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Only 1 left in stock – order soon. Get it Aug 15 – Only 2 left in stock – order soon. Get it Aug 16 – Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Martin Evening. Adobe Creative Team. It is not an exhaustive book and the great thing about it is if you want to work on these projects, he’s got it. His easygoing, plain-English style of teaching makes learning Photoshop fun.

He trains thousands in his live seminars each year and knows firsthand which techniques are in hot demand, and now he shares them here in his latest book. Don’t have a Kindle? Virtual lessons for curious minds. Amazon Explore Browse now. About the author Follow authors to get new release updates, plus improved recommendations. Scott Kelby. Brief content visible, double tap to read full content.

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Please try again later. Verified Purchase. It is no secret that Photoshop is an extremely complex software, unlike any other MS Office products that I’ve spent so much time with. The learning curve is long and you can easily get frustrated when you can’t figure out how to achieve the processing that you envisioned. I have been using Photoshop Elements for several years, without every achieving any commendable level of mastery, but now that I have more time on my hands to experiment and learn, I thought it was time to move on to CS6.

The first step after installing the software was to buy this book. This step-by-step guide by one of the foremost experts, Scott Kelby, breaks it all down into manageable chunks with simple text and great illustrations and sample images. The index allows you to find just the topic you’re looking for and jump into that section, or if you’re truly a neophyte, you can start from the beginning and work your way through.

Sometimes, I just pick up the book and flip randomly to a new section so that I can practice another skill. The writing style is clear and entertaining without an excessive use of jargon.

Highly recommended whether you’re just starting out in Photoshop, or looking to upgrade from a basic skill level. If location, location, and location are the three most important things in real estate, then it is much the same thing in Photoshop that workflow, workflow, and workflow are the important triumvirate.

Whereas the fine “Classroom in a Book: Adobe Photoshop CS6” provides fine step by step explanations and exercises for beginners and those who need refreshing on less frequently used techniques, Scott Kelby gives a lighthearted look at the nuts and bolts of both the techniques and the efficient processes required of professional and serious amateur photographers.

His material is geared toward photographers and he ignores some of the more esoteric features of Photoshop that are more in the realm of graphics manipulation, like puppet wrap and the intracies of text font selection and text manipulation that are perhaps more useful to users of other programs in the CS6 suite, like Illustrator. The materials for the exercises and the bonus materials available from his website are first rate and provide a challenging set of examples for photographers.

If you don’t like his quirky humor, then do as he advises and don’t read the introductions to the chapters. Personally, I find them amusing and part of the charm of Mr. Kelby’s work. I hate classifications, but I guess I could call myself an intermediate non-professional photographer and Photoshop user. This is a great read and a great reference book.

I would recommend it for photographers like myself and newbies who need something other than the Adobe “Classroom in a Book” which I do recommend to newbies who learn that way.

I have been using Photoshop since before I was convinced to be come a “Digital” photographer. For the last four upgrades I have purchased Scott Kelby’s Photoshop books. I almost skipped this one because I thought I probably new all there was to know by now. Well, I bought it anyway and, after reading the first few chapters, I found I had learned enough new stuff that the purchase of the book was well worth it.

This book contains useful information on both processing images with Photoshop, and navigating Photoshop. I especially like that he presents more than one way to accomplish something and explains the different results possible.

As a bonus, there is a treasure trove of shortcuts and hints. I also recommend his collection of books on “Digital Photography”. I can’t say enough good things about this book. So I’ll just tell you the best part. In the last chapter the author gives you his step-by-step workflow. He explains which tools he uses in what order to improve a picture. This has increased my learning curve exponentially.

Everyone I know agrees the challenge of learning Photoshop is there are too many tools and too many different ways to do the same thing, so it gets confusing.

Having this author’s workflow has solved that problem for me. One person found this helpful. Received this item and was a few pages in and about 50 pages fell out in a clump. Looked at the binding and it appears that more pages are soon to follow. As far as the content of the book, as always, Scott Kelby is fantastic. Definitely a genius when it comes to Adobe Lightroom and Photoshop. Well written, easy to follow and definitely recommended.

I’ve added a couple images of the binding for the book. I’ve read that the initial printing of this book there were problems with the binding. I guess I was lucky enough to be one of those that received it.

I’ve heard it’s been fixed and I’ve requested a replacement through Amazon. At the top of the Basic panel on the right side of the Camera Raw window , are the White Balance controls. Here I tried each preset and Flash seemed to look best— it removed the bluish tint and made the background gray again. Step Three: The second method is to use the Temperature and Tint sliders found right below the White Balance preset menu.

The bars behind the sliders are color coded so you can see which way to drag to get which kind of color tint. What I like to do is use the built-in presets to get close as a starting point , and then if my color is just a little too blue or too yellow, I drag in the opposite direction.

So, in this example, the Flash preset was close, but made it a little too yellow, so I dragged the Temperature slider a little bit toward blue and the Tint slider a tiny bit toward magenta. By the way, I generally just adjust the Temperature slider, and rarely have to touch the Tint slider. Also, to reset the white balance to where it was when you opened the image, just choose As Shot from the White Balance pop-up menu as seen here.

Step Five: The third method is my personal favorite, and the method I use the most often, and that is setting the white balance using the White Balance tool I. This is perhaps the most accurate because it takes a white balance reading from the photo itself.

So, take the tool and click it once on the background near her hair as shown here and it sets the white balance for you. It was a little dark, so I bumped up the Exposure a little, too. White balance is a creative decision, and the most important thing is that your photo looks good to you.

You are the bottom line. Accurate is not another word for good. By the way, you can just Rightclick on your image to access the White Balance pop-up menu as shown here. Once your lighting is set, just have your subject hold it while you take one shot. Then, open that image in Camera Raw, and click the White Balance tool on the Before: The As Shot white balance has a bluish tint After: With one click of the White Balance tool, everything comes together card in your image to instantly set your white balance.

