Beginning - Tracy Marks
Beginning Photoshop
CS4 and CS5
Tracy Marks, M.A.
95 Bow street, Arlington, MA 02474
(781) 641-3371 tracy@
Windweaver Web and Windows Training
Private consulting and training in Photoshop, Photoshop Elements, Powerpoint,
Adobe Illustrator, Basic Windows and Internet Skills, How to Sell on Ebay
Courses offered at:
Cambridge Center for Adult Education
Lexington Minuteman Community Education
Newton Community Education
Tracy Marks' Windweaver and Webwinds Resources for Photoshop:
Windweaver Web, Windows and Photoshop Resources
copyright 2011 by Tracy Marks
NOTE: Many image files provided for these exercises were photographed by
Tracy Marks. They are copyrighted and may not be used commercially without permission.
ADOBE PHOTOSHOP CS5 with Tracy Marks
Topics to be covered will be selected from the following:
OVERVIEW, INTRODUCTION TO TOOLS
interface preferences overview of tools navigation zoom
palettes color box paintbrush erase to history undo, history palette
RESIZING IMAGES, CANVAS SIZE, SAVING TO JPG
ruler and guides fixed ratio marquee/proportion tool presets image size
resolution crop canvas size content-aware-scaling file formats and jpg
COLOR MODES, COLOR CORRECTION and ADJUSTMENT (100 minutes)
reduce noise color picker custom color histogram and levels variations
hue, saturation and brightness edit, fill swatches black and white
SELECTING BY SHAPE and COLOR
marquee feathering and anti-aliasing magic wand quick selection tool
lasso/magnetic masking
LAYERS and TRANSFORMATIONS
creating, viewing, naming, altering, moving, flattening layers adjustment layers
transformations: scale rotate flip skew perspective distort
PHOTOSHOP EDITING TOOLS
dodge, burn, sponge clone tool spot healing brush content-aware fill
healing brush gradient history brush patch tool lighting effects
unsharp mask filter high pass sharpening gaussian blur liquify
TYPOGRAPHY and LAYER STYLES and EFFECTS
horizontal and vertical type type mask effects layer styles
ADOBE BRIDGE and BATCH RENAME, ADOBE BRIDGE (90 minutes)
batch rename files adobe bridge views keywords and tags metadata labelling and rating search and sort filters slideshow
NOTE: The practice images used in this class are either from photoshop training books by Scott Kelby and Martin Evening, or by Tracy Marks. All are copyrighted and may not be used commercially.
PC and MAC DIFFERENCES: This course is being taught on the p.c. The primary difference between Photoshop on the pc and on the Mac is that the alt key on the pc is option on the Mac, and the control key on the pc is the apple/command key on the map:
SOME ADOBE PHOTOSHOP TOOLS
VIEWING TOOLS
zoom - for increasing or decreasing the magnification while viewing an image
hand - for scrolling through an image which is larger than the active window
ruler (now within eyedropper) – measures distances, location and angles
SELECTION TOOLS
marquee - for making rectangular and elliptical selections
crop - for selecting a part of image and discarding the rest; also for resizing
lasso - for making freeform selections
magnetic lasso – for drawing selections that cling to the edges of the object
magic wand- for selecting a color in an image, related to color similarities of adjacent pixels
move - for moving a selection, layer or guide
PAINTING TOOLS
paintbrush - for painting soft-edged strokes using the foreground color
paintbucket (now by gradient tool) - for filling closed areas with the foreground color
eraser- for erasing pixels, painting with background color or restoring portions of saved image
magic eraser – for erasing to transparency
eyedropper - for sampling existing colors by picking up a color from an image and changing
the foreground or background color to match it
pencil - for drawing hard-edged lines with either the foreground or background color
line tool - draws straight lines
gradient fill - creates a gradient fill, ranging from one color to another
type - for entering text and changing font and font size
vertical type – creates vertical type on an image
type mask (transparent type) - creates selection borders in the shape of type
EDITING TOOLS
history brush – paints back in history within the selected portion of the image
clone – sampling an area of image, copying it to another location in same or different image
healing brush – works like the rubber stamp, but blends the cloned area into the texture and
and lighting of the surrounding area
spot healing brush – healing brush which doesn’t require sampling, for repairing small spots
red eye brush – instantly replace red in red eye with black or shades of grey
patch tool – copies selections over area of image, to cover blemishes etc.
pattern stamp – for painting with the selection as a pattern
smudge – for creating smudge-like watercolor effects
blur/sharpen –blur or soften hard edges/ sharpen soft edges and increase detail
dodge/burn/sponge – for lightening shadow areas, darkening highlights, or changing
saturation within image; dodge lightens, burn darkens, sponge saturates or desaturates
VECTOR GRAPHICS TOOLS
shape – male layer for creating ellipses, circles, rectangles, squares, polygons etc.
pen - for drawing smooth-edged paths
path selection tools* – path composite and direct selection tools for working with paths
ADOBE PHOTOSHOP COMMANDS
common shortcuts, prepared by Tracy Marks
FILE AND EDIT COMMANDS TOOLS
control C copy B paintbrush
control K preferences C crop
control N new D default fore/background colors
control O open file E eraser
control P print H hand
control Q exit Pshop I eyedropper
control R show rules J healing brush, patch tool
control S save L lasso
control alt S save a copy M marquee
control T free transform N line
control V paste 0 toning tools
control W close S rubber stamp
control x cut T type
control alt z multiple undo V move
control Z undo W magic wand
control alt z multiple undo X reverse foregr/bckgr colors Z zoom
SELECT COMMANDS
control A select all VIEW PALETTES/BARS
control D deselect; select none F1 help
control G grow selection F5 show/hide brushes
control I invert selection F7 show/hide layers
control J make selection into layer F8 show info palette
VIEW COMMANDS OTHER COMMANDS
tab hide toolbar and palettes click zoom in /magnify
ctrl L image, adjust, levels ctrl tab tab through open images
control spacebar zoom in (in other tool) shift add to selection
alt click zoom out /demagnify alt subtract from selection
control + + zoom in alt (drag) copy while moving
control + - zoom out ctrl arrow move one pixel
control 0 (zero) fit on screen alt del fill layer w/ foregr color
control H hide edges; show extras ctrl del fill layer 2/bckgr color
control R show/hide rulers ctrl F repeat last filter
COLOR ICONS: Click top double arrow to reverse foreground and background colors. Click black and white squares to restore default black and white colors.
VIEWING ICONS: Bottom icons on toolbar are for masking and viewing. The row under the color icons is for regular view and quickmask. The last row is for viewing. Left icon is normal view in window. Middle icon is full screen view with menu bar visible. Right icon is full screen view without menu bar visible.
PHOTOSHOP KEYBOARD HINTS
SELECT: Hold shift to select more than one object.
To select all, use ctrl a. To deselect all, use ctrl d.
ZOOM: Z
To hide/show marching ants (show extras), use ctrl H.
With zoom tool chosen, hold alt to zoom out (image smaller). Or use ctrl -
To zoom in (image larger), click with zoom tool or use control + .
Type zoom percentage at bottom left of status bar OR use Navigator palette.
To switch to hand tool while zooming: spacebar
MARQUEE: M
With rectangular chosen, hold shift to make a square.
With elliptical chosen, hold shift to make a circle.
Using marquee tool: Hold alt to draw from the center out.
Drag marquee to move it without moving the selection.
Use marquee, then IMAGE, CROP to crop a selection OR use crop tool.
LASSO: L
Hold down shift and drag outside your selection to add to your selection.
Hold down alt and drag inside your selection to subtract from your selection.
Hold down alt and click to create points for straight line segments; use polygonal lasso
MOVE : V
Move selection with move tool.
Hold alt while moving a selection to leave the original and move a copy.
Holt shift while moving to constrain movement.
Use arrow key to move selection grid when selection tool is active.
Use shift arrow key to move selection grid 5 pixels when selection tool is active.
Use control, arrow key on keyboard to move entire selected area in 1 pixel increments.
EYEDROPPER: I
Hold alt while sampling for sample color to become background color.
MAGIC WAND: W
Hold shift and click outside selection area to include more colors in selection.
Hold alt and click inside selection area to exclude colors from selection.
SWATCHES PALETTE (shortcuts changed in photoshop 7):
Hold shift and click on a color to replace it with a new color
Hold control and click on a color to replace the background color
Hold alt and click on a color to delete it from the swatches palette.
