John wiley sons johnphotoshop cs bible

Color replacement tool Chapter 5 : Borrowing the technology that powers the red-eye brush tool in Adobe Photoshop Elements, the color replacement tool in Photoshop CS lets you highlight

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Part III Photoshop CS Bible 7

20 Fast Track to Photoshop CS

22

2 Chapter 2: Inside Photoshop

24 The Photoshop Desktop

39 Navigating in Photoshop

45 Customizing the Interface

58

3 Chapter 3: Image Management

61 The Resolution of Screen Images

61 How to Open, Duplicate, and Save Images

79 File Format Roundup

96 Adding Annotations

97 Resampling and Cropping

106

1 Chapter 4: Defining Colors

110 Working in Different Color Modes

121 Using Photoshop's Other Color Selection Methods

127 Introducing Color Channels

129 Trying Channels On for Size

133 Other Channel Functions

136 Color Channel Effects

138

2 Chapter 5: Painting and Brushes

139 Meet the Paint and Edit Tools

143 Basic Techniques

153 Brush Size and Shape

160 Brush Dynamics

168 Opacity and Strength, Flow and Exposure

170 Brush Modes

176

3 Chapter 6: Filling and Stroking

176 Filling Selections with Color or Patterns

183 Applying Gradient Fills

196 Applying Strokes and Arrowheads

201

4 Chapter 7: Retouching and Restoring

202 Cloning and Healing

214 Retouching Photographs

224 Stepping Back through Time

236

1 Chapter 8: Selections and Paths

245 Ways to Change Selection Outlines

255 Moving and Duplicating Selections

260 How to Draw and Edit Paths

277 Importing and Exporting Paths

280

2 Chapter 9: Masks and Extractions

282 Painting and Editing Inside Selections

285 Working in Quick Mask Mode

294 Generating Masks Automatically

304 Creating an Independent Mask Channel

307 Building a Mask from an Image

312

3 Chapter 10: Corrective Filtering

319 Heightening Focus and Contrast

331 Blurring an Image

351 Noise Factors

361

4 Chapter 11: Distortions and Effects

365 The Filter Gallery

367 The Pixelate Filters

369 Edge-Enhancement Filters

373 Distortion Filters

403 Adding Clouds and Spotlights

410

1 Chapter 12: Working with Layers

411 Sending a Selection to a Layer

414 Layer Basics

423 Selecting the Contents of Layers

427 Moving, Linking, and Aligning Layers

434 Applying Transformations

438 Masking and Layers

443 Working with Layer Comps

445

2 Chapter 13: The Wonders of Blend Modes

448 Opacity and Fill

450 Blend Modes

471 Advanced Blending Options

480 Dropping Out and Forcing Through

486 Whole Image Calculations

495

3 Chapter 14: Shapes and Styles

496 Drawing Shapes

505 The Bold and Beautiful Layer Styles

519 Modifying and Saving Effects

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559

2 Chapter 17: Mapping and Adjusting Colors

561 Quick Color Effects

567 Quick Corrections

569 Hue Shifting and Colorizing

582 Making Custom Brightness Adjustments

599 Adjustment Layers

603 Correcting Camera Raw Images

606

3 Chapter 18: Printing from Photoshop

606 Understanding Printing Terminology

609 Printing Composites

621 Creating Color Separations

623 Printing Duotones

626 Spot-Color Separations

626 Organizing Images for Output

3 The Great-Grandmother of All Shortcut Tables

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and topics

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Part

I

ManagementPart II - Painting and RetouchingChapter 4- Defining ColorsChapter 5- Painting andBrushesChapter 6- Filling and StrokingChapter 7- Retouching and RestoringPart III - Selections,Masks, and FiltersChapter 8- Selections and PathsChapter 9- Masks and ExtractionsChapter 10-Corrective FilteringChapter 11- Distortions and EffectsPart IV - Layers, Objects, and TextChapter12- Working with LayersChapter 13- The Wonders of Blend ModesChapter 14- Shapes and

StylesChapter 15- Fully Editable TextPart V - Color and OutputChapter 16- Essential Color

ManagementChapter 17- Mapping and Adjusting ColorsChapter 18- Printing from

PhotoshopAppendix- Shortcuts and ModifiersColor Insert Index List of Figures List of Tables

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Part

II

About the Author

Deke McClellands most sinister books are the award-winning Photoshop CS Bible and Photoshop CS Bible, Professional Edition , now in their eleventh year with more copies in print than any other guides

on computer graphics Other subversive titles include Photoshop CS For Dummies, Photoshop

Elements For Dummies (both Wiley Publishing, Inc.), and Real World Illustrator (Peachpit Press.)

In 1989, Deke won the Benjamin Franklin Award for Best Computer Book Since then, he has receivedsimilarly diabolical honors from the Society for Technical Communication (once in 1994 and twice in1999), Photo>Electronic Imaging (1999), the American Society of Business Press Editors (1995 and2000), the Western Publications Association (1999), and the Computer Press Association (1990, 1992,

1994, 1995, 1997, and twice in 2000) In 1999, Book Bytes named Deke its Author of the Year In

2002, the National Association of Photoshop Professionals voted Deke into the Photoshop Hall ofFame

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Part

III

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trademarks of Wiley Publishing, Inc., and/or its affiliates in the United States and other countries, andmay not be used without written permission Photoshop is a trademark or registered trademark ofAdobe Systems, Inc All other trademarks are the property of their respective owners Wiley Publishing,Inc., is not associated with any product or vendor mentioned in this book

About the Author

Born near Verona in 1511, Deke McClelland was once the most popular portrait painter in all of

Florence His career came to a grinding halt a few centuries later with the advent of photography.Broken, penniless, and deeply resentful, Deke dedicated his energies to the development of a

pathogen so insidious that it would one day contaminate each and every photograph on the planet.Code named the Pernicious Instrument of eXtreme EviL (or "pixel" for short), Deke smuggled histerrible creation into The New World and set it free When his invention turned out to help rather thanhurt photography, he went quite mad He now inflicts his revenge by writing educational books andhosting training videos.

His most sinister books are the award-winning Photoshop CS Bible and Photoshop CS Bible, Professional Edition (www.amazon.com/deke ), now in their eleventh year with more copies in print

than any other guides on computer graphics Other subversive titles include

IV

4 Foreword

Foreword Regarding Mr McClelland

The first version of Adobe Photoshop I was involved with was Photoshop 2 As it happens, in diggingthrough my archive of ancient magazines, I discovered that this was also the first version for which Icould find a review by Deke McClelland

I first knew Deke as a reviewer and later as an instructor

As a reviewer, Deke brought a sharp wit and deep understanding of the material together with analmost childlike exuberance When he liked something, he really liked it, and he let you know When hedisliked something, he was equally clear about his feelings The latter could be depressing for those of

us who had worked long and hard on a release, but we had to take him seriously, since his enthusiasm

at other times made it clear that he wasn't just being a curmudgeon for the sake of being a

curmudgeon

Deke also wasn't afraid to go against the norm in his reviews if his instincts took him there His review

of Photoshop 3, for example, did not start by discussing the addition of layers and expended a

relatively long paragraph on singing the praises of Filter Factory When he felt products or trends wereoverhyped, he didn't hesitate to play the role of the little boy standing up and pointing out that theemperor has no clothes Reading his reviews was fun as long as you weren't the emperor

I've seen Deke teach at various Photoshop events and the same spirit comes through in person Heknows his stuff He knows how he feels about things He wants to share both his knowledge and hisfeelings, and he has the communication skills to do so

On the other hand, Deke isn't afraid to make fun of himself, and he can at times seem a bit demented

in his work The phrase "sick, twisted, little puppy" comes to mind Look through the examples in thisbook and you'll see that strange sense of humor at work He's clearly creating images driven by a giddysense of fun

Deke McClelland has evolved himself into an industry of videos, teaching appearances, and books

The Photoshop Bible stands at the center of all that It isn't just a recapitulation of the material in the

product manual It isn't just a tour through each of the features one at a time It will take you throughmost if not all of the territory encompassed by Photoshop, but it's a trip with an ebullient guide whowants to share his joy in the territory Not just the main routes, but the nooks and crannies as well You

can use the Photoshop Bible as a reference book, but the big lesson that Deke conveys is that as

daunting as Photoshop can sometimes seem, it can also be a lot of fun Revel in it