Now, apply that same white balance to all the other shots taken under that same light more on how to do that coming up in the next chapter. However, in CS6, it works best if you start by getting the Exposure midtones set first, and then if things look kind of washed out, adding some Contrast the contrast slider in CS6 is way, way better than the one in CS5 and earlier, which I generally avoided. Taken in harsh, unflattering light, it needs some serious Camera Raw help.

Step Two: Start by adjusting the Exposure slider. This photo is way overexposed, so drag it to the left to darken the midtones and the overall exposure. Here, I dragged it over to —1.

These two steps—adjusting the Exposure and then the Contrast slider if necessary —should be your starting points every time. This top-down approach helps, because the other sliders build off this exposure foundation, and it will keep you from having to constantly keep tweaking slider after slider. See that triangle? First, go up and click directly on that white triangle and the areas that are clipping will appear in red look on her arm. Continued The Essentials of Camera Raw Chapter 2 The Adobe Photoshop CS6 Book for Digital Photographers Step Five: If that red highlight shows over an area you feel has important detail her arm and other areas here certainly seem important to me , go to the Highlights slider and drag it to the left until the red areas disappear here, I dragged the Highlights slider to the left to — Now, in CS6, the Shadows slider works with the Exposure slider to give you better results than the old Fill Light slider alone could give.

Start by bumping up the Exposure, and then the Contrast the Shadows slider will work much better when you tweak these first. That overprocessed Fill Light look from previous versions of Camera Raw is gone.

Instead, we have a much more natural-looking edit. Now we can jump back to our original image. Most of the time, if I use the Whites slider which controls the brightest highlights , I find myself dragging it to the right to make sure the whites are nice and bright white and not light gray , but in this instance, I was using the Whites slider to pull the whites back a bit to help hide the fact that it was shot in harsh, direct daylight , so I dragged it to the left to darken the whites to around — I also increased the deepest shadows by dragging the Blacks slider to the left just a little bit here, I dragged over to — I still use this slider if, near the end of the editing process, I think the color needs more oomph, as this helps the colors look saturated and less washed out.

Again, I recommend doing all of this in a top-to-bottom order, but just understand that not every image will need an adjustment to the Highlights and Shadows—only mess with those if you have a problem in those areas.

Letting Camera Raw Auto-Correct Your Photos Step One: Once you have an image open in Camera Raw, you can have Camera Raw take a stab at setting the overall exposure using the controls in the Basic panel for you by clicking on the Auto button shown circled in red here.

Now, Camera Raw will evaluate each image and try to correct it. The Clarity slider which is well-named basically increases the midtone contrast in a way that gives your photo more punch and impact, without actually sharpening the image. I add lots of Clarity anytime I want to enhance the texture in an image, and it works great on everything from landscapes to cityscapes, from travel photos to portraits of men—anything where emphasizing texture would look good.

Any image I edit where I want to emphasize the texture landscapes, cityscapes, sports photos, etc. However, you can also use the Clarity control in reverse—to soften skin. Step Two: If you want more contrast, choose Strong Contrast from the Curve pop-up menu as shown here , and you can see how much more contrast this photo now has, compared with Step One. The difference is the Strong Contrast settings create a steeper curve, and the steeper the curve, the more contrast it creates.

There are two different types of curves available here: the Point curve, and the Parametric curve. To add adjustment points, just click along the curve. To do that, click on the Presets icon the second icon from the right near the top of the Panel area to bring up the Presets panel.

This brings up the New Preset dialog shown here. If you just want to save this curve setting, from the Subset pop-up menu near the top, choose Point Curve, and it turns off the checkboxes for all the other settings available as presets, and leaves only the Point Curve checkbox turned on as shown here. Step Six: The Highlights slider controls the highlights area of the curve the top of the curve , and dragging it to the right arcs the curve upward, making the highlights brighter.

Right below that is the Lights slider, which covers the next lower range of tones the area between the midtones and the highlights. Dragging this slider to the right makes this part of the curve steeper, and increases the upper midtones. The Darks and Shadows sliders do pretty much the same thing for the lower midtones and deep shadow areas. Here, to create some really punchy contrast, I dragged both the Highlights and Lights sliders to the right, and the Darks and Shadows sliders to the left.

So, if you move the far-right region divider to the right, it expands the area controlled by the Lights slider.

Now the Highlights slider has less impact, flattening the upper part of the curve, so the contrast is decreased. Just move the tool over the part of the image you want to adjust, then drag upward to lighten that area, or downward to darken it this just moves the part of the curve that represents that part of the image. A lot of photographers love the TAT, so make sure you give it a try, because it makes getting that one area you want brighter or darker easier.

In the example shown here, I clicked and dragged upward to brighten up that shadowy area on the left, and the curve adjusted to make that happen automatically. You can get Camera Raw to tell you exactly which part to adjust. Move your cursor over the background area you want to affect, pressand-hold the Command PC: Ctrl key, and your cursor temporarily changes into the Eyedropper tool.

Click once on your image and it adds a point to the curve that corresponds to the area you want to adjust. Now, leave the center point where it is, drag the top point straight upward, and drag the bottom point straight down to create the curve you see here at the far left. The area to be cropped away appears dimmed, and the clear area inside the border is how your final cropped photo will appear. If you want to see the cropped version before you leave Camera Raw, just switch to another tool in the toolbar.

Note: If you draw a set size cropping border and want to switch orientation, click on the bottom-right corner and drag down and to the left to switch from wide to tall, or up and to the right to switch from tall to wide. By default, you click-and-drag it out around the area you want to keep, and like in Photoshop, you have access to a list of preset cropping ratios. To get them, click-and-hold on the Crop tool and a pop-up menu will appear as shown here.