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ADOBE PHOTOSHOP: Glossary
calibration - adjustment of computer monitor and color conversion parameters to compensate for factors that affects the onscreen and printed image
clone - to duplicate all or part of an image using the rubber stamp tool
dpi or dots per inch - a measurement for measuring resolution of printer (see ppi)
duotone - grayscale pictures printed using two printing plates
feather - fade edge of selection to a specific number of pixels, making some pixels transparent
filter - technique or tool for applying special effects to an image
floating selection - selected area which can be moved without affecting underlying pixels
gamut- the range of colors available
image resolution - the spacing of pixels in an image measured by ppi or pixels per inch, which
determines the amount of information stored in the image
interpolation - adjustment of resolution and or number of pixels in an image by adding or
deleting pixels (bicubic is slow but precise; nearest neighbor is fastest but the least
precise); also referred to as resampling up
layer - separation of an image into levels based upon depth so that portions of the image at
a similar depth can be worked on without affecting other portions
monitor resolution - the number of pixels per inch used by a computer monitor, determining
the size of the image on screen (480x640, 600x800)
nonfloating selection - selection made using a selection tool in Photoshop (which if moved,
alters the background, leaving only the background color)
output resolution - the number of dots per inch that the output device such as printer can
print (laser printers are often 300-600 dpi)
pixels - individual dots used to display a picture on a computer screen
ppi - the number of pixels per inch, determining resolution of your screen or monitor
resampling - adding or subtracting pixels from an image, altering its resolution (resampling up
adds new pixels to increase the resolution, often resulting in some blur or graininess;
resampling down decreases pixels to decrease resolution without loss of quality)
selection - an area of an image chosen for editing
tolerance (fuzziness) - range of pixels within which the operations of a tool operates
TERMINOLOGY OF COLOR
reflected light: light as perceived by our eyes when light waves are reflected off objects and portions of
its wavelength are absorbed by the objects
subtractive colors: colors which cannot be created by mixing colors. Subtractive colors are created by reflective light. See CMYK.
cmyk: cyan, magenta, yellow and black - the subtractive color wheel used for professional printing, and for creating graphics meant primarily for printing; uses color separations and halftone screens
process colors: cmyk colors, used in printing
spot colors: special premixed inks used instead of, or in addition to, the process color (CMYK) inks. Each
spot color requires its own plate on the press
transmitted light: the way our eyes receive light through a transparent object such as a monitor. Light
which is transmitted creates additive colors.
additive colors: RGB - red, green or blue, colors received from transmitted light, as on a computer
monitor. Adding 100% red, 100% green and 100% blue creates white; 0% creates black
rgb: the additive color model, used on computer monitors for graphics to be viewed on-screen.
hsb: a color model based on varying hue, saturation and brightness
grayscale: a range of 256 colors between black and white bitmap: black and white only
tone: color mixed with grey tint: color mixed with white shade: color mixed with black
hue: a color's name, related to wave length of its transmitted or reflected light
saturation: intensity or strength of a color, or dullness as compared to gray. 100% saturation is vibrant.
value: the brightness or lightness of a color, related to its relative position on a scale of white to black.
luminosity: the brightness of a color, related to amount of white within the color.
analogous colors: colors adjacent to each other on the color wheel
Blue: green and violet. Orange: red and violet. Green: blue and yellow.
Red: orange and violet. Yellow: green and orange. Violet: red and blue.
complementary colors: colors opposite each other on the color wheel - blue and orange, red and
green, yellow and violet
triadic colors: combination of three colors equidistant from each other on the color wheel. Usually red,
yellow, blue, or orange, violet, green. (Red orange, yellow green and blue violet are also triadic
warm colors colors perceived as warm and vibrant, attracting attention, seeming larger and closer than
they are: red, red-orange, orange, yellow-orange, and yellow
cool colors: colors perceived as restful, appearing to recede and seem smaller, further away than they
are - green, blue -green, blue-violet, blue (Yellow-green and red-violet are neither)
anti-aliasing - alleviates harsh appearance of jaggies (jagged edges caused by low resolution and square
pixels) by blending object's edge with background color and softening area where object and background overlap; problematic if moving antialiased selection to different color background
dithering: converting image to the colors supported by a computer platform, by choosing colors close in
hue to original colors. May involve mixing different color pixels to produce illusion of another color.
bit resolution (pixel or color depth) - the number of bits of information per pixel, influencing the number
of colors (8bit =256, 24 bit =16 million)
color depth: the number of bits of color information available to each pixel in an image, determining
number of colors available
color mode - color system used to display and print documents (RGB, CMYK or grayscale)
color palette: the selected group of colors available for use in an image
color reduction: reducing number of colors displayed in an image in order to view it in less color depth;
reduces file size, but may seriously diminish color quality
graduated fill: approximating a smooth gradation of blended colors, with range of shades/ hues
halftone: a sheet of glass or film with grid patterns or lines used to convert a continuous tone image into
dots of various size so it may be printed
moire: undesirable patterns in an image created when converting files, scanning an image printed from
a magazine or book, or when using an incorrect halftone screen angle
process color: the 4-color-system used for 4-color separations in color printing
spot color: a color-matching system used to specify an exact color to be used for offset printing; the
pantone color system is commonly used
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GRAPHICS FILE FORMATS FOR THE PC
A graphics file is a binary file (comprised of 0s and 1s) containing a file header and image data. The file header includes necessary information for reading the file - the format and version of the program in which an image is saved, number of colors, how to read the file. The image data may contain a memory map of pixels in the image (raster images) or mathematical data for recreating the image (vector).
COLOR DEPTH
1 bit black and white 4 bit 16 colors 7 bit 128 colors
8 bit 256 colors 16 bit 65,356 colors 24 bit 16 million colors
SOME RASTER IMAGE FILE FORMATS
Raster images consist of hundred of tiny dots or pixels, creating variation in color and shading. These images contain continuous tones and reproduce photographic detail, but are not easily enlarged (individ-ual pixels become apparent) Raster image files store the color value of every pixel of an image, which they read across and down, from upper left to the bottom right of the image.
BMP (Windows Bitmap)
The most commonly used Windows raster format, developed by Microsoft, and used by Windows Paintbrush or Paint. Capable of handling color bit depths ranging from 1 -24. Depths of 1-8 are slightly compressed, but compression is too minimal to be useful to large high resolution images.
GIF (Graphics Interchange Format)
Developed by Compuserve, and used primarily for 8 bit color, GIF files are capable of high compression, and allow for multiple images per file. Gif is a primary Internet file format for images of 256 colors or less.
JPG (Joint Photographic Experts Group)
Exceptional for large, high resolution image because of its advanced lossy compression techniques, JPG is the choice for graphics from 8 bit grayscale to 24 bit color. However, image loss may be high when compression is maximum and jpg files cannot contain layers or channels. It is however a primary format for putting scanned images on the Internet.
PSD (Photoshop document)
Photoshop's primary file format, enabling work with layers and channels, and necessary for using some of Photoshop's many tools. tools.
TIFF or TIF (Tagged Image File Format)
TIFF supports 1 - 24 bit color, and can be converted to a variety of color depths. Because of its variable length header, it is highly adaptable, and used by the Mac and PC. However, because of many versions of TIFF, not all are compatible with every Windows program. Compression varies, and can be high. Files can retain channels but usually not layers. The best format for scanning pictures, apart from PSD.
DNG (Digital Negative format) Adobe’s camera raw format.
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VECTOR IMAGES (clip art, illustrations)
Vector files consist of lines and mathematical instructions (not pixels) describing the image, drawing according to specific coordinates. Created and used by drawing (illustration) rather than painting software, vector files are small, and can be easily reduced, enlarged and transformed without loss of quality. However, they cannot contain as much detail as raster images, and don’t represent continuous, gradient tone images or photographic images well.
CDR and CMX (Corel Draw)- Corel Draw's vector format..
AI (Adobe Illustrator) – Illustrator’s vector format.
WPG (Wordperfect Graphics) - Wordperfect's vector format.
METAFILES
Both raster and vector, containing pixel information and mathematical descriptions. Some are only vector.
WMF (Windows Metafile) and EMF (Enhanced metafile) popular vector file formats , used by Windows programs that use vector graphics. An excellent alternative for WPG and CDR files.
EPS (Encapsulated postscript)- Developed by Adobe, and used by both PC and Mac, this file format supports 24 bit color and is frequently used for CMYK high quality print reproduction. However, EPS files are not compressed, are large in size, and can be difficult to convert to other formats
How To Evaluate A Photo Before Photoshopping
Questions To Ask Yourself
copyright 2010 by Tracy Marks
YOUR AIM
1. Do I want a print or web (email) image, or both?
2. If web, what height and width do I want, and what maximum file size?
3. If for print, what height and width, and what resolution?
4. Do I just want to improve the photo realistically, or use artistic effects to make a work of art?
5. Do I wish to composite it with selections from other photographs?
6. Will it be viewed on a web page or larger page? If so, what size and color will the backdrop or canvas be?
7. How much time I am willing to put into improving this photo?
COMPOSITION
1. What is the center of interest of this photograph?
2. What do I most like about this photo, and wish to enhance?
3. What do I most dislike, and wish to minimize?
4. How might I crop the image to improve the composition – to cut out extraneous areas, or balance the picture differently (e.g. rule of the thirds, de-center the horizon)?
5. Does the image need straightening, and if so, do I wish to crop out the irregular edges that result, clone them back in or warp (stretch) the picture to fill in the gaps?
COLOR CORRECTION
1. Does the image have an overall color cast which needs correction?
2. Are parts of it too light or too dark? What parts need to be lightened or darkened?
3. Do I wish to extend the range of exposure to encompass more dark or light, or minimize the contrast?
4. Do I wish to alter the hue of any parts of the photo?
5. Does the image need more or less saturation in any area (or overall)?
6. Do I wish to emphasize or alter the lighting?
RETOUCHING
1. Do I need to reduce the noise in this photo? (Do this before color correction).
2. What kind of retouching would best improve this photo?
3. Are there any spots or scratches I wish to remove?
4. Are there any objects (e.g. dead tree branch at edge of sky) I wish to remove?
5. Is there anything/anyone I wish to make bigger, smaller, thinner, wider etc.?
6. Is there anything that I wish to add to this photo (from another image – such as a bird in flight, or by drawing or adding a shape)?
7 Do I wish to sharpen any portion of this photo, or the whole photo?
8. Do I wish to blur the background or any area of the photo?
FINAL
1. In what file format(s) do I wish to save this image?
2. Do I want to add a watermark or copyright notice to it?
3. Do I wish to make and save a different version (size, resolution, cropping etc.) of this image?
ADOBE PHOTOSHOP CS5 INTERFACE
copyright 2011 by Tracy Marks tracy@
Bars At Top Of Screen
Title bar, Menu/Applications bar, Options bar (which changes with each tool)
Menu/applications bar icons at Left: Launch Adobe Bridge, MiniBridge (MB),
View Extras, Zoom, Arrange Documents, Screen Mode.
