choose Bicubic Smoother from the dropdown box (Figure 5).

Figure 5. Increasing the size by 10 percent

4. Change the Document Size measurements to Percent. Type in 110; this will
increase the size of the image by 10 percent (Figure 5).

5. Continue enlarging by 10 percent till you are satisfied with the size.

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CORECTING
Digital cameras tend to cause various problems, such as "red eye" or "hot spots", if you
use flash, or underexposure, if you don't. In Photoshop, you can correct these problems,
as well as adjust the overall color of your digital photo.

RED EYE REMOVAL

The digital camera flash is located right above the lens, which causes the "red-eye";
however, you can fix your photos easily in Photoshop. To remove the "red eye", follow
the steps below:

1. Open a photo you wish to correct.

2. Select the Zoom Tool from the Toolbox. Click and drag to draw a rectangle
around the eye (Figure 1).

Figure 1. Red eye zoomed in

3. Make sure your default Foreground and Background colors are black and white
(Figure 2).

Figure 2. Foreground and Background colors set to black and white

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4. Click on the little black triangle of the Heeling Brush Tool button and select the
Color Replacement Tool.

5. Click on the red and paint, holding down the mouse button. You will see how the
red will disappear (Figure 3).

Figure 3. Red eye corrected

6. Repeat the steps for the other eye.

HOT SPOT REMOVAL

Using a flash can also cause another problem - shiny areas on people's faces or the
flash reflection in the shiny surfaces. To correct this problem, follow the steps below:

1. Open the photo you wish to correct.

2. Select the Clone Stamp Tool from the Toolbox.

3. In the Options bar, change the Blend Mode from Normal to Darken (Figure 4).

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Figure 4. Setting the options for the Clone Stamp Tool

4. Set the Opacity to 50 percent.

5. Choose a soft-edged brush, set the diameter to 40 or 50 (Figure 5).

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Figure 5. Brush settings
6. Hold down the SHIFT key and click in the clean area (without "hot spots") to get
a sample of color (Figure 6).

Figure 6. Clone Stamp selection

7. Paint over the "hot spot", the light area will gradually darken (Figure 7).

Figure 7. Corrected image

ADDING FLASH
If you took pictures indoors without a flash they will turn out underexposed and dark; in
Photoshop, you can make your photos lighter. To fix underexposed photos, follow these
steps:

1. Open a digital photo you wish to correct (Figure 8).

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Figure 8. Underexposed photo

2. In the main menu, go to Layers > Duplicate. In the Duplicate Layer dialog box,
name the layer Layer 1.

3. Make sure Layer 1 is selected in the Layers palette. In the Blending Mode
dropdown box, change the Blending Mode to Screen (Figure 9). The whole
image will lighten.

Figure 9. Changing the Blending Mode

4. Keep duplicating Layer 1 till you are satisfied with the quality of your image (Figure 10).

Figure 10. Corrected photo

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COLOR ADJUSTMENT
Color adjustment options in Photoshop CS can help you to make your digital photos look
more natural. To color correct your images, follow these steps:

1. Open the image you wish to correct.

2. In the main menu, go to Image > Adjustments > Levels. You will see a dialog
box displaying a diagram of the colors in your image (Figure 11). The black
triangle is for shadows, the gray is for midtones, the white is for highlights. In the
Channels dropdown menu, you can choose between RGB, Red, Green, or Blue.
These indicate whether your changes effect all the colors, or just one (red, green,
or blue).

Figure 11. Levels dialog box

3. Make sure the Preview box is checked off. Choose the channel you wish to
change and drag the triangles. Dragging the black triangle to the right will make
the shadows in your photo darker; dragging the white triangle to the left will make
the highlights in your photo lighter; dragging the gray triangle to the left will make
the midtones in your photo lighter, dragging it to the right will make the midtones
darker. You will be able to see the changes in your image (Figure 12 a and b).
Selecting just one color channel can alter the color of your photo completely.

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Figure 12 a. Initial image Figure 12 b. Corrected image

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SHARPENING/SOFTENING

SHARPENING
If your digital photos are slightly out of focus, you can use the basic sharpening
technique to make your images look crisper. To sharpen your photo, follow the steps
below:

1. Open an image you wish to sharpen. Note that this technique can sharpen
images that are only slightly blurry.
2. Use the Zoom Tool to make sure you are viewing your image in its full size, that is, at
100%.
3. In the main menu, go to Filter> Sharpen> Unsharp Mask. You will see the
Unsharp Mask dialog box (Figure 1).

4. Figure 1. Unsharp Mask dialog box

5. Enter 125 for the Amount, 1 for the Radius, and 3 for the Threshold.
6. Click OK. You will see how the image has become more in focus.

SOFTENING
Sometimes you might not want objects or people in your photos look too sharp, in this
case you can use a softening technique. To soften am image, follow these steps:

1. Open the image you wish to soften.

2. In the main menu, choose Layer > Duplicate Layer. You will have a new layer
called Background Copy.
3. In the main menu, go to Filter > Blur > Gaussian Blur. In the Gaussian Blur
dialog box, type in 4 for Radius, or drag the slider to this position (Figure 2).

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Figure 2. Gaussian Blur

4. Make sure the Background Copy layer is selected and change its opacity to
50% (Figure 3). The objects or people in your image will have a soft, glowing
effect.

Figure 3. Opacity

5. Select the Eraser Tool from the Toolbox, choose a soft-edged brush, and erase
over the areas in the face that are supposed to be sharp, such as eyes,
eyebrows, lips, and teeth (Figure 4a and b).

Figure 4a. Before Figure 4b. After

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SAVING

Remember to save your work often. Saving frequently lessens the risk of losing the
work you have been doing. To save your Photoshop document, do the following:

1. Click File > Save.

2. Navigate to the place you would like your document to be saved by using
the dropdown menu and the navigation window.
3. Enter the name of your document in the Save As text field.
4. Choose a format to save your project in from the Format dropdown menu.
5. Click the Save button in the bottom right corner of the dialogue box.
6. Check to make sure that your document is saved in the place you intended.

NOTE: If you save your file as PSD (default Photoshop saving format) your layers
will be preserved, but the file size will be large. If you save your file as JPEG (a
common image format) your layers will be flattened and become one layer. The file
size though will be significantly smaller.

Selecting an Area
Photoshop has multiple selection tools to accommodate the different types of selections.
All of these tools are found in the Toolbox.

This document contains information on:

 Selecting with the Marquee Tools

 Selecting with the Lasso Tools
 Selecting with the Magic Wand Tool
 Saving a Selection
 Loading a Selection
 Deselecting an Area

Selecting with the Marquee Tools

Marquee tools make rectangular, elliptical, and single row or single column selections. The

Marquee tools are found in the uppermost left corner of the Toolbox.

To recognize this tool, look for one of these buttons:

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1. From the Toolbox, select and hold the Marquee Tool
The hidden Marquee tools appear.

2. Select one of the tools

HINT: You can switch between the Rectangular Marquee Tool and the Elliptical
Marquee Tool by pressing [Shift] + [M].
3. To select an area, click and drag the the crosshair pointer to surround your desired
selection
HINTS:
To obtain a perfect square or circle, press and hold [Shift] before clicking and
dragging the mouse.
4. To finish the selection, release the mouse button
NOTE: The selected area is now surrounded by animated dashes.
HINT: If your selection is not quite right, press [Ctrl] + [D] and repeat steps 2-4.
5. Complete the desired action (e.g., copy, add color)
NOTE: The area remains selected.
6. To prevent inadvertent changes to the selected area, when complete, deselect the
area

Selecting with the Lasso Tools

Lasso tools make free hand selections of irregularly shaped areas, with or without straight

edges. When working with these tools, the pointer takes the shape of the tool. To make the

selection process more precise, you can convert it to a crosshair pointer by pressing

[Caps Lock].

HINT: You can switch between the Lasso tools by pressing [Shift] + [L].

Making Free Hand Selections

Selecting with the Lasso Tool is similar to drawing a line around an area with a pen.

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NOTE: The method used is click and drag. When you release the mouse button, the

selection is completed.

1. From the Toolbox, select Lasso Tool

2. Click and drag around the contours/border of the area you want to select
3. Release the mouse button
the point at which you release will be connected with the beginning point to enclose
the area.
NOTE: The selected area is now surrounded by animated dashes.
HINT: If your selection is not quite right, press [Ctrl] + [D] and repeat steps 2-3.
4. Complete the desired action (e.g., copy, add color)
The area remains selected.
5. To prevent inadvertent changes to the selected area, when complete, deselect the
area

Making Straight-Edged Selections

The Polygonal Lasso Tool allows you to select oddly shaped areas of an image. You can

use this tool if you want to select a triangular or other polygonal area of an image.

1. From the Toolbox, select the Polygonal Lasso Tool

NOTE: The Polygonal Lasso Tool is a hidden lasso tool. Click and hold the Lasso
Tool button on the Toolbox to select the Lasso tool of your choice, e.g., the
Polygonal Lasso Tool.
2. Position the polygonal lasso pointer where you want to start selecting and click the
mouse
3. Move to the next corner of the area you want to select and click
HINT: To ensure a straight line selection, press [Shift] before clicking.
A line and an anchor point appear.
4. Repeat step 3 until the desired area is selected
5. To finish the selection, double click on the last point
OR
Move the pointer to the starting point of the selection and click
NOTE: The last point you double clicked will connect to the first point you created.
HINT: If your selection is not quite right, press [Ctrl] + [D] and repeat steps 2-5.
The selected area is now surrounded by animated dashes.
6. Complete the desired action (e.g., copy, add color)
The area remains selected.

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7. To prevent inadvertent changes to the selected area, when complete, deselect the
area

Making Irregularly-Shaped Selections

The Magnetic Lasso Tool allows you to select particular objects out of your image without

having to free hand it. The Magnetic Lasso works by detecting differences in color pixels

between the area that is being selected and what surrounds it. Therefore, it works best when

the color difference is significant. The Magnetic Lasso Tool works less well if the object

being selected is similar in color to its background.

1. From the Toolbox, select the Magnetic Lasso Tool

NOTE: The Magnetic Lasso Tool is a hidden lasso tool. Click and hold the Lasso
Tool button on the Toolbox to select the Lasso tool of your choice, e.g., the
Magnetic Lasso Tool.
2. Position the lasso pointer where you want to start selecting and click to set the first
Fastening Point
HINT: If the pointer is not in the form of a magnetic lasso, press [Caps Lock]
NOTE: Fastening Points anchor your selection border in place.

3. Move the mouse along the edge of the area you want to select
It automatically draws a moveable line that "clings" to areas of similar color
between Fastening Points.
4. To add a straight-edge selection,
a. Release the mouse button
b. Press [Alt] + click at the starting point of the straight-edge selection
This sets the Fastening Point for the start.
c. Release [Alt] and the mouse button
d. Move the mouse to the endpoint of the straight-edge
e. Click the mouse button
This sets the Fastening Point at the end of the straight-edge selection. Your

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cursor returns to the Magnetic Lasso and you can resume free hand
selection.
5. If the border does not automatically snap to the desired edge, click the mouse button
once to add a Fastening Point manually
6. To erase recently drawn segments and Fastening Points, press [Delete]
7. To finish the selection, double click on the last point
OR
Move the pointer to the starting point of the selection and click
NOTE: The last point you double clicked will connect to the first point you created.
HINT: If your selection is not quite right, press [Ctrl] + [D] and repeat steps 2-6.
8. Complete the desired action (e.g., copy or add color)
9. To prevent inadvertent changes to the selected area, when complete, deselect the
area

Selecting with the Magic Wand Tool

The Magic Wand Tool selects areas of similar color. To increase or decrease the range of

color selected, you can adjust the Tolerance, or color range, of the Magic Wand Tool.