The Normal setting gives you the standard drag-itwhere-you-want-it cropping. However, if you choose one of the cropping presets, then your cropping is constrained to a specific ratio. To bring back the cropping border, just click on the Crop tool. If you want your photo cropped to an exact size like 8×10″, 13×19″, etc. You can choose to crop by inches, pixels, or centimeters. Click OK, click-and-drag out the cropping border, and the area inside it will be exactly 8×10″.

If you click the Open Image button, the image is cropped to your specs and opened in Photoshop. If, instead, you click the Done button, Camera Raw closes and your photo is untouched, but it keeps your cropping border in place for the future. TIP: Seeing Image Size The size of your photo and other information is displayed below the Preview area of Camera Raw in blue underlined text that looks like a web link.

When you drag out a cropping border, the size info for the photo automatically updates to display the dimensions of the currently selected crop area. However, if you click the Save Image button and you choose Photoshop from the Format pop-up menu as shown , a new option will appear called Preserve Cropped Pixels. If you turn on that checkbox before you click Save, when you open this cropped photo in Photoshop, it will appear to be cropped, but the photo will be on a separate layer not flattened on the Background layer.

So the cropped area is still there—it just extends off the visible image area. When you open multiple photos, they appear in a vertical filmstrip along the left side of Camera Raw as shown here.

A tiny Crop icon will also appear in the bottom-left corner of each thumbnail, letting you know that these photos have been cropped in Camera Raw. Now, click-and-drag it along the horizon line in your photo as shown here.

When you release the mouse button, a cropping border appears and that border is automatically rotated to the exact amount needed to straighten the photo as shown in Step Eight.

If you click Open Image instead, the straightened photo opens in Photoshop. TIP: Canceling Your Straightening If you want to cancel your straightening, just press the Esc key on your keyboard, and the straightening border will go away.

So, just pressand-hold the Shift key when you doubleclick on the RAW file in Mini Bridge, and the image will open in Photoshop, with the last set of edits already applied, skipping the Camera Raw window altogether. If those sound like your favorites, you can save yourself some time by jumping directly to the one you want using a simple keyboard shortcut.

To run through the different shortcuts, just try different letters on your keyboard. Instead, to get back to the original way your image looked when you first opened it in Camera Raw, go to the Camera Raw flyout menu and choose Camera Raw Defaults. Deleting Multiple Images While Editing in Camera Raw If you have more than one image open in Camera Raw, you can mark any of them you want to be deleted by selecting them in the filmstrip on the left side of Camera Raw , then pressing the Delete key on your keyboard.

To remove the mark for deletion, just select them and press the Delete key again. Just press Command-1, -2, -3 PC: Ctrl-1, -2, -3 , and so on, to add star ratings up to five stars. You can also just click directly on the five little dots that appear below the thumbnails in the filmstrip on the left.

A little hint of the hot spot comes back, so it looks more like a highlight than a shine it actually works really well. You can do something similar in Camera Raw when using the Spot Removal tool set to Heal by removing the hot spot or freckle, or wrinkle and then using the Opacity slider in the Spot Removal options panel. However, I went with the movie Raw backscreened headshots.

That would be incredibly trying to fool you into watching a movie thinking it was shallow of me. However, of Camera Raw, there is no real justice in that this finely what I found most puzzling was this: in the movie poster, crafted classic of modern cinematography wound up Pamela Anderson totally dominates the poster with a large, going straight to DVD.

But when we open the photo, the subject is basically in silhouette. In this example, the camera properly exposed for the sky in the background, so the rock formation in the foreground is a silhouette.

Plus, by double-processing editing the same RAW photo twice , we can choose one set of edits for the sky and another for the rocks, to create just what we want. Now, press-and-hold the Shift key, and the Open button changes to Open Object as seen here. Click it. Now we need a second version of this image, because the sky looks way too light in this version. We need to be able to edit these two layers separately from each other. Basically, we need to break the link between the two layers.

To do that, go to the Layers panel, Right- click on the layer, and from the pop-up menu that appears, choose New Smart Object via Copy. This gives you a duplicate layer, but breaks the link to the original layer. So, drag the Exposure slider way over to the left I went to —0. Once the sky looks good, click OK.

Continued Camera Raw—Beyond the Basics Chapter 3 The Adobe Photoshop CS6 Book for Digital Photographers Step Five: You now have two versions of your photo, each on a different layer—the brighter one exposed for the rocks in the foreground on the bottom layer, and the darker sky version on the layer directly on top of it—and they are per fectly aligned, one on top of the other.

Now what we need to do is combine these two different layers with different exposures into one single image that combines the best of both. So, get it from the Toolbox and paint over the rocks and foreground, and it selects them for you in just a few seconds as shown here.

Step Six: Go to the Layers panel and click on the Add Layer Mask icon at the bottom of the panel shown circled here in red. This converts your selection into a layer mask, which hides the light sky and reveals the new darker sky layer in its place as seen here.

Well, except for those blue mountain areas on either side of the base of the rocks, which look kind of funky. If you make a mistake, switch your Foreground color to white and paint over your mistake to erase the spillover. Go under the Select menu and choose Refine Mask. This brings up the Refine Mask dialog you see here.

In the Edge Detection section, turn on the Smart Radius checkbox and drag the Radius slider to the right until the white edge is almost gone I dragged to 8. Then, under Adjust Edge, drag the Shift Edge slider to the left as shown here until the white edge disappears as you see here, where I dragged to —25 , then click OK. See, that was fairly easy. Go to the Layers panel and, from the flyout menu at the top right, choose Flatten Image to flatten the image down to one layer.

The image looks a little dark overall, so press Command-L PC: Ctrl-L to bring up the Levels dialog, and bring back some of the overall highlights by dragging the white Input Levels highlights slider right below the far-right side of the histogram to the left to brighten things up.