Workspaces at right of applications bar – Essentials is default. Here you can choose
to save workspaces for different users or different projects.
View Extras: show guides, grids and rulers. You can also access these options in
the view menu (show, extras). To change ruler settings, right click it and
choose change measurements. Or make changes in edit, preferences.
Zoom tool: See view menu for zoom shortcuts. Ctrl 0 is fit on screen; Ctrl 1 is
view actual pixels. To zoom, you can also use the zoom tool, and the zoom
tool with the alt key to zoom out, or press control + and control -. Always
view image at 100% zoom to evaluate sharpness.
Arrange Documents: different layouts for viewing multiple images. Float all in
windows prevents them from being arranged in tabs. Match zoom and
location matches zoom and/or location in multiple pictures.
More on Multiple Documents:
In edit, preferences, interface, you normally indicate “open documents as tabs”
If you have multiple documents opened as tabs, you can pull each out of the tabs by
dragging the title bar. Drag back to return to tabbed view.
The keystroke shortcut control tab key cycles between multiple open images.
To “float” images on screen, choose windows, arrange, float all OR click the
arrange button on the application bar and choose float all in windows.
Return from “float” view to tabbed view by dragging the title bars into the tab area,
or choosing window, arrange, consolidate all to tabs.
To open a second window of the same image (so you could zoom in on one and
view both side by side), choose windows, arrange, new window for (image
name). Changes made to one will also occur on another.
(Note: To open a duplicate of the image which you wish to change from the original,
use the new document button in the history palette.)
With multiple images open, you can choose window, arrange, match zoom or
window, arrange, match location to view the same area of each image.
Screen Modes:
Standard mode (recommended), Full screen, Full screen with menu bar.
Full screen modes center document and have no scrollbars.
Use the F key to toggle between screen modes.
Screen Mode multiple document layouts are also available here.
Workspaces:
Choose a workspace preset (Essentials is default) or create your own workspace. Set it
up, choose the workspace button, choose save workspace, and name it. In the
future, access it from the workspace button menu (or click there to reset it). You
can also access workspace via window, workspace. Menus and keyboard short-
cuts (edit menu) can be customized and saved as part of your workspace.
We’ll begin with the Essentials workspace, and make the toolbar double column by
clicking the double arrows at top. Then we will customize.
Menu Bar (File, Edit, Image Etc)
Some items in menus have shortcut keys you can use instead of accessing menus.
More shortcut keys can be created in edit, menus.
A right arrow by a menu item indicates more options, which will become visible.
Toolbar (Usually Left Of Image)
Recommended: Click the double click arrows at top to expand it to double pane
Drag it from the dark grey strip at top to float it anywhere on your screen.
Point to a tool to see its name. If tool has a small black down triangle, you can
hold your cursor on it momentarily to see and access additional tools.
Most tools have shortcut keys. To toggle between related tools in the same tool area,
press SHIFT and then the shortcut for that tool area.
If you hold down on a tool briefly rather than click on it, you can momentarily
switch to that tool then back to the previous tool.
At Bottom of toolbar: To change foreground (active) and background (canvas)
colors: click the small black and white box or press the letter d
To reverse foreground/background colors: Click double arrow or press the letter x
Bottom icon: toggles between regular view (with selections) and mask mode
Status Bar (bottom left of screen)
You can set your zoom percentage on the left. Type a number then press ENTER.
More zoom options are in the view menu and on the options bar for the zoom tool.
The arrow to the right enables you to choose what kind of informational content you
want to see. Usually you will choose document sizes.
Document sizes: The number on the left is the size of the original or flattened
version of the document. The second number is the size of the document after
resizing, adding layers and channels
PANELS (previously called PALETTES)
All the palettes/panels can be accessed via the window menu if not visible.
Switch to an individual palette by clicking on its name tab.
Click the left double arrow or grey bar at top of panels to expand them outward.
Double click the title tab to roll them up like a window shade.
Click the x at top right of title bar (when separated from the larger panels) to close
an individual palette, or right click the title bar and choose close, or open the
popup and choose close.
You can drag a bottom corner of most palettes to resize them.
Combining palettes:
Combine a number of palettes together into a tabbed group by dragging the name
area of a palette and placing its title immediately to the right of the title of
another palette. Make sure that the tip of the pointer arrow is within the dark
grey area of the tabs, or the palette will not combine with the other.
Palettes can be docked one on top of another to form a panel by dragging one to the bottom of another. A blue line will indicate that the palette will dock.
Palette Flyout Menu:
Palettes have flyout/popup menus on the right (indicated by four lines and a down
arrow). Many options for using the palette can be found there.
Determine what information the info palette will show by clicking the flyout menu
and choosing palette options.
MORE INTERFACE HINTS
Press the TAB key to turn off view of your toolbar and palettes.
Press SHIFT TAB to remove palettes but not the toolbar.
Right click tool at far left of options bar to reset tools to default setting.
Mac users: Choose window, application frame to hide your desktop.
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OPENING and SAVING DOCUMENTS
in Adobe Photoshop Cs5
copyright 2011 by Tracy Marks tracy@
OPENING A DOCUMENT
To open an image, choose file, open or press control o. The navigate to the
appropriate folder, and choose indicate the file format you wish to open.
Choose file, open recent to reopen recently opened images.
To place an image in another image, choose file, place. (If you open a vector image,
you may need to size it and/or choose the resolution).
CREATING A NEW BLANK DOCUMENT
To begin with a new blank document, choose file, new or press Ctrl N and make
your choices for height, width, resolution, background contents (canvas color)
and color mode.
Choose a preset for the image setup or type in your own custom dimensions. If
you have an image on the clipboard via file, copy or printscreen, the default
setup will be the geared to that image or screen.
Click advanced at bottom of dialog box to choose a color profile.
NOTE: You can save your file setup here as a preset, naming it for future use.
SAVING A DOCUMENT
Use file, save as or press control S to save a document. Make sure you save to the
appropriate folder.
Change the file format to .psd when working in Photoshop and saving as a
Photoshop document.
Note options at bottom of save as dialog box:
Save as a copy saves a copy of the image in the background, enabling
you to continue to work on the image in Photoshop.
Other choices enable you to indicate whether to save alpha channels,
layers, spot colors etc.
For the web, you might want to indicate lower case extensions.
Saving a thumbnail enables you to more easily preview images in My
Computer or Windows explorer but will add to file size.
To save as a .jpg, you can either use the file, save as dialog box, or to compare
different jpg qualities, file, save for web and devices.
If the file was originally a .jpg, make sure you save under a different name unless
you want to overwrite the original file.
CLOSING A DOCUMENT
Choose file, close or press control w to close one image.
Choose file, close all or press control alt w to close all open images.
EDIT, PREFERENCES
Recommended Settings in Adobe Photoshop Cs5
copyright 2011 by Tracy Marks tracy@
*indicates a change from the default settings
Edit, Preferences, General
Image Interpolation: Bicubic
*Export Clipboard: Allows you to copy and paste from Photoshop into other
programs. Turning this off saves considerable ram.
*Zoom clicked to center: Turning it on enables zoomed documents to center.
History Log: Check if you wish to record each step of your work. Decide if you
want it saved in metadata and/or as separate text file. Both concise and
detailed saves are possible.
Edit, Preferences, Interface
*General: Grey screen modes are recommended, with drop shadow. (You can
also click the interface background to change the color)
Show Tool Tips: Check to see identifying labels for your tools.
Auto-Collapse Iconic Panels: Do NOT check!
Open Tabs as Documents: Check
*UI Font Size: Try medium for interface fonts to be slightly larger.
[pic]
[pic]
Edit, Preferences, File Handling
Image previews: Automatically saves thumbnails but increases file size.
File extensions: Consistent use of lower case is recommended.
*Maximize PSD and PSB Compatibility: Saves flattened versions of image that can
be opened in early versions of Photoshop. Adds to file size. Turn it off!
Edit, Preferences, Performance
Most changes in this section take effect the next time you start photoshop.
*Let Photoshop Use: Recommended, let photoshop use 65% of ram. You can use
70% if you have no other programs open while using photoshop, except for
background utilities. Your RAM needs to be least 8 times the size of all your
open documents.
*History States: Will vary with size of document and amount of RAM. 25 history
states (undos) is reasonable if you have 2 gbs of ram, 40 if you have 3 gbs or
more. For small files, you may be able to have 100. For very large (100mb+)
files, you may need to limit yourself to 10 or fewer history states.
*Cache Levels: Memory setting which includes how zoom views and histogram are
stored and the speed of screen redraw. Use higher levels (6-7) for quicker
performance for large files. Otherwise a setting of 4 is the default.
Cache Type: Tall and thin is best for files with dozens of layers. Big and flat is best
for large files with few layers.
Cache Tile Size: Indicates the amount of data that can stored at once. Choose a
bigger tile size for low resolution images, and a smaller tile size for higher
resolution images with many layers.
Scratch Disk: Use your emptiest internal regular drive as your scratch disk for vir-
tual memory. The c drive may be your only option. Your working file requires
at least five times the amount of contiguous space on a scratch disk as the size
of your file.
Some Other Edit, Preferences Settings
Cursors: Usually, you will want normal or full size brush tip and standard for other
cursors. Since a soft brush generally flows a bit further than its indicated size,
choosing full size for soft brushes will reveal the entire area affected.
NOTE: Make sure you do not have your CAPS LOCK key on, as it will alter cursors
and prevent them from showing the full size of the brush stroke.
Transparency and Gamut: Change to colors other than gray/white when working
with images that consist of a lot of gray and white
Units and Rulers: Inches is the default but you can change it here, or right click on your ruler to change it for a given file. For screen resolution, most people use
either 72 or 96 ppi for the Web.
