the hidden power of photoshop elements 3

The Hidden Power™ of
Photoshop® Elements 3
RICHARD LYNCH
SYBEX®
The Hidden Power of
Photoshop Elements 3
4385c00.qxd 11/7/04 11:25 PM Page i
4385c00.qxd 11/7/04 11:25 PM Page ii
The Hidden Power of
Photoshop Elements 3
RICHARD LYNCH
SAN FRANCISCO | LONDON
™
®
4385c00.qxd 11/7/04 11:25 PM Page iii
Publisher: Dan Brodnitz
Acquisitions Editor: Bonnie Bills
Developmental Editor: Pete Gaughan
Production Editor: Lori Newman
Technical Editor: Jeff Foster
Copyeditor: Sharon Wilkey
Compositor: Maureen Forys, Happenstance Type-O-Rama
CD Coordinator: Dan Mummert
CD Technician: Kevin Ly
Proofreaders: Jim Brook, Katherine Perry, Nancy Riddiough
Indexer: Ted Laux
Interior Design: Caryl Goska
Cover Design: Ingalls + Associates
Cover Photograph: Øivind Sandum
Copyright © 2005 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World
rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or

reproduced in any way, including but not limited to photocopy, photograph, magnetic, or
other record, without the prior agreement and written permission of the publisher.
An earlier version of this book was published under the title The Hidden Power of Photoshop
Elements 2 © 2003 SYBEX Inc.
Library of Congress Card Number: 2004109320
ISBN: 0-7821-4385-7
SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in
the United States and/or other countries.
Screen reproductions produced with FullShot 99. FullShot 99 © 1991-1999 Inbit Incorporated.
All rights reserved.
FullShot is a trademark of Inbit Incorporated.
The CD interface was created using Macromedia Director, COPYRIGHT 1994, 1997-1999
Macromedia Inc. For more information on Macromedia and Macromedia Director, visit
.
SYBEX is an independent entity and not affiliated with Adobe Systems Incorporated, the pub-
lisher of Adobe ® Photoshop Elements ® software. This is an independent Sybex publication,
not endorsed or sponsored by Adobe Systems Incorporated. Adobe ® and Photoshop ® are
trade marks of Adobe Systems Incorporated.
TRADEMARKS: SYBEX has attempted throughout this book to distinguish proprietary trade-
marks from descriptive terms by following the capitalization style used by the manufacturer.
The author and publisher have made their best efforts to prepare this book, and the content is
based upon final release software whenever possible. Portions of the manuscript may be based
upon pre-release versions supplied by software manufacturer(s). The author and the publisher
make no representation or warranties of any kind with regard to the completeness or accuracy
of the contents herein and accept no liability of any kind including but not limited to perform-
ance, merchantability, fitness for any particular purpose, or any losses or damages of any kind
caused or alleged to be caused directly or indirectly from this book.
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
4385c00.qxd 11/7/04 11:25 PM Page iv

Dear Reader,
Thank you for choosing The Hidden Power of Photoshop Elements 3. This book is part
of a new wave of Sybex graphics books, all written by outstanding authors—artists and
teachers who really know their stuff and have a clear vision of the audience they’re writing
for. It’s also part of our growing library of truly unique digital imaging books.
Founded in 1976, Sybex is the oldest independent computer book publisher. More
than twenty-five years later, we’re committed to producing a full line of consistently
exceptional graphics books. With each title, we’re working hard to set a new standard for
the industry. From the paper we print on, to the writers and photographers we work with,
our goal is to bring you the best graphics books possible.
I hope you see all that is reflected in these pages. I’d be very interested to hear your
comments and get your feedback on how we’re doing. To let us know what you think
about this, or any other Sybex book, please visit us at
www.sybex.com. Once there, go to the
product page, click on Submit a Review, and fill out the questionnaire. Your input is
greatly appreciated.
Please also visit
www.sybex.com to learn more about the rest of our graphics line.
Best regards,
Dan Brodnitz
Publisher
4385c00.qxd 11/7/04 11:25 PM Page v
Software License Agreement: Terms and Conditions
The media and/or any online materials accompanying this book that are available now or in the future contain programs and/or text files (the
“Software”) to be used in connection with the book. SYBEX hereby grants to you a license to use the Software, subject to the terms that follow.
Your purchase, acceptance, or use of the Software will constitute your acceptance of such terms.
■ The Software compilation is the property of
SYBEX unless otherwise indicated and is protected by copyright to SYBEX or other copyright owner(s) as indicated in the media files (the
“Owner(s)”). You are hereby granted a single-user license to use the Software for your personal, noncommercial use only. You may not repro-
duce, sell, distribute, publish, circulate, or commercially exploit the Software, or any portion thereof, without the written consent of SYBEX