Mark Hamburg

Adobe Fellow

November 2003

V

5 Preface

Preface

It's hard to know how to introduce a book especially one as gargantuan as this I feel like I shouldlead with something momentous, something that you'll remember Something that'll make you want tobuy this book, take it home, and love it forever But all I can think of is the following

Hello and welcome to the Photoshop Bible , the bestselling big fat book on Photoshop in publishing

history I've done my best to cover everything and make my prose at least occasionally entertaining.Naturally, I hope you learn a lot But I also hope you have a really swell time while you're at it, because

if you're not having fun, your enemies are surely gloating Unless you don't have any enemies, in whichcase you must be having fun because you're such a pleasure to be around Kudos to you, friend

As you prepare yourself for the sheer joy you're about to experience, let me tell you a little something

about this book Now in its tenth year, the Photoshop Bible is the longest continuously published title

on Adobe Photoshop Not coincidentally, it also happens to be the bestselling reference guide on thetopic, with a total of 14 U.S editions, dozens of localized translations in foreign lands, and more than amillion copies in print worldwide This makes it not only the most successful book of its kind but alsoone of the most successful books on any electronic publishing topic ever printed

Of course, "bestseller" doesn't necessarily translate to "best" once upon a time, Furbies were all the

rage But the Photoshop Bible seems to have withstood the test of time, and while I may have inertia

to thank, I hope the book's enduring appeal is at least in part the result of the time and effort I put intoit

The driving philosophy behind the Photoshop Bible is a simple one: Even the most intimidating topic

can be made easy if it's explained properly This goes double when the subject of the discussion issomething as modest as a piece of software Photoshop isn't some remarkable work of nature thatdefies our comprehension It's nothing more that a commercial product designed by a bunch of regularpeople like you for the express purpose of being understood and put to use by a bunch of regularpeople like you If I can't explain something that inherently straightforward, shame on me

I've made it my mission to address every topic head on no cop-outs, no apologies Everything's here,from the practical benefits of creating accurate masks to the theoretical wonders of designing your owncustom layer styles I wasn't born with this knowledge, and there are plenty of times when I'm learningwith you But when I don't know how something works, I do the research and figure it out, sometimesdiscussing features directly with the programmers and sometimes taking advantage of other sources

My job is to find out the answers, make sure those answers make sense, and pass them along to you

as clearly as I can

I also provide background, opinions, and occasional attempts at chummy, even crummy, humor A drylisting of features followed by ponderous discussions of how they work doesn't mean squat unless Iexplain why the feature is there, where it fits into your workflow, and on occasion whether or not it'sthe best solution I am alternatively cranky, excited, and just plain giddy as I explain Photoshop, and Imake no effort to contain my criticism or enthusiasm This book is me walking you through the

program as subjectively as I would explain it to a friend About This Edition of the Book

I try to make every update to the Photoshop Bible special, particularly for those of you who purchase

the book on a regular basis, and this edition is no exception Naturally, I cover all the new features,including the enhanced File Browser, the Histogram and Layer Comps palettes, the Match Color andShadow/Highlight commands, the Lens Blur filter, the Camera Raw dialog box, type on a path, and therest This book has been scrutinized from head to toe, thoroughly dissected, filled to the breaking pointwith all sorts of tips and tricks to improve your workflow and enhance your images, and finally carefullyreassembled into the weighty tome you hold in your hands

Throughout the writing of this edition, I've been lucky enough to have the talents of two extremely

capable collaborators, my longtime Photoshop Bible editor Amy Thomas Buscaglia and Total

Training's project director Jason Woliner Together, we braved long nights and looming deadlines todeliver what I consider to be the finest update since the last edition Amy, Jason, and I hope you agree

it was time well spent

Like all versions of the Photoshop Bible , this is a reference guide, not a tutorial I do not make the

and lets you share and save multiple versions of files over a network.

Be warned, however, that Adobe has not simply repackaged the previous versions of its graphicsprograms with a "CS" sticker slapped on the box cover Besides the sleek, flowery, velveteen new look

of the packaging, the good folks at Adobe made sure that each program received a full, exhaustiveupgrade worthy of release as a new version If they hadn't, my work in updating this book would havebeen a breeze Why two Photoshop CS Bibles?

When you pulled this book off the bookstore shelf, you may have noticed a similarly titled book nearby:

the Photoshop CS Bible, Professional Edition If you didn't, you should see it soon because it's due out

shortly after this book hits the shelves Either way, you may logically be wondering: Why two

Photoshop Bibles ?

The Professional Edition , which first arrived on the scene a couple months after the Photoshop 7 Bible

was published, exists for a few main reasons As the amount of information that I needed to cover in

the Photoshop Bible increased, so did the size of the book, until it was topping out at more than 1,100

pages It became pretty clear that there was a demand for a tighter, more streamlined book; one thatassumed a solid understanding of the program and focused on more advanced features and

techniques Coincidentally, there was also a sizable call for more color in the Photoshop Bible Thus, the Photoshop Bible, Professional Edition was born: A hardcover, full-color (and thus more

expensive), slimmed-down, more advanced book Which Photoshop CS Bible is right for you?

Don't for an instant think that the book you currently hold in your hands is some sort of dime-store,slapdash, inferior model In fact, as I mentioned earlier, there's a great deal of information in this book

that you simply won't find in the Professional Edition That's because I've made sure that this edition,

sometimes referred to as the "standard edition," is a comprehensive, cradle-to-grave resource guidethat contains tips and insights valuable to all levels of Photoshop users Topics included in the

standard edition that aren't covered in the Professional Edition include navigation, preferences, tool

presets, workspaces, resampling and resolution, file formats, color channels and models, the

eyedropper tool, gradients, the basic selection tools, paths, text, Color Settings, and CMYK printing.Additionally, you get the comprehensive guide to Photoshop's default keyboard shortcuts found at theback of the book

That said, if you own one of the previous editions of the Photoshop Bible or you're fairly experienced with Photoshop, the Photoshop CS Bible, Professional Edition might well be more up your alley Topics that receive either exclusive or dramatically expanded coverage in the Professional Edition

include Levels, Curves, hue and saturation adjustments, the Channel Mixer, pattern creation, layerstyles, history, the Render filters, actions, batch renaming and processing, arbitrary and displacementmaps, the Custom filter, the sRGB color space, and Adobe ImageReady CS Additionally, the

Professional Edition is where you'll find in-depth coverage of Photoshop CS's powerful new Camera

Raw capabilities (though we explore the basics in this edition)

My goal was to create two independent books with as little overlap as possible For what it's worth, theareas of overlap revolve mostly around Photoshop CS's upgraded capabilities, such as the File

Browser enhancements, Lens Blur filter, and the Match Color command I'm not advising that you getboth books, but some readers will, and I want them to be absolutely satisfied

Conventions

Every computer book conforms to its own special brand of logic, and this one is no exception Although

I try to avoid pig latin ellway, orfay hetay ostmay artpay I do subscribe to a handful of conventions thatyou may not immediately recognize Vocabulary

Call it computerese, call it technobabble, call it the indecipherable gibberish of incorrigible propellerheads The fact is, I can't explain Photoshop in graphic and gruesome detail without occasionallyreverting to the specialized language of the trade However, to help you keep up, I can and have

italicized vocabulary words (such as bit depth ) with which you may not be familiar or which I use in an

unusual context An italicized term is followed by a definition

If you come across a strange word that is not italicized (that bit of italics was for emphasis), look it up

in the index to find the first reference to the word in the book Commands and options

To distinguish the literal names of commands, dialog boxes, buttons, and so on, I capitalize the first

letter in each word (for example, click the Cancel button ) The only exceptions are option names, which can be six or seven words long and filled with prepositions such as to and of Traditionally, prepositions and articles (a, an, the ) don't appear in initial caps, and this book follows that time-

honored rule, too

When discussing menus and commands, I use an arrow symbol to indicate hierarchy For example,

Choose File ® Open means to choose the Open command from the File menu If you have to display

a submenu to reach a command, I list the command used to display the submenu between the menu

name and the final command Choose Image ® Adjustments ® Invert means to choose the

Adjustments command from the Image menu and then choose the Invert command from the