To select an area:

1. From the Toolbox, select the Magic Wand Tool

HINT: If the Magic Wand Tool is not visible, you may need to click and hold on the
Quick Selection Tool to find it.
2. From the Objects toolbar, in the Tolerance text box, specify a value
NOTE: Low levels of Tolerance result in a smaller selection area. High levels of
Tolerance result in a larger selection area.

3. To select only like-colored pixels that are next to each other, select Contiguous
OR
To select all like-colored pixels in the image, de-select Contiguous
4. In your image, click a spot within the area that you want to select
Similar colors around the area where you clicked are selected.
5. OPTIONAL: Enlarge or reduce the selected area:
NOTE: These selections are also based on similar colors and may result in
unintentional additions or subtractions.
a. To add to the selected area, press [Shift] while clicking areas not included in the
original selection
b. To subtract from the selected area, press [Alt] while clicking areas you want to
exclude
6. Complete the desired action (e.g., copy, add color)
The area remains selected.
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7. To prevent inadvertent changes to the selected area, when complete, deselect the
area

Saving a Selection
Focusing on a particular area of an image is done using the selection tools; however, many

times you need to work with different areas at different times. Photoshop allows you to

save selection areas to make re-selecting these areas more efficient.

1. Select the desired area

2. From the Select menu, select Save Selection...
The Save Selection dialog box appears.

3. In the Name text box, type a name for the selection

NOTE: A Channel is how Photoshop saves the selection information. You can view
your saved channels by clicking on the Channels tab next to the Layers tab in the
Layers palette.
4. Click OK

Loading a Selection
In order to work with a saved selection, it needs to be loaded.

1. From the Select menu, select Load Selection...

The Load Selection dialog box appears.
2. From the Channel pull-down list, choose the desired selection

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3. Click OK
the selection is loaded.

Deselecting an Area
To prevent inadvertent changes to a selected area, you should deselect it.

1. From the Select menu, select Deselect

OR
Press [Ctrl] + [D]

Components of a Color Management System

Color Management System (CMS).
A color managed system comprises three basic components, namely: -
1. A device-independent color space - this is usually referred to as the Working or
Reference color space.
2. ICC profiles for each device (i.e. printer, scanner, monitor, digital camera, etc.)
that will accurately describe the unique color characteristics of each device.
3. A Color Matching Module (CMM) that will interpret the information contained
within the device profiles and carry out the instructions on how the color
characteristics of each device should be treated.
Color Numbers, their Meaning and ICC Profiles
A digital image will usually comprise many millions pixels, each of which is represented
by a numeric value. The value assigned to each pixel will describe many attributes but in
this essay it's the color value or mix (e.g. RGB value) that we're most interested in. The role
of ICC profiles is to ensure that discrepancies that result from the widely differing color
characteristics of each device are known to the color management system. Device profiles
come in two basic forms, i.e. Input and Output. Input profiles typically describe the color
characteristics of scanners and digital cameras, whereas Output profiles describe devices
such as monitors, printers and film recorders. Input profiles are often referred to as one-
way since they represent the source device.
The following flow diagram demonstrates a typical imaging workflow, with the document
being passed between devices: - from scanner/digital camera - to - computer - to - monitor -
and printer.

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Typical Imaging System

Document Specific Color
Just like its more recent predecessors Photoshop CS continues to use document specific
color settings, Actually, the Working Space that's chosen in the Color Settings dialog has a
direct bearing on only three types of document, viz.: -
1. The default color space of new documents created via the New command found in
the File menu
2. Existing documents without an embedded ICC profile
3. Imported documents with no embedded ICC profile (i.e. untagged documents),
which might include scanned documents or those emanating from digital cameras.

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Monitor Calibration and Characterization

Monitor calibration and characterization (profiling) is probably the most important aspect
of a color managed workflow; yet many users seem oblivious to issues poor monitor
calibration, etc can have on their documents. So, what is calibration, why is it so important,
and why is it different from characterization? Calibration is a process whereby a device is
brought to a standard state (e.g. a color temperature of 6500K and gamma of 2.2), whereas
characterizing the monitor is the process of determining how the monitor represents or
reproduces color. We characterize the monitor by measuring how it displays known color
values, then creating an ICC profile. The ICC profile is simply a data file that includes a
description of the monitors color handling characteristics (i.e. its gamut). The calibration
data will also be written into the ICC profile. As I've already mentioned, Photoshop then
uses the monitor profile to automatically optimize the display of documents. It does so by
carrying out an on-the-fly conversion between your document profile (e.g. ProPhoto RGB,
Adobe RGB, sRGB, Color Match) and your monitor profile. This conversion does not alter
the actual document in any way; just its appearance on the monitor.
Profile locations:-
1. Windows XP and Vista - sub-folder named Windows\system32\spool\drivers\color
2. Mac OSX - ColorSync profiles are generally located in either the
Library/ColorSync/Profiles or Users/~/Library/ColorSync/Profiles folder
Photoshop CS3 Color Settings
The Color Settings dialog is the control room for the Photoshop color management
system, and like all control rooms it can appear complicated. Opening the Color Settings,
which is found towards the bottom of
the Edit menu?

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The first thing that I will draw your attention to is the box at the bottom of the dialog
labeled Description. As the mouse is moved across the various pop-up menus, etc. you
should see a short but informative explanation of what each menu does. Also note the
button labeled More Options; it's probably best that you select it now, as it will let you see
the complete Color Settings dialog rather than the simplified version.

The default RGB color setting depends upon your location but generally you'll find that it's
either: North America General Purpose 2 or Europe General Purpose 2. If you're
working with documents that are primarily destined for the web then either is perfectly
acceptable. However, if you're documents are destined for print then these settings are
generally regarded as being less than ideal. So, if the General Purpose 2 settings are not
ideal, what is?

I could answer the above question by simply writing "US or Europe Prepress Defaults",
but doing so doesn't really help explain why nor would it be strictly true. Therefore, I will
work my way through each section of the Color Settings dialog in turn.

The first section is labeled Settings, and is a simple pop-up menu with a list of preset
Photoshop settings plus any that you may have saved previously. You needn't worry too
much about this section just yet.

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Working Spaces
The next section is labeled Working Spaces, and as I discussed earlier the selections made
here will determine the Working Space profiles used for color handling of your documents.

There are four Working Space types in Photoshop: RGB, CMYK, Gray and Spot
(occasionally called Modes because they appear under the Image>Mode menu). Since
configuring the others follows a similar process I will concentrate on the RGB Working
Space.

RGB - Working Space

Clicking the RGB pop-up menu with the mouse will produce a list of options similar to
that shown below.

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CMYK - Working Space
Desktop type inkjet printers from Epson, Canon and HP actually require RGB data rather
than CMYK, which means that the choice you make for this particular Working Space will
have no influence in their actual output. This is the main reason that I leave it set at the
default US Web Coated (SWOP) v2, and if using a desktop inkjet, then I suggest that you
do likewise.
So, other than the list of available profiles, the procedure for choosing CMYK Working
Space isn't that different to RGB. Again, having More Options activated gives you a more
extensive list.

Gray scale - Working Space

With the Gray scale Working Space we have access to two gamma settings, a series of five
preset dot gain curves, the ColorSync Gray Work Space (Mac only) and the ability to
customize the dot gain to our own requirements. The Gray Gamma 2.2 is probably the best
for most users, but feels free to experiment.

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Spot - Working Space

The Spot pop-up menu is broadly similar to the grayscale, but for spot colors. The options
that we find include a series of five preset Dot Gain options and the facility for
customizing the Dot Gain curve if required. The screenshot shown below indicates that
I've selected 20% Dot Gain version as my default.

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Enhancing Image

Print Strokes on an Image

Basically, there are two methods of creating an edge. The first is to slightly increase the
size of the document and then add the edge so that it does not overlay image pixels. This
will be referred to as an outside edge. The second, and most common, is to add an edge
that overlays the image's pixels. This will be referred to as an inside edge.

Outside Edge - Flattened Image

In this technique, the document size is increased by the size of the stroke. The stroke is
added to the image layer without overlaying any image pixels. In this example, we will use
a 3 pixel wide stroke. The Background layer should remain locked.
1. Set the foreground color in the Tools panel to the color you want the stroke to
be.
2. Click Image > Canvas Size.
3. Change Width to 6 and the unit of measure to pixels. This will add 3 pixels to both
the left and right sides of the image.
4. Change Height to 6 and the unit of measure to pixels. This will add 3 pixels to both
the top and bottom of the image.
5. Click the Relative check box so that it is checked. See Figure 1.
6. Leave Anchor such that the image is centered both horizontally and vertically.
7. Make sure Canvas extension color is Foreground. If this option is disabled, there is
no default Background layer. To create a Background layer, make the bottommost
layer the active layer and then click Layer > New > Background From Layer.
8. Click OK. The file's dimensions will be increased and the new area will be filled
by the color identified as the canvas extension color.

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Outside Edge - Layered Image
In this technique, the document size is increased by the size of the stroke. It differs from
the previous technique in that the stroke is added above any adjustment layers to prevent
the stroke from being affected by the adjustment layers In this example, we will use a 3
pixel wide stroke. The Background layer will need to be unlocked.
1. In the Layer's panel, double click the Background layer.
2. In the New Layer dialog box, type a name and then click OK. This unlocks the
Background layer.
3. Click Image > Canvas Size.
4. Change Width to 6 and the unit of measure to pixels. This will add 3 pixels to both
the left and right sides of the image. We can use whatever size we want, but it has
to be an even number.
5. Change Height to 6 and the unit of measure to pixels. This will add 3 pixels to both
the top and bottom of the image. Make sure size for height is the same as used for
width.
6. Click the Relative check box so that it is checked. See Figure 1.
7. Leave Anchor such that the image is centered both horizontally and vertically.
8. Canvas extension color should be grayed out.
9. Click OK. The file's dimensions will be increased and the new area will be
transparent.
10. Create a new layer by clicking Layer > New > Layer. Or, by clicking the Create a
new layer icon on the bottom of the Layers panel. Name it something
meaningful, such as Edge.
11. Make sure it is the top most layer. If it is not, click and drag it till it is the top most
layer.
12. Using the paint bucket tool and white as the foreground color , fill the layer
with white paint. Do not be concerned when the image becomes concealed by
white.
13. Add a stroke by clicking Layer > Layer Style > Stroke. Or, click the Add a layer
style icon at the bottom of the Layers panel and select Stroke.
14. Set Size to the desired size. In this example, use 3 pixels. The size should be
exactly half the size used in steps 4 and 5.
15. Change Position to Inside. Even though we are using Inside, the stroke will
actually be on the outside of the image because we increased the canvas size in the
previous steps.
16. Make sure Blending Mode is Normal.
17. Make sure Opacity is 100%.
18. Make sure Fill Type is Color.
19. Click once on the Color box to set the color of the edge. Black is RGB values 0, 0,
0.
20. Click OK to close the Color Picker dialog box.
21. Click OK to close the Layer Style dialog box. This will create the stroke.

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22. In the Layers panel, set the edge layer's Fill value to 0%. Do not
change Opacity, leave it 100% or the edge will be affected. The layer's blending
mode should be left to Normal.