Guides, grids and slices: Change colors of your guides or grid if existing colors are
difficult to see because of similar colors in an image.
RESIZING AND RESAMPLING PHOTOS
Notes copyright 2009 by Tracy Marks
1. For images you will display on screen, on the Web or send through email, calculate the dimensions in pixels. For print, you may want to use inches.
2. Screen resolution for is usually 72 pixels per inch; some monitors are capable of 96ppi.
3. Most people have 800x600 or 1024x768 resolution, which they determine in their display settings. Toolbars at top and bottom of screen, and scrollbars along the outside of the browser further limit the viewing area on the web. For web viewing, aim to keep your image files 650 x 500 pixels or smaller.
4. Although many people have high speed internet access, at least 1/3 of the population still uses 56k modem dialup access. Files load at 4-5kb per second at 56kbs. Therefore an image file that is 100kb in size will take 20-25 seconds to load, via the web or email. Make sure you reduce your file sizes to a reasonable loading time.
5. Digital camera files saved in .jpg will usually be saved at 72 ppi resolution, which is ideal for the web, but the height and width will probably be too large for email or web viewing. Since you want to print files at a resolution of at least 200ppi, your digital photos will be too low a resolution for printing. Therefore they must be resized (which involves resampling) and/or altered in resolution (which does not involve resampling).
6. Images can easily be reduced in size without significant loss of quality, whereas enlarging images may lead to significant quality loss unless original image is large enough to bear significant reduction in height and width.
7. For print, resolution and dimensions are inversely proportional. Make sure that resampling is turned off. As you increase the resolution of an image, you decrease its height and width. As you increase its height and width, you decrease its resolution.
8. In order to decrease (downsample) or increase (upsample) the height and width of an image without altering the resolution, you have to resample the image. Photoshop will recreate the image, using an "interpolation method" with some deterioration of quality, especially if the image is upsampled. The best but slowest interpolation methods are bicubic. Use bicubic sharper for downsampling and bicubic smoother for upsampling.
9. When saving images for the Web or email, you will convert them to jpg in (save, save for the web), choosing a quality between 1-100. The setting 100 is the highest quality and largest file size. The setting 0 is very poor quality and a very small file size. Choose the setting which enables you to find an acceptable compromise between quality and size.
KEY POINTS:
• To change both height/width and resolution, change resolution first.
• To change resolution but not height/width, uncheck resample.
• To change height/width but not resolution, check resample.
• A useful slogan: YES resolution, NO resample; NO resolution YES resample.
• Alternate slogan: RESIZE=RESAMPLE. Resolution is the reverse.)
UNDERSTANDING COLOR
notes copyright 2009 by Tracy Marks, compiled and adapted from numerous sources
and paraphrasing the color tutorial at
LIGHT
The light from the sun which appears white is composed of many colors. Our eyes detect only a portion of the electromagnetic energy spectrum of colors in light. Of the visible spectrum, we perceive short wavelengths of light as blue and long wavelengths as red, with other colors between red and blue. Our eyes cannot perceive the shorter wavelengths of ultraviolet light and x-rays or the longer wavelengths of infrared radiation and radio waves.
The primary colors of visible light which we see on screen are red, green and blue, known as RGB. In between the primary colors on the color wheel are the secondary colors, cyan, magenta and yellow. Known as CMY, or with black (K), these colors are what we see on the printed page.
Red and green make yellow, green and blue make cyan, and blue and red make magenta. Opposite color combinations are red/cyan, green/magenta, and blue/yellow. Increasing one color weakens its opposite.
ADDITIVE COLORS: RGB (screen)
RGB (Red, Green and Blue) is known as additive color because adding all colors together creates white. The RGB color spectrum can create every color visible to the eye, and has a greater color range than CMYK. The RGB color model is used by television and computer monitors, scanners, digital and video cameras. Illumination of black pixels (phosphor dots) with red, green and blue phosphors produces color.
SUBTRACTIVE COLORS: CMYK (printing)
CMYK (Cyan, Magenta, Yellow and Black) are the colors used for process printing. CMYK is known as subtractive color since adding all colors together blocks the reflection of light and creates the appearance of black. It is also known as reflective color, since light upon colored ink is reflected back to our eyes. Adding black in printing adds depth to darker colors and shadows.
Photographs, printed pages and objects in our visible world absorb wavelengths of color. When objects absorb all the light upon it, they do not reflect light back to us, and therefore appear black. When they reflect all the light they receive back to us, they appear white.
Most printing is known as process color, and relies upon transparent color inks which filter and subtract light in order to create color. The result is also influenced by the choice of paper, which reflects unabsorbed light back to the viewer. With printing, cyan, magenta and yellow are the primary colors, and red, green, blue the secondary colors, created by printing two primary colors atop each other. Images which are printed are first converted to patterns of small dots (the printing equivalent of pixels) , each which contains C, M, Y or K. Paint also utilizes reflective color – e.g. green paint reflects green light.
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COLOR IN PHOTOSHOP
In Photoshop, you choose your color mode in image, mode. Since inkjet printers convert RGB to CMYK, most photoshop users printing at home work in RGB. If you do convert to CMYK, do not convert back to RGB, since the conversion to CMYK reduces your color range substantially, and you can not regain it.
Since there are fewer colors in CMYK than RGB, and colors are produced on paper rather than the lit screen, there will always be a color difference between screen and print, a difference which will vary, depending upon the colors used, and may not be visible. The brightest colors, especially blues and greens, are most likely to appear muted when printed.
Windows users should be sure to double click the GAMMA icon on their control panel to calibrate their monitor for lightness/darkness, as well as use the calibration options for their color printer. Some people find that Photoshop tends to shift colors slightly toward magenta or red when printing, and therefore may reduce the intensity of those colors.
On an inkjet printer, you usually do best printing from RGB since the software utilized by your inkjet printer converts from RGB to CMYK. However, if you take your images to an offset printer, you will want to convert to CMYK (image, mode menu) and save your file in the CMYK mode. In view, proof setup you can choose the mode by which you wish to proof your colors, which you can do then by choosing view, proof. The color shift will be more obvious when your image is printed.
Dye printers have a larger gamut of colors than inkjet printers.
In Photoshop’s color picker, when you select a color, a triangle with exclamation point indicates if the color is out of gamut and will not print. (Highly saturated colors tend to be out of gamut). Clicking on the square beneath the triangle takes you to the nearest printable color. The cube underneath the out of gamut warning and the check box at bottom left of the color picker enable you to convert your chosen colors to web colors – the 216 colors required for background, text and links on web pages.
COLOR SPACE
Apart from using RGB, CMYK (or grayscale – 256 shades or tints ranging from white to black), you need to set your color space in photoshop BEFORE YOU OPEN YOUR PHOTO. Color space pertains to the method a device uses for creating colors. Most digital cameras by default choose sRGB, which is also the best option for web colors. When you open a digital camera image in photoshop, it will open in the sRGB color space unless you change this option. sRGB is also your best option for Web or screen-related work. For print, you are likely to have much better results if you set your color space of Adobe RGB 1998. Some digital cameras will also enable you to choose an Adobe RGB 1998 color space, but doing so will increase your file size and may create two image files per image (image and conversion file).
You can change your RGB color space in edit, color settings. Leave the cmyk setting alone unless you are doing offset printing and receive specific instructions from the printing professional.
In edit, color settings you can also indicate whether you wish to embed color profiles for printed work. This is not necessary unless you are sending your image to a commercial press or to someone else with photoshop who will be viewing it on a different monitor. If so, you both need to coordinate your color space and mode, and determine whether to convert any image you view on your computer to the color space you are using, or to view it in accordance with the color space used by someone else.
Color management is a complex subject. For further information, including reviews of special color management calibration utilities, search on the Internet – many tutorials and reviews are available. Two highly regarded books on the subject for digital photographers available at are Practical Color Management by Eddie Tapp and Color Management in Digital Photography by Brad Hinkel. Another book which has not yet been reviewed The Photographer's Guide to Color Management: Professional Techniques for Consistent Results by Phil Nelson.
TONAL CORRECTION in PHOTOSHOP
Notes copyright 2008 by Tracy Marks
Histogram Palette
The histogram graphs the light and dark tonal values in an image. It updates as you work.
Open the histogram palette, in window, histogram.
The far left of the histogram indicates the amount of pure black in the image; if the graph
is up against the left wall, the black is clipped and the image is underexposed – shadow detail is lost.
The far right of the histogram indicates the amount of pure white in the image; if the graph
is up against the right wall, the white is clipped and the image is overexposed -
highlight detail is lost.
The middle range of the histogram maps the tonal values between black and white.
If the histogram stretches across the graph, the image has a wide tonal range.
Many gaps and spikes indicate a poor quality or overworked image.
A light exclamation point appearing in the histogram indicates that it is reading from the
cache or last updated version of the image; click the cache warning exclamation
point or refresh button at right to update it if you have just altered the image.
Use the tiny arrow at right top to explore compact, expanded and all channels view.
In expanded view, use the popup menu on top to explore different channels. Choosing
color will show the histogram for each color channel simultaneously.
To show the color of the channels, check show channels in color in the right popup menu.
If you have a layer selected, you can choose selected layer for source.
The all channels view will expand the palette to show the histogram for all color channels
as well as the composite (RGB, CMYK etc.) channel.
Levels
The best methods in Photoshop for adjusting tonal values are in the image, adjustments
menu - shadows/highlights, levels or curves.
With levels, you can work directly on the image or create a levels adjustment layer from the
layer adjustments button at the bottom of the layers palette.
In levels, the input slider is used to increase the contrast in the image. Move the white
slider in (left) to increase the white or highlights. Move the black slider in (right)
to increase the shadows or black in the image.