Adjustments submenu The whole platform thing

This is a cross-platform book, which means it's written for both Windows and Macintosh users

Photoshop is virtually identical on the two platforms, so it makes little difference However, the PC andMac keyboards are different The Ctrl key on the PC translates to the Command key (z) on the Mac Alttranslates to Option And because Apple's mice do not include right mouse buttons, right-clicking onthe PC becomes Control-clicking on the Mac Throughout this book, I try to make things as

unambiguous as possible by mentioning the Windows keystroke first with the Macintosh equivalentsecond, usually in parentheses Version names and numbers

A new piece of software comes out every 15 minutes That's not a real statistic, mind you, but I bet I'mnot far off As I write this, Photoshop has advanced past numbers altogether and arrived at Version

CS But by the time you read this, the version may be CS.01 or CS 8.0.1 or some other minute update

to the product Heck, it might have even progressed to a whole new set of letters entirely You could be

working in Photoshop IH (Innovative Hangout), Photoshop PH (Prolific Habitat), or even Photoshop

DB (Demiurgic Bog) So know that when I write Photoshop CS , I mean any version short of the next

major upgrade to the product, whatever that may be

Similarly, when I write Photoshop 7 , I mean Versions 7.0 and 7.0.1, Photoshop 6 , means Versions 6.0 and 6.0.1; Photoshop 5 means Versions 5.0, 5.0.2, and 5.5; Photoshop 4 means Versions 4.0 and 4.0.1; Photoshop 3, means Versions 3.0, 3.0.1, 3.0.3, 3.0.4, and 3.0.5 well, you get the idea Icons

Like just about every computer book currently available on your greengrocer's shelves, this one

includes alluring icons that focus your eyeballs smack dab on important information The icons make iteasy for folks who like to just skim books to figure out what the heck's going on Icons serve as littleinsurance policies against short attention spans On the whole, the icons are self-explanatory, but I'llexplain them anyway.Caution

The Caution icon warns you that a step you're about to take may produce disastrous results Well,perhaps "disastrous" is an exaggeration Inconvenient, then Uncomfortable For heaven's sake, usecaution.Note

The Note icon highlights some little tidbit of information I've decided to share with you that seemed atthe time to be remotely related to the topic at hand I might tell you how an option came into existence,why a feature is implemented the way it is, or how things used to be better back in the old

days.Photoshop

The Photoshop CS icon explains an option, a command, or a feature that is brand-spanking new to thislatest revision If you're already familiar with previous versions of Photoshop, you might just want toplow through the book looking for Photoshop CS icons and see what new stuff is out there.Tip

This book is bursting with tips and techniques If I were to highlight every one of them, entire pageswould be gray with light bulbs popping out all over the place The Tip icon calls attention to shortcuts

If you want to share your insights, comments, or corrections, please e-mail me at

pcsbible@dekemc.com Don't fret if you don't hear from me for a few days, or months, or ever I read

every letter and try to implement nearly every constructive idea anyone bothers to send me But

because I receive hundreds of reader letters a week, I can respond to only a small percentage ofthem.Note

Please, do not write to ask me why your copy of Photoshop is misbehaving on your specific computer Iwas not involved in developing Photoshop, I am not employed by Adobe, and I am not trained in

product support Adobe can answer your technical support questions way better than I can, so I leave it

to the experts

Now, without further ado, I urge you to turn the page and advance forward into the great untamedfrontier of image editing Soon, you will know things you never knew before, you will see things younever saw before, and you will gain insights and shed pounds from the expenditure of pure thinkingenergy (Such results are not typical.) But whatever you do, don't take this book to bed, fall asleep, andlet it topple onto your face It will crush you like a squishy-squashy-ooshy-bug, only more messily

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top-level chapter starts

Part

VI

Chapter 1: Introducing Photoshop CS What Is Photoshop?

Many of you already know the answer to this question You know what Photoshop does, the variouspurposes it serves, where it fits into the computer design scheme, how much it costs at 15 differentmail order sites, its complete history (from its inception as a bit of image conversion code called

Display to its first shipping version, Barneyscan XP, to the present day), and the names of everyone onthe development team You're the folks who keep me awake at night, because it's the job of this book

to share information on Photoshop that even you didn't know.

But just as likely, you're part of the larger group of people who have a vague sense of what Photoshopdoes but are a little shaky on some of the details You know the program lets you modify photographs,for example, but how exactly it does this is far from crystal clear Or perhaps you have no idea whatPhotoshop is Someone installed the program on your computer, threw this book in your lap, and said,

"Go!" If one of these scenarios describes you, don't worry we were all beginners at Photoshop once,and we'll all have ample opportunity to be beginners at something else in the future So before we goany further, let's get one thing settled for once and for all: just what exactly is Photoshop?

Adobe Photoshop Photoshop is the name of the software, Adobe Systems is the name of the

company that develops and sells it is a professional-level image-editing application It allows you tocreate images from whole cloth or, more likely, modify scanned artwork and digital photographs.Photoshop is available for use on computers equipped with either Microsoft Windows or Apple's

Macintosh operating system

Mind you, Photoshop isn't just any image-editing application It's the most powerful, most ubiquitousimage-editing application in the world Despite hefty competition over the years from more than ahundred programs ranging in price from virtually free to a few thousand dollars a pop, Photoshopremains the most popular design software in use today Where professional image editing is

concerned, Photoshop's not just the market leader it's the only game in town

Such a lack of competition is rarely a good thing But in Photoshop's case, it has played out remarkablywell The program's historically lopsided sales advantage has provided Adobe with a clear incentive toreinvest in Photoshop and regularly enhance, and even overhaul, its capabilities It's as if each newversion of Photoshop is competing with its predecessors for the hearts and minds of the digital artcommunity Meanwhile, other vendors have had to devote smaller resources to playing catch-up.Some, such as Jasc Software, with its Windows-only Paint Shop Pro, have hung in there and remainedcommercially viable But such success stories are few and far between Although competitors haveprovided some interesting and sometimes amazing capabilities, the sums of their parts have moreoften than not fallen well short of Photoshop's

As a result, Photoshop rides a self-perpetuating wave of market leadership It wasn't always the bestimage editor, nor was it the first But its deceptively straightforward interface combined with a fewterrific core functions made it a hit from the moment of its first release More than a dozen years laterthanks to substantial capital injections from Adobe and highly creative programming on the parts ofPhotoshop's engineering staff and its originator Thomas Knoll Photoshop has evolved into the mostpopular program of its kind

6.1.1 Image-Editing Theory

Image-Editing Theory

Like any image editor , Photoshop enables you to alter photographs and other scanned artwork You

can retouch an image, apply special effects, swap details between photos, introduce text and logos,adjust color balance, and even sharpen the focus of a photograph Photoshop also provides everythingyou need to create artwork from scratch, including a suite of vector drawing tools and a highly

specialized painting palette These tools are fully compatible with pressure-sensitive tablets, so youcan create naturalistic images that closely mimic watercolors and oils Bitmaps versus vectors

Image editors fall into the larger software category of painting programs In a painting program, you draw a line, and the application converts it to tiny square dots called pixels The painting itself is called

a bitmapped image , but bitmap and image are equally acceptable terms.Note

Photoshop uses the term bitmap exclusively to mean a black-and-white image, the logic being that each pixel conforms to one bit of data, 0 or 1 (off or on) To avoid awkward syllabic mergers such as pix-map and because forcing a distinction between working with exactly two colors or anywhere from

four to 16 million colors is entirely arbitrary I use the term bitmap more broadly to mean any imagecomposed of a fixed number of pixels, regardless of the number of colors involved

What about other graphics applications, such as Adobe's own Illustrator? Appli-cations such as

Illustrator, Macromedia FreeHand, and CorelDraw fall into a different category of software called

drawing programs Drawings comprise vector objects , which are independent, mathematically defined lines and shapes For this reason, drawing programs are sometimes said to be vector-based or object-oriented

As luck would have it, Photoshop spans the chasm between conventional painting and drawing

programs by providing many of the best features of both In addition to its wealth of image-editing andorganic-painting capabilities, Photoshop permits you to add vector-based text and shapes to yourphotographic images These features don't altogether take the place of a drawing program, but theyhelp to make Photoshop an increasingly flexible and dynamic image-creation environment The upsand downs of painting

