Adobe® Photoshop® CS5 On Demand
Publisher Paul Boger
Copyright © 2010 by Perspection, Inc. All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions. Nor is any liability assumed for damages resulting from the use of the information contained herein.
Associate Publisher Greg Wiegand
Library of Congress Cataloging-in-Publication Data is on file
Acquisitions Editor Laura Norman Managing Editor Steve Johnson Author Steve Johnson Technical Editor Toni Bennett
ISBN-13: 978-0-7897-4447-0 ISBN-10: 0-7897-4447-3
Page Layout Beth Teyler James Teyler
Printed and bound in the United States of America First Printing: April 2010
Interior Designers Steve Johnson Marian Hartsough
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4 3 2 1
Que Publishing offers excellent discounts on this book when ordered in quantity for bulk purchases or special sales. For information, please contact: U.S. Corporate and Government Sales 1-800-382-3419 or
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Trademarks All terms mentioned in this book that are known to be trademarks or service marks have been appropriately capitalized. Que cannot attest to the accuracy of this information. Use of a term in this book should not be regarded as affecting the validity of any trademark or service mark. Adobe, the Adobe logo, Acrobat, Bridge, Device Central, Dreamweaver, Extension Manager, Flash, InDesign, Illustrator, PageMaker, Photoshop, Photoshop Elements, and Version Cue are registered trademarks of Adobe System Incorporated. Apple, Mac OS, and Macintosh are trademarks of Apple Computer, Inc. Microsoft and the Microsoft Office logo are registered trademarks of Microsoft Corporation in the United States and/or other countries.
Warning and Disclaimer Every effort has been made to make this book as complete and as accurate as possible, but no warranty or fitness is implied. The authors and the publishers shall have neither liability nor responsibility to any person or entity with respect to any loss or damage arising from the information contained in this book.
Photographs Toni Bennett Tracy Teyler Indexer Katherine Stimson Proofreader Beth Teyler Team Coordinator Cindy Teeters
Moving Images in the Document Window Working with Multiple Documents Working with One Image in Multiple Windows Moving Layers Between Two Open Documents Creating Notes Working with the Info Panel Changing How the Info Panel Measures Color Working with Rulers Creating Tool Presets
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Customizing the Way You Work Optimizing Photoshop Setting General Preferences Modifying File Handling Preferences Working with Interface Preferences Working with Cursors Preferences Controlling Transparency & Gamut Preferences Working with Units & Rulers Working with Guides, Grid & Slices Selecting Plug-Ins Selecting Scratch Disks Allocating Memory & Image Cache Working with Type Managing Libraries with the Preset Manager Using and Customizing Workspaces Building Specialized Workspaces Creating a Customized User Interface Defining Shortcut Keys
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Mastering the Art of Selection Using the Rectangular Marquee Tool Using the Elliptical Marquee Tool Using the Single Row and Single Column Marquee Tools Using the Lasso Marquee Tool Using the Magnetic Lasso Tool Using the Polygonal Lasso Tool Using the Quick Selection Tool Using the Magic Wand Tool Selecting by Color Range Refining a Selection Edge
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Adding and Subtracting a Selection Cropping a Selection Using Channels to Create and Store Selections Modifying an Existing Selection Copying and Pasting a Selection Using Free Transform and Transform Using the Puppet Warp Using Content-Aware Scaling Using Content-Aware Fill
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Working with Layers Understanding the Layers Panel Defining Layer Designations and Attributes Creating a New Layer Selecting Layers Creating a Layer Group Creating a Selection from a Layer Creating a Layer from a Selection Converting a Background into a Layer Controlling Image Information Using the Layers Panel Moving Layers Between Documents Using Merge Layer Options Linking and Unlinking Layers Working with Layer Blending Modes Setting Layer Opacity Duplicating a Layer Deleting Layers Changing Layer Properties Working with the Layer Comps Panel Exporting Layers as Files Setting Layers Panel Options Using Smart Guides
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Working with the History Panel Setting History Panel Options Working with Linear and Non-Linear History Controlling the Creative Process with Snapshots Duplicating a History State in Another Document Saving the History State of a Document Reviewing the History State Text File
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Combining the History Brush with a History State Using the Art History Brush Changing the Eraser Tool into the History Brush Controlling History States
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Working with Adjustment Layers, Filters, and Tools Creating an Adjustment Layer Modifying an Adjustment Layer Merging Adjustment Layers Creating a Temporary Composite Image Controlling Adjustment Layers with Clipping Groups Deleting an Adjustment Layer Using Blending Modes and Opacity with Layers Using Masks with Adjustment Layers Creating Masks with Selections Using the Add Noise Filter Using the Reduce Noise Filter Keeping Proper Perspective with Vanishing Point Working with the Lens Correction Filter Using the Box, Surface, and Shape Blur Filters Using the Gaussian Blur and Despeckle Filters Using the Unsharp Mask Filter Using the Smart Sharpen Filter Using Sharpen, Blur and Smudge Tools Setting Up Multiple Clone Sources Using the Clone Stamp Tool Using the Dodge and Burn Tools Using the Healing Brush and Patch Tools Working with the Spot Healing Brush Working with the Red Eye Tool Controlling Tonal Range Working with the Histogram Panel