and the specific copyright owner(s) of any component software included on this media.
■ In the event that the Software or components
include specific license requirements or end-user agreements, statements of condition, disclaimers, limitations or warranties (“End-User
License”), those End-User Licenses supersede the terms and conditions herein as to that particular Software component. Your purchase,
acceptance, or use of the Software will constitute your acceptance of such End-User Licenses.
■ By purchase, use or acceptance of the Software
you further agree to comply with all export laws and regulations of the United States as such laws and regulations may exist from time to time.
Software Support Components of the supplemental Software and any offers associated with them may be supported by the specific
Owner(s) of that material, but they are not supported by SYBEX. Information regarding any available support may be obtained from the
Owner(s) using the information provided in the appropriate read.me files or listed elsewhere on the media.
■ Should the manufacturer(s) or
other Owner(s) cease to offer support or decline to honor any offer, SYBEX bears no responsibility. This notice concerning support for the
Software is provided for your information only. SYBEX is not the agent or principal of the Owner(s), and SYBEX is in no way responsible for
providing any support for the Software, nor is it liable or responsible for any support provided, or not provided, by the Owner(s).
Warranty SYBEX warrants the enclosed media to be free of physical defects for a period of ninety (90) days after purchase. The Software
is not available from SYBEX in any other form or media than that enclosed herein or posted to www.sybex.com. If you discover a defect in the
media during this warranty period, you may obtain a replacement of identical format at no charge by sending the defective media, postage
prepaid, with proof of purchase to:
SYBEX Inc.
Product Support Department
1151 Marina Village Parkway
Alameda, CA 94501
Web:

After the 90-day period, you can obtain replacement media of identical format by sending us the defective disk, proof of purchase, and a check
or money order for $10, payable to SYBEX.
Disclaimer SYBEX makes no warranty or representation, either expressed or implied, with respect to the Software or its contents, qual-
ity, performance, merchantability, or fitness for a particular purpose. In no event will SYBEX, its distributors, or dealers be liable to you or any
other party for direct, indirect, special, incidental, consequential, or other damages arising out of the use of or inability to use the Software or
its contents even if advised of the possibility of such damage. In the event that the Software includes an online update feature, SYBEX further

disclaims any obligation to provide this feature for any specific duration other than the initial posting.
■ The exclusion of implied warranties is
not permitted by some states. Therefore, the above exclusion may not apply to you. This warranty provides you with specific legal rights; there
may be other rights that you may have that vary from state to state. The pricing of the book with the Software by SYBEX reflects the allocation
of risk and limitations on liability contained in this agreement of Terms and Conditions.
Shareware Distribution This Software may contain various programs that are distributed as shareware. Copyright laws apply to
both shareware and ordinary commercial software, and the copyright Owner(s) retains all rights. If you try a shareware program and continue
using it, you are expected to register it. Individual programs differ on details of trial periods, registration, and payment. Please observe the
requirements stated in appropriate files.
Copy Protection The Software in whole or in part may or may not be copy-protected or encrypted. However, in all cases, reselling or
redistributing these files without authorization is expressly forbidden except as specifically provided for by the Owner(s) therein.
4385c00.qxd 11/7/04 11:25 PM Page vi
Acknowledgments
The listof names that help me with these books grows longer as I do more of
them, but the core of those who help day-to-day remain much the same. While I am sure
I would get up most mornings anyway, Sam, my faithful, furry alarm clock-helper makes
sure I am up and at it. My wife, Lisa, and children, Julia and Isabel, patiently not only
allow the work to go on, but put up with the always-elongated projects—that cut into
vacation and family time—and put up with the massing piles of equipment, programs,
and wires, as well. Murphy doesn’t contribute much these days but a pose, lap warming,
or occasional hairball that can all, in their own way, be welcome distractions. Inanimate
objects, like my computer, which continues to function through obvious adversity, and
my shower, which somehow is a companion in hashing out the most complicated proce-
dures, both play a silent part in helping me get the work done.
■ Companions in “the busi-
ness” include Al Ward (
), Greg Georges (www.reallyusefulpage.com)
and Fred Showker (
www.graphic-design.com)—friendlier, more insightful folk I am
unlikely to meet, each willing to give their time and lend an ear when it is most important.