As you might expect, painting programs and drawing programs each have their strengths and

weaknesses The strength of a painting program is that it offers a straightforward approach to creating

images For example, although many of Photoshop's features are complex exceedingly complex on

occasion its core painting tools are as easy to use as a pencil You alternately draw and erase untilyou reach a desired effect, just as you've been doing since grade school

In addition to being simple to use, each of Photoshop's core painting tools is fully customizable It's as

if you have access to an infinite variety of crayons, colored pencils, pastels, airbrushes, watercolors,and so on, all of which are erasable Doodling on the phone book was never this much fun

Because painting programs rely on pixels, they are ideally suited to electronic photo-graphy Whethercaptured with a scanner or digital camera, an electronic photograph is composed of thousands or eventens of millions of colored pixels A drawing program such as Illustrator may let you import such aphotograph and apply very simple edits, but Photoshop gives you complete control over every pixel,entire collections of pixels, or independent elements of pixels As witnessed by a quick examination ofthe pictures in this book, a photograph can become anything

The downside of paintings and electronic photos is that they are ultimately finite in scale Because a

bitmap contains a fixed number of pixels, the resolution of an image the number of pixels in an inch, a

centimeter, or some other allotted space changes with respect to the size at which the image isprinted Print the image small, and the pixels become tiny, which increases the resolution of the image.Like the millions of cells in your body, tiny pixels become too small to see and thus blend together toform a cohesive whole, as in the first image in Figure 1-1 Print the image large and the pixels grow,which decreases the resolution Large pixels are like cells viewed through a microscope; once you candistinguish them independently, the image falls apart, as in the second example in the figure Theresults are jagged edges and blocky transitions The only way to remedy this problem is to increase thenumber of pixels in the image, which increases the size of the file on

Figure 1-1: When printed small, an image appears smooth and sharp (left) But when enlarged, theimage breaks down into jagged transitions and grain (right).Cross-Reference

Bear in mind that this is a very simplified explanation of how images work For a more complete

description that includes techniques for maximizing image resolution and quality, read

"How Images Work" at the outset of Chapter 3 The downs and ups of drawing

The process of creating a vector-based drawing might more aptly be termed "constructing, " because

you actually build lines and shapes point by point and stack them on top of each other to create afinished image Each object is independently editable one of the key structural advantages of anobject-oriented approach but you're still faced with the task of building your artwork one chunk at atime

Nevertheless, because a drawing program defines lines, shapes, and text as mathematical equations,

these objects automatically conform to the full resolution of the output device, whether it's a laser

printer, an imagesetter, or a film recorder The drawing program sends the math to the printer and the

printer renders the math to paper or film In other words, the printer converts the drawing program's

equations to printer pixels Your printer offers far more pixels than your screen a 600-dot-per-inch (dpi)laser printer, for example, offers 600 pixels per inch (dots equal pixels), whereas most screens arelimited to 150 pixels per inch or fewer So the printed drawing appears smooth and sharply focusedregardless of the size at which you print it, as shown in Figure 1-

bitmapped images work A thumbnail drawing of a garden that contains hundreds of leaves and petalsconsumes several times more disk space than a poster-sized drawing that comprises three

rectangles When to use Photoshop

Thanks to their specialized methods, painting programs and drawing programs fulfill distinct and

divergent purposes Photoshop and other painting programs are best suited to creating and editing thefollowing kinds of artwork:

Scanned photos, including photographic collages and embellishments that originate from scansImages captured with any type of digital camera

Still frames captured from videotape or film

Realistic artwork that relies on the play between naturalistic highlights, midranges, and shadowsImpressionistic-type artwork and other images created for purely personal or aesthetic purposesLogos and other display type featuring soft edges, reflections, or tapering shadows

Special effects that require the use of filters and color enhancements that you simply can't achieve in adrawing program When to use a drawing program

You're probably better off using Illustrator or some other drawing program if you're interested in

creating more stylized artwork, such as the following:

Poster art and other high-contrast graphics that heighten the appearance of reality

Architectural plans, product designs, or other precise line drawings

Business graphics, such as charts and other infographics that reflect data or show how things workTraditional logos and text effects that require crisp, ultrasmooth edges

Brochures, flyers, and other single-page documents that mingle artwork, logos, and body-copy text(such as the text you're reading now)

If you're serious about computer graphics, you should own at least one painting program and onedrawing program If I had to rely exclusively on two graphics applications for producing still, two-dimensional images, I would choose Photoshop and Illustrator Adobe has done a fine job of

establishing symmetry between the two programs so that they share common interface elements andkeyboard shortcuts Learn one and the other makes a lot more sense.Cross-Reference

For those who are interested, I write a cradle-to-grave guide to Illustrator called Real World Illustrator ,

published by Peachpit Press I'm also the host of a handful of video training series, including not only

Total Training for Adobe Illustrator but also Total Training for Adobe Photoshop, both available from Total Training (www.totaltraining.com ).

6.1.2 Fast Track to Photoshop CS

Fast Track to Photoshop CS

Now that we've reviewed the fundamentals, let's turn our attention from the wider world of imageediting to the comparatively narrow realm of Photoshop CS Namely, what hot new features does thisupgrade have to offer? Given that Photoshop's only competition these days is its glorious past, whatdistinguishes Version CS from previous versions of the program?Photoshop

If you're an experienced user of Photoshop, you might think that Version CS isn't a particularly drasticupgrade In many ways, you're right But that doesn't mean that it isn't a worthwhile investment; on thecontrary, a slew of modest but important improvements enable you to work better and faster And likeany upgrade to Photoshop, there's a lot more going on than may at first meet the eye Here I've

compiled a few of the most prominent features that are new to Photoshop CS, in rough order of

importance I also point you to the chapter where you can sniff around for more information:

Improved File Browser ( Chapter 3 ): Introduced in Photoshop 7, the File Browser has really come

into its own in Version CS In addition to the renaming and rotating functions previously available, abunch of batch-processing commands can now be performed directly in the File Browser It alsoboasts higher-quality previews, new organizational techniques, support for keywords, and the capability

to enter and edit an unimaginable amount of image metadata Trust me the improved File Browser is

so impressive, you'll wonder how you ever got by without it

Layer comps ( Chapter 12 ): A great way to store multiple versions of an image in a single file, layer

comps are a low-key but eminently useful new feature in Photoshop CS A layer comp is a snapshot ofthe visibility, position, and styles applied to the layers in an image at a particular moment in time Youcan create layer comps as you work using the Layer Comps palette Later, you can shuffle throughyour layer comps to show a client a variety of different versions of an image After you get the hang ofhow they work, layer comps will become a great resource in your workflow

Not anymore Now you can work with layers, text, brushes, and a bunch of filters while keeping thecolor quality of an image as high as possible.

Type on a path ( Chapter 15 ): Although we've long been able to warp text layers while keeping them

fully editable, Photoshop has never provided the means to create and edit text directly on a path Untilnow, that is Using the regular old type tool, you can click any path you've drawn and create text thatflows according to the path's shape You can even use closed shapes as text frames and place

multiple layers of type on a path or shape Although type on a path is a powerful new feature, it can beagonizingly slow when you're working with a complicated path, and kerning can get thrown off

dramatically Consider yourself warned

Customizable keyboard shortcuts ( Appendix ): As is fast becoming the norm among graphics

programs, Photoshop CS now lets you create new keyboard shortcuts and edit existing ones If youfind yourself repeatedly applying a function or command that doesn't have a shortcut by default,

assigning a keyboard equivalent can help you work faster You can even tell Photoshop to generate anHTML summary of all your keyboard shortcuts for easy reference

Shadow/Highlight command ( Chapter 17 ): The new Shadow/Highlight command is a powerful tool

for correcting exposure problems that plague different areas of an image By analyzing specific pixelsand comparing them to the pixels in the surrounding area, the command determines which areas areoverexposed and which fall into the shadows You can then use a variety of settings to adjust both theoverexposed and shadow areas The default settings often do a great job of correcting shadow

problems in an image For example, the command offers a fantastic fix for images shot with an

overexposed background and an underexposed subject

Nested layer sets ( Chapter 12): In Photoshop CS, layer sets can be nested , or placed within one

another This gives you greater control over the organization of layers in an image You can nest layersets up to five levels deep Nested layer sets maintain their structure even when imported into AdobeIllustrator CS