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Understanding Colors and Channels Working with 8-, 16-, and 32-Bit Images Working with the Channels Panel Working with Color Modes Understanding the RGB Color Mode Understanding the CMYK Color Mode Understanding the Grayscale Color Mode
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Understanding the Bitmap Color Mode Understanding the Indexed Color Mode Understanding the Lab Color Mode Understanding the Duotone Color Mode Using the Multichannel Color Mode Using the Replace Color Adjustment Working with the Color Panel Working with the Swatches Panel Using the Stroke and Fill Commands Creating Spot Color Channels Using the Auto Contrast and Auto Color Commands Using Levels Adjustment Commands Using the Exposure Adjustment Using Curves and Color Adjustments Adjusting Hue and Saturation Using the Match Color Adjustment Using the Selective Color Adjustment Using the Channel Mixer Adjustment Using the Gradient Map Adjustment Using the Photo Filter Adjustment Using the Invert and Equalize Commands Using the Threshold and Posterize Adjustments Using the HDR Toning Adjustment Using the Shadows/Highlights Adjustment Using the Black & White Adjustment
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Using the Paint, Shape Drawing, and Eraser Tools Understanding Foreground and Background Colors Using the Brush and Brush Presets Panel Modifying the Brush Presets Panel Selecting Brush Tip Sets Adjusting Brush Tips Adjusting Bristle Brush Tips Creating Customized Brush Tips Saving Customized Brush Tips Working with the Brush and Airbrush Tools Working with the Brush Mixed Tool Working with the Pencil Tool Working with Auto Erase Working with the Line Tool
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Using the Standard Shape Tool Working with the Custom Shape Tool Creating a Custom Shape Saving Custom Shape Sets Using the Paint Bucket Tool Working with the Eraser Tools Working with the Magic Eraser Tool Creating and Applying Gradients Creating and Saving Customized Gradients Using the Color Replacement Tool
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Creating Masks Understanding Layer and Vector Masks Creating a Layer Mask Using Paint Tools with Layer Masks Using Selections to Generate Complex Layer Masks Using Layer Masks to Generate Soft Transparency Creating Unique Layer Mask Effects Creating a Vector Mask Modifying Layer and Vector Masks Creating Channel Masks Creating Channel Masks from Scratch Modifying Channel Mask Options Creating Channel Masks from Selections Making Channel Masks from Native Color Channels Loading Channel Masks Moving Channel Masks Between Documents Combining Channel Masks Using the Quick Mask Mode Working with Quick Mask Options Modifying Selections with Quick Mask Mode
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Using the Paths Panel Understanding Vector and Raster Images Converting a Selection into a Path Working with Pen Tools Creating Paths Using the Freeform Pen Tool Using the Magnetic Option with the Freeform Pen Tool Adding and Deleting Anchor Points Modifying Anchor Points Modifying Existing Direction Lines
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Converting Straight Points and Curved Points Working with Clipping Paths Filling an Area of an Image Using Paths Stroking an Area of an Image Using Paths Creating Shapes as Paths Exporting Paths to Adobe Illustrator Exporting Paths Using the Export Method
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Working with Layer Styles Understanding Layer Styles Adding a Layer Style Creating and Modifying a Drop Shadow Working with Bevel and Emboss Working with Contour and Texture Applying a Color Overlay Using the Stroke Layer Style Using Pattern Overlays Working with Outer Glow and Inner Shadow Applying an Inner Glow Style Creating Customized Layer Styles Creating Customized Styles Using the Styles Panel Moving Existing Layer Styles
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Getting Creative with Type Using Standard Type Tools Working with Type Options Working with the Character Panel Working with the Paragraph Panel Setting Anti-aliasing Options Using the Warp Text Option Using Spell Check Finding and Replacing Text Using the Rasterize Type Command Creating Work Paths and Shapes from Type Layers Creating Shape Layers Creating a Type Mask Isolating Image Pixels Using a Type Mask Creating Chiseled Type with a Type Mask Using Masks to Generate Special Effects Creating and Modifying Text on a Path
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Manipulating Images with Filters Working with the Filter Gallery Creating and Working with Smart Filters Applying Multiple Filters to an Image Modifying Images with Liquify Working with Liquify Tool Options Working with Liquify Mask Options Working with Liquify View Options Creating a Liquify Mesh Applying a Liquify Mesh Using the Lens Blur Filter Working with Photo Filters Blending Modes and Filter Effects Building Custom Patterns Using the Fade Command Controlling Filters Using Selections Using a Channel Mask to Control Filter Effects Protecting Images with Watermarks Viewing Various Filter Effects