If you press alt as you move the black and white points, you see where the white and black
begin and increase. Often your best results are obtained by moving both black and
white sliders just before the black and white in the image start.
You can click in the image with the black eyedropper to see the black point (0) and with
the white eyedropper to set the white point (255).
To lighten or darken the midtones, use the middle slider in the input graph.
The output slider at bottom is used for decreasing contrast. Moving black in lightens the
black or shadows; moving white in darkens the white or highlights.
Normally, the last 7 degrees of shadow and highlights are not printable. After setting
input values, you may want to drag the output sliders in to about 8-12 and 244-
248 to reflect printable values.
If you select an area in the image before entering levels, the changes that you make in levels
will apply only to that selection.
THE NEW ADJUSTMENTS PANEL
|[pic] |DEFINITIONS for icons and their functions in the Adjustments Panel and Adjustment Layers |
| |BRIGHTNESS/CONTRAST Make simple increase or decrease adjustments to tone and contrast. |
| |LEVELS Adjusts color balance by setting pixel distribution for highlights, midtones, shadows. Can |
| |work in individual color channels. |
| |CURVES Provides up to 14 control points for highlight, midtone, and shadow adjustments for |
| |individual channels. |
| |EXPOSURE Adjusts tonality by performing calculations in a linear color space. Exposure is |
| |primarily for use in HDR images. |
| |VIBRANCE Adjusts color saturation so clipping is minimize |
| |HUE/SATURATION Adjusts the hue, saturation, and lightness values of the entire image or of |
| |individual color components. |
| |COLOR BALANCE Changes overall mixture of colors in an image. |
| |BLACK AND WHITE Convert a color image to grayscale while maintaining full control over how |
| |individual colors are converted. |
| |PHOTO FILTER Makes color adjustments by simulating the effects of using a Kodak Wratten or Fuji |
| |filter in front of a camera lens. |
| |CHANNEL MIXER Modifies a color channel and makes color adjustments not easily done with other |
| |color adjustment tools |
| |INVERT Invert the colors in an image |
| |POSTERIZE Specify the number of tonal levels for each channel in an image and then remap pixels |
| |accordingly. (Choosing two tonal levels in an RGB image gives six colors: 2 red, 2 green, and 2 |
| |blue) |
| |THRESHOLD Converts grayscale or color images to high-contrast B&W images. Pixels lighter than the |
| |threshold are converted to white). |
| |GRADIENT MAP maps the equivalent grayscale range of an image to the colors of a specified gradient|
| |fill – from shadows to midpoints to highlights. |
| |SELECTIVE COLOR Adjusts the amount of process colors in individual color components. |
| |
|OTHER COLOR ADJUSTMENT OPTIONS: |
|Match Color matches color from one photo or layer to another, and from a selection in an image to another selection in the same or a different|
|image. |
|Replace Color replaces specified colors in an image with new color values. |
|Solid Color and Pattern fill layers let you fill a layer with a solid color or a pattern. |
COLOR MANAGEMENT
copyright 2010 by Tracy Marks
EDIT, COLOR SETTINGS
ICC profiles determine the color space of your photos and include a set of instructions about an image’s color mode (RGB, CMYK, greyscale, duotone), as well as specific information pertaining to that color mode and optionally, your choice of paper for printing. In edit, color settings, you choose the color space for your photos; you can change it settings at any time to apply different settings to particular photos.
If you are printing your image on your home printer, you will probably want to choose North America Prepress2 for your color space. This will open your image in Adobe RGB 1998, which gives you the best results in printing on an inkjet or laser printer; it will preserve color profiles which have been created for your image. Make sure that you set your digital camera for Adobe RGB 1998 if you are using this option. High end digital cameras and SLRs have this option, usually available in the menu choices. In some cameras, this will result in two files per image.
If you are preparing images for the Web or screen, your best option is North America Web/Internet, which opens your image in sRGB, the RGB mode used on the web, and the default for digital cameras. Adobe RGB 1998 has a wider range of colors than sRGB, but you cannot access that range if you have originally taken your image in sRGB.
In the color settings dialog box, you can change the options for RGB, CMYK, grayscale and spot color, which will result in changing the settings field to custom. In regard to RGB, some
Photoshop professionals use ColorMatch for printing, and those who have high end and dye sublimation printers choose Adobe ProPhoto. The other choices are more advanced (leave them alone if you don’t know what you’re doing!) and will not be covered here. However in regard to grayscale, 1.8 gamma is the gamma (midtone) setting for the Mac and 2.2 for the PC.
The color management area in this dialog box pertains to your choices when you open an image that was created in a different color space than you wish to use. Convert to Working RGB or Working CMYK indicates that you are converting that color space to the RGB or CMYK settings you have chosen. Preserve Embedded Profile prevents such conversion, but will only have effect if the original image has a profile embedded from Photoshop. Turning these choices off ignores color management. To avoid using automatic settings, then select ask when opening and decide each time you open an image whether you want your settings to apply.
In color settings, if you click the more options button you not only have more visible options at the bottom of the dialog box, but you also have many more choices for RGB, CMYK etc. Leave these alone unless you get specific instructions from a commercial printer you are using to make particular changes here.
If you wish to change your settings for a particular photo, you can easily do so in image, mode
(but don’t expect to see any improvement if go up from grayscale or CMYK to RGB). However, the edit, color settings dialog box allows you to make more specific changes, such as the particular kind of RGB or CMYK.
ASSIGNING PROFILES
You can assign a profile to a particular photo in edit, assign profile. To alter that profile or choose a particular one geared to your specific printer, choose edit, convert to profile. (If you aren’t using high resolution on your monitor, this option may not be visible initially in the edit menu, but you can access it if you click the arrow beneath assign profile. Note also that you can customize your menus in edit, menu so that you don’t have to view the options that are not useful to you).
In edit, convert to profile, you have many choices – especially if you click on the advanced option. If you go to the web site of your printer’s company (e.g. Hewlett-Packard, Canon) you should be able to download profiles for your specific printer. Look in their menus for areas called driver support or downloads. You may be able to choose a number of profiles, geared not only to your printer but also your choice of paper. Many home printers use RGB rather than CMYK profiles and do their own conversion to CMYK from that RGB profile.
If printing commercially, ask your print shop to send you a .csf file with recommended color management settings. In Windows, save it into the program files menu in common files, adobe, color, settings.
VIEW PROOF (See Adobe help for further information)
Preview on screen an approximate simulation of how your image will print in view, proof setup. Doing so will not alter your image. There are options here for color blindness - viewing your image as a red (protanopia) or green (deuteranopia) colorblind person would see it.
In view, proof setup, choose working CMYK if you don’t have a printer profile installed, so that you use the CMYK setup you chose in color settings. To use a printer profile, choose view, proof setup, then custom, then select your printer profile from the list.
If using an inkjet printer and a profile, your choices might be:
1) Choose view, proof setup, custom.
2) In device to simulate, choose your profile.
3) Uncheck preserve RGB numbers or preserve CMYK numbers.
4) For rendering intent, choose perceptual or relative colormetric
5) Check black point compensation, and simulate paper color.
6) If using uncoated paper, choose simulate black ink
To save a printer profile, click SAVE, and save it as a .csf file to the folder mentioned above.
If you choose view, proof colors you preview will remain visible. Toggle it off to again (or use the shortcut control y) view your image without the preview.
JPG and GIF FILES
notes by Tracy Marks tracy@
Convert your images to JPG using file, Save for the Web (visual display) or file, save as (and choose format jpg).
JPG/JPEG FILES
JPG =Joint Photographic Experts group
16 million colors; 24 bit graphics and grayscale
lossy compression; usually compresses more than gifs (separates out brightness from
color, throws away pixels); takes 1-2 seconds additional to decompress
qualities usually from 1-100; the higher the quality the larger the file size
not very sharp; may need to sharpen first
use for scanned images, photographs, grayscale images
works best with photos with continuous gradations or color
may not save well if photos are high contrast, have sharp transitions between color,
have large solid blocks of color or small type
don't save a JPG over a JPG if you can avoid it
not all computers can read progressive (interlaced) JPGS
can't be transparent or animated
GIF FILES
Graphics Interchange Format, originally owned by Compuserve
Indexed color = 256 However only 216 colors available on the Web
uses LZW run-length encoding to tighten an image; lossless but may be lossy
works best for images with limited color, large blocks of solid color, horizontal bands of
colors, small type, high contrast images with sharp transitions between colors.
often best for text, logos, screenshots, cartoons, clip art, line drawings and poster art.
make palette choices for determining which colors to keep and which to eliminate
when colors are dropped; adaptive usually preferred; selective and perceptual
palettes may also be adequate; web colors are the 216 hex colors
file size may be reduced by dropping gif images to fewer colors – 128, 64 etc.
dithering gives the illusion of colors which are not exist on the palette and may be
interlaced gifs load step by step in groups of pixels
gifs can be made transparent (transparent gifs) and also animated
usually but not always larger in file size than jpgs, usually sharper with crisper detail
PNG
Another option is .png (Portable Network Graphics), a compressed bitmap image file, similar to .GIF, which also provides lossless compression (meaning there is no loss of quality). It was actually designed as an alternative to .GIF files. However, like JPG, it functions in RGB and supports millions of colors.
MAGNETIC LASSO
Notes copyright 2009 by Tracy Marks
Works best with images that have contrasting edges. Click to start, then drag the mouse without holding it down. Each click adds a contact point. The delete key erases the most recently drawn segment. When done: Click on beginning point OR double click OR press the ENTER key. To undo a portion and retrace your steps, back up and click a previous anchor.
LASSO OPTIONS:
LASSO WIDTH: how close to the edge a pixel must be for the lasso to recognize it; 1-40. Turn on caps lock key to see precise cursor so you can see the width you have chosen. The smaller width, the more precise the lasso, but the greater the required hand precision.