Lens Blur filter ( Chapter 10 ): The type of blur generated by a real-world camera lens can appear

very different from the Gaussian blur created by Photoshop Photoshop CS seeks to correct this byintroducing the new Lens Blur filter, which can generate much more realistic blur effects through a fewsimple settings Lens Blur blurs an image into patterns and artifacts based on a specified iris shape.Specular highlights are preserved just as they are when you push a camera out of focus Additionally,you can set alpha channels and masks as maps that the filter references to decide which areas of theimage get blurred and which remain crisp If this is all Greek to you, never fear Chapter 10 translateseverything into your native language

Filter Gallery ( Chapter 11 ): The Gallery Effects filters themselves haven't changed, but the manner

in which you apply them has been dramatically revamped in Photoshop CS The new Filter Galleryprovides high-quality previews, lets you leap from filter to filter, and even permits you to stack filters ontop of one another to see how they interact The Filter Gallery hasn't improved the results of thesesomewhat middling effects filters, but it sure has made them more fun to play with

Improved Liquify filter ( Chapter 11 ): The Liquify filter has been streamlined and improved to provide

a somewhat more refined image-distorting experience Most importantly, you now have many moreoptions for determining the mask that sets the limits of the command

Match Color ( Chapter 17 ): The mysterious and intelligent Match Color command can save you a lot

of time and effort if you're interested in resolving the color cast of one image to match that of another.This can be useful when you want to composite two similar images together or assemble a consistentlytoned montage or presentation Match Color is even a great tool for correcting differences in lightingconditions between two images The command samples the statistics, or color cast data, of a source

image or a selected area and then alters the colors in the destination image to achieve a better match.

Better healing brush ( Chapter 7 ): The innovative healing brush, first introduced in Photoshop 7, now

has the capability to pull pixel information from all visible layers in an image

Color replacement tool ( Chapter 5 ): Borrowing the technology that powers the red-eye brush tool in

Adobe Photoshop Elements, the color replacement tool in Photoshop CS lets you highlight an area ofcolor and replace it with another color Controls for the limits imposed on the tool ensure that your colorchanges stay vibrant, clean, and realistic

PDF Presentation ( Chapter 18 ): You can now generate multipage Adobe PDF files and

automatically updating PDF slideshows using the new PDF Presentation command PDF slideshowsare a great way to share groups of photos with friends or coworkers PDF Presentation is also one ofthe many automated processes that can be accessed directly from the improved File Browser

Photomerge ( Chapter 18 ): First seen in Photoshop Elements, the Photomerge command can stitch

together lengthy, complicated panoramas from a series of images When working with photos thatwere carefully captured with Photomerge in mind, the command can do a remarkable job

Improved Picture Package ( Chapter 18 ): Photoshop CS makes the Picture Package command

more flexible by giving you the ability to create and edit custom photo layouts Starting with an existingtemplate or from scratch, you can add, move, and scale image zones in the Picture Package EditLayout dialog box until you're completely satisfied with the results

Photo Filter ( Chapter 17 ): Using the new Photo Filter command, you can simulate the effect of

putting a colored filter on a camera lens Photo Filter can be great for quickly correcting or adjusting thewhite balance of an image, altering the color temperature, or removing an overall color cast You canalso crank up the settings to create some quick color effects

Crop and Straighten Photos ( Chapter 3 ): If scanning is a regular part of your image-editing routine,

you'll thank your lucky stars for the advent of the Crop and Straighten Photos command A one-click,fully automated process, Crop and Straighten Photos takes a group of images that were scannedtogether and separates them into individual files It recognizes each image, rotates it to compensate forlopsided scanning, and copies it into a new image file

Fibers and Average filters ( Chapters 11 and 10 , respectively): Photoshop CS introduces two new

filters Fibers uses fractals to generate stringy, starchy, naturalistic patterns Think of it as DifferenceClouds stretched out like taffy The Average filter determines the average color of an image or selectedarea and then fills the image or area with that color With most images, applying this filter produces adull, solid grayish wall But there are some practical applications, as we'll see in Chapter 10

Photoshop's companion program, ImageReady CS, also introduces its own share of upgrades Themost prominent of these upgrades is what Adobe calls the new "object-based user interface," whichbasically translates to "ImageReady just got a whole lot easier to use." Many of Photoshop's familiarbehaviors now work in a similar manner in ImageReady CS Adobe has also added a slew of

enhancements (and removed some of the more redundant features) to make ImageReady feel morelike a part of Photoshop and less like a stand-alone program Also notable is ImageReady's newcapability to export to the SWF, or Shockwave Flash, format (As I mentioned in the preface, forcomplete information on creating Web graphics with Photoshop and ImageReady, please refer to the

hardbound edition of this title, Photoshop CS Bible, Professional Edition )

The result is yet another strong upgrade to Photoshop It may not be as flashy as Versions 3, 5, 6, and

7 were, but it's certainly no slouch And if I wish Photoshop CS had perhaps included a few morefeatures such as envelope distortions and After-Effects-style parametric (and thus forever editable)effects I am pleasantly surprised by what it does offer and find little fault with its implementation

Big upgrade or small, as usual the Photoshop Bible is here to help you get the most out of this latest

version of Photoshop Just remember to keep an eye peeled for the Photoshop CS icon, and you'll beover the hump and into the image-editing groove in no time

Chapter 2: Inside Photoshop A First Look at Photoshop CS

than you have with most of your friends and family may find yourselves perplexed at times whennegotiating with the latest version The program speaks differently every time it upgrades In fact, it'swrong to think of Photoshop CS as an older, wiser version of its original self This is a completely newbeast, bearing about as much resemblance to Photoshop 1.0 as you bear to a rhesus monkey.

So in this chapter, I introduce to you the latest version of Photoshop, insubordinate child of its

ancestors, spoiler of photographic traditions, and speaker of the new language that you now have tolearn These pages represent a low-level primer you need to ingest before you can utter so much as acoherent "gack!" Granted, it comes to you second hand I am a non-native myself, with my own

peculiar dialect as you'll discover but given that Photoshop CS itself is the only native speaker on theplanet, this foreigner's perspective will have to do The splash screen

Shortly after you launch Photoshop, the splash screen appears The splash screen explains the

launching process by flashing the names of plug-in modules as they load and listing the various

Photoshop After the application is open, re-network the computer, and you'll be up and running Andthe other important thing to note is that with Mac OS X, this network problem doesn't occur TheWelcome ScreenPhotoshop

In Photoshop CS, Adobe has changed the way you access online help and other resources After theinitial splash screen disappears you'll be confronted with the Welcome Screen, shown in Figure 2-1,which provides you with several choices You can view Tutorials, Tips and Tricks, Color ManagementSetup, or a listing of What's New Be aware that most of these options require that you have access tothe Internet If you want to dismiss the screen and go about your business, click the Close button Ifyou want to disable the screen so it does not appear every time you launch the program, turn off theShow This Dialog at Startup check box Either way, you can return to the Welcome Screen at any time

by choosing Help ® Welcome Screen.

Figure 2-1: The new Welcome Screen offers a series of support options and other resources forPhotoshop CS.Note

As in previous versions, you can still get to the Adobe Web site by clicking the feather icon at the top ofthe toolbox or by choosing Help ® Photoshop Online

6.2.1 The Photoshop Desktop

The Photoshop Desktop

After the launch process is complete, the Photoshop desktop consumes the foreground Figure 2-2shows the Photoshop CS desktop as it appears on a PC when an image is open and all palettes arevisible Figure 2-3 shows the same scenario as it appears on a Mac running Mac OS

Figure 2-3: The Photoshop CS desktop as it looks on a Mac running Mac OS X

Many of the elements that make up the Photoshop desktop are well known to folks familiar with theWindows or Macintosh environments For example, the menu bar provides access to menus andcommands You can drag the title bar to move the image window And the scroll bars let you look athidden portions of the image

Other potentially less familiar elements of the Photoshop desktop work as follows:

Image window: Like any halfway decent product, Photoshop lets you open multiple documents at a

time Each open image resides in its own window On the Mac, click the green zoom button in theupper-left corner of the title bar to resize the window to fit the image

Also worth noting on the Mac are the special boxes in the lower-left corner of the image window (seeFigure 2-3) The magnification box tells you the current view size, and the information box can tell youimportant things about image size and computer resources (To see the information box, you mayneed to increase the horizontal size of your image window by dragging it from the lower-right corner.)