Step Lastly, I would do something to make the image a little more vibrant and applying an effect to the combined image helps unify the look. Go under the Image menu, under Mode, and choose Lab Color. Now, go under the Image menu again and choose Apply Image. This adds color and contrast.

In Mini Bridge, start by selecting the images you want to edit click on one, press-and-hold the Command [PC: Ctrl] key, then click on all the others.

Choose Basic from the popup menu at the top, and it unchecks all the other stuff, and leaves just the Basic panel checkboxes turned on. Although it does work, it takes too many clicks, and decisions, and checkboxes, which is why I prefer the second method. At the top of this panel is the Sharpening section, where by a quick glance you can see that sharpening has already been applied to your photo.

Step Two: If you want to turn off this automatic, by default sharpening so capture sharpening is only applied if you go and manually add it yourself , first set the Sharpening Amount slider to 0 zero , then go to the Camera Raw flyout menu and choose Save New Camera Raw Defaults as shown here.

Now, RAW images taken with that camera will not be automatically sharpened. Now the sharpening only affects the preview you see here in Camera Raw, but when you choose to open the file in Photoshop, the sharpening is not applied. Compare the image shown here, with the one in Step Four where the Sharpening Amount was set to 0 , and you can see how much sharper the image now appears, where I dragged it to Step Six: The next slider down is the Radius slider, which determines how far out the sharpening is applied from the edges being sharpened in your photo.

I only use a Radius of more than 1 when: 1 the image is visibly blurry, 2 it has lots of detail like this photo, where I pushed the Radius to 1. If you decide to increase the Radius amount above 1 unlike the Unsharp Mask filter, you can only go as high as 3 here , just be careful, because if you go too much above 1, your photo can start to look fake, oversharpened, or even noisy, so be careful out there in the next step, I set it back to 1.

The default Masking setting of 0 zero applies sharpening to the entire image. As you drag to the right, the non-edge areas are masked protected from being sharpened. This is particularly helpful in understanding the Masking slider, so press-and-hold the Option key and drag the Masking slider to the right.

When Masking is set to 0, the screen turns solid white because sharpening is being evenly applied to everything. As you drag to the right, in the preview shown here , the parts that are no longer being sharpened turn black those areas are masked. Any areas you see in white are the only parts of the photo receiving sharpening perfect for sharpening women, because it avoids sharpening their skin, but sharpens the things you want sharp, like the eyes, hair, eyebrows, lips, edges of her face, and so on.

It does this by reading the embedded camera data so it knows which camera and lens you used , and it applies a profile to fix the problem.

Open the image with a lens problem in Camera Raw. So I always fix lens problems here, rather than using the Photoshop filter. Also, I usually have to back down the amount of correction just a bit with fisheye lenses by dragging the Distortion slider a little bit to the left as seen here.

Take a look at the photo here. Step Four: I shoot Nikon cameras, so I pretty much knew this was taken with a Nikon, so from the Make field I chose Nikon, and as soon as I did, it did the rest—it found a lens match and fixed the photo. Here, I actually used the This is a pretty common problem for photos taken with a wide-angle lens on a full-frame camera this was taken with a 28—mm lens, at 28mm.

I kind of like the mystery of the fog, but it is just kind of a mess overall. We can fix this in just a few clicks. It looks at the camera data embedded into your photo and, if it finds a match in its database, it applies the fix automatically, as it did here by flattening out the foundation of the building, removing the bloated look from the front of the palace, and removing the edge vignetting from all the corners. Step Eight: If you need more than a little tweak to the profile which we definitely do—look at how the building and tower are leaning back, back in Step Seven , then you need to click on the Manual tab and basically do it yourself.

Note: The changes you make in the Manual tab are added on top of what you already did in the Profile tab. In this case, we need to fix the vertical geometric distortion, so drag the Vertical slider to the left, and as you do, keep an eye on the tower on the left. Your goal is to make it straight, so simply drag to the left until it is in this case, I dragged over to —43, as shown here.

To fix the squattiness not a word, I know and cover that dark gray gap at the bottom, get the Rectangular Marquee tool M , and clickand-drag it around the image, going across the bottom edge, right above the dark gray gap. Grab the bottom-center transform handle and drag the image straight down— stretching it to fill the dark gray gap at the bottom as shown here. Two birds. One stone.

Step Now, when it comes to those two gray triangles in the corners, you have two choices here: 1 The most common choice is simply to crop away those gray empty areas, so get the Crop tool C , drag it out over as much of the photo as you can without extending into the gaps, and then press Return. Get the Magic Wand tool press Shift-W until you have it , and click it once in a gray area to select it, then Shift-click in the other one.

Go under the Select menu, under Modify and choose Expand, and enter 4 pixels ContentAware Fill seems to work better if you expand out your selection by 4 pixels. I learned that from Adobe themselves. Hey, look at that— it worked. Press Command-D to deselect the triangular areas. Then, press Command-T to bring up Free Transform as seen here. By the way, while Free Transform is in place, you can go to the Layers panel and lower the Opacity of this top layer so you can see the original tower below it.

That way, you can match up the height correctly. Now, press the Return PC: Enter key to lock in your transformation. You betcha! I love it!!!! Step The final step would be to sharpen this puppy to death! I mean, add a significant amount of sharpening. Go under the Filter menu, under Sharpen, and choose Unsharp Mask.

This is some major sharpening, but when you have a photo with something this detailed, it can take a lot of sharpening meaning, it loves to be sharpened. Now, click OK to finish your lens correction problem and then some! A before and after is shown on the next page. Sometimes the fringe is red, sometimes green, sometimes purple, blue, etc. Luckily, Camera Raw has a built-in fix that does a pretty good job. To remove this, start by clicking on the Lens Corrections icon the sixth icon from the left at the top of the Panel area, then click on the Color tab in the center to make the Chromatic Aberration controls visible.

