5O FAST PHOTOSHOP" CS TECHNIQUES potx

GREGORY GEORGES
SO
FAST PHOTOSHOP
"
CS
TECHNIQUES
MFan
Photoshop'CSTmchniques
Published
by
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FROWTHE FACTTHAT AN OKANUATION OR WEBSITEIS REFERREDTO INTHIS WORK
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FURTHERINFORMATION DOES NOTYEANTHATTHE
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ORTHE PUBUSHER ENDORSESTHE
INFORHAllONTHEORGANIUTION
OR
WEBYTE
M
A
Y
PROVIDEOR
RECOI(MENOATIO~

MAY
MAKLFURTHER
READERSSHOUU)
BE
AWARETHAT
INTERN~TWEBS~S
USED INTHIS WOW( MAY
HAW
CHANGEDORDISAWEARED BmELN WHENTHISWORKWASWRITRN ANDWHEN
IT
IS REAR
Each time
I
complete a book, Igrow increasingly aware of the contribution
my wife has made to each and
every
one of them. Thank you, Linda.
This
page
left
blank

PREFACE
If
you are serious about
digital
photography, either
as
a passionate amateur, money
-

earning
professional photographer or artist, or anywhere in between and you want to edit your
photos digitally with Adobe Photoshop
CS
-
this
book
is
for you! It is for you regardless
of your experience
level
with Adobe Photoshop
CS
or other versions.
Without a doubt, the more you know about Adobe Photoshop
CS
or
an
earlier version of
Photoshop, the easier these techniques
will
be
to
complete. But,
if
you are new to Adobe
Photoshop
CS
you can complete
all

of the techniques in the book by carefully following
each of the steps and
by
reading the occasional detailed explanation. By the time you com-
plete
all
or even most of the
50
techniques, you
will
have acquired a considerable amount
of knowledge about Adobe Photoshop
CSs
most important features and
will
be well on
your way to being able to competently edit
your own digital photos.
The premise of this book
is
that the best way to
learn
how to use
a
complex software
application such as Adobe Photoshop
CS
is to just use it. You
will
have successful result6

while working
with
fun photos, which
will
make the learning process enjoyable.
If
the
learning process is truly enjoyable, time
will
fly by and the hours of effort will result in
success. Success
will
result
in
more knowledge, which eventually
will
turn
those that work
hard to learn Adobe Photoshop
CS
into competent Adobe Photoshop
CS
users.
In contrast to those who say Adobe Photoshop
CS
is too complex for many potential
users,
I
believe that inexperienced Photoshop users
can

create some outstanding results by
learning how to use just a few features extremely
well.
This
book includes many tech-
niques that
will
help you to learn
all
about some of the more important features and how
to use them extremely well
to
do what you want to do.
This
page left blank

vi
ACKNOWLEDGMENTS
Each
time
I
write a new book,
I
fully recognize the growing number of people that have
substantially helped me in one
way
or another learn more about the topics that
I
write
about, and to write about them in better ways. For

this
book, special thanks to:
Readers of my books, attendees of
my
workshops, students, and subscribers to
my
e
-
mail group who have contributed to my understanding of what topics need to be
included and how they should be presented
-
an understanding that is essential for
writing books that help readers and provide
the
value
they
should.
rn
The many contributors of specific techniques and photographs, which added consid
-
erable
"
genetic diversitf to this book These contributors include Peter Balazsy, Phil
Bard, Scott
Digman,
Bobbi Doyle
-
Maher,
Tammy
Kennedy, Marc McIntyre, Arthur

Morris, Lance Richardson, and Alan
Scharf.
Special
thanks
go to Maria and Preddy for
allowing me to use their photos in
this
book
rn
The entire Wiey team who helped
to
turn
the
50
techniques in my head into a book
that
I
hope
will
become invaluable to photographers of all
skill
levels.
I
would like to
thank the following key people on the team, including
Mike
Roney, the Acquisitions
Editor who acquired
this
book, many before

it,
and
I
hope many more to come;
Amanda Peterson, for her
excellent work
as
Project Editor; and Roxane
Marini
for her
copy editing.
VII
Thi6
page
left
blank

viii
CONTENTS AT A GLANCE
PREFACE
V
ACKNOWLEDGMENTS
VII
INTRODUCTION
XXV
Chapter
1
Photoshop CS Fundamentals
1
Chapter

2
Correcting
and
Enhancing Digital Photos 59
Chapter
3
Working in Black and White 107
Chapter
4 Enhancing Portraits 145
Chapter
5
Combining Photos in Montages, Collages,
and
Composites 183
Chapter
6
Fine
Art
Techniques 205
Chapter
7
Using Plug
-
Ins 251
Chapter
8
Making Photographic Prints 279
Chapter 9 Creating an Online Photo Gallery 309
A
P