Inside Edge - Flattened Image

This technique will add an edge without having to change the size of the image. The stroke
is added to the image layer. The stroke will overlay image pixels. The Background layer
will need to be unlocked.
1. In the Layer's panel, double click the Background layer.
2. In the New Layer dialog box, type a name and then click OK.
3. Add a stroke by clicking Layer > Layer Style > Stroke. Or, click the Add a layer
style icon at the bottom of the Layers panel and select Stroke.
4. Set Size to the desired size. Try 2 or 3 pixels to start with.
5. Change Position to Inside.
6. Make sure Blending Mode is Normal.
7. Make sure Opacity is 100%.
8. Make sure Fill Type is Color.
9. Click once on the Color box to set the color of the edge. Black is RGB values 0, 0,
0.
10. Click OK to close the Color Picker dialog box.
11. Click OK to close the Layer Style dialog box. This will create the stroke.
12. If desired, click Layer > Flatten Image to re-flatten the image.
Inside Edge - Layered Image
This technique will add an edge without having to change the size of the image. The image
does not have to have a locked Background layer. This technique adds the stroke above
any adjustment layers to prevent the stroke from being affected by the adjustment layers.
1. Create a new layer by clicking Layer > New > Layer. Or, by clicking the Create a
new layer icon on the bottom of the Layers panel. Name it something
meaningful, such as Edge.
2. Make sure it is the top most layer. If it is not, click and drag it till it is the top most
layers.
3. Using the paint bucket tool and white as the foreground color , fill the layer
with white paint. Do not be concerned when the image becomes concealed by
white.
4. Add a stroke by clicking Layer > Layer Style > Stroke. Or, click the Add a layer
style icon at the bottom of the Layers panel and select Stroke.
5. Set Size to the desired size. Try 2 or 3 pixels to start with.
6. Change Position to Inside.
7. Make sure Blending Mode is Normal.
8. Make sure Opacity is 100%.
9. Make sure Fill Type is Color.
10. Click once on the Color box to set the color of the edge. Black is RGB values 0, 0,
0.
11. Click OK to close the Color Picker dialog box.
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12. Click OK to close the Layer Style dialog box. This will create the stroke.

Apply Filter Effects

Filters are used to change the appearance of an image, layer or selection in Photoshop.
Using Filters from the Filter Gallery
Photoshop‘s Filter Gallery is basically a one-stop place for working with filters in your
documents. In the Filter Gallery, you can browse through many different types of filters,
apply them individually to your image, or even stack them on top of one another like you
would with layers. You can get to the Filter Gallery by going to Filter > Filter Gallery.
:

Filter Gallery Interface

A. Filter Preview
B. Filter List (Note: You can show or hide this list by clicking the arrow icon to the top
right of it)
C. Currently Selected Filter
D. Filter Options
E. Effect Layers
F. New / Delete Effect Layer
The Filter Effect Layers work just like ordinary filters in Photoshop, and
can be dragged and dropped on top of one another for desired results.
Applying a filter from the gallery is very easy to do. Simply click on a filter, adjust its
options to your liking, and click OK to apply. To stack multiple filters on top of one
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another, just hit the New Effect Layer (‗F‘ in diagram above), and select another filter. You
can expand filter types by clicking the folders in the filter list.

Quicker Access to Filters

The Filter Gallery is really just a browser of sorts. If you know exactly what kind of filter
you want to use, you can access it directly from the Filter menu in Photoshop to speed
things up.
Using Other Filters
Not all filters in Photoshop are available through the Filter Gallery. Many of them must be
accessed directly through the Filter Menu, and have unique interfaces and options of their
own.
We‘re not going to go over every individual filter in this tutorial (doing so would take a
very long time), but I highly suggest doing some experimentation on your part with
different filters to get an idea of what some of them do.
Blur Filters (Filter > Blur)
The Blur Filters are useful in lots of situations. We‘ve actually written several popular
tutorials on Tutorial9 that depend on the Blur Filters, such as our article on Adding Depth
of Field in Photoshop, and our Windows Vista Aurora Effect Tutorial.

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Noise Filters (Filter > Noise)

Noise Filters are great for adding, or reducing noise and grain in photographs. You may
find filters such as the Reduce Noise Filter extremely useful if you work with old,
damaged, or dusty photographs that need repair work done to them. The Add Noise
Filter can also come in handy, and has some creative applications of its own.

Sharpen Filters (Filter > Sharpen)

The Sharpen Filters are also great for correcting imperfections in photographs, as well as
putting emphasis on important elements in a design. When working with blurred images, a

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sharpen filter can be used to clarify and better define edges by increasing contrast between
pixels.

Convert an Image to Black and White

There must be as many ways of converting a RGB image to black and white as there are
photographers. There are entire web sites devoted to the many ways of doing this. Many
of these sources show us a technique to convert a RGB image to black and white and then
state 'move the sliders around until you see something you like'. While is it correct that the
final image is more important than the original image.
INTRODUCTION TO CUSTOMARY METHODS
There are five methods discussed here.
 Convert to true gray scale
 Desaturation
 Red, Green or Blue Channel
 Channel Mixer
 Convert to Lab
CHANNEL MIXER
The purpose of the Channel Mixer adjustment layer is to allow us to control the mix of
each color channel to determine the resulting colors and tones in the image. Specifically,
for a RGB image, it allows us to mix the various amounts of Red, Green and Blue.

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The basic way to use this method is to first look at the red, green and blue channels
individually on the Channels panel. Find the one that looks closest to the desired results.
Reactive all channels, switch back to the Layers panel and create a Channel Mixer
adjustment layer. When we first open the Channel Mixer dialog box, it defaults to Red at
100%, Green and 0% and Blue at 0% and the monochrome box is unchecked.
The advantage of this method is we have control over the tones as we change the
percentages. The disadvantage is the balancing act that needs to be performed to keep the
total near 100%.
DESATURATION
There are two ways to desaturation an image.
The first is Image > Adjustments > Desaturate.
The second is to create a Hue/Saturation adjustment layer on top of the image with
Saturation set to -100. Since only the second method isnon-destructive, it is the only
method that will be discussed here.
The advantages of the desaturation method using an adjustment layer are that it is non-
destructive, intuitive and easy to do. It is non-destructive because the RGB image retains
all of its color information.
GRAYSCALE
In this method, we simply click
Image > Mode > Gray scale
In Adobe Photoshop and our image is converted to black and white. The advantages of this
method are that it is quick, intuitive and retains perceived luminance.
LAB color
In this method, click
Image > Mode > Lab Color.
Photoshop will convert the image to the Lab color space. Go to the Channels panel and
turn off the a and b channels. The a and b channels are the color channels. This should
leave only the Lightness channel active. The Lightness channel is the luminance channel.
Switch back to the Layers panel and we have our black and white image.
RGB CHANNEL

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This method is one of the easiest and is non-destructive. We simply look at the red, green
and blue channels individually on the Channels panel. Find the one that we like the most
and leave that channel as the only active channel and we are done.
BLACK AND WHITE TONING
The toning of black and white images is not mandatory. In black and white film
photography, it was done for several reasons. To increase the archival quality of a print.
To intensify contrast. To neutralize undesired color casts inherit in some photographic
papers. Or, to give an image a specific color cast.
Blend Layers
Layer blend modes give us different ways for a layer to interact with, or "blend" with, the
layer or layers below it. Without layer blend modes, the only real way we have of blending
layers together is by reducing the opacity
(or fill) of a layer, which usually doesn't
give us very interesting results. But with
blend modes, not only do they unlock a
world of creative possibilities, especially
when we combine them with layer masks,
they can also be extremely helpful when it
comes to editing, retouching and restoring
photos.
Find the Layer Blend Modes
You can access all of the blend modes
from a drop-down list in the top left
corner of the Layers palette. By default,
the "Normal" blend mode is selected:

The Layer Blend Modes drop-down box in the top left corner of the Layers palette.
One important thing to note here is that if you look at the screenshot above, you'll notice
that I've gone ahead and made a copy of the original Background layer (by pressing Ctrl+J
and that I currently have the copy, named "Layer 1", selected. That's because Photoshop
treats the Background layer differently from all other layers and it doesn't allow us to
change the blend mode for the Background layer.

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As we can see in the CCFC (Color Coded For Convenience - yes, I just made that up)
diagram above, the "Darken", "Multiply", "Color Burn", and "Linear Burn" blend modes
are the Darken modes. Why? Because each one of them has the effect of making the image
darker. Notice that the multiply blend mode is included in the Darken group. If you
remember, it's one of the five blend modes you absolutely need to know and one of the
modes we'll be taking a closer look at in a moment.

Next, the "Lighten", "Screen", "Color Dodge", and "Linear Dodge" modes make up
the Lighten group. Each one of them has the effect of lightening the image. Notice that
the Screen blend mode is included in the Lighten group, another one you need to know and
one of the ones we'll be looking at.

Below that, the "Overlay", "Soft Light", "Hard Light", "Vivid Light", "Linear Light", "Pin
Light", and "Hard Mix" modes make up the Contrast group. Each one both
darkens and lightens the image, boosting contrast. Notice that the Overlay mode, another
one you need to know and one we'll be looking at, is part of the Contrast group.

Next up is a group we're not going to be looking at in this discussion,

the Comparative group, made up of the "Difference" and "Exclusion" blend modes. Both
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of these modes are for comparing pixels between layers and neither one of them is used
very often, especially in photo editing. Very rarely would you have a use for the
"Difference" mode, and you'll use "Exclusion" almost as much as you use "Dissolve",
which is to say pretty much never.

Finally, we have the Composite group, also known as the HSL group, which stands for
"Hue, Saturation and Luminosity", which just happen to be the names of three of the four
blend modes included in this final group, along with the "Color" mode. The blend modes in
this group all have something to do with either the color or luminosity (lightness) values in
the layer, and the Color and Luminosity modes make up the last of the five essential blend
modes you need to know when it comes to editing photos and images in Photoshop.

Merge Layers and flatten image

Merge layers allows us to reduce the size of our files. However, it should be done with
care because once a file is saved and closed, merging cannot be undone. Generally, layers
in the master image file are seldom merged. When the master file is duplicated to make a
print file, then layers are usually merged.

The merge layer commands are described below. They are located under Layer on the
Photoshop menu. However, not all of the commands will be visible at the same time.
Which options are available depends on the layers in the Layers panel. When merging
layers, the resulting layer is an image layer.

Combines two or more selected layers that are visible. Since this feature
requires multiple layers to be selected, this choice first became available
Merge Layers
with CS2.

Combines all visible layers. The resulting layer is the one that was active
Merge Visible at the time of the merge.

Combines all layers linked to the active layer, to the active layer. This
option is available only in pre-CS2 versions. To replicate it in CS2,
Merge Linked select Layer > Select Linked Layers and then select Layer > Merge
Layers.

Combines the active layer with the layer immediately beneath it. Both
layers have to be visible and only two layers are combined, regardless of
Merge Down
how many other layers are visible.

Merge Layer Combines all the layers in a layer set/group. The layer set/group has to

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Set/Merge be the active layer.

Group
Combines all the layers in a clipped group into a single layer. The
Merge Clipping
bottom layer the other layers are clipped to has to be the active layer.
Mask

Combines all visible layers and deletes all hidden layers. The resulting
Flatten Image layer is a locked Background layer. Any transparent pixels are converted
to white since the Background layer cannot have transparent pixels.

Convert Color Images to Gray scale

In Adobe Photoshop, we can quickly convert a RGB image to true gray scale by clicking
Image > Mode > Grayscale
And the image is converted to black and white. However, this method is destructive and
does not allow us to manage tone by color. The methods I devised and discuss here
overcome these disadvantages while maintaining gray scale as the desired tonality.
Working with Layers
What is a layer? It is a concept used to organize and display your image and adjustments.
The most fundamental layers are those that contain
either pixels or an adjustment that alters the
appearance of pixels.

Layers are arranged vertically in an area of Photoshop

called the Layers panel (all of Figure 1). When you
look at your image in the Photoshop document
window, you are looking at it through the layers in the
Layers panel. As Photoshop processes the layers in
the Layers panel, it begins with the bottommost layer
and works its way upwards. This means the
bottommost layer is altered by the layer above it.
And the resulting image is further altered by the next
layer up, and so forth. Therefore, the order in which
layers appear is as important as the layers
themselves.
There are seven basic kinds of layers: Image,
Adjustment, Fill, Type, Shape, Sets (called Groups
since CS2) and Effects. In digital photography, the
ones you will use the most are Image, Adjustment,
Sets/Groups and possibly Effects.