In this case, it removed most of it, but left a little bit especially on the left. Click right between the two knobs and drag the slider way over to the right, and the residual color is now gone sometimes you might have to drag to the left—it just depends on the image.

So, try dragging it in both directions first to quickly see which direction is the right one. To remove this vignetting from the corners, start by clicking on the Lens Corrections icon the sixth icon from the left at the top of the Panel area. See page 66 for more on this. If the image still needs correcting, try the Vignetting slider under Correction Amount. In the Lens Vignetting section, click on the Amount slider and drag it to the right until the vignetting in the corners disappears.

Once you move the Amount slider, the Midpoint slider beneath it becomes available. It determines how wide the vignetting repair extends into your photo, so drag it to the left to expand the lightening farther toward the center of your photo. Drag the Midpoint slider quite a bit to the left, which increases the size of the vignetting and creates a soft, pleasing effect that is very popular in portraiture, or anywhere you want to draw attention to your subject.

Two for the price of one! So, start by applying a regular edge vignette as shown here. It kind of looked just like adding muddy dark gray to the edges. I would stay away from this one altogether. Step Eight: Below the Midpoint slider is the Roundness slider that gives you control over the roundness of the vignetting lower the Feather amount to 0, so you can get a better idea of what the Roundness slider does.

The farther to the right you drag, the rounder the shape gets, and when you drag to the left, it actually becomes more like a large, rounded-corner rectangle. The Feather slider determines how soft that oval you created with the Roundness slider becomes. If, one day, one or more manufacturers abandon their proprietary format for something new like Kodak did with their Photo CD format , will we still be able to open our RAW photos? Step Two: When the Save Options dialog appears, at the bottom of the dialog, from the Format pop-up menu, choose Digital Negative shown here.

Once you choose Digital Negative, a new set of options appears at the bottom of the dialog seen in Step Three. If you do want to do it, turn on that checkbox, then choose from its pop-up menu which option is most important to you: saving the same physical dimensions pixel size or file size megapixels.

If you turn on the Update Embedded JPEG Previews checkbox and choose your preferred preview size from the pop-up menu , then any changes you make to the DNG will be applied to the preview, as well. Now, click on the Saturation tab as shown here to bring up the Saturation sliders which control the intensity of the colors. You can just drag the Blues slider to the right, and it will get bluer the color will get more intense , but most of the time, the color your eye sees blue, in this case is made up of more than just that color.

As you do this, it knows which sliders control that area, and it moves them for you in this case, it moved the Blues slider a lot, but it also moved the Purples slider a little, too. So, take the TAT, click it on the side of it I clicked between the walkway and the horn , and drag straight upward to increase the color saturation intensity of those reds. It kind of helps make the harsh light not as harsh, in this case.

However, if you want to actually change a color and not just tweak the existing color , then click on the Hue tab. The controls are the same: click your TAT on the tower and drag upward to change the color as I did here in the inset.

You start by clicking on the Spot Removal tool the seventh tool from the right in the toolbar or by pressing B to get it, and a set of options appears in the Spot Removal panel on the right seen here.

In this case, Camera Raw did sample a nearby area, but unfortunately it also sampled a bit of the building, and it copied it to the sky area where we were retouching, making the retouch look very obvious with that piece of building hanging out there. That way, any time you open a photo from that camera, it will automatically compensate for that color.

Calibrating for Your Particular Camera Step One: To calibrate Camera Raw so it fixes a persistent color cast added by your camera, open a typical photo taken with that camera in Camera Raw, and then click on the Camera Calibration icon it looks like a camera and is the third icon from the right at the top of the Panel area. In the Camera Calibration panel, drag the Red Primary Saturation slider to the left, lowering the amount of red in the entire photo. Now, when you open a photo from that camera Camera Raw reads the EXIF data so it knows which camera each shot comes from , it will apply that calibration.

Note: You can adjust your blues and greens in the same way. And did it stink? Yes, yes it did. But, does the current noise reduction rock? Oh yeah! What makes it so amazing is that it removes the noise without greatly reducing the sharpness, detail, and color saturation. Plus, it applies the noise reduction to the RAW image itself unlike most noise plug-ins.

I usually get rid of the color noise first, because that makes it easier to see the luminance noise which comes next. Note: A bit of color noise reduction is automatically applied to RAW images— the Color slider is set to If you have to push the Color slider pretty far to the right, you might start to lose some detail, and in that case, you can drag the Color Detail slider to the right a bit, though honestly, I rarely have to do this for color noise. There are two things that tend to happen when you have to push this slider really far to the right: you lose sharpness detail and contrast.

These are workflow decisions, which is why you make them in the Workflow Options dialog. Click on that link to bring up the Workflow Options dialog which is seen in the next step. By default, it shows the color space specified in your digital camera, but you can ignore that and choose the color space you want the photo processed with.

Get it? One bit? Step Four: The next option down is Size. When printing to an inkjet printer at larger than 8×10″ size, I use ppi although some argue that the sweet spot for Epson printers is ppi, so you might try printing the same image at both resolutions and compare. For prints smaller than 8×10″ which are viewed at a very close distance , try ppi.

If your photos are only going to be viewed on the web, you can use 72 ppi. By the way, the proper resolution is debated daily in Photoshop discussion forums around the world, and everybody has their own reason why their number is right. Start by opening your image in Camera Raw and doing your standard edits in this case, I tweaked the white balance a little by dragging the Temperature slider a little bit to the right to make it warmer.

Nothing drastic, but I did do a few little tweaks here. Go ahead and click it to open this image in Photoshop as a smart object. This makes a duplicate of your smart object layer, but it is no longer tied to the original layer, so we can edit these as two totally independent RAW images. This changes just this duplicate layer back to the old process version, so it has the controls from Photoshop CS5.