Doug Nelson (
retouchpro.com) and Susan Stewart I thank for their like willingness to test
and offer consistently valid opinions—and for the free time they give to helping answer
user questions. Thanks to many nameless others who have lent a hand, posted a review,
sent a friendly e-mail, or mentioned the book in a forum or newsletter.
■ The strangest of
thanks to Jeff Schultz of Pearson for having the foresight to cut off several book projects
that were in the works at Que to make me all the more determined to succeed in a bigger
way elsewhere—contracts be damned, Jeff.
■ Thanks to all those in publishing who have
helped get me started, including Stephanie Wall and Mitch Waite (both formerly of
Waite Group Press), and those who kept me going, including Beth Millett and Bonnie
Bills. Thanks much to the current Sybex crew who have put their stamp on this edition
of Hidden Power: Lori Newman (who pushes, kindly), Pete Gaughan, Jeff Foster, and
Sharon Wilkey. Thanks to those others behind the scenes: Dan Brodnitz, Senoria Bilbo
Brown, Rodney Koeneke, Dan Mummert, and Rodnay Zaks.
■ A grand thanks to all the
readers who purchased the book and any additional Hidden Power tools or who down-
loaded the free stuff, confirming for me and assuring the publisher that there really is a
market of advanced Elements users out there who need to get more from Elements.
Dedicated to all
those users who
want a little more
from Elements.
4385c00.qxd 11/7/04 11:25 PM Page vii
4385c00.qxd 11/7/04 11:25 PM Page viii
Foreword
Some of the bestfriendships are often unexpected. About three years ago I
posted a note to a Photoshop forum hosted by Richard Lynch. After a bit of conversing I
realized that not only did this guy know his way around Photoshop, but he’s a heck of a

nice guy to boot. I’m pleased to call Richard not only my peer, but my friend as well.
■ I
have to admit, I used to be a Photoshop purist. I was one of those people who scoffed at
the idea of any software being worth its salt against the Big Daddy. Imagine my disbelief
when Richard asked me if I’d ever consider teaching or writing about Photoshop Ele-
ments. But with a little effort, Richard eventually opened my eyes to the fact that Photo-
shop Elements is an incredibly powerful and capable program.
■ Photoshop Elements has
the functionality to edit and create professional images and graphics. And with the new
features in Photoshop Elements 3, it’s even easier for users to achieve corrections and
manipulations that at one time only Photoshop could do.
■ As I learned, the potential of
Elements may not be immediately obvious, and that is where Richard’s book steps in. The
Hidden Power of Photoshop Elements 3 reveals capabilities you might never know existed in
the software. It also provides Richard’s power-boosting tools that further shorten the list
of things Elements “can’t do.”
■ If you haven’t already, BUY THIS BOOK. I stand by my
assessment that there is no other person on the planet who knows Photoshop Elements
like Richard does. Once again he converts a kid’s bike into a Harley: He takes Elements, a
very affordable piece of software, and shows how it can tackle tasks just like its big brother
Photoshop. Other books give you the basics; this book gives you both the tools that help
make your images look great and the skills to use those tools. With Richard Lynch leading
the way, you’ll be a pro in no time.
—Al Ward, certified Photoshop addict, author,
and trainer; webmaster, Action Fx Photoshop
Resources (
); author,
Photoshop for Right Brainers: The Art of Photo
Manipulation, Al Ward’s Photoshop Produc-
tivity Toolkit: Over 600 Time Saving Actions,

Photoshop Elements 2 Special Effects
4385c00.qxd 11/7/04 11:25 PM Page ix
Introduction ■ xv
PART I ■ PREPARATION AND CONCEPTS FOR 1
SERIOUS IMAGE EDITING
Chapter 1 ■ Essentials of Images and Image Editing 3
PART II ■ WRESTLING WITH IMAGE TONE 41
AND CONTRAST
Chapter 2 ■ Separating Image Components 43
Chapter 3 ■ Correcting Image Tone 71
PART III ■ SERIOUS COLOR CORRECTION 109
Chapter 4 ■ General Color Correction:
Applying Levels and Curves
111
Chapter 5 ■ Specific Color Enhancement 129
PART IV ■ REBUILDING IMAGES 177
Chapter 6 ■ Altering Composition 179
Chapter 7 ■ Reshaping Image Elements 199
PART V ■ IMAGES IN PRINT 237
Chapter 8 ■ Vectors 239
Chapter 9 ■ Options for Printing 253
PART VI ■ IMAGES ON THE WEB 275
Chapter 10 ■ Creating and Using Web Graphics 277
Appendix ■ Other Concepts and References 315
Index ■ 339
AT A GLANCE
CONTENTS
4385c00.qxd 11/7/04 11:25 PM Page x
Introduction xv
PART I ■ PREPARATION AND CONCEPTS