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Types of Layers

The Layers panel is the working platform of your image. It is

Layers Panel A
where all layers are arranged and stored.
The Background layer is the Photoshop default image layer. It is
always a locked layer. To unlock it, double click the layer, type a
new name and click OK. This also converts it into a normal image
Background layer.
B
Layer
In a RGB, CMYK or Grayscale image, the Background layer
cannot have transparent pixels. The Background layer has to be
converted to a normal layer to have transparent pixels.
Image layers are pixel containing layers. These are the layers that
Image Layer C contain your image pixels. The Background layer is an image
layer.
The active layer is the layer that is highlighted. Whatever actions
you perform will be applied to the active layer. A layer does not
Active Layer D have to be visible to be active. Since CS2, multiple layers can be
active at a time. However, there are restrictions as to what actions
can be performed when multiple layers are active.
Adjustment layers are pixel altering layers. Adjustment layers
apply an effect to the pixel containing layers beneath them.
Adjustment layers only affect the layers beneath them, not above
them.

Adjustment There are many types of adjustment layers. The adjustment layers
E
Layer commonly used in digital photography are listed on the Photoshop
Topics page.

If you turn off the visibility of all layers except the adjustment
layers, you will see nothing but a transparent document. This is
because adjustment layers do not contain image pixels.
Layer sets/groups are a great way of grouping and organizing
layers. Think of a layer set/group as a folder where other layers are
stored. Layer sets is the pre-CS2 term. Adobe changed the term to
Layer layer groups in CS2.
F
Sets/Groups
You can make certain changes to all the layers in a layer set/group
by clicking on the layer set/group row and then applying the
change; such as using the Move tool , or changing the opacity.

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A layer set/group can have a layer mask. The mask is applied to all
layers in the layer set/group.

By clicking the triangle to the left of the layer set/group folder icon,
you expand or collapse a layer set/group.

You can have layer sets/groups within layer sets/groups.

Effects are special effects that are applied to the contents of the
layer they are linked to. An example of an effect is drop shadow.
You can have more than one effect applied to a single layer. The
effects linked to a layer become part of the layer's style.

Effects G To delete layer effects, either right click the layer and select Clear
Layer Style, or drag the effect (not the layer) to the delete layer
icon . Clearing the layer style will delete all effects, reset the
blending mode to Normal, reset Opacity to 100% and reset Fill to
100%. Dragging the effect to the delete layer icon only deletes that
one effect.
Type Layer H A Type layer is a layer that contains text.
Shape layers contain shapes and lines. Technically, a Shape layer
is a Solid Color Fill layer with a vector mask. It is the vector mask
applied to the color fill that causes the shape and/or line to be
displayed in the document window. Shape layers are not used
Shape Layer I often in digital photography.

By selecting the arrowhead option on the Custom Shape tool

when drawing lines, single or double headed arrows can be drawn.
Fill layers are another type of pixel containing layer. There are
three types of Fill layers:

Fill Layer J

Solid Color fill layers completely fill the layer with a single color.
Gradient fill layers are used to create custom gradients. Pattern fill
layers are used to apply a pattern to the image.

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The Fill option is often used when creating

Fill layers to reduce the Fill layer's opacity. Otherwise, the Fill
layer will obscure the underlying image.

Fill layers are not often used in digital photography.

Layers Panel Options

The Photoshop Layers panel options are the icons at the very bottom of the Layers panel.
The panel options for Photoshop CS and earlier versions looks like the
following: . Since Photoshop CS2, it looks like
this: .

Link Layers. This feature is only available in Photoshop CS2 and

later versions. After selecting multiple layers in the Layers panel,
Link Layers clicking this icon will link them. Linked layers will have the link
icon to the right of the layer's name. Versions prior to CS2 use the
Paint/Link column described above.
Add Layer Style. Allows you to create one or more layer effects
Add Layer on the active layer.
Style
Locked layers and layer sets/groups cannot have effects.
Add Layer Mask or Vector Mask. Creates a layer mask on the
active layer. If a layer mask already exists on the active layer, a
vector mask will be created.

If a selection is not active when this icon is clicked, the layer mask
will be filled with solid white paint. White reveals all. If the icon
Add Layer
is clicked using Alt + click (Option + click), the layer mask will be
Mask or
filled with solid black paint. Black hides, or masks, all.
Vector Mask
If a selection is active when the layer mask is created, the selection
will be used to create the mask. The part of the image that is
selected will be revealed by the mask and the part of the image
that is not selected will be hidden by the mask. In the mask, the
selected area will be white and the non-selected area will be black.
Create Layer Set/Group. Since CS2, this feature is called Groups.
In versions prior to CS2, this feature is called Sets. Clicking this
Create Layer
icon will create a layer set/group above the active layer. The
Set/Group
active layer will not become part of the layer set/group. If you
drag an existing layer to this icon, Photoshop will create a new

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layer set/group and place the dragged layer into the set/group.

In CS2, you can select multiple layers and drag them to the Layer
Group icon and all of the selected layers will be moved into the
new group. Also in CS2, you can use Layer > Group
Layers/Ungroup Layers to group selected layers or to move all
layers out of a group.
Create New Create New Fill or Adjustment Layer. Allows you to create a fill
Fill or or adjustment layer above the active layer. If the active layer is a
Adjustment layer set/group, the fill or adjustment layer will be created within
Layer the layer set/group.
Create New Layer. Clicking this icon will create a layer above the
active layer. If the active layer is a layer set/group, the new layer
Create New is created within the layer set/group.
Layer
Dragging an existing layer, layer set or adjustment layer to this
icon will duplicate that layer.
Delete Layer. To delete a layer, either make the layer active and
click the delete layer icon, or drag the layer to the delete layer
Delete Layer
icon. To delete a layer effect, drag the effect, not the layer, to the
delete layer icon.

Saving Images for Web and Print

Save Images for Use in Print Application
Remember to save your work often. Saving frequently lessens the risk of losing the
work you have been doing. To save your Photoshop document, do the following:

1. Click File > Save.

2. Navigate to the place you would like your document to be saved by using
the dropdown menu and the navigation window.
3. Enter the name of your document in the Save As text field.
4. Choose a format to save your project in from the Format dropdown menu.
5. Click the Save button in the bottom right corner of the dialogue box.
6. Check to make sure that your document is saved in the place you intended.

NOTE: If you save your file as PSD (default Photoshop saving format) your layers
will be preserved, but the file size will be large. If you save your file as JPEG (a
common image format) your layers will be flattened and become one layer. The file
size though will be significantly smaller.

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Save Images for the Web

Adobe Photoshop has a great way to optimize images for the web. In Photoshop, go to
File > Save For Web, or click Ctrl + Alt + Shift + S.
A new box will popup with all of the settings for saving and optimizing an image for the
web:

GIF Images
Sometimes, you‘ll be required to save in a lossless format in order to best optimize your
graphics for whatever you are working on. This is often seen in website design, as layouts
often use far less colors than an ordinary photograph.
GIF, or Graphics Interchange Format, is an image format that uses a palette of up to 256
individual colors, making it a great candidate for web graphics that don‘t use a wide range
of colors.
High Quality Images & Lossless PNG
PNG, or Portable Network Graphics, are lossless data formats, similar to GIF, except they
support a much greater number of colors (also making them larger in some cases), and can
support alpha transparency channels as opposed to single transparent pixels (again, we
won‘t be discussing transparency in this tutorial).
PNG images are replacing GIF images more and more, mostly because they are typically
able to compress better than GIF images while supporting a much larger number of colors.
They are not as widely supported as GIF images yet, but are certainly heading in that
direction.
For graphics that must be transported over the web while retaining full image quality, PNG
is the prime choice. You‘ll typically result in a larger image size than JPEG when
transporting photos, but at times, this can be an essential sacrifice. Typically PNG is the
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better choice when a graphic contains sharp lines, or text that must remain very clear, but
it‘s ultimately up to the designer to decide what format to choose.

Save Images as PDF

 Open your cover image in Photoshop. We are assuming that this image is completed,
flatten into one layer and already in the correct size for your ebook.
 Now, you are ready to save the image in PDF format. From the Menu bar, click
File > Save As
To open the Save As dialog box. Choose Photoshop PDF from the Format drop-down list
(lower part of the dialog box). Make a note of the folder in which your image will be saved.
Finally, click Save.
You will get a message about overriding current settings. Click OK to continue. The Save
Adobe PDF dialog box will open.

Creating web layouts

Designing a Website Layout in Photoshop
The design of your web site should have at least three distinct parts that include specific
elements:
1. Header
Company logo
Graphic banner
Links / buttons for the home, about, and contact page
2. Body
Content area for text on the page
Pictures or graphics incorporated with the content
3. Footer
Copyright Information
Links to policy / terms of use, and back to top link
When creating the layout design in Photoshop be sure to leave room for additional
navigation, text, and site expansion in the future or you might find yourself needing to
completely redesign your site because you didn't leave room for links to more pages in
your design.

Steps to Follow:
1. Create a new PSD file 745 px x 600 px and save it as layout.psd
2. Place the header graphic into the document. (Open the header file (g_header.jpg), select
it (ctrl+a), copy (ctrl+c), activate the layout.psd window, paste (ctrl+v).)
3. Use the Move Tool (V) to move the header to the top of the layout holding shift to let it
snap into place at the top.
4. Open the Company Logo, copy and paste it into your layout.
5. Transform the logo (ctrl+t) and move it into the top left corner of the site layout.
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6. Using the Horizontal Type Tool (T) create some small text links in the sky between
the two logos on top of the guide. Type the word "Home", 4 spaces, "Contact", another 4
spaces, and then "About". Text should be about 12 pt, Arial font, using the color #A6FF94
for a fun light green color.

7. Give the text a dropshadow (Layer > Layer Style > Dropshadow) with a distance of 2
and a size of 3.

8. Position the text using the move tool and the arrow keys appropriately next to the top left
logo.

9. Below the smaller COW logo we'll create some larger navigation / image links:

Using the Horizontal Type Tool (T) type "HOME PAGE 1 PAGE 2 PAGE 3 PAGE
4" using Arial, 17 pt font with black text. Put about 4 or 5 spaces between the words to give
the buttons some space.

1. Create a new layer and drag it below the text you just created

2. With the Rectangular Marquee Tool (M) select an area just around the larger
navigation.

3. Select the Paint Bucket Tool (G) and fill the selected area of the new empty layer
with (#A6FF94) the green color.

4. Make this layer look like a button by going to the Layer menu > Layer Style >
Bevel and Emboss. Use the default settings by pressing OK

5. Using your Single Column Marquee Tool delete a column of pixels between each
word in the solid green background layer you just created. This will break up the
bevel and make each word look like a separate button. You may need to zoom in to
get right in between the words.
10. Duplicate the green button layer by dragging it onto the new layer button or go to the
Layer menu > Duplicate Layer.
11. Select the bottom green button layer and add a motion blur to the layer with a distance
of about 150 pixels by going to the Filter Menu > Blur > Motion Blur.

12. Move the blurred layer down about 10 pixels and lower the opacity to 20%. This gives
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a subtle line under your buttons to help divide the top from the content.
13. At the bottom of the layout create text that says ©Copyright CreativeCow.net 2008.
14. Create a new layer behind the Copyright text that will become the background behind
the footer text, make sure the layer is selected.
15. Use the Rectangular Marquee Tool (M) to select an area across the bottom of the page
but just a little higher than the copyright text.
16. Use the Paint Bucket Tool (G) and fill the area with the bright green (#A6FF94).
17. Feather the outside edge by using the Inner glow layer style (Layer menu > Layer Style
> Inner Glow) Set the blend mode to Normal, color to white (#ffffff) and the size to 10
pixels.