Now, go to the Basic panel and, lo and behold, there is the old Fill Light slider. Go ahead and crank that Fill Light slider up here, I dragged it over to However, you can see the weird look it gives the rest of the image, which is why Adobe thought this control needed some improvements. When it looks good to you, click OK. Step Four: With the top layer active in the Layers panel, Option-click PC: Alt-click on the Add Layer Mask icon at the bottom of the panel to hide this newly processed layer behind a black mask.

Now, get the Brush tool B , make sure your Foreground color is set to white, then paint over the areas you want to have the old Fill Light look for example, here I painted over her hair and earrings, which is primarily what I wanted.

If you open up the shadows a lot using the Shadows slider, Blacks, or in some cases, even the Exposure slider , any noise that was already in the image is going to become magnified. There are two different places you can reduce noise in Photoshop: The Noise Reduction controls in Camera Raw rock, however the Reduce Noise filter in Photoshop under the Filter menu, under Noise does not. My advice— only use the Noise Reduction in the Detail panel of Camera Raw, and avoid the other altogether.

Rotating Your Images Finally, a shortcut that makes perfect sense: To rotate your image to the left, press L; to rotate to the right, press R. Luckily, now when your canvas rotates, your brushes stay intact. Get Automatic Auto Corrections The Auto correction one-click fix feature got dramatically better in previous versions of Photoshop. Not great, not amazing, but decent.

You do this by clicking on the blue link beneath the Preview area in Camera Raw. This brings up the Workflow Options dialog, where you choose which color profile gets embedded into your image you choose it from the Space pop-up menu. Click it, and any images that have either a star rating or a label will be instantly selected for you, letting you get to your best images fast.

Very handy! Click on it, and it marks your selected image s for deletion. Finding Your Best Images Fast I mentioned in the last chapter that if you have multiple images open in Camera Raw, you can assign star ratings and labels to photos just as if you were in Mini Bridge you even use the same shortcuts. It just sounded like a bunch of noise. But this by hip hop artists Trick Trick and Jazze Pha.

In iTunes, this time it was me. I was sad. I jumped up out of my chair, but then I grabbed understand a word they were saying. However, I recommend that you do all the regular edits to your photo in the Basic panel first exposure, contrast, etc. So, start by clicking on the — minus sign button to the left of the Exposure slider, which resets all the sliders to 0 and lowers the Exposure the midtones control to —0.

Notice how the sky gets darker as you paint? Try lowering the Exposure to —1. More on this coming up. That way, you can paint right up against them, filling in all those areas, without accidentally painting over the blades and wings. Now that you know where you painted, you can go back and paint over any areas you missed. If you want to keep the mask turned on while you paint, just press the letter Y on your keyboard. The ability to paint over one area, and stack up a number of adjustments on just that area, is what gives this tool so much power.

First, click the New radio button at the top of the panel, so we can paint over a new area otherwise, the plane would get the same settings we used on the sky. Now, with Auto Mask turned on, paint over the underside of the plane and the propeller blades as shown here , which lightens those areas because you increased the Exposure amount by quite a bit. Now, just paint the area where you spilled over and it erases the spillover as shown here.

You can also switch to Erase mode by clicking on the Erase radio button at the top of the Adjustment Brush panel. Note: I felt I needed to make one more change to this image.

If you look back at Step 10, the yellow nose cone looks too bright, so I used the Erase brush to erase over it entirely. Now, move your cursor over the blemish and just click. So, click on the green sample circle and drag it to a nearby area and it redoes the retouch as shown here.

Now, remove the rest of the blemishes with just a single click each, adjusting the position of their green sample circles, if necessary. Now, drag the Exposure slider a little to the right, decrease the size of your brush, then paint over the whites of her eyes as shown here.

Once that looks good, click the New radio button again and zero out the sliders, so we can work on adding contrast and brightness to her irises. However, with the way Adobe implemented this feature, you can use it for much more than just neutral density gradient effects although that probably will still be its number one use. When you click on it, its options panel appears shown here with a set of effects you can apply that are similar to the ones you can apply using the Adjustment Brush.

Start by dragging the Exposure slider to the left, or just click on the — minus sign button two times to get to —1. Generally, you want to stop dragging the gradient before it reaches the horizon line, or it will start to darken your properly exposed foreground. You can see the darkening effect it has on the sky and the photo already looks more balanced. Note: Just let go of the Shift key to drag the gradient in any direction.

You can also have more than one gradient click on the New radio button at the top of the panel and to delete a gradient, just click on it and press the Delete PC: Backspace key. Start by pressing the Delete PC: Backspace key to get rid of this adjustment pin and start over from scratch with the original color image. Get the Adjustment Brush and click the — minus sign button beside Exposure to zero everything out.

Then drag the Exposure slider almost all the way over to the left. Step Six: Turn off the Auto Mask checkbox and, using a large brush, paint over the entire image as shown here to greatly darken it. That way, it builds up more gradually as you click the brush.

If I try to warm up the white balance, she is going to turn really yellow. Luckily, now we can adjust the white balance in just one area. I also decreased the Highlights a bit to finish it up. This technique lets you paint noise reduction just where you need it, so the rest of the image stays sharp. It definitely looks better now well, to me anyway , but if you look at the inset, you now see lots of noise that was once hidden in those shadows.

This noise reduction only affects that wall area where you painted, and the rest of the image keeps its original sharpness. Next, fully paint over just the two circular headlamps. Really handy when working on hard edges, like the edge of a building where it meets the sky. The trick is to click on the Color swatch in the middle of the Adjustment Brush options panel to reopen the Color Picker, then drag the Saturation slider down to 0.

Want to bring them all back? Then you can jump back to how the image looked when you took that snapshot by clicking on it in the Snapshots panel. Click that little bucket on any one of the swatches, and it changes the swatch to your currently selected color. Anyway, I also a great title for a movie about evil corn is almost ideal found a band named Cash Crop, which would make a great for this chapter, except for the fact that this chapter also title, too, but when I looked at their album, every song was includes resizing.