Status bar (Windows only): Just above the Windows taskbar sits Photoshop's status bar, which

provides running commentary on the active tool and image (If the status bar doesn't appear on yourscreen, choose Window ® Status Bar.) The left end of the status bar features the magnification boxand the information box, both of which are described in the preceding paragraph.Cross-Reference For complete information on the magnification box, read the "Navigating in Photoshop" section later inthis chapter The very next section explains the information box

Toolbox: The toolbox icons provide one-click access to the various Photoshop tools To select a tool,

click its icon Then use the tool by clicking or dragging with it inside the image window

The bottom four rows of the toolbox contain controls for changing your paint colors, entering andexiting the quick mask mode, changing the screen area available for image display, and switching toAdobe ImageReady (which ships with Photoshop)

Floating palettes: Photoshop CS offers a total of 16 palettes, two more than Version 7 (This number

excludes the toolbox and the Options bar, which are technically palettes as well It also excludes theFile Browser, which was a palette but is now a window.) Each palette is said to be "floating," whichmeans that it's independent of the image window and of other palettes Palettes can be groupedtogether or dragged apart to float separately according to your tastes For more information on

palettes, see the upcoming section "The floating palettes."

Docking well: The gray bar at the end of the Options bar is the docking well You can drag palettes to

the well to save screen space but still keep the palettes easily accessible For more information, see

"Rearranging and docking palettes" later in this chapter.Note

Unfortunately, the docking well is visible only if you use a screen resolution with a horizontal pixeldisplay of more than 800 pixels The information box

The information box is Photoshop's way of passing you a memo marked FYI No biggie, nothing to fretabout, just a little bit of info you might want to know As an unusually obliging piece of software,

Photoshop likes to keep its human masters informed on the latest developments.Document size

By default, the information box contains two numbers divided by a slash The first number is the size ofthe base image in memory The second number takes into account any additional layers in your image.Photoshop calculates the first value by multiplying the height and width of the image (both in pixels) by

the bit depth of the image, which is the size of each pixel in memory Consider a typical, full-color,

640´480-pixel image A full-color image takes up 24 bits of memory per pixel (which is why it's called a24-bit image) There are 8 bits in a byte, so 24 bits translates to 3 bytes Multiply that by the number ofpixels and you get 640 ´ 480 ´ 3 = 921,600 bytes Because there are 1,024 bytes in a kilobyte, 921,600bytes is exactly 900K Try it yourself open a 640´480-pixel RGB image and you'll see that the firstnumber in the information box reads 900K Now you know why

But it's the second value, the one that factors in the layers, that represents the real amount of memorythat Photoshop needs If the image contains one layer only, the numbers before and after the slash arethe same Otherwise, Photoshop measures the opaque pixels in each layer and adds approximately 1byte of overhead per pixel to calculate the transparency The second number also grows to

accommodate paths, masks, spot-color channels, undoable operations, and miscellaneous datarequired by the image cache

Now obviously, it's not necessary that you be able to predict these values (which is lucky, becausepredicting the second value is virtually impossible) Photoshop asks no help when calculating thevalues in the information box and will summarily ignore any help you might care to offer But it's a goodidea to know what's going on as you start piling layers on top of an image The larger the previewnumbers grow, the more work Photoshop has to do and the slower it's likely to perform.Image position

If you want to position a picture precisely on a page before printing, use the Print with Preview

command in the File menu (skip to Chapter 18 for details) To get a rough idea of the current imageposition, however, click and hold on the information box Photoshop displays a pop-up window showingthe size and placement of the image in relation to the paper The preview also shows the approximateplacement of crop marks and other elements requested in the Show More Options section of the Printwith Preview dialog box.Tip

Press Alt (Win) or Option (Mac) and mouse down on the information box to view the size, channels,and resolution of the image

You can also Ctrl-click (z -click on the Mac) the information box to see the tile sizes Photoshop uses

tiles to calculate pixel manipulations If you confine your work to a single tile, it will probably go faster

than if you slop a little over into a second tile But who cares? Unless you're some kind of tile-readingrobot, this technical information is rarely of any practical use

Click the right-pointing arrowhead next to the information box to display a pop-up menu of sevenoptions The first option Document Sizes is selected by default This option displays the image-sizevalues described in the preceding section You can find out what information the other choices provide

in the next few sections.Tip

The prefix displayed before the values in the information box indicates which of the options is active:Doc shows that Document Sizes is selected; Scr, Scratch Sizes; and Eff, Efficiency When the Timing

option is active, an s appears after the numerical value If a tool name appears in the information box,

you know that the final option, Current Tool, is active Similarly, if you see a color profile statement,such as "Untagged RGB," or a couple of measurements, such as "640 pixels ´ 480 pixels," you'relooking at the Document Profile or Document Dimensions setting, respectively.Image color profile

If you work regularly with many different color profiles, you may find the Document Profile option handy.When you select this option, the name of the current color profile appears in the information box

Chapter 16 tells you everything you need to know about color profiles.Document measurementsSimilar to Alt- or Option-clicking the information box, selecting Document Dimensions gives you a quickreadout of the width-by-height measurements of your document The unit of measurement is set in theUnits & Rulers panel of Photoshop's Preferences dialog box.Memory consumption and availabilityWhen you select Scratch Sizes, Photoshop changes the values in the information box to represent

If the second value is bigger than the first, all is happiness and Photoshop is running as fast as yourparticular brand of computer permits But if the first value is larger, Photoshop has to dig into its supply

of virtual memory , a disk-bound adjunct to RAM Virtual memory makes Photoshop run more slowly

because the program must swap portions of the image on and off your hard disk The simple fact is,disks have moving parts and RAM does not That means disk-bound "virtual" memory is slower thanreal memory

To increase the size of the value after the slash, you have to get more RAM to your images in one ofthe following ways:

Purchase more RAM Installing an adequate supply of memory is the single best way to make

Photoshop run more quickly

Quit other applications so that only Photoshop is running

Quit Photoshop and remove any filters that you don't need from the Plug-Ins folder (which resides inthe same folder as the Photoshop CS application) Don't throw the filters away, just move them to alocation outside the Plug-Ins folder so they don't load into RAM when you launch Photoshop

Choose Memory & Image Cache in the Preferences submenu and increase the Memory Usage value

as explained later in this chapter.Operating efficiency

When you select the Efficiency option, Photoshop lists the amount of time it spends running operations

in RAM compared with swapping data back and forth between the hard disk A value of 100 percent isthe best-case scenario It means Photoshop never has to rely on scratch files Low values indicatehigher reliance on the hard disk and, as a result, slower operations Adobe recommends that if thevalue falls below 75 percent, you should either assign more memory to Photoshop or purchase moreRAM for your computer

The Efficiency option is a reality check If it seems Photoshop is dragging its feet, and you hear itwriting to your hard disk a little too often, you can refer to the Efficiency rating to see whether

performance is as bad as you suspect Keep in mind, hearing Photoshop occasionally write to disk isnot, in and of itself, cause for concern All versions of Photoshop since 3.0 automatically copy openimages to a disk buffer in case using virtual memory is later warranted In fact, this is the reason Adobeadded the Efficiency option to Version 3.0.1 to quash fears that a few sparks from your hard driveindicated anything less than peak performance.Photoshop operations timing

If you select Timing, the information box tells how long Photoshop took to perform the last operation(including background tasks, such as transferring an image to the system Clipboard) Adobe may haveadded this option to help testing facilities run their Photoshop tests But built-in timing helps you aswell

For example, suppose you're trying to decide whether to purchase a new computer You read a

magazine article detailing the newest super-fast system You can run the same filters with the samesettings on your computer and see how much slower your results are, all without picking up a

stopwatch

At the risk of starting interoffice feuding, the Timing option also provides you with a mechanism fortesting your computer against those of coworkers and friends The Timing option serves as a neutralarbitrator, enabling you and an associate to test identical operations over the phone Like Efficiency,Timing is a reality check If you and your associate own similarly configured computers and yourTiming values are vastly different, something's wrong.The active tool

Choose Current Tool, and Photoshop displays the name of the active tool Why do you need such acondescending option? Surely you're not so far gone that you need Photoshop telling you what youalready know Adobe's intention is not to drum you over the head with redundant information but tooffer a helping hand if you find the tool configuration confusing Also, on the PC, the tool name serves

as a companion to the tool description to the right of it in the status bar Now you see not just what the

tool does, but what the tool is.