EDGE CONTRAST: how much contrast there must be between adjacent pixels as lasso selects.
Choose 1-100%; bracket keys adjust contrast up ] and down [ by one pixel. If area inside and outside selection are not high contrast, you will not want high contrast for lasso selection; you will choose a lower number. To specify lasso’s sensitivity to edges, enter a value between 1% and 100%. A higher value detects only edges that contrast sharply with surroundings; a lower value detects lower-contrast edges.
FREQUENCY: how many anchor points the lasso uses to find edges; the more points, the tighter the selection; choose frequency between 0-100. A higher value anchors the selection border in place quickly.
On an image with well-defined edges, use a greater lasso width and higher edge contrast and trace the border roughly. On an image with softer edges, try a smaller width and lower edge contrast setting; trace the border precisely. Use smaller width, higher value for edge contrast value for precise border. Use wider width, smaller value for edge strength for rough path.
HINTS:
1. Use control panel, mouse to slow your mouse down when using the lasso.
2. Turn on your caps look tool to use a precise cursor.
3. For softer edges, set feathering in lasso options.
4. Use the hand tool to move around a large image. Pressing and holding the spacebar temporarily switches to handtool; releasing the spacebar returns you to the lasso.
EDITING YOUR MAGNETIC LASSO:
You will not be able to effectively edit/refine your magnetic lasso using the magnetic lasso tool (although you can use refine, edge on the options bar).
Switch to the lasso tool and loop over areas you wish to add or remove. Use the alt key to subtract from your selection and the shift key to add to your selection.
USING LAYERS in Photoshop
copyright 2008 by Tracy Marks
To work on a layer, it must be activated (in blue) and visible (eye on)
To create new layer: use the new layer button at bottom of layers palette.
To create and name new layer: hold alt key while pressing new layer button
To duplicate layer: drag layer to the new layer button OR press control J
To convert layer to selection: control click the image icon on the layer
To determine which layer you're on: control click the image and consult the layers palette
To make a layer invisible or toggle to visible: click eye in left column
To make only one layer visible: alt click the eye (toggle)
To move a layer: use move tool, or keyboard arrow keys to nudge slightly
To convert the background to a layer: double click background layer
To change the restacking order: drag layer up or down layers palette
To rename a layer: double click its name and type in new name
To delete a layer: drag to the trashcan at bottom of layers palette
To keep the clear areas of a layer transparent: select layer and click lock transparency
icon (first lock) on layers palette
To merge two layers: select top layer, choose layer options arrow on top right of layers
palette, choose merge down (or use control e)
To flatten image: choose layer options arrow on top right of palette, flatten
To change layer opacity to make it semi-transparent: change opacity on layers palette
(hint: typing 0 is 100% opaque, 1= 10%, etc. as long as you're not in a painting tool).
To change opacity of the fill but not entire layer: use fill on layers palette
Blending modes affect the appearance of the layer. Lighten and screen are commonly used
to lighten a layer; darken or multiply to darken it.
To create a separate document for each layer before flattening, right click layer, choose
duplicate layer, document new, save document.
LAYER FEATURES NEW TO PHOTOSHOP VERSIONS after CS2
To select multiple layers: control click each layer OR select top layer, hold shift, select last
To link multiple layers: select layers, click link icon at bottom of layers palette
Layer groups combine layers together into groups to make organizing easier and enable
you to make changes to many layers at once.
To create a layer group, click the layer above where you wish to add a group, click the
new group button at bottom of layers palette, drag layers you want to add to the
group onto the group layer in the layers palette (alternately, choose layers, then
press control G, or choose new group from layers in layer options.
To move a layer group: Choose move tool, choose autoselect group or autoselect
layers on option bar, then move the layers group
Photoshop now has SMART OBJECT layers (which may contain documents from other
applications; double clicking the layer edits and alters the original document as well
as the layer) and a LAYER COMPS palette (which stores sets of layer characteristics
and enables you to serve multiple versions of an image in one file)
CLONE TOOL and CLONE SOURCE PALETTE
Notes copyright 2010 by Tracy Marks
For use with the Clone Stamp Tool and Healing Brush
USING THE CLONE TOOL: Turn off aligned so your original sample point remains the same. Click method: Hold down alt and click on the improved area you want to use to take a sample. Then click on the area you want to correct. Drag method: Take your sample as above but at a distance from the area to correct so you have a “runway”. Then move your cursor to the area you wish to change, and click and drag. Pay attention to the sample point to make sure it doesn’t pass over the wrong area, since it will move in the direction you move your cursor..
SOURCE POINTS: You can store up to FIVE clone source at the top of the clone source palette. The first one will be stored in the first source area, the second one in the second source area etc. You can also choose which source point area you will use by clicking it in the palette before sampling. Each source point remembers the source image and settings chosen. Before painting in the cloned area from a source point, click it in the source point palette, then paint.
Having multiple clone sources makes it easier to use cloning not only to retouch a image, but also to copy portions of an image. For example, select and save several selections of flowers in a garden picture. Then set a clone source in images you wish to use to within each flower selection. Load each selection, and paint a clone source into it.
OVERLAY: Show Overlay (in the clone source palette, and also accessed by pressing alt shift) superimposes the original source over your image, giving you a preview before you paint. Turn off show overlay and also clipped if you don’t want to see a preview in your clone tool. Opacity affects the opacity of the overlay – you can make it more transparent so it blocks your image less (Note: this is NOT the opacity of the clone tool, which is chosen in options bar.) Invert inverts the overlay. Autohide hides the overlay as you paint.
WIDTH AND HEIGHT: The width/height area on the clone source palette enables you to scale your source to make it bigger or smaller as you paint. To alter the width of the clone source as you paint, press alt shift left bracket (smaller) or alt shift right bracket (larger).
OFFSET: Set offset to adjust your original source location if it slightly off.
ROTATE: Set rotate to rotate the cloned pixel area. Type a number to indicate
the rotation degree – e.g. 45 = 45 degrees
MODES: In Cs4, you can choose a mode such as darken or lighten for the clone stamp in the clone source palette. Usually you will have it set to normal.
CHANGES IN OPTIONS BAR: You can now choose which layers to sample.
You can now ignore adjustment layers if they interfere with your cloning.
USING THE HEALING BRUSH
Photoshop CS2, CS3, CS4, CS5
Notes copyright 2009 by Tracy Marks
1. OPTIONALLY: First take a snapshot of your image.
2. Use control J to duplicate your base layer. Work on the new layer.
3. Choose your brush size and brush options. Most likely, you will use a hard-edged brush, normal mode.
4. Choose sampled on options bar and either aligned or nonaligned.
5. You may want to lower the opacity – perhaps to 75% - in order to leave a realistic trace of the original. (Completely removing the wrinkles on an elderly person's face will look unrealistic). Or you can do the opacity lowering
later, in step #9 below.
6. Alt click the area to use as a sample – an area with the desired texture.
7. Click drag in the direction you wish to eliminate, using fairly short strokes and only covering areas you wish to alter. (There will be temporary lightening or darkening effect). Drag, release the mouse and drag again.
8. Resample when necessary.
9. When done, lower the opacity of the duplicate layer until you get the results you want. You can then flatten your layers if necessary for your next task.
ADDITIONAL HINTS for the HEALING BRUSH
1. For small corrections, use a small brush and just click.
2. If there a strong contrast at the edges of the area which you will be healing, make a selection first with the marquis tool or lasso. Make it bigger than the area you want to heal but follow the boundary of the contrasting pixels. This will keep your selection from bleeding outside the selection.
3. If your result is too smooth, IMMEDIATELY after healing, choose edit, fade healing brush. Determine the opacity to maintain.
4. You may sample from one image and apply to another, but both images must be in the same color mode unless one is grayscale.
5. If you don't like your results, retrace your steps using the history palette.
ABOUT THE SMART HEALING BRUSH
The smart healing brush does not require sampling and is for “healing” spots or small areas. Since it works by blending in copies of adjacent pixels, just make sure you use it on spots that are surrounded by pixels that you would want to use. To allow the original area to slightly show through, use it at about 75% - 90% opacity.
_______________________________________________________________________
CONTENT-AWARE FILL (new to Photoshop CS5)
copyright 2011 by Tracy Marks
Content-aware fill seamlessly replaces a selection or “spot-healed” area with surrounding pixels in a manner which carefully blends the selected area with nearby content. The results are sometimes exceptional, although frequently some retouching, especially around edges, may be necessary. You will find this method most effective areas surrounding a selection are similar to desired content.
The primary ways for using it are with edit, fill or the spot healing brush. One technique may be more effective than the other, so you may wish to try one and then the other or better results. Each time you do it, your results will be different, so feel free to undo and try again.
FIRST, you may want to duplicate your layer (control J). Call the duplicate layer content-aware.
THE SPOT HEALING BRUSH METHOD:
1. Choose the spot healing brush. On the options bar, select content-aware and sample all layers.
2. Choose a relatively small brush, so you can paint fairly closely over the area you want to replace.
3. Paint in continuous strokes the area you wish to remove, slightly overlapping surrounding area.
4. When you release the mouse, the old area will be removed, and filled in with nearby content.
5. You can then use retouching tools (including more content-aware fill passes) to refine the results.
6. If you are unhappy with the results, undo and try again. Or switch to edit, fill content- aware.
7. If you want to drag over a straight line such as a telephone line, click at one end, then hold shift
and click at the other end of the line. If a straight line doesn’t work well, try drawing a jaggy line.