So, I thought, what the heck, and searched marked with the Explicit warning. The Designers, and motion picture soundtrack for the movie Sorority Row , and it literally is an long background music track with two I immediately knew what kind of the music they did. Naughty, European-sounding women whispering the names of menu naughty music. Anyway, while I was listening, and wincing commands from Adobe products. I am not making I realized that someone at the iTunes Store must have the this up I listened to the free second preview.

I imagine, at this point, that person has commands set to music. Now, just grab one of the corner or side handles and start dragging inward to start cropping as seen here and it crops in toward the center of the image the area to be cropped away will appear dimmed.

If you want to keep the image proportions the same in your crop I usually do , just press-and-hold the Shift key while you drag any of the cropping handles. Also, you can reposition your image within the border by clickingand-dragging on it.

When you do this, the cursor will change into a double-headed arrow. Just click, hold, and drag up or down and the cropping border will rotate in the direction you choose. Want to take it up a notch? The other options here only kick in if you do have that dimmed cropped away area visible called the Crop Shield , and you can make it lighter or darker by changing the Opacity amount, or you can turn it off altogether by turning off the Enable Crop Shield checkbox.

Of course, now you can tweak the handles just like before. One quick thing to check first: if you want a white background for your canvas area and my guess is, most times you will , then before you even click on the Crop tool, press the letter D on your keyboard to set your Background color to white. Then, once you click on the Crop tool, make sure Unconstrained is selected in the popup menu at the left end of the Options Bar, otherwise the cropping border will be constrained to the aspect ratio of your image in this case, we want the bottom section to be deeper than the sides and top.

Now, grab a cropping handle and drag the border outward to add canvas area. Step Here, I dragged the right side out and then dragged the bottom-center handle down quite a bit to add a fine art poster mat look around my image.

How cool is that? You get to decide if the part of your image that gets cropped away from view is: a gone forever, or b just hidden from view and, if necessary, can be brought back. With it turned on, when you crop, the stuff outside the border is cropped away and you get a smaller file size.

Step Once you have the cropping border right where you want it, press the Return PC: Enter key to crop your image. The final cropped image is shown here, where we cropped off some of the crowd on the right side, and the lens peeking into the frame from above my shooting position down on one knee , and some of the excess grass on the tee box.

More times than I care to admit. Type in the custom size you want in this case, 20×16″ at a resolution of ppi, which is pretty ideal for most color inkjet printing.

Now press the Return PC: Enter key and it crops your image to that size. When the New dialog appears, enter 20 inches by 16 inches, and enter for Resolution, then click OK to create a new blank document in the exact size and resolution you need as seen here. All you have to do is crop the other image, and it will share the exact same specs as your ideal-size photo. Step Four: Now, get the Move tool V , click on the image you want cropped to that size, and drag it onto that new blank document.

The one you like best. In fact, once you set them up, they will save you time and money. Then, when we want to crop to 5×7″, all we have to do is grab the 5×7″ Crop tool preset. In the Width field, enter 2 in, then press the Tab key to jump to the Height field, enter 2. This brings up the New Tool Preset dialog, in which you can name your new preset. Name it, click OK, and the new tool is added to the Tool Presets panel. If you need to change the name of a preset, just double-click directly on its name in the panel, and then type in a new name.

In the resulting dialog, choose Tools from the Preset Type pop-up menu, and scroll down until you see the Crop tools you created. Now just click-and-drag them to wherever you want them to appear in the list, and then click Done. A tool preset picker will appear. Click on a preset, and your cropping border will be fixed to the exact dimensions you chose for that tool. When the New dialog appears, click on the Preset pop-up menu to reveal the list of preset types, and choose Photo.

Then click on the Size pop-up menu to see the preset sizes, which include 2×3″, 4×6″, 5×7″, and 8×10″ in both portrait and landscape orientation.

The only problem with these is that their resolution is set to ppi by default. First, choose Photo from the Preset popup menu, then choose Landscape, 5×7 from the Size pop-up menu. Choose your desired Color Mode below Resolution and Color Profile under Advanced , and then enter a Resolution I entered ppi, which is enough for me to have my image printed on a high-end printing press.

Once your settings are in place, click on the Save Preset button. In the Preset Name field, enter your new resolution at the end of the size. You only have to go through this once.

Photoshop will remember your custom settings, and they will appear in this Preset pop-up menu from now on. A warning dialog will appear asking you to confirm the delete. The trick is to decrease the physical size of your digital camera image and increase its resolution without losing any of its quality. As you can see from the rulers, the photo is about 59″ wide by 39″ high. Under the Document Size section, the Resolution setting is 72 ppi.

That way, when we type in a Resolution setting that we need, Photoshop automatically adjusts the Width and Height of the image down in the exact same proportion. Pretty cool! In fact, I never print with a resolution higher than ppi. As you can see, the Width of my image is now almost 24″ and the Height is now almost 16″.

Note: Do not turn off Resample Image for images that you scan on a scanner— they start as high-res images in the first place. Turning Resample Image off like this is only for low-res photos taken with a digital camera.

That way, when the Image Processor opens, it already has those photos pegged for processing. Then, in the second section, decide whether you want the new copies to be saved in the same folder or copied into a different folder. Just turn on the Run Action checkbox, then from the pop-up menus, choose which action you want to run.

If you want to automatically embed your copyright info into these copies, type your info in the Copyright Info field. Click on that menu and choose Percent as shown here. So, which one is the right one for you? Thankfully, now there is just that.

Click-anddrag the Straighten tool horizontally along this straight edge in your photo, starting from the left and extending to the right as shown here.

Now, just press the Return PC: Enter key to lock in your straightening, and it straightens and crops the image down to just what you see inside the cropping border the final straightened image is shown here below.