We've now designed a simple, fun, website in Photoshop with a header and footer. The
white space in between the header and the footer will be all the textual content and pictures
that will fill in the actual web site.

Slicing Images in Photoshop for the Web

Now that we've designed a simple website with Photoshop we will slice it into pieces
and export the pieces as an HTML file that can be later used and modified in
Dreamweaver. When slicing your website design remember that each slice will become a
separate cell of a table and image so try to keep the slices as few and as simple as possible.
Make sure and start and end your slices outside of the design whenever possible so
Photoshop doesn't mistake a single pixel you might have missed as a slice. Open the
website design we made earlier, select the Slice Tool (K) and let's get started. (Turn on
snapping for better results - View menu > Snap (Ctrl+Shift+;),

Steps to Follow:
1. Create one slice around the entire graphic. Start outside the graphic and end outside
the graphic. This will help tell Photoshop to not create single pixel graphics
somewhere that we don't want.

2. Slice the footer graphic starting and ending in the gray outside the layout. Let the
snapping find the top of the layer for you.

3. Slice the header all the way across the top starting above the graphic in the gray and
ending just below the larger navigation. This should slice the COW in two ( oh no!
). You should now have 3 slices for your header portion, your content, and your
footer.
4. Slice out all the buttons, try to make sure you are snapping to the same position for
each button so that
the height of the
buttons are the same.
For the lower, larger
buttons you can snap
to the bottom of the surrounding slice.
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Exporting / Saving Photoshop Slices as a Web Page
In earlier versions of Photoshop saving a sliced image for the web could only be done with
Image Ready but now it's all built into Adobe Photoshop CS3. The following portion of the
tutorial will show you how to save the sliced website design we made in Photoshop as an
HTML file with associated images.
Steps to Follow:
1. With your sliced graphic open choose File menu > Save for Web & Devices
(Alt+Shift+Ctrl+S). This brings up the Save For Web & Devices window.

2. Under the preset dropdown choose JPEG High for the quality and file type. (This is
simply a preference.)
3.

4. Click the Optimized Menu arrow to open up the sub menu and click on Edit Output
Settings...
5.

6. We won't go into detail on the output settings here. Choose Default Settings from
the Settings dropdown. Use Prev and Next to look at all the settings.

7. Click OK and then Save. Make sure you are saving in a location you can locate
easily.

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8. Choose Save as type: HTML and Images (*.html)

Settings: Default Settings

Slices: All Slices

9. Click Save

Enhancing Photographs
Retouch Photographs Using Photoshop Tools
Strategy for retouching
In Photoshop, you can retouch photographic images in ways once left only to highly
trained professionals. You can correct problems in color quality and tonal range created
during the original photography or during the image‘s scan. You can also correct problems
in composition and sharpen the overall focus of the image.

Basic steps
Most retouching in Photoshop follows these general steps:
• Check the scan quality and make sure that the resolution is appropriate for how the
image will be used.
• Crop the image to final size.
• Adjust the overall contrast or tonal range of the image.
• Remove any color casts.
• Adjust the color and tone in specific parts of the image to bring out highlights, midtones,
shadows, and desaturated colors.
• Sharpen the overall focus of the image.
Resolution and image size
The first step in retouching a photograph in
Photoshop is to make sure that the image is the
correct resolution. The term resolution refers to the

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number of small squares known as pixels that describe an image and establish its detail.
Resolution is determined by pixel dimensions or the number of pixels along the width and
height of an image.
Cropping an image
1 Hold down the mouse button on the rectangular marquee tool ( ) in the toolbox,
and drag to the crop tool ( ) to select it. Then double-click the crop tool to display
its Options palette, select Fixed Target Size, and enter the dimensions of the finished
image—3.75 inches (width) by
6 inches (height).

2 Next drag a marquee around the image, making sure you include the top of the
tower and the orange tarp in the bottom right gondola. Notice that as you drag the
marquee it retains the same proportion as the dimensions you specified for the
target size.
Because the photograph was scanned in slightly crooked, you‘ll now use the crop tool
to straighten the image before applying the new dimensions to it.

3 Move the pointer outside the crop marquee, and drag clockwise until the marquee is parallel
with the image.
4 Place the pointer within the crop marquee, and drag until the right edge of the marquee
lines up with the right edge of the image.

Initial crop marquee Marquee rotated Marquee moved

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5 If necessary, fine-tune the size of the marquee by dragging its bottom right corner handle.

6 Press Enter .The image is now cropped.

7 Choose File > Save.

Adjusting the tonal range

The tonal range of an image represents the amount of contrast, or detail, in the image
and is deter- mined by the image‘s distribution of pixels, ranging from the darkest
pixels (black) to the lightest pixels (white). You‘ll now correct the photograph‘s
contrast using the Levels command.
1 Choose Image > Adjust > Levels, and make sure that the Preview option is checked.
Notice the histogram in the dialog box. The triangles at the bottom of the histogram
represent the shadows (black triangle), highlights (white triangle), and midtones or
gamma (gray triangle). If your image had colors across the entire brightness range, the
graph would extend across the full width of the histogram, from black triangle to
white triangle. Instead, the graph is clumped toward the center, indicating there are no
very dark or light colors.
You can adjust the black and white points of the image to extend its tonal range.
2 Drag the left and right triangles inward to where the histogram indicates the
darkest and lightest colors begin. Click OK to apply the changes.
3 Choose Image > Histogram to view the new histogram. The tonal range now
extends throughout the entire range of the histogram. Click OK.
4 Choose File > Save.

Removing a color cast

Some images contain color casts (imbalances of color), which may occur during scanning or
which may have existed in the original image.
The photograph of the gondolas has a color
cast—it‘s too red.
1 Choose Layer > New > Adjustment Layer.
2 For Type, choose Color Balance.
3 Click OK to create the adjustment layer and
to display the Color Balance Layer dialog box.

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4 Select the Preview option.
5 To adjust the midtones so that they‘re less red, drag the top slider to the left .

6 Click OK to apply the changes to the Color Balance adjustment layer. Notice that a
Color Balance layer has appeared in the Layers palette.
7 In the Layers palette, click the eye icon next to the Color Balance layer to hide and
show the layer. You‘ll see the difference between the adjusted colors and the original
colors.
8 Choose File > Save.
Replacing colors in an image
With the Replace Color command, you can create temporary masks based on specific
colors and then replace these colors. Masks let you isolate an area of an image, so that
changes affect just the selected area and not the rest of the image. Options in the
Replace Color command‘s dialog box allow you to adjust the hue, saturation, and
lightness components of the selection. Hue is color, saturation is the purity of the
color, and lightness is how much white or black is in the image.
You‘ll use the Replace Color command to change the color of the orange tarp in the
gondola at the bottom right corner of the image.
1 In the Layers palette, select the background.
2 Select the zoom tool ( ), and click once on the tarp to zoom in on it.
3 Hold down the mouse button on the crop tool, drag to select the rectangle marquee
tool, and then drag a selection around the tarp. Don‘t worry about making a perfect
selection, but be sure to include all the tarp.
4 Choose Image > Adjust > Replace Color to open the Replace Color dialog box. By
default, the Selection area of the Replace Color dialog box displays a black rectangle,
representing the current selection.
You will now use the eyedropper tool to select the area of color that will be masked
and replaced with a new color. Three eyedropper tools are displayed in the Replace
Color dialog box.

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A B C

A. Select single color B. Add to selection

C. Subtract from selection

The first eyedropper tool ( ) selects a single color, the eyedropper-plus tool ( ) is
used to add colors to a selection, and the eyedropper-minus tool ( ) is used to
subtract colors from a selection.
5 Click the eyedropper tool in the dialog box, and click once on the orange tarp to
select it.

6 Then select the eyedropper-plus tool, and drag over the other areas of the tarp until
the entire tarp is highlighted in white in the dialog box.
7 Adjust the tolerance level of the mask by moving the Fuzziness slider to 61. Fuzziness
controls the degree to which related colors are included in the mask.
8 In the Transform area of the Replace Color dialog box, drag the Hue slider to 149,
the Saturation slider to –17, and the Lightness slider to -39. The color of the tarp is
replaced with the new hue, saturation, and lightness.
9 Click OK to apply the changes.
10 Double-click the
hand tool ( ) to fit the image on screen.
11 Choose Select > Deselect.

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12 Choose File > Save.
Adjusting saturation with the sponge tool
Now you‘ll saturate the color of the gondolas in the foreground using the sponge tool.
When you change the saturation of a color you adjust its strength or purity. The
sponge tool is useful in letting you make subtle saturation changes to specific areas of
an image.
1 Hold down the mouse button on the dodge tool ( ) in the toolbox, and drag
to the sponge tool ( ).
2 Click the Options tab and choose Saturate from the pop-up menu. To set the
intensity of the saturation effect, click the arrow next to the Pressure text box, and
drag the Pressure pop-up slider to 90%.
3 Select a large, feathered brush from the second row of the Brushes palette.

4 Drag the sponge back and forth over the gondolas to saturate their color.

Before After

Adjusting lightness with the dodge tool

Next you‘ll use the dodge tool to lighten the highlights along the gondola‘s hull and
exaggerate the reflection of the water there. The dodge tool is based on the traditional
photographer‘s method of holding back light during an exposure to lighten an area of
the image.
1 Hold down the mouse button on the sponge tool, and drag to the dodge tool ( ).
Then choose
Highlights from the menu in the Tool Options palette, and set Exposure to 50%.

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2 Select a medium, feathered brush from the second row of the Brushes pal

3 Drag the dodge tool back and forth over the gondola‘s hull to bring out its
highlights.

Removing unwanted objects

With Adobe Photoshop, you can remove unwanted objects from a photograph.
Using the rubber stamp tool, you can remove an object or area by ―cloning‖ an area
of the image over the area you want to eliminate.
You‘ll eliminate the small boat near the center of the image by painting over it
with a copy of the water.
1 Select the zoom tool; then click the small boat to magnify that part of the image.
2 Choose File > Preferences > Display & Cursors. For Painting Cursors, click
Brush Size; then click OK.
3 Double-click the rubber stamp tool ( ) in the toolbox, and make sure that the
Aligned option in the Rubber Stamp Options palette is deselected.
4 Center the rubber stamp tool over the water between the large gondola and the
post to its right. Then hold down Alt (Windows) or Option (Mac OS), and click to
sample or copy that part of the image. Make sure that the area you sample blends well
with the area around the object you are removing.

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5 Drag the rubber stamp tool over the boat to paint over it with a copy of the
water you just sampled. Notice the crosshair that follows your cursor as you paint; it
represents the point from which the rubber stamp tool is cloning.
6 Double-click the hand tool in the toolbox to fit the image on screen.
7 Choose File > Save.
Replacing part of an image
Because the sky is fairly drab and overcast in this photograph, you‘ll replace it with a
more inter- esting sky from another file. You‘ll begin by selecting the current sky.
1 Select the magic wand tool ( ). Click to select part of the sky. Hold down Shift, and
click the rest of the sky to select it.
2 Open the Clouds.psd file located in the Lesson03 folder.
3 Choose Select > All; then choose Edit > Copy. Close the Clouds.psd file.
4 Choose Edit > Paste Into to paste the clouds into the current selection. Notice that a
new layer has been added to the Layers palette.
5 Select the move tool ( ), and drag the clouds into the position you want.

Sky selected Clouds pasted into sky Clouds moved into position

Now you‘ll change the clouds‘ opacity to make them blend better with the rest of the
image.
6 Use the keyboard shortcut of typing any number from 01 (1%) to 100 (100%) to
set the new cloud layer‘s opacity (we used 55%).
7 Choose File > Save.