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Automating Your Work with Actions Examining the Actions Panel Building a New Action Recording an Action Adding a Stop to an Action Controlling the Playback of a Command Adding a Command to an Action Deleting a Command from an Action Working with Modal Controls in an Action Changing the Order of Commands in an Action Copying an Action Running an Action Inside an Action Saving Actions into Sets Saving Actions as Files Moving and Copying Actions Between Sets Inserting a Non-Recordable Command into an Action Using Enhanced Scripting Enhancing the Process with Droplets Using a Droplet
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Controlling Image Output Setting Document Print Options Setting Print Output Options Printing a Document in Macintosh Printing a Document in Windows Changing Printer Settings Printing One Copy Understanding File Formats Saving a Document with a Different File Format Inserting File Information into a Document Understanding File Compression Preparing Clip Art for the Web Preparing a Photograph for the Web Preparing an Image for the Press Preparing an Image for an Inkjet or Laser Printer Understanding Monitor, Image, and Device Resolution
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Working with Automate Commands Working with Batch File Processing Working with Conditional Mode Change Using the Crop and Straighten Photos Command Converting a Multi-Page PDF to PSD Creating a PDF Document Using Photomerge Merging Images to HDR Processing Multiple Image Files Using the Fit Image Command
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Managing Color from Monitor to Print Producing Consistent Color Calibrating Using Hardware and Software Setting Up Soft-Proof Colors Changing from Additive (RGB) to Subtractive (CMYK) Working with Rendering Intents Printing a Hard Proof Working with Color Management Embedding ICC Color Profiles Assigning a Different Profile to a Document Converting the Color Space to Another Profile
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Using Hue/Saturation for Out-Of-Gamut Colors Using the Sponge Tool for Out-Of-Gamut Colors Working with the Out-Of-Gamut Warning
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Designing for the Web and Devices Saving for the Web Working with Save For Web Options Optimizing an Image to File Size Working with Web File Formats Optimizing a JPEG Document Optimizing a GIF Document Optimizing a PNG-8 Document Optimizing a PNG-24 Document Optimizing a WBMP Document Creating an Animated GIF Working with Animation Slicing Images the Easy Way Working with Slices Arranging Slices Saving a Sliced Image for the Web Adding HTML Text or an URL Link to a Slice Defining and Editing Web Data Variables Exporting Directly to Video Exporting an Image to Zoomify
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Extending Photoshop Counting Objects in an Image Taking Measurements in an Image Aligning and Combining Layers Opening Video Files and Image Sequences Creating a Video Layer Modifying a Video Layer Splitting a Video Layer Cloning Video Layer Content Setting 3D Preferences Creating 3D Models Creating 3D Models Using Repoussé Creating 3D Models Using Preset Shapes Changing Render Settings
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Modifying 3D Models Browsing 3D Content
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Working Together with Adobe Programs Exploring Adobe Programs Exploring Adobe Bridge Getting Started with Adobe Bridge Getting Photos from a Digital Camera Working with Raw Images from a Digital Camera Working with Images Using Adobe Bridge Applying Image Adjustments Creating a Web Photo Gallery Automating Tasks in Adobe Bridge Using Mini Bridge Exploring CS Live Services Sharing My Screen Reviewing CS Documents Exploring Adobe Device Central Checking Content Using Adobe Device Central Using Adobe Extension Manager New Features Adobe Certified Expert Index
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Working with the History Panel Introduction Adobe introduced the History panel in Photoshop 5, and the graphic design world hasn't been the same since. On an elementary level, the History panel gives you the ability to perform multiple undos. Think of History as a magical mistake correction tool that never wears out. However, the History panel does much more than give you the ability to go back in time and correct your mistakes. The History panel is simply a tool, but when you combine the power of the History panel with the History brush and the Art History brush, you have a trio of tools that can take your creative designs to the next level and beyond. Adobe Photoshop gives you two ways to use the History panel—linear and non-linear. The linear mode helps you keep track of your recent steps, and erases any steps that interfere with a linear flow to the panel. The non-linear mode preserves all the steps (linear or non-linear), and is useful when you need to think outside the linear box. Photoshop raises the bar with the History panel by giving you the ability to record and save the commands performed to a document in a text file. Now, you can finally know exactly what you did to an image. And since the document can be printed, you can create History text documents of your favorite restoration and manipulation techniques, and save them. In addition, when you combine the History brush with the History panel, you have an awesome creative tool that can't be beat. In fact, it's even possible to convert the Eraser tool into a History brush.