Luckily, maintaining image quality is much easier when sizing down than when scaling up in fact, photos often look dramatically better—and sharper—when scaled down, especially if you follow these guidelines. Making Your Photos Smaller Downsizing Downsizing photos where the resolution is already ppi: Although earlier we discussed how to change image size if your digital camera gives you ppi images with large physical dimensions like 24×42″ deep , what do you do if your camera gives you ppi images at smaller physical dimensions like a 10×6″ at ppi?

The image will be scaled down to size, and the resolution will remain at ppi. When the size looks good, press Return PC: Enter. If the image looks softer after resizing it, apply the Unsharp Mask filter see Chapter 10 for settings to bring that sharpness back. You have two documents open, and they look approximately the same size as seen here, at top , but when you drag the sunflower photo onto the blank document, the sunflower photo appears really small as seen below.

The sunflower photo is a low-resolution, ppi pixels per inch image, but the blank document is a high-resolution, ppi image. Try gang scanning fitting as many photos on your flatbed scanner as you can and scanning them as one big single image , and then you can have Photoshop automatically straighten each individual image and place it into its own separate document.

No dialog will appear. Instead, Photoshop will look for straight edges in your photos, straighten the photos, and copy each into its own separate document. Press-and-hold the Shift key, then grab a corner point and drag inward to scale the image down, so it fits within the 8×10″ area as shown here on top , and press Return PC: Enter.

This is where Content-Aware Scale comes in. Grab the top handle, drag straight upward, and notice that it stretches the sky upward, but pretty much leaves the jet intact. Note: The button that looks like a person in the Options Bar tells Content-Aware Scale that there are people in the photo, so it tries to avoid stretching anything with a skin tone. Step Three: There are two more controls you need to know about: First, if you try ContentAware Scale and it stretches your subject more than you want, get the Lasso tool L and draw a selection around your subject as shown here , then go under the Select menu and choose Save Selection.

When the Save Selection dialog appears, just click OK. Then bring up Content-Aware Scale again, but this time, go up in the Options Bar and choose your selection from the Protect pop-up menu as shown here to tell Photoshop where your subject is.

Now you can drag up or down to fill the empty space with the least possible stretching. The nice thing is the Amount control is live, so as long as your handles are still in place, you can lower the Amount and see live onscreen how it affects your resizing. In the Layer Style dialog, enter your own settings like changing the glow from yeech yellow to white, or black, or anything but yeech yellow , then click on the Make Default button near the bottom of the dialog.

To return to the factory default yeech settings, click the Reset to Default button. In CS4, they changed the shortcuts, which totally bummed out a lot of longtime users, but you have the option of bringing those glory days of channel shortcuts back to the pre-CS4 era.

Click on it and it brings up the Blend If sliders in the Layer Style dialog. When you crop a photo in Camera Raw, you can see the final cropped image without having to open the image in Photoshop.

That has changed and JPEG is now a choice, but what it does is makes a copy of the file, which it converts to 8-bit, and saves that instead. This the Pen tool all that much, so he used the letter P for Picker. To hide it again, press V again. Assign a Keyboard Shortcut to the Color Picker leaves your bit image still open onscreen and unsaved, so keep that in mind.

Click on whichever one you want, and type in the shortcut you want. I have to tell you up front: most of the good shortcuts are already taken in fact, almost all combinations of shortcuts are already taken , but my buddy Dave Cross came up with a good idea. The Adobe Photoshop CS6 Book for Digital Photographers Photoshop Killer Tips Working with Tabbed Documents When working with multiple documents while using the Tabs features, to see any tabbed image, just click on its tab at the top of the image window or press CtrlTab to cycle through them one by one.

You can find them by clicking on the pop-up menu at the right end of the Options Bar. To create your own custom workspace layout, just click-and-drag the panels where you want them.

To nest a panel so they appear one in front of another , drag one panel over the other. When you see a blue outline appear, release the mouse button and it nests. More panels can be found under the Window menu. Instead, you have to go into that pop-up menu and choose Reset [your workspace name]. When the Match Color dialog appears, just turn on the Neutralize checkbox in the Image Options ssection.

Change Ruler Increments If you want to quickly change the unit of measure in your ruler say, from pixels to inches or from centimeters to millimeters , just Right-click anywhere inside the Rulers and choose your new unit of measurement from the pop-up menu that appears.

Switch the Stroke position or location to Inside. Remember the song: Umlaut. The page is white. Kidding, Kim. Just a joke. So, the best advice I can give you is to get out of this panel just as fast as you can.

 
 

 

Adobe Photoshop CS6 Book for Digital Photographers – Scott Kelby – Google книги.

 
A digital photographer’s guide to Adobe Photoshop CS6, explaining the program features, providing step-by-step instructions with sample screen shots and. Uncover the secrets of the industry’s top digital photographers from the author of The Digital Photography Book, parts 1, 2.

 
 

 
 
Jul 12,  · Scott Kelby is Editor-in-Chief of Photoshop User magazine, President of the National Association of Photoshop Professionals (NAPP), Training Director for the Adobe Photoshop Seminar Tour, and one of the leading seminar instructors in the industry today. Scott is author of the best-selling books The Adobe Photoshop Lightroom 4 Book for Digital . online message The Adobe Photoshop For Digital Photographers Covers Photoshop Cs6 And Photoshop Cc Voices That Matter can be one of the options to accompany you taking into consideration having further time. It will not waste your time. assume me, the e-book will certainly heavens you further issue to read. the-adobe-photoshop-for-digital-photographers-covers-photoshop-cs6-and-photoshop-cc-voices-that-matter 1/2 Downloaded from on August 8, by guest The Adobe Photoshop For Digital Photographers Covers Photoshop Cs6 And Photoshop Cc Voices That Matter When people should go to the ebook stores, search launch by shop, shelf by.