Opacity set to 55% Result

You will now flatten the image into a single layer so that you can apply the Unsharp
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Mask filter, the final step in retouching the photo. Because you may want to return to
a version of the file with all its layers intact, you will use the Save As command to save
the flattened file with a new name.
8 Choose Layer > Flatten Image.
9 Choose File > Save As. In the dialog box, type a new filename, and click Save.
Applying the Unsharp Mask
The last step you take when retouching a photo is to apply the Unsharp Mask filter,
which adjusts the contrast of the edge detail and creates the illusion of a more
focused image.
1 Choose Filter > Sharpen > Unsharp Mask. Make sure that the Preview option is
selected so that you can view the effect before you apply it. To get a better view, you can
place the pointer within the preview window and drag to see different parts of the
image. You can also change the magnification of the preview image with the plus and
minus buttons located below the window.

2 Drag the Amount slider until the image is as sharp as you want (we used 120%);
then click OK to apply the Unsharp Mask filter.
Create Patterns
1. Create new file with 1 pixel width, 2 pixel height and transparent
background.

2. Keep Black as a foreground color. Fill the top 1 X 1 pixel of transparent

background using Pencil Tool.

3. Select All using CTRL + A

4. Create a pattern by Edit > Define Pattern. Name the pattern.
Create Swatches and Gradients
Create a smooth gradient
1. Select the Gradient tool .

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2. Click inside the gradient sample in the options bar to display the Gradient Editor
Dialog box.
3. To base the new gradient on an existing gradient, select a gradient in the Presets
section of the dialog box.
4. Choose Solid from the Gradient Type pop-up menu.
5. To define the starting color of the gradient, click the left color stop under the
gradient bar. The triangle above the stop turns black , indicating that the starting
color is being edited.
6. To choose a color, do one of the following:
7. Double-click the color stop, or click the color swatch in the Stops section of the
dialog box. Choose a color, and click OK.
8. Choose an option from the Color pop-up menu in the Stops section of the dialog
box.
9. Position the pointer over the gradient bar (the pointer turns into the eyedropper),
and click to sample a color, or click anywhere in the image to sample a color from
the image.
10. To define the ending color, click the right color stop under the gradient bar. Then
choose a color.
11. To adjust the location of the starting point or ending point, do one of the following:
12. Drag the corresponding color stop left or right to the location you want.
13. Click the corresponding color stop, and enter a value for Location in the Stops
section of the dialog box. A value of 0% places the point at the far left end of the
gradient bar; a value of 100%, at the far right end.
14. To adjust the location of the midpoint (where the gradient displays an even mix of
the starting and ending colors), drag the diamond below the gradient bar to the left
or right, or click the diamond, and enter a value for Location.
15. To add intermediate colors to a gradient, click below the gradient bar to define
another color stop. Specify the color and adjust the location and midpoint for the
intermediate point as you would for a starting or ending point.
16. To delete the color stop you are editing, click Delete, or drag the stop downwards
until it disappears.
17. To control how gradual the transitions are between color bands in the gradient,
enter a value in the Smoothness text box, or drag the Smoothness pop-up slider.
18. If desired, set transparency values for the gradient.
19. Enter a name for the new gradient.
20. To save the gradient as a preset, click New after you have finished creating the
gradient.
Create a Custom Brush
1. Open an image, any image.
2. Select all or part of the image.
3. Go to Edit –> Define Brush Preset.
4. New brush is ready.

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Create Custom Patterns

1. Create A Pattern Image
Make a new file of small size. For this example, I‘ll be using 8×8 pixel canvas, zoomed
them up and create a small pattern like this.

Pattern at 100% view

Pattern at 1600% view

2. Define As Pattern
Let‘s define it as pattern so it can be used at any time.
Select Edit ->Define Pattern.
Rename it to something you can remember (especially useful
when you have a lot of custom patterns in future). I‘ll call
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it Stripe5x because it will give me a stripe effect and 5px is how thick each stripes are.
Click OK and you‘ve just have your custom pattern defined.

3. Using Custom Pattern

Create a new canvas to try out the custom pattern. With your new canvas selected,
Select Edit -> Fill.

In the Fill dialog box, select Pattern from the dropdown, find the pattern you‘ve just created
in Custom Pattern and click OK.
Creating Special Effects
Preview Text Effects Using Layer Comps
Basically, layer comps act as a way to capture your design in different states; based on
what layers you have visible. You can then capture these states, in different ―layer comps‖
and export them as a PDF slideshow to present all your designs to your client.
Step 1
Toggle on/off only the layer groups that you want to keep visible.

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Step 2
Open up the Layer Comps window, if it‘s not already open, click Window-Layer Comps.
Click on the small icon in that window that creates a New Layer Comp (circled in the
image below. Rename the comp something applicable and make sure Visibility is checked.

Step 3
Prepare your image for an alternate layer comp by toggling on/off the visibility of the
layers you want to show. If you are following along, your layer palette would look like the
one below.

Step 4
Make a Layer Comp for your new visible layers, just like you did in step 2.
Step 5
Repeat these steps, until you have three variations within your Layer Comp window. Below
are the visible layers I used for comp 3, and the 3 comps within the Layer Comp window.

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Step 6
Now that we have our 3 variations on different layer comps, we are ready to make our
slideshow. The good news is, this is made tremendously easy through one of Photoshop‘s
scripts. Click File-Scripts-Layer Comps to PDF. Choose a destination to save the file to,
that is easy for you to remember. I almost always save things to the desktop first, and then
file things later. Just makes my workflow simpler. You can play with the duration of the
images and if you want the show to loop. When you have the settings in order, click Run.

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Presentation Time
That‘s it; the slideshow has been created for you by the script! Now, you just need to find
where you saved it, and give it a test run to make sure everything looks ok. Then it‘s time
to show the client. You can email it, upload it to a server, or show them it in person. This
will give them a chance to pick and choose which elements they like and dislike. Then you
can go back in, make some more tweaks, then begin coding. I love this approach, it makes
a lot of sense to me!

Warp an Image
Warping Images using the Warp Transformation
Create Space: Your first step should be to add enough working space around the object
to accommodate the warped image.

Choose: Image > Canvas Size and add space. I usually just double the size.
I will usually also drag a copy of the image by dragging its layer to theNew Layer icon at
the bottom right of the Layers Palette. This preserves the original.

Begin Transformation: Now choose: Edit > Transform > Warp

This presents you with a spline-mesh covering the image.
Select a Warp Shape: From the Options bar, note the "Custom" pull-down menu. This
allows you to select any shape you wish to begin with.

Here, you can select from a lot of different shapes, and Photoshop will set up the warp
mesh to match.

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Modifying the Warp Shape: Turn

your attention to the Options Bar
and you find a series of entry fields
where you can modify the shapes.
It's a good idea to make a mental
note of the default settings.
Changing these settings will help
modify and fine-tune your auto
shape.

Automating Tasks
Create and manage an action
An action is a series of tasks that you play back on a
single file or a batch of files—menu commands, panel
options, tool actions, and so on. For example, you can
create an action that changes the size of an image,
applies an effect to the image, and then saves the file
in the desired format.
Actions can include steps that let you perform tasks
that cannot be recorded (for example, using a painting
tool). Actions can also include modal controls that let
you enter values in a dialog box while playing an
action.
In Photoshop, actions are the basis for droplets, which
are small applications that automatically process all
files that are dragged onto their icon.
Managing Actions
To access Actions in Photoshop, go to Window >
Actions on the top navigation panel or hit [Alt]+[F9].
This window will display a list of all loaded Sets
(Folders) and Action. Here, if you click on an arrow
next to the name of each Action you will see detailed
steps they include. Additionally, you can create a new
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folder to place themed Actions into. You can also rename each Action to your liking.
However, you will not be able to rename a specific step, since it is given by the program
automatically.
A checkmark next to each step indicates that the step will be performed. You can uncheck
it to omit a step, in that case, that step‘s checkmark will disappear and the check mark next
to Action name will turn red, indicating that some steps in that Action are omitted.
Dialog icon next to an Action indicates that one or more steps in that Action will have a
dialog box appear, requiring user‘s input. By opening a detailed view of an Action you can
see which step will have a dialog box. By clicking on a dialog icon next to individual step
you can disable dialogs. This is often useful to minimize your input and streamline the
workflow. However, this means that the effect will be less custom, and most importantly if
one or more of the dialogs has a message or requires a definite choice, the Action will not
complete and will stop on that step.

Actions window in Button Mode

To activate an Action, simply select it and hit Play
(triangle icon on the bottom of Actions window). If
you find yourself using Actions frequently during
your post-processing, you can also activate a Button
Mode which will perform an Action by just clicking
on its name. To initiate Button Mode, trigger drop
down menu on the Actions window by clicking on its
top right corner icon and hit Button Mode. This will
also turn each Action into its specified color. These
colors are to help you manage your Actions better.
You can assign color by Action types or any other
parameter you choose.
Finally, important thing to remember is that an action
will typically have more than one step, performing
Undo or [Ctrl]/[Cmd]+[Z] will only go back one step and will not Undo the entire Action.
To overcome this, use History window and Snapshot or File>Revert [F12] to go back to the
last saved version. Personally, I create a duplicate layer to which I apply Actions, this way I
can always go back to original layer or play with opacity to decrease Action‘s effect.
Installing Actions
If you have an Action file which you have downloaded
from the Internet or just have it on any type of media
device, you can easily install it.To do this, simply double
click on the .atn file. This will load all the necessary
information into Photoshop Actions library. You do not
need to keep the original .atn file, since once it is loaded
into PS Library it will be stored in Photoshop‘s internal
Actions panel.psp file. If at a later date you will need to
transfer or backup your Actions, you can do so by
selecting folder your Action is in, triggering Actions drop
down menu and selecting ‗Save Actions.‘ Remember, you
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cannot save an Action, you can only save a Set (folder) in which that Action(s) is in. You
can practice installing and running Action on your free Vivid Contrast file:
Creating Actions
If you often find yourself doing
repetitive steps in Photoshop over
and over again, it‘s time to create an
Action and make your life easier. To
record an Action, you first need to
decide which step you would like to
start from, because it and all the
consequent steps will be performed
on all images you apply that Action to. Sometimes you would want to start before even
opening an image, while other time you would only need to record select steps. Once that‘s
decided and you are ready to start hit ‗Create new action‘ icon on the bottom of Actions
window. This will prompt you to name the new Action, assign it to a set (folder), give it a
quick function key (optional) and assign a specific color (optional). You can always edit
these parameters later, by going to Actions drop down menu and selecting ‗Action
Options.‘ Once you hit ‗Record,‘ every step you perform next will be saved into that
Action. Red circle on the bottom of Actions window will indicate that your steps are being
recorded.
If you would like some text to pop up explaining a certain step, you can do so by placing a
Stop. Click on drop down icon in the top right corner and select ‗Insert Stop.‘ Write your
message and make sure to check ‗Allow Continue‘ to make sure the Action will go on
playing. This is especially useful if you are creating an Action for someone other than
yourself to use. Furthermore, you have an option to adjust any setting during Action
playback by selecting ‗Insert Menu Item‘ from Actions drop down menu and choosing a
specific menu item. However, consider that all of these stops require user input and will
interrupt automated process.
Once you have finished recording all your steps hit Square (Stop) button on the bottom of
Actions panel. This will finalize the Action creation. You can add or remove steps for each
Action by pressing Delete icon to erase or Record circle icon to resume recording. As I
mentioned before, all recorded Actions are saved to Actions panel.psp by default and will
remain in your Photoshop library. But you can also save a set or individual Actions for
back up or sharing. To do so, hit Actions drop down icon and select ‗Save Actions.‘
Remember, you can only save Action folders, even if it only has one Action. To use
Action, simply hit Triangle (Play) icon on the bottom of Actions window.