Still, my guess is that this option will prove as rarely useful to everyday image editing as Timing Use it

if you're having problems when first using Photoshop CS and then set it back to Document Sizes,Scratch Sizes, or Efficiency The original three options continue to be the best The toolsPhotoshop Compared to previous versions, the updates to the toolbox in Photoshop CS are minor In fact, there'sbeen only one change this time around: The new color replacement tool now shares a slot with thehealing brush and patch tools That's it I know it's hard to believe, but there you have it

When multiple tools share a single toolbox slot, you select the tool you want from a menu-style list, asshown in Figure 2-4 A tiny triangle in the lower-right corner of an icon indicates that more tools lurkbeneath the surface You can click the triangle and then click the name of the tool you want to use Or,

to do the job with one less click, just drag from the icon onto the name of the tool and then release the

mouse button

Figure 2-4: Drag from any tool icon with a triangle to display a pop-up menu of alternate tools.Tip You can cycle between the tools in the pop-up menu by Alt-clicking (Win) or Option-clicking (Mac) atool icon Pressing the key that appears to the right of the tool names also does the trick_however,depending on a tool setting that you establish in the Preferences dialog box, you may need to pressShift with the key (See the upcoming section "General preferences.")

Also, when you hover your cursor over a tool, Photoshop tells you the name of the tool and how toselect it from the keyboard If you find the tool tips irritating, turn to "General preferences" to find outhow to turn them off.Note

I've catalogued each tool in the following lengthy list, with tool icons, pithy summaries, and the chapter(if any) to which you can refer for more information No need to read the list word for word; just use it

as a reference to get acquainted with the new program The list presents the tools in the order in whichthey appear in the toolbox Incidentally, unless otherwise noted, each of the following descriptions tellshow to use the tool in the image window For example, if an item says drag, you click the tool's icon toselect the tool and then click and drag in the image window; you don't drag on the tool icon itself

Rectangular marquee ( Chapter 8 ): Drag with this tool to enclose a portion of the image in a

rectangular marquee , which is a pattern of moving dash marks indicating the boundary of a selection.

Shift-drag to add to a selection; Alt-drag (Win) or Option-drag (Mac) to delete from a selection Thesame goes for the other marquee tools, as well as the lassos and magic wand As an alternative tousing these time-honored shortcuts, you can click mode icons in the Options bar to change the

behavior of the selection tools

Elliptical marquee ( Chapter 8 ): Drag with the elliptical marquee tool to enclose a portion of the

window in an oval marquee

also Alt-click (Win) or Option-click (Mac) with the lasso to create a straight-sided selection outline.

Polygonal lasso ( Chapter 8 ): Click hither and yon with this tool to draw a straight-sided

selection outline (just like Alt-clicking or Option-clicking with the standard lasso) Each click sets acorner point in the selection

Magnetic lasso ( Chapter 8 ): As you drag with the magnetic lasso tool, the selection outline

automatically sticks to the edge of the foreground image Bear in mind, however, that Photoshop's idea

of an edge may not jibe with yours Like any automated tool, the magnetic lasso sometimes workswonders, and other times it's more trouble than it's worth.Tip

The magnetic lasso automatically lays down points as you drag If you don't like a point and want to getrid of it, press the Backspace (Win) or Delete (Mac) key

Magic wand ( Chapter 8 ): Click with the magic wand tool to select a contiguous area of similarly

colored pixels To select discontiguous areas, click in one area and then Shift-click in another

Deselect the Contiguous tool option and click once to select similar colors throughout the image

Crop ( Chapter 3 ): Drag with the crop tool to enclose the portion of the image you want to retain

in a rectangular boundary Photoshop tints areas outside the boundary to help you better see whichimage areas will go and which will stay when you apply the crop The crop boundary sports severalsquare handles you can drag to resize the cropped area Drag outside the boundary to rotate it; draginside to move it Press Enter or Return to apply the crop or Escape to cancel

Slice: The slice tool and its companion, the slice select tool, come into play when you're creating

Web graphics You can cut images into rectangular sections ? known as slices ? so that you can applyWeb effects, such as links, rollovers, and animations, to different areas of the same image Drag withthe slice tool to define the area that you want to turn into a slice

Slice select: If you don't get the boundary of your slice right the first time, click the slice with this

tool and then drag one of the side or corner handles that appear Or drag inside the boundary to

relocate it

Press Ctrl (Win) or z (Mac) when the slice tool is active to temporarily access the slice select tool, andvice versa

Healing brush ( Chapter 7 ): The clone stamp tool (also known to longtime Photoshop users as

the rubber stamp tool) has always seemed like a miracle worker when removing unwanted elementsfrom images Although excellent results were possible, you still had to be careful that the texture andshading of the cloned area matched the area you were replacing Although the healing brush toolseems at first use just like the clone stamp tool, its special "healing" process lets you clone details fromone area without obscuring the texture and shading of the other

Patch ( Chapter 7 ): Similar to the healing brush, the patch tool lets you use the same "healing"

technology by making selections and dragging them to new locations It's generally useful for healinglarger areas of the image.Photoshop

Color replacement ( Chapter 5 ): Hailing from Photoshop's younger sibling, Photoshop Elements,

the new color replacement tool lets you paint over an existing color in the image to replace it with theforeground color Its main reason for existence is to make it easy to fix red-eye

Brush ( Chapter 5 ): Drag with the brush tool to paint soft lines If you're thinking that sounds kind

of dull, wait until you learn about the multitude of settings available to you in the Brushes palette

Pencil ( Chapter 5 ): Drag with the pencil tool to paint jagged, hard-edged lines Its main purpose

is to clean up individual pixels when you're feeling fussy

Clone stamp ( Chapter 7 ): This tool copies one portion of the image onto another Alt-click (Win)

or Option-click (Mac) the part of your image you want to clone, and then drag to clone that area toanother portion of the image

Pattern stamp: The pattern stamp tool lets you paint with a pattern Either choose a preset or

define your own pattern using Edit ® Define Pattern and then paint away

History brush ( Chapter 7 ): The history brush reverts portions of the image to any of a handful of

previous states throughout the recent history of the image To specify the state that you want to revert

to, click in the first column of the History palette It's like an undo brush but way, way better

Art history brush ( Chapter 7 ): Like the history brush, the art history brush paints with pixels

from a previous image state But with this brush, you get a variety of brush options that create differentartistic effects

Eraser ( Chapter 7 ): Drag with the eraser tool to paint in the background color or erase areas in

a layer to reveal the layers below Alt-drag (Win) or Option-drag (Mac) to switch to the Erase to Historymode, which reverts the image to a previous state just as if you were using the history brush

Background eraser ( Chapter 9 ): The background eraser rubs away the background from an

image as you drag along the border between the background and foreground If you don't wield thistool carefully, though, you wind up erasing both background and foreground

Magic eraser ( Chapter 9 ): The magic eraser came from the same gene pool that produced the

magic wand When you click with the magic wand, Photoshop selects a range of similarly coloredpixels; click with the magic eraser, and you erase instead of select

Gradient ( Chapter 6 ): Drag with this tool to fill a selection with a gradual transition of colors,

commonly called a gradient You can click the gradient icon in the toolbox and select a gradient style

from the Options bar

Paint bucket ( Chapter 6 ): Click with the paint bucket tool to fill a contiguous area of similarly

colored pixels with the foreground color or a predefined pattern

Blur ( Chapter 5 ): Drag with the blur tool to diffuse the contrast between neighboring pixels,

which blurs the focus of the image You can also Alt-drag (Win) or Option-drag (Mac) to sharpen theimage

Sharpen ( Chapter 5 ): Drag with this tool to increase the contrast between pixels, which

sharpens the focus Alt-drag (Win) or Option-drag (Mac) when this tool is active to blur the image

Smudge ( Chapter 5 ): The smudge tool works just as its name implies; drag with the tool to

smear colors inside the image

Dodge ( Chapter 5 ): Drag with the dodge tool to lighten pixels in the image Alt-drag (Win) or

Option-drag (Mac) to darken the image

Burn ( Chapter 5 ): Drag with the burn tool to darken pixels Press Alt (Win) or Option (Mac) to

temporarily access the dodge tool and lighten pixels

Sponge ( Chapter 5 ): Drag with the sponge tool to decrease the amount of saturation in an

image so the colors appear more drab and eventually gray You can also increase color saturation by

except that your text is oriented vertically in the image.