P
E
N
D
I
X
A
W
H
A
T
'
S
O
N
T
H
E
C
D
-
R
O
M
339
APPENDIX
B
COMPANION
WEB
SITE

341
INDEX
343
ABOUT
THE
AUTHOR
351
COLOPHON
353
END
-
USER
LICENSE
AGREEMENT
355
This
page
left
blank

x
CONTENTS
PREFACE V
ACKNOWLEDGMENTS VII
INTRODUCTION XXV
T
E
C
H
N

I
Q
U
E
1
C
O
N
F
I
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U
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I
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P
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CS
3
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P
1:
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4
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2:
C
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A
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COLOR QUALITY SETTINGS
4
S
T
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P
3:
C
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K
FOR
A
N
D
I
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A
LL
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A
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5
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DEFAULT SETTINGS
5
S
T
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P
5:
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F
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N
C
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S

6
S
T
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P
6:
R
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T
TOOLS AND PALETTES
11
S
T
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P
7:
O
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G
A
N
I
Z
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A
N
D
C

O
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PALETTES
U
S
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P
8:
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A
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I
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YOUR WORKSPACE
13

S
T
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9:
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A
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15
S
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10:

C
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B
O
A
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H
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T
O
INCREASE YOUR PRODUCTIVITY
15
To calibrate your PC monitor
with
Adobe Gamma

.
19
S
T
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P
I:
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TT
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A
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Y
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O
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MONITOR
19
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5:
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J
UST
M
O
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R
'
S
C
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R
A
S

T
A
N
D
BRIGHTNESS
20
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T
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P
6:
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L
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C
T
PHOSPHOR TYPE
21
S
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P
7:
A
D
J
UST
RGB
G

A
MM
A
21
STEP
8:
S
E
L
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C
T
HARDWARE WHITE POINT
22
S
T
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P
g:
C
H
O
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AD
J
USTED
W
H

I
T
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P
O
I
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T
22
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10:
C
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A
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"
B
E
F
O
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E
"
A

N
D
"
A
F
T
E
R
"
RESULTS
22
S
T
E
P
11:
S
A
V
E
NEW PROFILE
23
To calibrate your
Mac
monitor
with
ColorSync
and
Monitor Calibrator
23

T
E
C
H
N
I
Q
U
E
3
C
O
N
F
I
G
U
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I
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G
P
H
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O
S
H
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P

CS'S
C
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L
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T
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I
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G
S
25
S
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1:
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A
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P
L
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F
I
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27
S
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2:
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C
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L
O
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T
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I
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G
S
DIALOG BOX
27
50FastPhotoshop

CS
Techniques
Opening
files
with
Embedded
Profile
Mismatch
29
S
T
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P
1:
O
P
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N
P
I
L
E
S
32
S
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P
2:
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A
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O
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P
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CS
APPLICATION WINDOW
32
S
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3:
S
I
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D

O
C
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M
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N
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W
I
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D
O
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S
33
S
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4:
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A
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I
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A
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E
Z
OO
M
34
S
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5:
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A
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N
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W
I
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D

O
W
S
35
S
T
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P
6:
VIEW
7UST WHAT YOU WANT
TO VIEW
35
S
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P
7:
D
I
S
P
L
A
Y
MULTIPLE VIEWS OF THE
S
A
M
E

I
M
A
G
E
36
S
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P
8:
M
A
X
I
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I
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VIEWABLE WORKING
S
P
A
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36
S
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9:
J
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W
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A
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IMAGEREADY
38
S
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10:

C
L
O
S
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DOCUMENT WINDOWS
38
T
ECHNI
Q
UE
5
C
REATIVE
E
XPERIMENTATION
39
S
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F
I
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40
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2:
C
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NEW LAYERS
40
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3:
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I
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BACKGROUND LAYER
40
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4:

U
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BACKWARD/FORWARD
42
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5:
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THE
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R
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PALETTE
42
S
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6:
C
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EDITING OF
BACKGROUND IMAGE
43
S
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7:
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A
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LAYER
44
TECHNIQUE&
A
UTOMATING
T
ASKS
49
S
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1:
USE
A
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50
S
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2:
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YOUII
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50
S
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3:
DO
THINGS IN BATCHES
54
STEP
4:
S
A
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AN
A
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I
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N
AS A
DROPLET
56
T
ECHNIQUE
7
Q
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MAGE
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ORRECTION
61
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1:
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SET
62
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2:
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PILE
62
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3:
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PIXEL
W
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ACTION
62
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4:
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IMAGE
63
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5:
CROP
IMAGE
64
S
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6:
C
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TONAL LEVELS AND ADJUST
COLORS
64

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7:
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IMAGE
65
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66
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66
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66
T
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RAW
69
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70
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SETTINGS
70
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3:
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IMAGE AND MAKE
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71
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4:
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BLUE COLOR CAST
71
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5:
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72
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72
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73
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DITING
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ONDESTRUCTIVELY
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75
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77
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QUICK ASSESSMENT OP
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78
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78
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POINTS
78
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6:
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A
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IMAGE CONTRAST
80
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P
7:
A
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A
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80
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8:
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COLOR
80
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9:
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CONTROL IMAGE
D
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81
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10:
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FINAL
AD