What You’ll Do Set History Panel Options Work with Linear and Non-Linear History Control the Creative Process with Snapshots Duplicate a History State in Another Document Save the History State of a Document Review the History State Text File
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Combine the History Brush with a History State Use the Art History Brush Change the Eraser Tool into the History Brush Control History States
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Understanding Colors and Channels Introduction In the world of design, color is one of the most important elements. When you're creating a brochure, advertisement, or banner using Adobe Photoshop, good use of color attracts the attention of the viewer. It also helps draw the elements of your design into one cohesive unit. Color is a strong motivator and is used in all aspects of our daily life. Since color is so important to design, Photoshop lets you use industry-standard color sets, or you can create and save your own customized color panels. You can also color-correct a photograph by removing the color entirely or selectively remove colors from portions of the image. In addition, Photoshop gives you ways to select areas based on color, and then fill those areas with any color you choose. Not only is it important to understand how color is used, it's also important to understand how Photoshop manages color information and that's where the Channels panel comes into the picture. Channels are where color information is stored. The number of channels in an image is based on its color mode, or color model, such as RGB (Red, Green, and Blue) or CMYK (Cyan, Magenta, Yellow, and Black). A firm understanding of channels and color modes, and their function in Photoshop, will go a long way in helping you control and manage color. When adjusting your image, you can use various commands—Auto Contrast and Color, Curves, Color Balance, Brightness/Contrast, and Desaturate, just to name a few. You can also use the Match Color and Selective Color adjustments to further fine-tune your image. Photoshop also provides a Photo Filter adjustment, as well as a Shadows and Highlights adjustment to correct those overexposed or underexposed images. With all of the commands and adjustments available, the real dilemma will be, where do you begin?
What You’ll Do Work with 8-, 16-, and 32-Bit Images Work with the Channels Panel Work with Color Modes Understand the Various Color Modes Use the Replace Color Adjustment Work with the Color Panel Work with the Swatches Panel Use the Stroke and Fill Commands Create Spot Color Channels
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Use Auto Contrast and Auto Color Use Levels Adjustment Commands Use the Exposure Adjustment Use Curves and Color Adjustments Use Hue and Saturation Use Match and Selective Color Use Channel Mixer and Gradient Map Use Photo Filter and Shadows/Highlights Use the Invert and Equalize Commands Use the Threshold and Posterize Adjustments Use the HDR Toning Adjustment Use the Black & White Adjustment
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Automating Your Work with Actions Introduction Actions are only one of the Adobe Photoshop Automate commands; however, they're so important to consistency and efficiency, they deserve their own chapter. Actions are Photoshop's way of relieving you of the mind-numbing task of repeating an operation over and over again. For example, you're recovering 55 images from your digital camera, and each image needs to be converted to a specific size and resolution. Instead of repeating the conversion process 55 times, you perform the conversion process once, and save it as a repeatable action. Actions are similar to recording information on a tape; they record Photoshop commands and, like a tape recorder, can be played back at any time. Actions can be applied to any number of images. You can modify existing actions, and save them into a user-defined set. It's even possible to save them and send them to another Photoshop user. In Photoshop, it's now possible to create an action out of almost any command, filter, or adjustment, including blending mode changes to layers. This chapter is dedicated to all the Photoshop users who are tired of doing something over and over again. If you have ever considered using actions as a part of your design workflow, then you're in for a wonderful journey of discovery. You can also enhance your actions by creating a droplet. A droplet is an action that appears as a file on your hard drive. For example, you could create a droplet that performs a generic color correction operation. To perform the operation on a Photoshop document, you would not even have to open Photoshop; you would simply drag the image file over the droplet, and release—the droplet does the rest.