THE EDIT, FILL METHOD:
1. Using the selection tool of your choice, select the area you wish to remove.
2. Refine your selection so it is fairly accurate, avoiding including detailed edges that don’t belong.
3. Use select, modify, expand or refine edge to expand your selection slightly beyond its current
area. For small or low resolution images, try 1-3 pixels. For large or high resolution images, 5-10.
4. Choose edit, fill with content-aware fill chosen in the dialog box. (Alternately, when you have
a selection, you can press the backspace or delete key, to open content-aware fill.)
5. Then use your retouching tools to further retouch if necessary. Frequently, the spot healing
content-aware option is your best choice for final retouching.
6. This method is particularly effective when you rotate your canvas and have edges that need fill-
fing. Either select edges with a selection tool and use content-aware fill. Or, if your selection is
on its own layer, control click the layer’s thumbnail to reselect, than choose select, inverse.
ADDITIONAL HINTS
1. For smooth results, repeat content-aware fill over the same area, using the same technique or
trying both techniques.
2. If your results are mostly satisfactory, repeat content-aware just over the areas that need fixing.
3. If the “healed” area looks unnatural or is too obviously duplicating nearby areas, try the spot
healing brush with content-ware fill several times over it. Or select the problem area with a
selection tool and try edit, fill, content-aware again.
4. If the area you are healing has two very different surrounding areas, make two (or three) separate
strokes, avoiding dragging too close to the edge of the different areas.
5. If your results pick up areas you don’t want, try again with a smaller brush.
Photoshop Sharpening Using High Pass Filter
posted on New England Photography Network
Tracy Marks, Arlington, MA
Here's a Photoshop and Photoshop Elements sharpening tip that I find far superior to unsharp mask and smart sharpen, which I learned at a photoshopworld conference.
a) Duplicate your background layer (control j will do it) OR If you only wish to sharpen central elements in your photo and not the entire photo, select the elements you wish to sharpen with the lasso, magic wand, masking or whatever selection technique you prefer. Then do control j (command j on the Mac) to duplicate only that layer.
b) On the duplicate layer, above the background layer, choose FILTER, OTHER, HIGH PASS. Set the filter to between 10-25 - depending on your picture. This will create a grey overlay in which the edges are sharply defined.
c) In the layers palette, change the mode from normal to SOFT LIGHT. The grey will disappear and the edges effect will transfer to duplicate layer.
d) Voila! You have a sharpened image which in most cases is far better than you can get with smart sharpen or unsharp mask, and which you can easily correct.
e) If the sharpening effect is too much for you, you have several options:
1) The best and easiest option is to lower the opacity of the duplicate layer.
OR
2) You can use the history brush (with whatever opacity you wish) to paint back all or a portion of the original on the duplicate layer. In your history palette, make sure you are at the last step. Choose the history brush and click with it at the step before the high pass filter. Then use the history brush at 100% opacity or a lower opacity to paint back whatever you wish from the original
OR
3) You can select out the areas you wish to revert to the original on the duplicate layer and simply delete them
OR (a clumsier option)
4) Alternately you can choose edit/fade and fade the effect, but to use this option you should change the mode to SOFT LIGHT before using the high pass filter, and then you must fade the effect immediately after using high pass or you will lose that option.
I use this effect with all my photos now, setting high pass at about 10 for images I wish to retain some softness (like many of the seagull images from Thacher island I just posted), but on the average setting it about 20, and sometimes lowering the opacity to about 75%. Warning however: It will increase your file size substantially!
PHOTOSHOP WORKFLOW
The Order of Steps in Working with Photographs. Not all steps will be necessary.
copyright 2009 by Tracy Marks
PRELIMINARY
1. Calibrate your monitor, scanner, and/or printer. (Windows users, use the Adobe
gamma icon in your control panel for luminosity calibration).
2. Obtain an ICC profile for your digital camera/scanner. (Image, mode, assign profile)
IMAGE ACQUISITION
1. Scan at a higher resolution then you need and at least 100% of size.
2. Or take your digital camera photos on the highest settings and size your camera allows (at highest bit depth)
FIRST STEPS
1. Open your image and convert it to the colorspace you choose to use (Adobe RGB 1998 is usually recommended for print. Use SRGB for the Web).
2. Choose a name for your “master image” and save it as a psd file. Use this in the future as your original image.
3. Resize and change resolution for “master image” – not necessarily final image. This will be the image from which you make images for the Web and print, so keep it at the largest size and resolution you will need.
4. Duplicate the background layer so you can always return to the background (drag layer to new layer button in layers palette)
INITIAL ADJUSTMENTS
1. Crop, rotate and straighten your image if necessary.
2. If needed, use filter, reduce noise for noise reduction before doing color reduction..
GLOBAL EXPOSURE CHANGES (entire picture)
1. Consult histogram to view exposure graph.
2. Use adjustment layers (button at bottom of layers palette) rather than the image
menu for color corrections to hue, saturation and brightness.
3. Adjust shadows/highlights with levels or shadow/highlights before altering color.
4. Adjust color with hue/saturation, color balance or variations.
LOCAL EXPOSURE CHANGES
1. Select area. Correct color with hue/saturation or color balance adjustment layer.
2. Alternately use dodge, burn and sponge tools to manually alter color.
RETOUCHING
1. Zoom into picture to look for problem areas.
2. Use retouching tools – clone, healing brush, patch etc.
3. Sharpen your image as last step in color correction and retouching. Use filter,
sharpen, unsharp mask or smart sharpen.
LAYER WORK
1. If using layers, do create and manipulate your layers.
2. Make type layer if needed.
3. Use file, save as to save copy of image with layers (under different name) so you
can use this as your working copy (if not the original).
4. Flatten image.
5. Save copy of image without layers for your current work.
FINAL STEPS
1. Do your final resizing/resampling (or resolution change) for use of this image
for print or the Web.
2. File, save to save your image.
_____________________________________________________________________
AFTER SELECTING: REFINE EDGE
Refine edge b becomes available on options bar when you make selection with selection
tool. Alternately, you can choose select, refine edges
Allows you see preview feathering effect so you can choose the precise amount
of feathering you want, unlike select, feather
To reselect a deselected area, choose select, deselect
The background fills with white so you can see the edges
Icons at bottom show preview modes for alternate views such as original image,
black, white or mask
Refine Edge Dialog box:
Contract/expand: Enables you to expand or contrast your selection
Radius: Determines how wide an area of pixels are analyzed when determining
the opacity for the edge of a selection. The falloff effect created is not as
blurred or transparent as feathering.
Feather: For softening edges and creating a subtle transition, while preserving
the hue along the edge (same as feather command but with preview)
Smooth: Smears the pixels along the edge of the selection as if you had just
smudge tool. Helps smooth jagged edges caused by using lasso tool
Contrast: Sharpens/hardens the edge by creating a more contrasting boundary
TROUBLESHOOTING PHOTOSHOP
When something goes wrong.....and undo doesn't work!
Document-Specific Problems
Is the problem document-specific or application-specific? To discover if it's a problem related to your particular document, open a new file and see if the problem is occurring there. If not.........
Check your Options Bar
Are the options set as you want them to be?
Is feather on by mistake – or set too high – for your current tool?
Is feather on for another tool and interfering with your current activity? (check the lasso and magic wand).
HINT: Try to keep feather set at 0. Make your feather choices by right clicking and setting feather there rather than typing a feather amount on the options bar).
What about your Selections?
Is something selected by mistake? (Try control d to deselect)
Are you selected without realizing it because control h (hide extras) is on?
Do you need to select your layer, type etc.?
Did you press ENTER or ESC after a transformation to complete or cancel the process?
Check your Layers Palette
Are you on the right layer?
Is the layer on which you are working visible (eye on)?
Is the layer locked when it should be unlocked?
Is the layer linked when it should be unlinked?
Are you on a layer mask instead of the layer (or vice versa?)
Is one layer blocking the visibility of another?
Do you have the right opacity and/or fill settings on the layers palette?
What about Mode?
Are you in the right color mode – rgb, indexed color, grayscale etc?
Have you changed your blending mode to the wrong mode?
Are you in the masking mode (bottom of toolbar) by mistake?
What about Tool and Type Settings?
Is your cap locks key on by mistake?
Are you using the wrong tool? (check your tool preset palette)
Is the opacity of your tool set correctly?
Does your type layer need to be rendered?
USING ADOBE BRIDGE CS4
Notes copyright 2009 by Tracy Marks
Note: CS5 notes for Adobe Bridge will not be completed until late March.
NAVIGATION
1) In the View menu, make sure that you have SHOW FOLDERS selected. (You can also choose show items from subfolders). Use the folder tab in the left panel or the yellow up folder icon at top of Adobe Bridge to navigate to a folder containing pictures.
2) To add a folder to your list of Bridge favorites in the left panel, select the folder and choose file, add to favorites or right click on it in the left column and add to favorites.
3) To remove a folder from favorites, right click it. Choose remove from favorites.
4) If the favorites folder isn’t visible in the left column, click the third icon from the right (down arrow) at top of your screen to view your favorites. Or choose favorites in the window menu.
5) Use the 4th icon from the right by the favorites icon to view recent files or folders.
GET PHOTOS
1) To get photos from your digital camera via Bridge, choose file, get photos or click the fifth icon (camera icon) on your icon bar, and choose the device where your pictures are stored, and where you wish to copy them. You can create a new folder here.
2) Other choices in get photos include: rename files, preserve current file name, delete from memory card, convert camera files to .dng, and apply metadata or a metadata template (with file information embedded in the image). Click on advanced options to view all options.
3) Download all the photos on your memory card, or choose which ones to download.
INTERFACE APPEARANCE
1) You can change the appearance and lightness/darkness of Adobe Bridge’s interface in Bridge’s edit, preferences, general.
2) On the pc, the icon bar and application bar (beginning with Essentials) are merged into one, whereas they are two bars on the Mac.