J
USTMENTS
82
T
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Q
UE
lo
R
EVEALING
D
ETAIL
IN
S
HADOWS
AND
H
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83
S
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1:
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84
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A
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POINTS
6
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L
DETAIL IN THE SHADOWS
86
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4:

M
A
KE
FINAL ADJUSTMENTS
88
XIV
50
Fast Photoshop
CS
Techniques
T
ECHNIQUE
11
S
HARPENING
D
IGITAL
P
HOTOS
91
Using Unsharp Mask on the entire image
92
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92
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L
A
Y
E
R
92
S
T
E
P

3:
S
E
T
U
P
I
M
A
G
E
V
I
E
W
92
S
T
E
P
4:
A
P
P
L
Y
U
N
S
H

A
R
P
M
A
S
K
93
Sharpening individual channels
95
Sharpen Lightness channel in
Lab
Mode
95
T
ECHNIQUE
12
C
ORRECTING
C
OLOR
W
HEN
U
SING
A
GRETAGMACBETH
COLORCHECKER
97
S

T
E
P
1:
O
P
E
N
FILE
98
S
T
E
P
2:
C
H
E
C
K
COLOR
98
S
T
E
P
3:
S
E
T

C
O
L
O
R
S
A
M
P
L
E
R
POINTS
99
S
T
E
P
4:
C
O
R
R
E
C
T
COLOR USING
L
E
V

E
L
S
99
S
T
E
P
5:
A
P
P
L
Y
COLOR CORRECTION SETTINGS
TO OTHER IMAGES
100
T
ECHNIQUE
13
U
SING
M
ETADATA
101
S
T
E
P
1:

L
E
A
R
N
H
O
W
T
O
R
E
A
D
"
S
H
O
O
T
I
N
G
"
DATA
101
S
T
E
P

2:
A
DD
M
E
T
A
D
A
T
A
T
O
A
B
A
T
C
H
OF FILES
103
S
T
E
P
3:
S
A
V
E

AND VIEW EDIT HISTORY
10)
T
ECHNIQUE
14
C
ONVERTING
A
C
OLOR
P
HOTO
T
O
B
LACK
A
N
D
W
HITE
109
Converting color to
black
and white using
Lab
Color mode and the Lightness channel
11
0
S

T
E
P
1:
O
P
E
N
F
I
L
E
no
S
T
E
P
2:
C
O
N
V
E
R
T
T
O
L
A
B

C
O
L
O
R
1-
Contents
S
T
E
P
3:
C
O
N
V
E
R
T
T
O
G
RA
Y
S
C
A
L
B
111

Converting
color to black
and
white
using
Channel
Mixer
11 1
S
T
E
P
I:
OPEN
PILE
111
S
T
E
P
2:
EXAMINE
E
A
C
H
C
H
A
NN