FOR SERIOUS IMAGE EDITING 1
Chapter 1
■ Essentials of Images and
Image Editing 3
The Image Editing Process 4
The Tools You’ll Need 6
Basic Concepts of Tone, Contrast, and Color 11
Understanding and Using
Color Management 20
Resolution 32
Knowing Your Equipment and Images 38
PART II ■ WRESTLING WITH IMAGE TONE 41
AND CONTRAST
Chapter 2
■ Separating Image Components 43
The Art of Turning Color to Black-and-White 44
Turning Black-and-White to Color Again 53
Applying Color: Separating the Color
Component and Hand-Coloring 55
Chapter 3 ■ Correcting Image Tone 71
Doing Minor Cleanup First 72
Evaluating Image Tones 78
Redistributing Tone with Levels 85
Snapping and Fading Contrast with Curves 88
(Un)Sharpening and Boosting Contrast 94
Managing Image Noise 99
Masking with Image Tone 102
Contents
4385c00.qxd 11/7/04 11:25 PM Page xi
PART III ■ SERIOUS COLOR CORRECTION 109

Chapter 4
■ General Color Correction: 111
Applying Levels and Curves
Minor Cleanup for Color Images 112
Levels Correction for Color 116
Curves Correction for Color 120
Chapter 5 ■ Specific Color Enhancement 129
Using Hue/Saturation for Color Adjustments 130
Saturation Masking 131
Adjusting Color Balance 138
Painting in Color Changes: History
Brush Application 140
Making Duotones 145
Calculations and Channel Mixing 156
Separating CMYK Color 163
Using CMYK Color 173
PART IV ■ REBUILDING IMAGES 177
Chapter 6
■ Altering Composition 179
Problems in Composition
(Ten Tips for Better Images) 180
Cropping as a Tool for Composition 183
Isolating Image Elements 185
Compositing Image Elements 192
Chapter 7 ■ Reshaping Image Elements 199
Transformations and Distortions 200
Shaping Image Elements with
Light and Shadow 209
Creating Image Elements 216
4385c00.qxd 11/7/04 11:25 PM Page xii

PART V ■ IMAGES IN PRINT 237
Chapter 8
■ Vectors 239
Making Vectors 240
Creating Scalable Vector Art 244
Applying a Clipping Path 248
Chapter 9 ■ Options for Printing 253
Understanding Printers and
Printer Resolution 254
Making Prints at Home 259
Printing to the Edge 272
Using Other Printing Options 273
PART VI ■ IMAGES ON THE WEB 275
Chapter 10
■ Creating and Using Web Graphics 277
Image File Types for the Web 278
Basic Guidelines for Web Design 282
Inserting Images in HTML 284
Making a Web Gallery 286
Creating Slices from a Whole Image 289
Creating Rollovers 297
Creating Animations 302
Looking beyond the Book 314
Appendix ■ Other Concepts and References 315
The Toolbox 316
Resolution 319
File Types 326
Bit Depth 328
Blending Modes 329
Camera RAW Files 331

4385c00.qxd 11/7/04 11:25 PM Page xiii
Working with RAW Images from
Your Camera 333
Advantages and Disadvantages of 16-bit? 337
Reader Requests 338
Index 339
4385c00.qxd 11/7/04 11:25 PM Page xiv
Introduction
I’d beena photography-book editor, digital retoucher, and Photoshop author for
10 years, using Photoshop as my primary image-editing tool, when someone asked me to
look at Photoshop Elements for the first time. I was a little reluctant, having heard it was
nothing but a dumbed-down version of Photoshop. I expected that I wouldn’t find it very
interesting and I’d just be wasting my time. From what I understood, the tools I used all
the time were missing, including channels, Curves, masking, CMYK tools, and Blend If. I
was pretty sure I’d never be able to take the program seriously.
It just goes to show: Never judge a book by how someone else describes the cover.
Instead of being bored with the simplicity of Photoshop Elements, I became fascinated
by the possibilities. After toying with Elements for only a few minutes, the program and the
possibilities piqued my interest—it seemed there was more to Elements than I’d heard, and
it seemed like a pretty powerful program. I continued to explore the program, and within a
few days I had discovered ways to either use or imitate every feature I’d heard was missing.
Elements could do a lot more than most people thought, and more than even the manufac-
turer let on. It got to the point where I began wondering what Photoshop Elements couldn’t
do, rather than worrying about what the differences were between this program and Photo-
shop. I looked around to see if there were other sources that said the same thing, and I
couldn’t find any. It was then that I realized that I should write a book to tell about what I’d
learned and show what Elements could really do.
Since I started working with Elements, one idea became clear to me: fancy tools can
actually stand in the way of learning. You don’t learn much by pressing a button—no
matter how sophisticated the button is. Some tools in image editing programs help you