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Example
One of the most common tasks for a photographer in Photoshop is Image Resize

Actions Drop Down Menu

First of all, make sure all your original files are in a separate folder
and then create another folder for resized images. The last thing you
want to do is accidentally resize all your images and save over
originals. Then follow these steps:
 Create new Action
 Call it Resize
 Hit ‗Record‘
 Open original image
 Go to Image > Image Size
 Change image width to 500px and hit ‗OK‘
 Go to File > Save As and save the file to Resize folder
 Close the image
 Hit Square icon on the bottom of Actions window to stop
recording (notice how all of your steps are listed below your
Action name)
 Go to File > Automate > Batch
 Select your Actions set and then Resize Action
 Select Originals folder and check Override box
 Select Resize folder and check Override box
 Hit ‗OK,‘ Photoshop will process images (which might take some time, depending
on size of images, their amount and the power of your computer)
 You have a new folder full of resized images

Adjusting RGB Color

You can determine the current mode or change modes through theImage > Mode menu.
RGB Color
CYMK Color
Indexed Color
Choosing Colors
Hexadecimals and Color
Challenge of Consistent Color
What 24-bit Color Means
RGB Color

Color monitors generate color by mixing three colors of light (additive color) -- red, green
and blue. When all colors are on at full intensity (#fff), the result is white light. When all
colors are off (#000), the result is black. These three colors mix to form all of the colors in

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the RGB spectrum. You can set your output to 216-colors (the Web palette), 256 colors (8-
bit color), thousands of colors (16-bit color) or millions of colors (24-bit color).

CMYK Color

This color mode is the most critical for images that are to be printed (photos, brochures,
magazines, etc). Printing generates color by mixing four colors of ink (subtractive color) --
cyan, magenta, yellow, black. The Color Settings command (C*-Shift-K) offers several
standards for CYMK printing. Using Photoshop for printed documents is beyond the scope
of this workshop.

Indexed Color

Indexing is the process of assigning 256 (8-bit) or

fewer colors to represent the millions of colors
that potentially exist in a full color image.
Indexing is important for creating images to be
viewed on a computer monitor; the 216-color
Web palette is an example of indexed color.

Select the indexed color palette from the Image >

Mode > Indexed Color submenu or through
the Save for Web dialog. Choices include:

 Exact Palette
What the name implies; option available only if the image uses 256 or fewer colors;
no dithering.
 System Palette
Windows and Macintosh system palettes are composed of 256 colors; however,
they are not the same 256 colors.
 Web Palette
The 216 colors of the systems palettes that are found on both Macintosh and
Windows computers.
 Uniform
Creates a palette by uniformly sampling colors from the RGB color cube.
 Perceptual Palette
considers the color spectrum where the human eye is most sensitive.
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 Selective Palette
Optimized for Web colors and colors that occur in large areas of flat color.
 Adaptive Palette
Adapted to reproduce the colors that occur most often in the image.
 Custom
Creates a custom palette using the Color Table dialog box

Hexadecimals and Color

A hexadecimal color code uses a six digit number to represent an RGB color. For example,
white is #ffffff and black is #000000. These three primary colors are mixed to create colors
that we see on a computer monitor. Although browser-safe color is less important today
than three years ago, many designers stick to the palette as a conservative measure,
especially if they know that their audience has older computers. You can tell from the hex
color code if a color is browser safe; the color is composed of three sets of the following
number/letter pairs:
00 33 66 99 cc ff
Choosing Colors
The Foreground/Background color squares in the toolbar show you the current color
settings. The foreground color shows what color you will "paint" onto the background. The
background color shows what will be revealed if you "erase" (delete) portions of the
image.

There are several ways to select color:

 Click on a color
square (foreground/background
colors on tool palette). This will
activate the Color Picker. Then
choose or specify a color.

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 Click the eyedropper tool to set a new foreground color based on a sample from any
open document. Alt/Opt-Click to set a new background color.

 Select Colors and Swatches from the Window menu. The color palette allows you
to mix colors scientifically or by feel. The swatches palette show a set of 125 color
samples by default.

Consistent Color
There are several factors that make on-screen and printed color appear different to the eye;
there are also factors that make on-screen color appear different on different platforms and
monitors.

 RGB color is additive and CYMK color is subtractive. The color on a monitor may
appear brighter than the printed image.
 The gamut of color is larger for RGB than CYMK; thus, not all theh colors that can
be displayed on-screen can be printed.
 Input and display devices may use different color spaces (sub-sets of RGB).

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 Monitor gamma differs between Macs (*nix) and PCs. Thus images appear darker
on a PC monitor (default settings) than they do on a Mac monitor. This is important
to know when creating Web images that will look good across platforms.
What 24-bit color means
There are 256 different brightness settings for each of the primary colors (red, green, blue)
on most computer RGB color systems. Thus there are potentially more than 16 million
colors (256 x 256 x 256) that could be mixed. This gamut provides enough color to
realistically represent what our eyes see when we view something in the real world.
It takes 8 bits (a bit is a 1 or 0; 8 bits = 1 byte) of computer data to represent each of the
256 different values for each primary channel. To represent three sets of brightness settings
-- one set for each channel -- takes 24 bits (3 x 8).

Managing Assets with Adobe Bridge

Introduction
Adobe Bridge CS4 is a very powerful media manager letting you browse, organize, locate,
relocate or view different images or files from different Creative Suite products like
Photoshop, Illustrator and any other application. Besides wonderful preview options, you
can additionally alter images or files directly inside of Bridge or switch between your
Creative Suite applications using Bridge as a ―bridge.‖
At first, I wasn‘t sure why I should use Bridge and how it should speed up my workflow,
but after experimenting with it, I realized what Bridge is capable of. Is there a difference to
the Finder or the Explorer? Yes! There‘s a huge difference and this tutorial covers all the
features and will help make you an efficient Bridge user in future!

First Glance
When starting Bridge for the first time, Bridge asks you, if you want it to start at login so it
is instantly available when needed. You can skip this option and come back to the
preferences to change it later if you want.

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If this isn‘t the first time you‘ve started Bridge, but nevertheless want to check your
settings, go to Edit > Preferences > Advanced to turn on or turn off the Start Bridge at
Login option. I recommend starting Bridge at login, since it doesn‘t require that much
speed and works fine in the background. You can then open it much faster and use it
instantly.

Preferences
Similar to other Adobe Products, there is a wide range of options you can enable or disable
in the Preferences panel inside of Bridge. I would like to shortly mention some of the
settings which I changed. Go to Edit > Preferences or use the keyboard shortcut Command
+ K.
General
The first place to start is the General section
including the Appearance, Behavior and Favorite
Items settings. Most of the Adobe products let you
alter your interface colors. In Bridge, we can
change the User Interface Brightness and the
Image Backdrop, sliding from white to black or
vice versa. I prefer working with a darker
interface, since it emphasizes the actual images
and relaxes the eyes, but that‘s up to you. You can
additionally choose between different accent
styles which you can see below.

Cache
The next step is the Cache section where you can
increase the display performance by changing your
Cache size and how Bridge handles your Cache. Keep
in mind, the higher the values, the more hard disk
space and performance you‘ll need to display your
thumbnails and image previews. Again, experiment
with the settings to find what fits your system best.
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You should definitely compact and purge your Cache once in a while for better
performance.

Advanced
Another important section which you already know is
the Advanced section, where you can change the
preview settings like rendering or size. I enabled
Bridge to start at login and activated Software
Rendering and Monitor-size Previews.

Well that‘s it for now, we may or may not come back

to change some options in the Preferences panel
throughout this tutorial, but the best thing to do is
spend some time with the preferences to make sure
you utilize the full potential of your application.

User Interface, Options and Workspaces

Now, we are ready to jump into Bridge to get to know the interface, different options, task
based options and much more. We‘ll skip the standard application menus for now and start
with the options in the upper area inside of Bridge.

Go Back and Go Forward

Bridge works just like the Finder on
your Mac or the Windows Explorer on
your PC. These two buttons will go
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back or go forward one step in your file structure. You can see your file structure in the
Folder panel which we‘ll talk about shortly.
Go to the Parents or Favorites
This little triangle, which points
down, opens up a drop-down menu
where you can instantly jump to the
parent folder, where the currently
displayed images, files or folders are
located in or jump to your favorites
from the Favorites panel.

Reveal Recent File or Go to Recent Folder

This little icon opens up a drop-
down menu where you can select
recently viewed files from all your
applications or recently viewed
folders from your system.
You can either clear both lists by
simply choosing the appropriate
option in the drop-down list or
change the number of the recently
viewed files or folders in the list by
going to Preferences > General >
Number of recent items to display.
There‘s a little difference between displaying the recently viewed files and opening the
recently viewed files. I‘ll show you the icon which opens up the files and folders shortly.
Get Photos from Camera
If this is the first time you are using the Photo Downloader, Bridge will ask you, if you
want to download your images as soon as Bridge detects a connected device like a camera
or a scanner. I recommend choosing yes. Again, you can change this at a later time. This
feature is very useful and speeds up the work for Photographers or Designers who work a
lot with cameras, scanners and other similar devices.
By clicking on
the icon, the
Bridge Photo
Downloader will
open, providing
a few settings
which you can change prior to downloading your images to your system. For example, you
can choose your different devices, set the location where you want the images or files to be
saved, rename them while importing them or converting them to other formats.

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What I like about the Photo Downloader is the nice preview of the images, which can be
enabled by clicking on the Advanced Dialog. By doing that, you‘ll be able to additionally
assign metadata from templates or by entering metadata manually.
Refine Options
This drop-down menu reveals the
task based options in Bridge, which
we‘ll talk about shortly and skip for
now. The options are: Review Mode,
Batch rename and File info.

Open in Camera RAW

This little icon
will open up
your images in
Camera RAW
where you can
edit the image
directly inside Bridge. By clicking on Done, Camera RAW will return the altered image to
Bridge. The nice thing about the new Camera RAW option is that you don‘t have to change
any settings in the preferences prior to opening your files. Whether it is a .dng, .tiff or .jpeg
file type, you‘ll be able to open them up simply by clicking on this icon or using the proper
keyboard shortcut.
Output to Web or PDF
I really like this
built-in Output
module, where you
can simply create
PDF files or nice
Flash galleries similar to the ones from Light room. You can choose from different formats,
colors, layouts and much more. We‘ll talk about the Output section later in this tutorial
where you‘ll learn how to export your favorite images, collections or selected files to PDF
or the Web.
Workspaces
Similar to other applications from Adobe, Bridge CS4 is made up of multiple panels and
toolbars each composing a specific Workspace. Workspaces vary depending on the tasks
they were built for. Staying at the top, but moving to the right, you‘ll soon discover the
Workspace section where you can choose from different workspaces, each prepared for a
specific task.
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Depending on your screen size, there
could be space to display all of them, by
simply dragging the double-dotted line
to the left, but if your space is limited,
you can either click on the little triangle
on the right to choose another workspace
from the drop-down menu or right-click
on the name of a workspace to replace it
with another one. Depending on your
task in Bridge, you‘ll often change the
workspace for better control.
In case you don‘t like the default
workspaces and want to arrange the workspace to your needs, you can do that by dragging
and sliding the edges of the panels to create more space. After you‘re done, simply save
your own workspace by clicking on the little triangle choosing New Workspace, giving it a
name and saving it. It will then appear in the workspace list.
Search
To the right of the Workspace list, you can find the Search bar. The search functionality is
improved and offers a
variety of options
besides working
much faster and more
efficient. You can now search your current folders and subfolders in Bridge or use
Spotlight or Windows to help find your files on your system. Applying Keywords, Ratings
and other Metadata will help you find and filter your files much faster. We‘ll talk about that
shortly.
Another very nice feature is the functionality to add other search criteria besides the name
or keyword. By clicking on the New Search button, the Find window will pop up. You can
now add other search criteria, change the folder and matching of the results.
Compact Mode
I really like this feature and it speeds up my work. By clicking on this icon, Bridge will
change its size to compact mode which is big enough for good view, but small enough to
reveal most of your screen and other applications running in the background.
You can then
simply drag and
drop any image
from Bridge to
the appropriate application you like. Although you can open up files by double-clicking,
right-clicking or opening them through the Tool menu at the top of bridge, I prefer
dragging and dropping the images or files since it is more comfortable and faster to me.
Breadcrumb List
As you can see, Bridge provides a nice
breadcrumb list, where you can simply

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switch back one or more folders just by clicking on the name. By clicking on the triangles
pointing to the next folder, you‘ll be able to view subfolders in the same folder or files
from the subfolders. This listing speeds up the navigation and gives you a nice file
hierarchy to look at.