E
L
112
S
T
E
P
3:
U
S
E
C
H
A
N
N
E
L
M
I
X
E
R
T
O
M
I
X
CHANNELS
113

T
ECHNIQUE
15
B
URNING
A
N
D
D
ODGING
W
I
T
H
M
ASKS
115
S
T
E
P
1:
O
P
E
N
PILE
116
S
T

E
P
2:
D
U
P
L
I
C
A
T
E
LAYBR
116
STEP
3:
A
D
J
UST
SHADOWED
POREGROUND
116
STEP
4:
A
D
J
UST
SNOWY PEAKS AND SKY

S
T
E
P
5:
D
A
R
K
E
N
S
KY
120
T
ECHNIQUE
16
U
SING
S
CALING
M
ASKS
T
O
S
PEED
U
P
E

DITS
123
STEP
1:
OPEN PILE
124
S
T
E
P
2:
R
E
D
U
C
E
I
M
A
G
E
S
I
Z
E
A
N
D
SAVE

P
I
L
E
124
S
T
E
P
3:
I
N
C
R
E
A
S
E
CONTRAST IN THE WATER
PART OP THE IMAGE
124
S
T
E
P
4:
I
N
C
RE

A
S
E
C
O
N
T
RA
S
T
I
N
T
R
EE
A
R
E
A
125
S
T
E
P
5:
L
I
G
H
T

E
N
T
H
E
B
I
R
C
H
TREES
125
S
T
E
P
6:
I
N
C
R
E
A
S
E
IMAGE SIZE AND APPLY
M
A
S
K

S
T
O
O
R
I
G
I
N
A
L
I
M
A
G
E
126
T
ECHNIQUE
17
I
S
O
L
A
T
I
N
G
A

N
D
E
XTRACTING
D
ETAIL
U
SING
V
ALUES
129
S
T
E
P
1:
O
P
E
N
PILE
130
S
T
E
P
2:
S
E
L

E
C
T
L
I
G
H
T
E
S
T
P
A
R
T
S
O
P
T
H
E
IMAGE BY VALUE
130
S
T
E
P
3:
RBDUCE
S

E
L
E
C
T
I
O
N
T
O
J
UST
T
H
E
COTTONWOOD TREE
131
T
ECHNIQUE
18
C
REATING
A
T
ONED
I
M
A
G
E

133
S
T
E
P
1:
O
P
E
N
P
I
L
E
134
STEP
2:
C
O
N
V
E
R
T
TO DUOTONE
134
S
T
E
P

1:
O
P
E
N
PILE
138
S
T
E
P
2:
M
A
K
E
A
N
E
D
I
T
I
N
G
P
L
A
N
138

S
T
E
P
3:
D
A
R
K
E
N
A
N
D
I
M
P
R
O
V
E
C
O
N
T
R
A
S
T
I

N
THE SKY
138
S
T
E
P
4:
I
M
P
R
O
V
E
T
H
E
C
O
N
T
RA
S
T
OF
T
H
E
TRUCK AND THE POREGROUND AREA

141
S
T
E
P
5:
F
O
C
U
S
ATTENTION ON THE TRUCK
141
S
T
E
P
6:
F
I
N
E
-
T
U
N
E
ADJUSTMENTS 142
XVI
50

FastPhotoshop
CS
Techniques
C
H
A
P
T
E
R
4
E
N
H
A
N
C
I
N
G
S
T
E
P
5:
U
S
E
C
L

O
N
E
S
T
AM
P
T
OO
L
T
O
P
I
X
BEARD AND THE POLD IN COAT
150
PORTRAITS
145
S
T
E
P
6:
R
E
M
O
V
E

RED INK SPOTS
150
S
T
E
P
7:
R
E
M
O
V
E
A
LL
T
H
E
S
P
O
T
S
A
N
D
PERPORATIONS ON THE IMAGE
150
STEP
8:

M
I
N
I
M
I
Z
E
STAINING
150
S
T
E
P
9:
M
A
K
E
FINAL
T
O
N
A
L
ADJUSTMENTS
151
T
E
C

H
N
I
Q
U
E
21
R
ETOUCHING
P
ORTRAITS
153
S
T
E
P
1:
O
P
E
N
"BEFORE"
A
N
D
"AFTER"
PILES
154
S
T

E
P
2:
C
O
M
P
L
E
T
E
T
O
N
E
A
N
D
C
O
L
O
R
ADJUSTMENTS
155
STEP
3:
R
E
D

U
C
E
F
A
C
I
A
L
L
I
N
E
S
155
S
T
E
P
4:
S
M
O
O
T
H
S
K
I
N

T
E
X
T
U
RE
156
S
T
E
P
5:
SHAPE
T
H
E
L
O
W
E
R
L
I
P
,
T
H
E
L
E

P
T
SIDE OF THE PACE, AND OPEN THE RIGHT
EYE
157
~ECHNIQUE
20
W
HITE
P
ORTRAIT
161
R
ESTORING
A
N
O
L
D
P
ORTRAIT
147
S
T
E
P
I:
O
P
E

N
P
I
L
E
161
S
T
E
P
2:
C
R
O
P
A
N
D
IIBSIZB
I
M
A
G
E
162
S
T
E
P
I:

OPEN
P
I
L
E
148
S
T
E
P
3:
D
U
P
L
I
C
A
T
E
mrt
A
N
D
C
O
N
V
E
R

T
S
T
E
P
2:
S
T
RA
I
G
H
T
E
N
A
N
D
C
R
O
P
I
M
A
G
E
148
LAYER TO BLACK AND WHITE
162

STEP
4:
R
E
P
L
A
C
E
THE TORN CORNER
149
S
T
E
P
4:
A
D
D
MAGENTACOLOR
T
O
A
N
E
W
LAYER
162
BACKGROUND LAYER
165

T
ECHNIQUE
23
C
REATING
Y
OUR
O
WN
T
ONING
S
TYLE
167
S
T
E
P
I:
O
P
E
N
P
I
L
E
I
N
A

D
O
B
E
C
A
M
E
R
A
RAW
A
N
D
C
O
N
V
E
R
T
I
T
168
S
T
E
P
2:
C

R
O
P
AND SIZE IMAGE
168
S
T
E
P
3:
C
O
N
V
E
R
T
I
M
A
G
E
T
O
B
L
A
C
K
A

N
D
W
H
I
T
E
168
S
T
E
P
4:
C
R
E
A
T
E
T
O
N
E
L
A
Y
E
R
168
S

T
E
P
5:
F
I
N
E
-
T
U
N
E
TONE COLOR
170
S
T
E
P
1:
O
P
E
N
P
I
L
E
174
S

T
E
P
2:
C
R
E
A
T
E
D
I
G
I
T
A
L
T
E
X
T
U
R
E
SCREEN
174
S
T
E
P

3:
A
PP
L
Y
D
I
G
I
T
A
L
S
C
R
EE
N
T
E
X
T
U
R
E
EPPECT
174
S
T
E
P

4:
F
I
N
E
-
T
U
N
E
EFFECT
175
T
ECHNIQUE
25
C
REATING
P
ROOFS
I
N
A
B
ATCH
W
HEN
S
HOOTING
I
N

RAW F
ORMAT
177
S
T
E
P
1:
C
H
OO
S
E
I
M
A
G
E
T
O
U
S
E
T
O
C
R
E
A
T

E
S
E
TT
I
N
G
S
178
S
T
E
P
2:
C
R
E
A
T
E
A
C
T
I
O
N
TO CROP AND PRINT
IMAGE
179
S

T
E
P
3:
A
PP
L
Y
C
A
M
E
R
A
RAW
S
E
TT
I
N
G
S
T
O
OTHER IMAGES IN THE SET
179
S
T
E
P

4:
P
R
O
C
E
SS
BATCH
180
S
T
E
P
2:
D
U
P
L
I
C
A
T
E
L
A
Y
ER
186
S
T

E
P
3:
S
E
L
E
C
T
E
X
T
R
A
C
T T
OO
L
186
S
T
E
P
4:
D
R
A
W
A
R

O
U
N
D
P
E
L
I
C
A
N
186
S
T
E
P
5:
VIEW
PREVIEW
187
XVIII
50
Fast
Photoshop
CS
Techniques
S
T
E
P

1:
O
P
E
N
A
N
D
S
C
A
L
E
B
A
C
K
G
R
O
U
N
D
I
M
A
G
E
190
S

T
E
P
2:
A
DD
I
M
A
G
E
190
S
T
E
P
3:
U
S
E
B
L
E
N
D
M
O
D
E
T

O
U
N
I
F
Y
C
O
L
O
R
A
N
D
T
E
X
T
U
R
E
190
S
T
E
P
4:
P
O
S

I
T
I
O
N
A
N
D
S
I
Z
E
I
M
A
G
E
190
S
T
E
P
5:
U
S
E
"
B
L
E

N
D
"
TECHNI
Q
UE
191
S
T
E
P
6:
M
A
K
E
ADJUSTMENTS TO LAYERS
192
S
T
E
P
7:
F
L
A
TT
E
N
I

M
A
G
E
A
N
D
M
A
K
E
A
F
E
W
PINAL ADJUSTMENTS
193
T
ECHNIQUE
28
U
SING
A
M
ASK
T
O
C
REATE
A

C
OLLAGE
195
S
T
E
P
1:
C
R
E
A
T
E
COLLAGE MASK
196
S
T
E
P
2:
I
N
S
E
R
T
D
I
G

I
T
A
L
P
H
O
T
O
S
196
STEP
3:
F
L
A
T
T
E
N
IMAGE AND SAVE AS A
NEW PILE
197
T
ECHNIQUE
29
C
OMBINING
B
R

A
C
K
E
T
E
D
PHOTOS 199
S
T
E
P
1:
O
P
E
N
FILES
200
S
T
E
P
2:
C
O
M
B
I
N

E
BOTH PILES INTO
ONE IMAGE
200
S
T
E
P
3:
C
R
E
A
T
E
L
A
Y
E
R
M
A
S
K
200
STEP
4:
P
A
I

N
T
ON THE
L
A
Y
E
R
M
A
S
K
TO
REVEAL THE LOWER
LAYER
201
S
T
E
P
5:
C
R
E
A
T
E
AD
J
USTMENT

L
A
Y
E
R
S
AND MAKE PINAL ADJUSTMENTS TO
THEIMAGE
202
T
ECHNIQUE
30
T
OTAL
C
OLOR
T
RANSFORMATION
207
S
T
E
P
1:
O
P
E
N
PILE
208

S
T
E
P
2:
C
R
E
A
T
E
MIRRORED TREE
208
S
T
E
P
3:
C
R
O
P
I
M
A
G
E
209
S
T

E
P
4:
R
E
D
U
C
E
T
H
E
A
P
P
E
A
R
A
N
C
E
O
F
SYMMETRY
209
S
T
E
P

5:
C
H
A
N
G
E
BLUE SKY TO A DARK
ORANGE SUNSET COLOR
211
S
T
E
P
6:
M
A
K
E
F
I
N
A
L
C
O
L
O
R
A

N
D
T
O
N
A
L
CHANGES
212
T
ECHNIQUE
31
U
SING
F
ILTERS
T
O
C
REATE
F
INE
A
RT
P
RINTS
213
S
T
E

P
I
:
O
P
E
N
P
I
L
E
214
S
T
E
P
2:
SOPTEN
I
M
A
G
E
214
S
T
E
P
3:
D

A
R
K
E
N
THE IMAGE
215
S
T
E
P
4:
M
A
K
E
FINAL COLOR AND TONE
ADJUSTMENTS
215
T
ECHNIQUE
32
C
OLORING
A
D
IGITAL
S
KETCH
217