forget about fundamentals entirely, and can isolate you from the process. You end up
pressing buttons and not really understanding what is going on. For example, ask almost
anyone (who hasn’t read this book) to make an RGB separation without using channels.
This is something that anyone serious about image editing should understand conceptu-
ally and be able to do, because it is fundamental to working with and displaying the
image. Yet many of the most experienced digital professionals wouldn’t be able to do it.
Knowing how components separate offers a whole different historical and scientific basis
4385c00.qxd 11/7/04 11:25 PM Page xv
for evaluating, altering, and correcting digital images and color. And understanding how
to separate components provides a solid foundation for understanding the way images
are created and stored—on film and digitally. That is why this book not only gives you
tools that simplify complicated processes, but it explains exactly how each works, step-
by-step. I have found that understanding the process is a better, more fundamental, way
to look at and understand images from the ground up.
I learned a lot in the process of discovering Elements, and as a result I’ve gone back to
the fundamentals of working with images. I wrote The Hidden Power of Photoshop Ele-
ments 2 to capture that discovery in hopes of helping other users understand the power of
the program and what they can do with digital images. Now, in The Hidden Power of Pho-
toshop Elements 3 the goal is to clarify and expand on that first attempt based on the feed-
back I received, as well as create a toolset compatible with the changes in the Elements
program and interface. Both books free up powerful image properties and provide tools
for users that help make Elements a serious professional image-editing tool.
As a 12+ year veteran of digital image editing, I use Elements every day for even the
most challenging image-editing projects. With the addition of 16-bit support and the abil-
ity to import RAW files, there is really almost nothing that Elements can’t do. This book
shows you how.
What Makes a Good Image?
Photoshop Elements gives you the power to alter any pixel in an image. You can techni-
cally do anything. Like a brick-worker building a building, you can get in and create your
image one pixel at a time to get exactly what you want. If you know what you like and

what you don’t, it should be easy to improve and create images. Just look at the image or
canvas and know what you want to see. Once you know—and can trust—what you want
to see on-screen, all you have to do is make whatever changes are necessary so that your
image looks the way you imagine it. The whole process should be simple, right? Just click a
button and fix it; then print and be done with it.
But it isn’t always that easy.
The problem starts because of numbers and possibilities. There can be millions of pix-
els in an image. Each pixel can be one of millions of colors. Every pixel can be altered with
numerous tools and options in groups or separately, with changes based on surrounding
pixels or considered on a pixel-by-pixel basis. The color and tone of each pixel has to be
4385c00.qxd 11/7/04 11:25 PM Page xvi
orchestrated to work together with other pixels adjacent to it to form a recognizable
whole. When you are finished, that whole has to look as you imagined it. Getting that pic-
ture out of your imagination certainly isn’t as easy as taking a picture. And building
images one pixel at a time overcomplicates the problem of creating what you want to see.
Not knowing where to start and what tools to choose just makes the process of working
with images that much more difficult.
You have to simplify the approach.
Elements gives you what is potentially a big heavy tool box. Some people blindly fall
into a trap, thinking they have to understand and use every tool, filter, and effect, and
strap all those tools to their tool belt in order to be able to use the program efficiently or to
do anything the “right” way. There are two things wrong with that idea:
• You don’t need to know how to use every tool, filter, or effect; you just need the right
ones. There are probably many tools (and shortcuts!) that you never use.
• There isn’t really a right way and a wrong way; there are harder and easier ways, and
ways that are more and less effective.
In Elements there are numerous tools. Not all are essential, some are redundant, some
are merely toys, and some are gimmicky, trendy, or unpredictable. While almost all have
their place when you get to know them, the ones that are the most powerful, most useful,
and most often used—just like the hammer and screwdriver in a carpenter’s tool belt—are