3) Use window, workspace or click essentials, filmstrip etc. on the application bar in Bridge (which has a popup via the down arrow) to choose different layouts. The 2nd view, horizontal filmstrip, expands the preview pane. The 3rd view shows metadata/details.
4) Move the sliders between panels to make the various panels smaller or larger.
5) You can setup your Bridge workspace as you like, then choose window, workspace, and create a customized workspace.
6) In the view menu, and also on the bottom right of your screen, you can click the buttons to view content as thumbnails, as a list or as details. The detail view provides the most information about your images. The lock thumbnails options enables you to scroll to see all your thumbnails if they are not visible.
7) In edit, preferences, thumbnails, choose information you wish to see in thumbnail view.
8) On the path bar (the fourth bar on your screen, under the title, menu, and icon/applications bar), at middle right you can choose the quality of your thumbnails and image previews.
9) Be careful about choosing compact view. You need to press control enter to get out of it!
VIEWING AND OPENING IMAGES
1) Use the sliders at bottom of screen to control the size of your image previews.
2) Click on an image to select and preview it in Bridge.
3) To view a selected image full screen, choose view, full screen preview, or tap the spacebar.
4) Double click an image to open it in Photoshop.
5) When viewing in Bridge, click the image in the preview pane to see a loupe which zooms into your image. Drag the loupe around to preview other parts of your image. Use control + or control – to zoom in or out of the preview image. Click again to turn off the loupe.
6) To prevent the annoying loupe from appearing when you click on an image, choose edit, preferences, general, then control click opens loupe.
7) To compare images side by side, control click them. To deselect one, control click again.
REVIEW MODE
1) In the view mode (or by pressing control b), you can access the review mode to sift through
your images. You may select all that are on screen, or choose several to review.
2) Click on one image to bring it to center, or use the right and left arrows.
3) The down arrow removes an image from the viewing group.
4) Pressing H shows the review mode commands.
5) Pressing ESC key returns to Bridge.
LABELS AND RATINGS
1) To rate one or more images, select them, and choose from the label menu, or use one of the
keystrokes indicated in the label menu. You can also click on the stars under an image name.
2) To give color labels to one or more images, select them and either right click on the image(s)
and select a label, choose from the label menu, or use one of the keystrokes provided.
3) Customize labels in edit, preferences, labels. (My labels are web, print, print&/web, none).
KEYWORDS
1) In the keywords panel, right click or click the large + icon on bottom to add a new category.
2) Right click or click the smaller plus icon to add a new subcategory.
3) Right click to delete a category or subcategory.
4) To assign a keyword to a photo or group of photos, select them, and put a checkmark by the
keyword. Keywords will be visible in the details view.
THE PATH BAR
Other options on the path bar include: filter items by rating (star and down arrow), rotate left, rotate right, open recent file, create a new folder, and delete selected item.
SORTING AND FILTERING
1) Sorting/filtering will only sort the photos in view.
2) Click the sort down arrow on the path bar, to choose how to sort images in view. Alternatively, you can also use view, sort.
3) You can also use the FILTER panel to view information about your images on screen. Click on an option here (such as a rating) to view only those images.
4) Click the small thumbtack icon at bottom left to keep the filter criteria you choose active when you choose another folder.
5) Click the left arrow at left of the icon bar to return to your previous view.
SEARCHING
1) In the magnifying glass field to the right of the applications bar, you can search for a file
name. This option however does not allow you search by a string (e.g. *.dng ).
2) In edit, find, you have more options. Indicate where to search (searching your whole computer
will take a long time!) by what criteria, and whether to include subfolders.
STACKING
1) If you bracket a set of images (perhaps to combine using photoshop’s HDR – high dynamic range- capacity), create several versions of an image, or create several images to use in a panorama, you can create a stack with one image on top. To see the others underneath, click the number on the first image (which indicates how many photos are in the stack).
2) To create a stack, select the images and choose stacks, group as stack or press control g.
3) To see all images in a stack, click on the number at top left of the top image.
4) To change the order of images, deselect all images in the stack drag the images in the horizontal stack view. Be sure to place the image you wish to have on top on the left of the stack. Then click the top left number again to recreate the stack.
5) To remove an image from a stack, simply drag it out of the stack view.
6) To ungroup a stack, select the stack and choose edit, ungroup.
CREATE A METADATA TEMPLATE
1) Right click an image, choose file, info and fill out the form. Before closing, click the small right arrow at top, and choose save metadata template. Name it and save it. (Or use tools, create metadata template).
2) To apply a metadata template to a folder or group of files, select them. Then right click one of them, choose file info, click on the right arrow, open your template folder, choose your template and click ok. Or choose tools, append metadata template.
3) Metadata is saved into .psd and .jpg files. If you are using image file formats which don’t support metadata, photoshop will make a sidecar .xmp file which contains metadata.
SLIDESHOW
Choose view, slideshow options to set options for slideshow. Then view, slideshow.
OUTPUT PANEL: PDF AND WEB PHOTO GALLERIES
1) To create pdfs and web photo galleries, output must be chosen in edit, preferences, startup
scripts. To access the output panel (which will appear in the right column of your screen),
click output on the applications bar and choose .pdf or web photo gallery.
2) Select the images you wish to use in your gallery (or make a collection of them).
3) For pdf photo galleries, choose a template from the popup menu. The panels underneath will
allow you to make choices for document, layout, overlays (text with images), playback (timed
advance of images) and watermark.
4) For a web gallery, choose a template and thumbnail size style and then click refresh preview
to allow Bridge to show you a preview of the gallery layout. Then:
a) Fill out the site information panel – at least indicating information you want visible.
b) Choose your color palette, and make choices for appearance.
c) Provide a gallery name, check save to disk, and indicate the location where you want
to save it. You can also FTP directly to your website from Bridge, but you may want to
save to disk first. You do not have to FTP files to view your gallery in your browser.
d) If you know html, you can edit the .html files created by your gallery. Otherwise, if
you need to make changes, you need to delete the current gallery, and start over.
SOME ADDITIONAL FEATURES
1) To batch rename a group of photos, select them all, then right click one of them and choose tools, batch, rename and set batch, rename choices.
2) Camera raw images will open in camera raw. To open a jpg file in camera raw, right click the image icon and choose open in camera raw, or choose file, open in camera raw.
|PHOTOSHOP QUIZ |
|In the left column, indicate the letter of the item in the right column which answers each question. |
| typ | 1 When you save a selection, in what palette does it appear | |A press the control key |
| |in black and white? | | |
| | 2 What tool enables you to make a selection by color? | |B rasterize |
| | 3 What tool is used for cloning portions of your photo so | |C adaptive |
| |that you can paint with those precise portions? | | |
| | 4 What tool reverts selectively to past states? | |D file, revert |
| | 5 What setting in a selection tool helps prevent “jaggies”? | |E paintbucket |
| | 6 What is the best filter for sharpening an image? | |F edit, transform |
| | 7 What is the background area behind your image? | |G dodge |
| | 8 What palette of 256 colors is most true to the colors in | |H clone tool |
| |ithe original image (when you convert to gif)? | | |
| | 9 What is the spacing between all letters in type? | |I window |
| |10 In what menu can you find the rotate option? | |J lock transparent pixels |
| |11 What is the color mode besides grayscale which | |K image, adjust |
| |contains a maximum of 256 colors? | | |
| |12 What menu command returns you to the last saved | |L channels |
| |version of your image? | | |
| |13 What color system is used for printing? | |M flatten image |
| |14 What indicator in the layers palette or paintbrush options | |N indexed |
| |indicates the transparency of a color? | | |
| |15 What is the name of the range of colors affected when | |O opacity |
| |using the magic wand? | | |
| | 16 When you click a layer’s thumbnail, what must you | |P tracking |
| |also do to select all items on the layer? | | |
| |17 What tool is used for lightening an area? | |Q magic wand |
| |18 What do you have to do to type so that it is no longer | |R unsharp mask |
| |editable but now a graphic image? | | |
| |19 What history palette button enables you to preserve | |S history brush |
| |the current state of the image at top the palette? | | |
| |20 At the bottom of what menu can you see the names | |T canvas |
| |of other open files and switch to them? | | |
| |21 What selection tool enables you to select irregularly | |U snapshot |
| |shaped areas? | | |
| |22 What layer option reduces an image to one layer? | |V tolerance |
| |23 What do you check on the layers palette to keep the | |W file, browse or adobe bridge |
| |clear areas of your images from being altered? | | |
| |24 What tool, similar to edit, fill, fills a selected area? | |X options bar |
| |25 In what menu are your color correction options? | |Y tool presets |
| |26 What tool for retouching photos adapts the restored | |Z levels |
| |area to the lighting/texture of the blemished area? | | |
| |27 What is the name of the toolbar atop the screen used | |AA lasso |
| |to make choices affecting the use of each tool? | | |
| |28 What do you use to save your custom settings? | |BB antialias |
| |29. Where do you go in photoshop to see thumbnails of | |CC CMYK |
| |your images and organize/manage your files? | | |
| |What feature enables you to adjust darkness, lightness and midtones independently? | |DD healing brush |
Discount
Gift Certificate
for Photoshop, Photoshop Elements, Illustrator
or Powerpoint Consulting/Tutoring
This gift certificate entitles the recipient to a $25 discount on a two-hour tutoring or consulting session with Tracy Marks, or a $40 discount for four hours.
2011 Fees:
$150 for 2 hours (2 hour minimum)
With Certificate: $125
OR $275 for 4 hours
With certificate: $235
Certificate expires June 30, 2011
Only one may be used per person.
Tracy Marks 781-641-3371
tracy@
Arlington, Massachusetts
................
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