Find Edges filter approach to creating a line
drawing
218
S
T
E
P
1:
O
P
E
N
P
I
L
E
A
N
D
RE
M
O
V
E
C
O
L
O
R
219

S
T
E
P
2:
F
I
N
D
E
D
G
E
S
A
N
D
C
R
E
A
T
E
L
I
N
E
S
219
STEP

3:
R
E
M
O
V
E
SOME LINES AND MAKE THE
R
E
S
T
B
L
A
C
K
219
S
T
E
P
4:
C
L
E
A
N
U
P

T
H
E
D
R
A
W
I
N
G
220
Poster Edges filter approach
to
creating
a line drawing
220
S
T
E
P
1:
O
P
E
N
FILE AND REMOVE COLOR
220
S
T
E

P
2:
A
D
J
UST
L
E
V
E
L
S
220
S
T
E
P
3:
FIND
E
D
G
E
S
A
N
D
C
RE
A

T
E
L
I
N
E
S
220
S
T
E
P
4:
R
E
D
U
C
E
S
H
A
D
E
S
OF
G
R
A
Y

S
A
N
D
SOME LINES
220
S
T
E
P
5:
R
E
M
O
V
E
S
O
M
E
L
I
N
E
S
A
N
D
M

A
K
E
T
H
E
REST BLACK
221
Smart
Blur filter approach to creating
a lime drawing
221
S
T
E
P
I
:
O
P
E
N
P
I
L
E
A
N
D
RE

M
O
V
E
C
O
L
O
R
222
S
T
E
P
2:
F
I
N
D
E
D
G
E
S
A
N
D
C
R
E

A
T
E
L
I
N
E
S
222
S
T
E
P
3:
I
N
C
RE
A
S
E
T
H
E
W
I
D
T
H
O

F
T
H
E
L
I
N
E
S
223
Coloring
the
rough marker sketch
224
S
T
E
P
3:
S
E
T
UP
H
I
S
T
O
R
Y

B
R
U
S
H
TOOL
226
S
T
E
P
4:
B
E
G
I
N
PAINTING
227
S
T
E
P
I:
O
P
E
N
P
I

L
E
230
S
T
E
P
2:
D
U
P
L
I
C
A
T
E
L
A
YE
R
230
S
T
E
P
3:
T
RA
N

S
F
O
R
M
O
N
E
L
A
Y
E
R
I
N
T
O
A
W
A
T
E
R
C
O
L
O
R
P
A

I
N
T
I
N
G
230
S
T
E
P
4:
T
R
A
N
S
F
O
R
M
SECOND LAYER INTO A
"
PEN AND
INK^
SKETCH
231
S
T
E

P
5:
B
L
E
N
D
L
A
Y
E
R
S
232
STEP
6:
M
A
K
E
FINAL COLOR ADJUSTMENTS
A
N
D
A
DD
Y
O
U
R

S
I
G
N
A
T
U
RE
232
T
ECHNIQUE
34
C
REATING
A
D
IGITAL
P
AINTING
235
S
T
E
P
1:
OPEN
FILE
236
STEP
2:

C
O
M
B
I
N
E
IMAGES
236
S
T
E
P
3:
RESIZE
EGRET LAYER
237
S
T
E
P
4:
C
R
O
P
IMAGE
238
S
T

E
P
5:
M
A
S
K
EGRET
238
S
T
E
P
6:
C
R
E
A
T
E
NEW BACKGROUND
LAYER
239
S
T
E
P
7:
C
RE

A
T
E
S
U
N
240
STEP
8:
P
A
I
N
T
EGRET LAYER
242
S
T
E
P
9:
F
L
A
T
T
E
N
I
MA

G
E
A
N
D
B
L
E
N
D
242
S
T
E
P
10:
M
A
K
E
F
I
N
A
L
I
M
A
G
E

ADJUSTMENTS
243
50
Fast Photoshop
CS
Techniques
T
ECHNIQUE
35
C
REATIVE
U
SE
O
F
F
ILTERS
A
N
D
C
OMMANDS
245
S
T
E
P
1:
O
P