often not the most spectacular.
A few others have to be coaxed out of hiding, which is part of what the Hidden Power
title is all about, and some of what the book will do for you.
Not everything that makes an image look better requires a lot of creativity. There are
techniques you can use to make an image look better that require very little thinking at all.
In fact, much of the initial process of image correction should be nearly automatic. If there
is a dust speck in a scan, you’ll need to remove it; if color correction needs to be done,
you’ll need to correct it. Although there are several ways to approach making any change,
if you have a few favorite tools and techniques, the process of correction becomes much
simpler.
In other words, applying a somewhat limited number of tools and techniques can get
you most of the effects you will ever need to improve your images. Using what you have in
an image and making the most out of that is often key to getting the best results. Some of
4385c00.qxd 11/7/04 11:25 PM Page xvii
the most helpful and powerful information in images is hidden or ignored. This book
helps reveal that image content and simplifies the tools you will need to use and apply.
With fewer tools (and rules) to remember, you can concentrate on what to do with the
images rather than pondering options or quizzing yourself as to how to apply the tools.
Using image content to leverage selective changes can help target corrections in ways that
freehand work nearly never will. It is a fundamental approach. By using fewer tools, you
won’t be weighed down by the heavy tool belt. Concentrating on a smaller set of tools and
using a structured approach will simplify the corrections you make in any image.
But What Corrections Do You Make?
Say you go to the airport to pick up your cousin who has been in the African jungles for a
decade. No one has seen him in all that time, let alone seen the talking monkeys he was on
the trail of. It sounds like a great photo opportunity, so you grab your camera and head
out the door.
You meet him at the airport gate and take some snapshots of him all haggard and
weather-beaten from his grueling years living in nature. He looks fresh out of National
Geographic.

Later, when you open the images on your computer, they seem to have come out pretty
well. But the first thing you probably won’t do in this situation is add an effect that sets his
head on fire. Besides occasionally applying a special effect, the biggest wow you can get
from your images will usually be achieved by
• Taking a good picture that clearly shows an interesting subject
• Using targeted corrections to make those images look the best you can
Most people viewing your picture will want to see the subject of your image, and you
can’t get that by burying the subject in flames. Special effects have their time and place,
but when the subject and image can be good enough on their own, you can do more to
improve the look of your photographic images with good corrections. The idea behind
this book is to give you a from-the-ground-up method not only for making better images
by correction, but also for understanding what makes a better image in the first place. You
will find the hidden power not only in Photoshop Elements, but also in your subjects and
images. The goal of this book is to make people viewing your images say “Wow!” not in
response to flames or other effects or magic, but because your images look great.
4385c00.qxd 11/7/04 11:25 PM Page xviii
Much of what used to be my standard process in image correction has been rearranged
because of my experience with Photoshop Elements. The result is that my process is now
simpler and my images have changed for the better. That was a somewhat shocking
change to have happen after 10 years of experience editing digital images. It was like a car-
penter looking at his hammer and suddenly realizing that it actually had two sides and
could do more than just bang the nails in. The more shocking thing is that the techniques
you’ll read about in The Hidden Power of Photoshop Elements 3 tear down the wall of dif-
ference between Photoshop and Elements. I use the same techniques in both programs
these days, and—except for a few differences in the interface—I often forget which pro-
gram I’m in. The most obvious fact is that it doesn’t matter, but the hidden fact is that I
learned my current techniques from Elements, not Photoshop. Using the techniques in
this book, you won’t often be left using Elements limply and apologetically, as if you were
banging in screws with your hammer; you’ll be using a regular screwdriver—the proper
tool—to fasten your screws.

The Goal of This Book
The goal of The Hidden Power of Photoshop Elements 3 is to take apart the process of correct-
ing images and the images themselves. You’ll learn professional corrections that can be
applied with simplicity, and you’ll become familiar with the powerful tools you need to know
and how they apply to any image. This dissection of process and getting back to fundamentals
starts immediately by looking at an essential toolset. The dissection of images starts by look-
ing at tone and separating color into tone before color correction or editing. There can be
millions of colors in an image, but there are only 256 grayscale tone levels in a single 8-bit
color component…and that number is much easier to handle. Grayscale tone is the essence
of color and content—and creating a better image starts from that simple representation.
This book is for
• The serious Photoshop Elements user who may feel they are outgrowing or could get
more from the program
• Photographers moving into digital imaging who need powerful tools for image
correction
• Graphics professionals who thought their only choice for working with digital images
was Photoshop
• Anyone who wants to make their images look better
4385c00.qxd 11/7/04 11:25 PM Page xix
The focus of the book is on
• Learning a process of approaching images with proven methods and the right tools to
make your image corrections
• Learning new tools that Elements supposedly doesn’t have to bolster your editing
arsenal
• Working through what you need to do in realistic situations with realistic images by
using realistic expectations to get real results
The book is not about
• Exploring every last tool in the interface in excruciating detail
• Making crazy effects
The techniques provided here will help you take your corrections to a professional level