Horizontal type mask ( Chapter 15 ): As you might expect, this tool creates horizontal type The

twist is that the type appears not directly in the image but rather as a mask, with an active selectionaround the shapes of the letters

Vertical type mask ( Chapter 15 ): Combine the verticality of the vertical type tool with the

maskiness of the horizontal type mask tool, and you have what else? the vertical type mask tool Use

it to create an active selection of vertically oriented text

Pen ( Chapter 8 ): Click and drag with the pen tool to set points in the image window Photoshop

draws an editable path outline much like a path in Illustrator that you can convert to a selectionoutline or stroke with color

Freeform pen ( Chapter 8 ): Drag with this tool to draw freehand paths or vector masks.

Photoshop automatically adds points along the path as it sees fit If you select the Magnetic check box

in the Options bar, the freeform pen morphs into the magnetic pen Deselect the check box to return tothe freeform pen

Add anchor point ( Chapter 8 ): To insert a point in a path, click a path segment with this tool Delete anchor point ( Chapter 8 ): Click a point to remove it without interrupting the outline of the

path Photoshop automatically draws a new segment between the neighboring points

Convert point ( Chapter 8 ): Points in a path come in different varieties, some indicating corners

and others indicating smooth arcs The convert point tool enables you to change one kind of point toanother Drag a point to convert it from a corner to an arc Click a point to convert it from an arc to asharp corner

Rectangle ( Chapter 14 ): One of the five vector drawing tools, this tool draws rectangles filled

with the foreground color Just drag to create a rectangle; Shift-drag to draw a square

Rounded rectangle ( Chapter 14 ): Prefer your boxes with nice, curved corners instead of sharp,

90-degree angles? Drag or Shift-drag with the rounded rectangle tool.Cross-Reference

You can opt to create rasterized shapes and lines with the rectangle, rounded rectangle, ellipse,

polygon, line, and custom shape tools See Chapter 14 for details

Ellipse ( Chapter 14 ): You look pretty smart to me, so you probably already figured out that you

drag with this tool to draw an ellipse and Shift-drag to draw a circle

Polygon ( Chapter 14 ): By default, dragging with this tool creates a five-sided polygon Controls

available in the Options bar enable you to change the number of sides or set the tool to create starshapes

Line ( Chapter 14 ): Drag with the line tool to create a straight line But before you do, travel to the

Options bar to set the line thickness and specify whether you want arrowheads at the ends of the line

Custom shape ( Chapter 14 ): After you draw a shape with one of the other drawing tools, you

can save it as a custom shape Thereafter, you can recreate that shape by selecting it from the

Options bar and then dragging with the custom shape tool You also can choose from a variety ofpredefined shapes when working with the custom shape tool.

Notes ( Chapter 3 ): Use this tool to create a little sticky note on which you can jot down thoughts,

ideas, and other pertinent info that you want to share with other people who work with the image orthat you simply want to remember the next time you open the image After you create the note,

Photoshop displays a note icon in the image window; double-click the icon to see what you had to say

Audio annotation ( Chapter 3 ): If you prefer the spoken word to the written one, you can

annotate your images with an audio clip, assuming that you have a microphone and sound card foryour computer As with the notes tool, an audio icon appears in the image window after you record yourmessage Clicking the icon plays the audio clip

Eyedropper ( Chapter 4 ): Click with the eyedropper tool on a color in the image window to make

that color the foreground color Alt-click (Win) or Option-click (Mac) a color to make that color thebackground color

Color sampler ( Chapter 4 ): Click as many as four locations in an image to evaluate the colors

of those pixels in the Info palette After you set a point, you can move it by dragging it to a differentpixel

Measure ( Chapter 12 ): The measure tool lets you measure distances and directions inside the

image window Just drag from one point to another and note the measurement data in the Info palette

or the Options bar You can also drag the endpoints of your line to take new measurements And byAlt-dragging (Win) or Option-dragging (Mac) an endpoint, you can create a sort of virtual protractor thatmeasures angles

Hand (Chapter 2): Drag inside the image window with the hand tool to scroll the window so you

can see a different portion of the image Double-click the hand tool icon to magnify or reduce theimage so it fits on the screen in its entirety When the hand tool is active, you can click buttons in theOptions bar to display the image at the actual-pixels, fit-on-screen, or print-size view sizes

Zoom (Chapter 2): Click with the zoom tool to magnify the image so you can see individual

pixels more clearly Alt-click (Win) or Option-click (Mac) to step back from the image and take in abroader view Drag to enclose the specific portion of the image you want to magnify And finally,double-click the zoom tool icon inside the toolbox to restore the image to 100-percent view size.You can modify the performance of any tool but the measure tool by adjusting the settings in theOptions bar To change the unit of measurement used by the measure tool, double-click the ruler orchoose Edit ® Preferences ® Units & Rulers (Photoshop ® Preferences ® Units & Rulers in Mac OSX) to display the Units & Rulers panel of the Preferences dialog box Then select the unit from theRulers pop-up menu Or even quicker, right-click (Win) or Control-click (Mac) the ruler or click the plussign in the lower-left corner of the Info palette and select a measurement unit from the resulting pop-upmenu The toolbox controls

Well, that pretty much wraps it up for the Photoshop CS tools It was a breathtakingly dull tale, but onethat had to be told The excitement isn't over yet, though Gather the kittens and hold onto your mittens

as we explore the ten controls that grace the lower portion of the toolbox:

Foreground color: Click the foreground color icon to bring up the Color Picker dialog box.

Select a color and press Enter or Return to change the foreground color, which is used by the pencil,paintbrush, airbrush, gradient, and shape tools.Note

I'm not sure why, but many users make the mistake of double-clicking the foreground or backgroundcolor icons when they first start using Photoshop A single click is all that's needed Experienced usersdon't even bother with the Color Picker they stick to the more convenient Color palette

Background color: Click the background color icon to display the Color Picker and change the

background color, which is used by the eraser and gradient tools Photoshop also uses the background

masked portions of the image Paint with black to extend the masked areas, thereby subtracting fromthe selection Paint with white to erase the mask, thereby adding to the selection.Cross-Reference The quick mask mode is too complex a topic to sum up in a few sentences If you can't wait to find outwhat it's all about, check out Chapter 9.

Standard window: Click this icon to display the foreground image in a standard window, as shown

earlier in Figures 2-2 and 2-3 Every image appears in the standard window mode when you first openit

Full screen with menu bar: If you can't see enough of your image inside a standard window, click

this icon The title bar and scroll bars disappear, as do all background windows and the Windowstaskbar, but the menu bar and palettes remain visible, as shown in Figure 2-5 (You can still accessother open images by choosing their names from the Window menu.) A light gray background fills any

empty area around the image

Figure 2-5: Click the middle icon at the bottom of the toolbox to hide the title bar and scroll bars.Note This is similar to the effect that you get when you click the maximize button in the upper-right corner ofthe image window on a PC However, you probably want to avoid maximizing images; use the toolboxcontrols instead Photoshop has a habit of resizing a maximized window whenever you zoom with thecommands on the View menu If you use the toolbox controls, you don't have that problem.Tip

When the image doesn't consume the entire image window, the empty portion of the window appearsgray when you're working in the standard window mode or the full screen with menu bar mode Tochange the gray area to a different color such as black select a color and Shift-click in the gray areawith the paint bucket tool

Absolute full screen: If you still can't see enough of your image, click the rightmost of the image

window controls to see the photo set against a neutral black background (You can't change the color

of this backdrop it's always black.) The menu bar disappears, limiting your access to commands, butyou can still access many commands using keyboard shortcuts Only the toolbox and palettes remain