E
N
PILE
246
S
T
E
P
2:
A
P
P
L
Y
C
U
T
O
U
T
PILTER
246
S
T
E
P
3:
U
S
E

Q
U
I
C
K
M
A
S
K
247
S
T
E
P
4:
B
L
E
N
D
L
A
Y
E
R
S
249
S
T
E

P
5:
A
P
P
L
Y
P
I
L
T
E
R
T
O
J
UST
ONE
CHANNEL
250
T
ECHNIQUE
36
C
ONVERTING
RAW
I
M
A
GES

WITH
C
APTURE
O
NE
DSLR 253
S
T
E
P
1:
L
A
U
N
C
H
C
A
P
T
U
RE
O
N
E
DSLR
AN
D
CHOOSE

RAW
PILE TO CONVERT
254
S
T
E
P
2:
S
E
L
E
C
T
C
O
NV
E
R
S
I
O
N
S
E
T
T
I
N
G

S
254
S
T
E
P
3:
C
O
N
V
E
R
T
IMAGE
256
S
T
E
P
2:
R
U
N
C
O
NVE
R
T T
O

B/W
P
R
O
PLUG
-
IN
260
T
ECHNIQUE
38
C
REATING
A
RTWORK
WITH
BUZZ.PRO
2.0 263
S
T
E
P
1:
O
P
E
N
PILE
264
S

T
E
P
2:
L
O
A
D
BUZZ.PRO
2.0
PLUG
-
IN
264
S
T
E
P
3:
M
A
K
E
PINAL ADJUSTMENTS
265
T
ECHNIQUE
39
S
HARPENING

A
N
I
MAGE
W
I
T
H
PHOTOKIT S
HARPENER
267
S
T
E
P
1:
O
P
E
N
PILE
268
S
T
E
P
2:
A
P
P

L
Y
PHOTOKIT
C
A
P
T
U
R
E
S
H
A
R
P
E
N
E
R
268
S
T
E
P
3:
A
PP
L
Y
PHOTOKIT

S
E
L
E
C
T
I
V
E
S
H
A
R
P
E
N
E
R
269
S
T
E
P
4:
C
O
M
P
L
E

T
E
EDITING AND SAVE
PILE
270
S
T
E
P
5:
S
H
A
R
P
E
N
IMAGE FOR USE ON A
W
E
B
PAGE
270
S
T
E
P
6:
S
H

A
R
P
E
N
IMAGE POR PRINTING ON
AN
E
P
S
O
N
2200
INKJET PRINTER
271
T
ECHNIQUE
40
R
EMOVING
D
IGITAL
N
OISE
WITH
D
FINE
273
S
T

E
P
I
:
O
P
E
N
P
I
L
E
274
S
T
E
P
2:
D
U
P
L
I
C
A
T
E
L
A
Y

E
R
274
S
T
E
P
3:
L
O
A
D
D
P
I
N
E
P
L
U
G
-
I
N
274
S
T
E
P
4:

C
H
OO
S
E
D
P
I
N
E
S
E
TT
I
N
G
S
T
O
R
E
D
U
C
E
DIGITAL NOISE
274
S
T
E

P
5:
E
V
A
L
U
A
T
E
R
E
S
U
L
T
S
A
N
D
M
A
K
E
AD
J
USTMENTS
276
T
ECHNIQUE

41
I
NCREASING
I
MAGE
R
ESOLUTION
T
O
M
AKE
L
ARGE
P
RINTS
281
S
T
E
P
1:
O
P
E
N
PILE
283
S
T
E

P
2:
I
N
C
R
E
A
S
E
IMAGE SIZE
283
S
T
E
P
3:
S
H
A
R
P
E
N
IMAGE
283
T
ECHNI
Q
UE

42
U
SING
A
N
ICC P
ROFILE
A
N
D
P
ROOF
C
OLORS
W
HEN
P
RINTING
WITH
AN
INKJET P
RINTER
285
S
T
E
P
1:
I
N

S
T
A
LL
ICC
C
O
L
O
R
PROPILE
286
S
T
E
P
2:
O
P
E
N
P
I
L
E
286
S
T
E
P

3:
I
N
C
R
E
A
S
E
I
M
A
G
E
R
E
S
O
L
U
T
I
O
N
287
S
T
E
P
4:

S
E
T
U
P
S
O
F
T
-
P
R
O
O
F
I
N
G
287
S
T
E
P
5:
C
O
M
P
L
E

T
E
A
N
Y
N
EE
D
E
D
E
D
I
T
S
WHILE
U
S
I
N
G
SOFT
P
R
OO
F
I
N
G
287

S
T
E
P
6:
S
E
T
UP PRINTER AND MAKE
P
R
I
N
T
288
T
ECHNI
Q
UE
43
G
ETTING
F
U
J
I
F
RONTIER
P
RINTS

M
ADE
291
S
T
E
P
1:
O
P
E
N
F
I
L
E
292
S
T
E
P
2:
C
R
O
P
A
N
D
S

I
Z
E
I
M
A
G
E
292
S
T
E
P
3:
S
H
A
R
P
E
N
I
M
A
G
E
292
S
T
E

P
4:
S
A
V
E
P
I
L
E
A
N
D
W
R
I
T
E
T
O
CD
-
ROM
293
T
ECHNIQUE
44
U
SING
S

HUTTERFLY
'
S
O
NLINE
P
RINTING
S
ERVICE
295
S
T
E
P
1:
C
O
P
Y
T
H
E
I
M
A
G
E
S
Y
O

U
W
A
N
T
T
O
PRINT INTO A NEW POLDER
296
S
T
E
P
2:
PREPARB
T
H
E
I
M
A
G
E
S
P
O
R
UPLOADING
297
S

T
E
P
3:
M
A
K
E
A
N
Y
FINAL
E
D
I
T
S
A
N
D
S
H
A
R
P
E
N
T
H
E

I
M
A
G
E
298
S
T
E
P
4:
S
A
V
E
T
H
E
P
I
L
E
A
S
A
JPEG
PILE
298
S
T

E
P
5:
S
E
L
E
C
T
AND UPLOAD THE
IMAGES
299
S
T
E
P
6:
T
U
R
N
OFF IMAGE
ENHANCEMENTS
300
T
E
C
H
N
I

Q
U
E
45
G
ETTING
LIGHTJET 5000 P
RINTS
FROM
C
ALYPSO
, I
NC
. 303
S
T
E
P
I:
D
O
W
N
L
O
A
D
C
A
L

Y
P
S
O
'
S
LIGHTJET
5000
ICC
COLOR PROPILE
304
S
T
E
P
2:
O
P
E
N
P
I
L
E
T
O
B
E
P
R

I
N
T
E
D
305
S
T
E
P
3:
C
R
O
P
AND SIZE IMAGE
305
S
T
E
P
4:
S
H
A
R
P
E
N
IMAGE

306
S
T
E
P
5:
C
O
NV
E
R
T
PROFILE
T
O
C
A
L
Y
P
S
O
LIGHTJET
5000
C
O
L
O
R
PROPILE

306
S
T
E
P
6:
S
A
V
E
F
I
L
E
A
N
D
S
E
N
D
O
R
U
P
L
O
A
D
TO

C
A
L
Y
P
S
O
307
5OFast Photoshop
CS
Techniques
Contents
T
ECHNIQUE
46
P
REPARING
I
MAGES
F
O
R
D
ISPLAY
O
N
A
W
EB
P

AGE
311
S
T
E
P
1:
O
P
E
N
PILE
312
S
T
E
P
2:
S
I
Z
E
IMAGE
312
S
T
E
P
3:
S

HA
R
P
E
N
IMAGE
312
S
T
E
P
4:
A
D
D
P
R
A
M
E
O
R
O
T
H
E
R
I
M
A

G
E
ENHANCING FEATURES
312
S
T
E
P
5:
A
DD
C
A
N
V
A
S
T
O
PREVBNT~IMAGE
J
UMPING
"
313
S
T
E
P
6:
A

D
D
COPYRIGHT AND OTHER
INFORMATION TO
THE IMAGE FILE
314
S
T
E
P
7:
A
D
D
A
V
I
S
I
B
L
E
W
A
T
E
R
M
A
R

K
O
R
COPYRIGHT TEXT TO THE IMAGE
315
S
T
E
P
8:
SAVE THE IMAGE AS A
JPEG
FILE
315
S
T
E
P
2:
C
U
S
T
O
M
I
Z
E
THE
W

E
B
GALLERY
320
S
T
E
P
1:
OPEN
PILE
322
S
T
E
P
2:
C
R
E
A
T
E
S
L
I
C
E
S
322

S
T
E
P
3:
C
R
E
A
T
E
L
I
N
K
FOR
E
A
C
H
S
L
I
C
E
323
S
T
E
P

4:
SAVE
IMAGE AND
HTML
CODE
324
STEP
5:
V
I
E
W
IMAGE AND TEST LINKS
325
T
ECHNI
Q
UE
49
C
REATING
R
OLLOVER
I
MAGES
WITH
IMAGEREADY
327
S
T

E
P
1:
O
P
E
N
PILE
328
S
T
E
P
2:
A
D
D
T
H
E
"AFTER"
I
M
A
G
E
T
O
T
H

E
"BEPORE"
I
M
A
G
E
A
S
A
L
A
Y
E
R
328
S
T
E
P
3:
C
R
E
A
T
E
A
U~~l~~n
AND SEND

T
O
IMAGEREADY
CS
328
S
T
E
P
4:
U
S
E
IMAGEREADY
T
O
C
R
E
A
T
E
ROLLOVER AND
HTML
CODE
330
S
T
E
P

5:
OPTIMXZB
IMAGES AND TEST
ROLLOVER IMAGE
330
STEP
6:
C
R
E
A
T
E
W
E
B
PAGE
331
T
ECHNI
Q
UE
50
C
REATING
A
NIMATIONS
U
SING
D

IGITAL
P
HOTOS
333
S
T
E
P
1:
O
P
E
N
PILES AND COMBINE THEM INTO
ONE PILE
334
S
T
E
P
2:
S
E
N
D
I
M
A
G
E

T
O
A
D
O
B
E
IMAGEREADY
CS
334
S
T
E
P
3:
C
R
E
A
T
E
A
N
I
M
A
T
I
O
N

335
S
T
E
P
4:
S
A
V
E
AND VIEW ANIMATION PILE
338
S
T
E
P
5:
R
E
T
U
R
N
T
O
P
H
O
T
O

S
H
O
P
CS
338
50
Fast
Photoshop
CS
Techniques
A
PPENDIX
A
W
H
A
T
'
S
O
N
T
H
E
CD
-
ROM
339