without hocus-pocus or steps that are impossible to comprehend. It will reveal how to do
many things that are generally thought to be impossible using Elements, such as using
Curves and channels, implementing duotones, working in CMYK, and applying image
snapshots. The solutions are used right in Photoshop Elements—with no plug-ins, addi-
tional investment, or other programs to learn. You’ll see what happens behind the scenes
in step-by-step procedures, and you’ll be given the tools—customized Hidden Power
tools created just for this book—to move through those steps quickly. Though created for
this book, the tools will work with any image. These tools empower you to make the most
out of Photoshop Elements, and they can be found nowhere else but in this book.
How This Book Is Organized
As you go through the book you will discover a mixture of practical theory, examples of
the types of changes you’ll make in images, and projects to work on to help you under-
stand the process as well as why it works. Projects are put together so that you don’t just
complete an exercise or press a button and ogle the result, but so that you see what goes
on behind the scenes to help understand what you have done. When you understand,
you can apply that understanding to other images predictably—either by using tools pro-
vided to drive a process, or by manually applying learned techniques. There are clear
goals from the outset of the procedures, and the examples provided ensure that you can
see the change when they have created the desired result. This understanding will enable
4385c00.qxd 11/7/04 11:25 PM Page xx
you to apply the techniques you learn to other images so that your images can be
improved consistently.
You will learn to take apart image color and tone entirely by using several color-
separation methods, and to isolate color components, image objects, and areas in a num-
ber of different ways. When you can isolate colors and image areas, this enables you to
correct those areas separately from the rest of the image and exchange, move, and replace
elements to make better images. After images are corrected and manipulated, you will
learn about options for output, including making custom separations to CMYK and duo-
tones. The section on the Web includes everything from how to include your images on a
web page to creating animation and rollover effects. Hidden Power tools are introduced

throughout to reveal functionality and simplify procedures.
Chapter 1: Essentials of Images and Image Editing In this chapter you’ll learn the basic con-
cepts for simplifying your approach to images and corrections. First you’ll learn the basic
procedure as a step-by-step process for approaching any image manipulation. Then there
is a listing of tools you’ll need in different stages of correction and a breakdown of what
you want to use them for. You’ll also learn all the background you need for understanding
the nuts and bolts of your images—not the mathematics and obscure calculations, but the
solid theory at the bottom of what you see and how that translates to digital images on
your computer.
Chapter 2: Separating Image Components This book is not mostly black-and-white by
accident. The raw fact is that color in digital images is stored as a tonal representation
of color light components. To make good corrections and manipulations, it is best to
become an expert in extracting and working with tone. You’ll see how to split color into
simpler tonal representations, and we’ll look at how black-and-white tone can become
color again.
Chapter 3: Correcting Image Tone Tone is integral to implementing color and making
effective color changes. Understanding how to work with tone can make a big difference
in the color results. We’ll look at doing minor cleanup, evaluating images, and adjusting
tone with Levels, Curves, basic sharpening, and advanced masking to isolate image areas.
Chapter 4: General Color Correction: Applying Levels and Curves Levels and Curves correc-
tions learned in tonal correction in Chapter 3 are applied to color images to show how
4385c00.qxd 11/7/04 11:25 PM Page xxi
general corrections of tone and color parallel. You’ll see the advantages of both tools in
color correction and work through specific examples applying each tool.
Chapter 5: Specific Color Enhancement Once you’ve completed general color correction, it
is time to get into more selective color corrections. Changes can be initiated by special
controls inherent in specific tools, or combined to produce highly targeted and effective
results. This chapter introduces color range, color-specific masking, history application,
duotoning, channel mixing and calculations, CMYK, and controlling printed results.
Chapter 6: Altering Composition Similar to how you can take apart image color, you can