Browse Quality
When working with a lot of
images, you wouldn‘t
necessarily want high quality
images for thumbnail
preview, since it would slow
down your system. What you
can do in Bridge, is choose to
browse quickly by preferring
embedded images, which you
can activate by clicking on
the first icon beneath the
workspace list.
In case you want to preview your images in high quality for a more accurate preview, you
can simply click on the little triangle next to the second icon which is the icon for the
thumbnail and preview generation options. You‘ll now be able to change your preview
quality from fast preview to high quality preview.

Filter by Rating
This little icon, displaying a star, helps
you filter your images by their rating.
This isn‘t the only way you can filter
your files. You can additionally use the
Filter panel which provides a lot more
options you can use to filter your files
and folders. We‘ll take a look at the Filter
panel shortly.

Sort
Right next to the Filter by rating option you‘ll find a drop-down menu where you can sort
your files by different criteria like filename, type, date and more. The bigger triangular
arrow represents the sort order. You can choose between ascending and descending order.

Rotate
You can rotate your images directly inside of Bridge without using Photoshop or any other
application. Just click on the direction you want your image to rotate and Bridge will cover
the rest. You can choose between clockwise and counterclockwise rotation.

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Open Recent Files

This is the other option, referring to recent
files, I mentioned earlier. This icon will open
up your recently viewed files and folders in
the proper application, while the reveal option
displayed the recently viewed files and folders
inside of Bridge. You can clear this list too.

Create and Delete Files or

Folders
These two icons should be familiar to you and
their function is very simple. The left one
creates a new folder where you can store your
images or any other files, while the right one
deletes all selected files and folders.

Panels
At this point we covered all the features at the top of the Bridge interface and now it‘s time
to take a look at the different panels and how they work. As you already know, you can
arrange your panels the way you want by dragging the different panel edges. By double-
clicking on the Panel name, the Panel will collapse to open up more room for other panels
and previews.

Favorites
The Favorites Panel is visible by default, but you can close it or at least that‘s what I did,
because you can simply use the
Go to Parent or Favorites drop-
down menu at the upper-left
corner right next to the Go Back
and Go Forward icons to select a
Favorite. The cool thing in
Bridge is, you can simply add a
folder to your favorites by
dragging and dropping to access
it much faster at a later time
without having to search for it in
your file structure.
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Folders
The Folders Panel is a nice extension to the
breadcrumb list and helps you see where you
are at and what other folders you can access
from there. I‘m using both, because sometimes
it‘s faster to work with the Folders panel.

Content and Preview

These two panels are the most important panels
you‘ll use inside of Bridge. The
Content panel displays all the images,
files and folders inside of the current
directory. By selecting one of the
images, Bridge will instantly display a
more accurate preview on the right side
of your screen where the preview panel
is located by default.
There are multiple ways of working
inside the Preview Panel like using the
loupe or zooming in or out using the
proper Keyboard shortcuts. Additionally you can review the rating, any assigned labels and
the file name. When selecting multiple images, you‘ll be able to view multiple images in
the preview panel and using multiple loupes for each of them.

Filter
Bridge offers you a wide range of options to filter your images and files by enabling
different options. For example, choosing only images based on their orientation, aspect
ratio, specific rating, exposure time, ISO setting and much more. If your space is limited,
take a look at the fly-out menu to see what else you can choose from.

Collections
The collection Panel is a very nice feature and similar to setting your favorites. By
selecting multiple images you can create a collection which will later contain the images.
There are two types of collections. On the one side there‘s the User defined collection
which is marked red and the smart collections on the other side marked blue. The
difference between them is the way they work after you alter or delete your images.
Both collections are created on a virtual basis which means no files are getting copied,
deleted or moved physically from your hard disk drive. While User defined collections are
based on the selection of the user, smart collections are based on search criteria. You can
always review the current number of files in the folder or collection at the bottom left
corner.
For example, if you only want to create a collection containing the images with a rating of
two stars or more, you‘ll approach this similar to searching your files. By clicking on the

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Create Smart Collection icon and entering your criteria, Bridge will create the smart
collection, ask you for the name and save it in the collection panel. That‘s it!
Now the cool thing about this is what happens now. When we go back to our Los Angeles
folder and change the rating of one of the images which is not rated yet, Bridge will
automatically add it to the smart collection, in case the criteria is met. This is the reason
why it is a called smart collection.
Additionally you can change the folder where Bridge is searching for the images or tell
Bridge to consider subfolders too. Just click on the Edit Smart Collection icon on the top
right corner of the Content Panel to change or add other criteria. Rerun the search to update
your collection.
To create a User based collection, simply create a collection and drag and drop your images
to it or select the images first and then click on the Create a User defined collection icon.
Stacking and Batch Processing
This is another very important feature in Bridge which saves a lot of time and hard work.
It‘s the possibility to stack images which are similar to each other. To do that, simply select
a few images which you want to stack, go to the Stacks menu and click on Group as Stack.
You can also use the keyboard shortcut.
But the nice thing is that Bridge can take over. It automatically detects and later stacks
Panorama and HDR images. Go to Stacks and select Auto-Stack Panorama/HDR. Bridge
will then search, stack and return perfect image stacks based on these image types.
After that, you can select an image stack, go to the Tools menu and open it in Photoshop to
batch process it, merge it or let Photoshop create a nice Panorama by processing it.
Photoshop will automatically start, do the work and return the final image or images. You
can also send the files to other Creative Suite applications like Illustrator.
Metadata
So far, we‘ve learned how to filter our
images using the Filter Panel and filter
options from the tools at the top, but
there‘s another way of filtering images
and files: it‘s using Metadata. There are
two types of Metadata: descriptive
Metadata and additive Metadata.
Descriptive Metadata is the one which
you can see in the Metadata panel
beneath the Preview panel on the right
side. It contains information which
describes the image, like the type of
camera used, date created, size, color
mode, ISO setting, exposure time and
much more. Additionally you can insert
extra information directly by clicking on
the Info name, instead of using the File
Info option which is the way to add additive Metadata.

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The additive Metadata can be found, changed or added through the Refine icon by selecting
the image, then clicking on the Refine icon and choosing File Info. The File Info Window
will open up revealing a lot of input boxes where you can type in all kind of information
you want the image to carry around with it.
You can use the arrows at the top and the drop-down menu to reveal further panels. From
this window, you can additionally create different metadata templates; export them to other
applications or just save them to use them again at a later time or while downloading your
images using the Photo Downloader.
Keywords
Assigning Keywords to your images will help you find
them faster. There are several default Keywords which you
can choose from, but you can create your own Keywords
by clicking on the fly-out menu and choosing New
Keyword.
There are two types of Keywords in Bridge: Keywords and
Sub-Keywords. I personally assign Keywords rarely, since
I‘m not using the search form that much, but it is easy to
use. After creating your Keywords or Sub-Keywords, you
must select them from the list.

Preview Options
Now with the Interface, Tools, Panels and Workspaces covered, let‘s take a look at the task
based options and the preview possibilities.
Basic Full Screen Preview
The easiest way of previewing your images at a larger size is by selecting one or multiple
images and hitting the spacebar. Selecting one or multiple images and clicking the
Spacebar opens up a Full Screen Preview of the images. By using the left and right arrow
keys, you will be able to navigate to each image‘s full screen preview. Additional features
like zooming in or out or moving around the current image at any time help you pre-select
your images before moving into Photoshop.
Review Mode – Carousel View
The nice Carousel-style preview is accessible by
selecting multiple images and hitting Command +
B or going to the Refine icon and choosing the
Review Mode. Again, use the left and right arrow
keys to move the focus to the next or previous
image. The best part is the ability to remove an
image with a simple tap on the down arrow key.
Note, the image won‘t be deleted; it‘s just removed
from the slideshow.
This type of preview allows you to use the loupe
and the zoom options. By hitting Command + R
you‘ll be able to instantly access the Camera RAW,
whether it‘s a TIFF, JPEG or any other format.
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Camera RAW will then return the altered image back to the preview. Other than the basic
full screen preview, this review mode requires a bit more power from your computer and
GPU.
If you are more comfortable using the mouse or tablet just tab on the little icons at the
bottom of the preview to achieve the same effects.
Staying inside of this Preview, I would like to introduce another tip which will save you a
lot of time while pre-selecting. It‘s the possibility to rate and label your images using your
keyboard. Depending on your settings, you only need to hit the keys from 0 through 5 for
rating your images and 6 through 9 for the labeling.
If that doesn‘t work, add the Command key while rating or labeling. Go to Preferences,
choose Labels and you‘ll see which label color indicates which meaning and where to
enable or disable the additional Command key.

By clicking on an image in the background, Bridge will automatically bring it to the front
which is very nice and saves the carousel spinning and time. A second click on the image
will bring up the Loupe Tool.
Slideshow
Last but not least, I would like to show you the Slideshow inside of Bridge. The Slideshow
is similar to the full screen preview, except the images switch automatically. If the standard
settings are to slow or not what you are looking for, just tab the H key or go to View and
select the Slideshow Options for more control. Hit Escape to quit the Slideshow.

Thumbnails
Before coming to our last point, let‘s look at the Bridge Output options. I would like to
mention some of the best enhancements in Bridge CS4. Looking at the bottom right inside
of Bridge, you‘ll see additional options which are responsible for thumbnail preview and
how the Content panel displays the files and folders.
First, there‘s the good old Slider which allows a smooth and fast magnification of our
thumbnails. You can either click on the small and big icons on each side or move the Slider
dragging the triangle.

By increasing the thumbnails, you not only have a better preview of your images, but
unfortunately some of the images get cut off at the bottom. There was no solution for that
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in previous versions, but now the only thing you need to do, is click on the Click to lock
thumbnail grid icon next to the Thumbnail Slider. Isn‘t that cool?

At last, take a look at the View Content area which is also located at the bottom-right
corner. These three options let you choose how the Content panel should display your files
and folders. You can choose from thumbnail view, detailed view and list view.
Each one displays your files in a different way. While the detailed and list view add
additional information and metadata, the thumbnail preview is the simplest and fastest. At
this point, I want to remind you of the nice feature which locks the file in place and allows
better scrolling through the additional list information.
Output Module
This is one of the best features and makes the end of this tutorial perfect. In this section,
you‘ll learn how to create your own PDF files or Web Flash galleries for your clients or co-
workers. Select your images and click on the Output icon.

PDF
To create a PDF file from your image selection, simply choose PDF from the Output panel
and start applying your specific changes to the document format, layout or any other
available option which you can see below. Preview your PDF in the Preview panel and
Save it, that‘s it!
But there‘s something I don‘t like about this Output panel, it is the fact that it doesn‘t
refresh automatically as you might have noticed. Remember to click on the Refresh
Preview button each time you change your settings.

Flash Gallery
To create a Web gallery, the only thing you need to do is choose Web Gallery from the
Output panel. After that, you only need to apply your specific settings and give it a design
you like. Bridge will then create the Flash gallery and even code a nice HTML Browser
ready file for you.
But one of the coolest features is the possibility to upload your final product directly to
your server by giving Bridge your FTP connection information. Most of these Settings are
self-explanatory, so the best thing to do is going through them thoroughly by yourself.

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