extract image elements from an image and then replace, adjust, or remove them. This
gives you control over image composition by giving you control of all the objects in an
image.
Chapter 7: Reshaping Image Elements With image elements separated and corrected, you
are free to reshape, redesign, and repurpose image parts. Creating new objects is some-
times a good solution for correcting problems, and it brings together many of the tech-
niques you’ve learned to this point. You’ll learn to manipulate tone and color to create
object shape and depth and work through an example to create an image object entirely
from scratch.
Chapter 8: Vectors Vectors provide another way to control image content, which can be
valuable in making resolution-independent, scalable artwork and using printer capabili-
ties to their fullest extent. Do more of the impossible by creating and storing your own
custom shapes and applying clipping paths.
Chapter 9: Options for Printing More options exist for printing than just working with
your inkjet printer at home. In this chapter, we look at how to get the best results at home,
in addition to other options that may be more attractive and less costly than you think.
Learn how to print to the edge of the page and get real CMYK prints from your custom
separations.
Chapter 10: Creating and Using Web Graphics Web graphics generally follow the same
steps for creation as regular images, but some special attributes keep them distinct from
images you use in print. Learn to get your images into a web page, and also how to imple-
ment a rollover and create image animation.
4385c00.qxd 11/7/04 11:25 PM Page xxii
The Hidden Power Tools
One of the most important parts of this book is the collection of Hidden Power tools pro-
vided on the CD. The tools are meant for readers of this book only and should not be
shared freely. Tools must be installed into Photoshop Elements to be accessible.
To install the tools, first locate the proper Hidden Power installer for your computer
system platform on the CD. Installers are supplied for both Macintosh and Windows for
Photoshop Elements 3. Tools have not been tested on earlier versions of Elements. After

you have chosen the installer for your operating system, initiate the installation by double-
clicking the installer. Target the installation by choosing the Elements program folder
when prompted; be sure to carefully read the instructions as they appear on-screen. You’ll
need a password for the installation, and these are provided here:
Operating System Installer Password
PC/Windows HpforPE3.exe hiddenpower3
Macintosh Hidden Power for Elements 3 hiddenpower3
If you have any trouble with the tool installation, please read the troubleshooting file
on the CD, and visit the
hiddenelements.com website for information that becomes avail-
able after publication.
After you’ve installed the tools, you’ll be able to access them in the Styles and Effects
palette. Open the Styles and Effects palette by choosing Styles and Effects from the Win-
dow menu (Windows users should be in the Image Editor rather than Organizer). With
the Styles and Effects palette on-screen, choose Effects from the drop-down list at the top-
left of the palette—this will populate the effects categories in the drop-down list on the
right. Choose the Power categories (PowerSeparations, PowerTools1, PowerTools2, and
PowerBonus) to reveal the power tool listings. The use of most of the tools is discussed in
the book. The bonus tools are extra tools. These are described in the readme file for the
tools on the CD and can be discussed on the forum for the book (visit the website for the
forum link:
www.hiddenelements.com).
These Hidden Power tools will enable you to access additional tools for Elements such
as Curves or Color Balance, and they will condense some of the longer step-by-step proce-
dures you’ll learn in the book into clicks of the mouse. I expect to expand on these tools
even more after the release of this book. Check the website and newsletter for additions
(you can subscribe to the newsletter from the website).
4385c00.qxd 11/7/04 11:25 PM Page xxiii
Practice Image Files
All images used as practice files in the book are provided on the accompanying CD so that

readers can work along with the exercises. They are Mac- and Windows-compatible and
are provided in common formats supported by Photoshop Elements. These images are for
educational purposes only and should not be used freely elsewhere.
Compatible with Windows and Macintosh
Just as Photoshop Elements and the Hidden Power tools work on both Macintosh and Win-
dows operating systems, the book always gives shortcuts for both so that users on either plat-
form can successfully use the book and techniques. The standard notation for shortcuts
gives Mac and Windows keys at the same time: Mac / Windows + keystroke. For example,
Command/Ctrl+O will open an image, that is, use Command+O on a Mac, and Ctrl+O on
a PC. The following table of keyboard equivalents will cover almost any situation:
Macintosh Windows Example
Shift Shift Shift+X
Option Alt Option/Alt+X
Command Ctrl Command/Ctrl+X
Control+click Right-click Control+click/right-click
When three or more keys are required, the Mac and PC keystrokes are included in their
entirety. For example, stamping visible content to the currently active layer is the rather
extended shortcut: Command+Option+Shift+E / Ctrl+Alt+Shift+E for Mac / PC.
Going Further with Hidden Power
There are several ways that you can contact me via the Internet. I am interested in your
questions and comments as a means to improve the book in the future, to put frequently
asked questions to rest, to develop new tools, and to correct any typos or other errors that
When following along with the book’s step-by-step instructions, use the methods suggested
in the steps for accessing the tools, or procedures may not function correctly. For example,
opening Levels with the keyboard shortcut (Command/Ctrl+L) will open the Levels dialog
box but will not produce an adjustment layer, and this can affect the outcome of a procedure
that depends on the adjustment layer being created.
4385c00.qxd 11/7/04 11:25 PM Page xxiv