What You’ll Do Examine the Actions Panel Build a New Action Record an Action Add a Stop to an Action Control the Playback of a Command Add a Command to an Action Delete a Command from an Action Work with Modal Controls in an Action Change the Order of Commands in an Action
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Run an Action Inside an Action Save Actions into Sets Save Actions as Files
Move and Copy Actions Between Sets
Insert a Non-Recordable Command into an Action Use Enhanced Scripting
Enhance the Process with Droplets Use a Droplet
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Understanding Monitor, Image, and Device Resolution Remember that raster images are all about resolution. Images have a specific scanned resolution (spi, samples per inch). Your monitor also has a native resolution (ppi, pixels per inch), as does output devices such as inkjet printers (dpi, dots per inch), and highend presses (lpi, lines per inch). While all these terms may seem a bit complicated, they're not; they simply explain how much information is contained within the image. Most computer monitors are set to a fixed resolution of 72 or 96 ppi. Say you scan a 4 by 4 inch image at 288 spi (that's 4 times the resolution of a 72-ppi monitor). If you attempted to display the image at 100% view, the monitor would take the image pixels and adjust the width and height to match its resolution, so the image would be 16 by 16 inches (288 divided by 72 = 4). If the display of the image doesn’t fit the size of your monitor and you attempt to reduce the magnification of the image to make it fit the monitor size, Photoshop will have to remove pixels from the image to make it fit. This typically causes the image to generate jagged lines, especially around angles. The moral of this story is: when adjusting an image for viewing on a monitor (for example, when preparing a slide presentation), never change the zoom of the image to fit the monitor; always adjust the resolution by selecting the Image menu, and then clicking Image Size.
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When it comes to output, such as to an inkjet printer, the rules are a bit more forgiving. Many output devices have print resolutions of 1,440 or higher. However, we're not talking about fixed monitor pixels (ppi), we're talking about dots of ink hitting a piece of paper (dpi). Most inkjet printers, because of the dot gain of the inks (that's the amount of space over which a dot of ink spreads when it hits the paper), do not need image resolution greater than 300 spi. Although image quality suffers when you enlarge an image beyond its original size for viewing on a monitor, if you use higher resolutions than needed when you print, the image won't be degraded; you'll just be printing an image with a larger file size. However, that can be a waste of time. For example, a 300 spi, 8 by 10 inch image will have a file size of about 20 MB; the same image scanned at 1,200 spi will produce a 329 MB file size. When you print the two images, you will probably not notice any difference in quality; however, it will take, on average, 6 minutes longer to print the 1,200 spi document on most mid-range printers. The bottom line is that resolution represents the amount of information contained within a linear inch; however, various devices handle that same resolution differently. The good news is that understanding those differences helps you to create a useable workflow. Knowledge is power.
Exploring Adobe Programs Adobe Creative Suite Adobe Creative Suite is an integrated collection of programs that work together to help you create designs in print, on the Web, or on mobile devices. Adobe's Creative Suite comes in different editions with different combinations of Adobe programs. The main programs for print design include InDesign and Acrobat Professional; for graphic design the programs include Photoshop, Illustrator, and Fireworks; for video and sound design the programs include Premiere, After Effects Professional, Encore, and Soundbooth; and for web design the programs include Flash Professional, Dreamweaver, Fireworks, and Contribute.
Working Together with Adobe Programs When you install Adobe Creative Suite or a stand-alone Adobe program, you also get additional Adobe programs—Bridge, CS Live, ConnectNow, Device Central, Extension Manager, and ExtendScript Toolkit—to help you perform specific jobs such as managing files and program extensions and testing files for mobile devices.
Adobe Bridge Adobe Bridge is a file management/batching program that manages and processes images while you work. To use Bridge, click Browse in Bridge on the File menu or the Go to Bridge button on the Applications bar within an Adobe CS product or from the desktop use the Start menu (Win) or go to the Applications folder (Mac).
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ments (Illustrator, InDesign, and Photoshop) online, access the Acrobat.com subscriptionbased Web site or the Adobe ConnectNow Web site where you can collaborate with others, display CS news and resources in a panel within CS5 programs, and access an Adobe Web site with information about CS Live Services. You can access these options directly from the CS Live menu on the right side of the menu bar next to the Search bar.
Adobe ConnectNow The Share My Screen command on the File or CS Live menu allows you to connect to Adobe ConnectNow, which is a secure Web site where you can start an online meeting. You can share and annotate your computer screen or take control of an attendee’s computer. During the meeting, you can communicate by sending chat messages, using live audio, or broadcasting live video.
Adobe Device Central Adobe Device Central allows you to test your content to see how it would look on a variety of mobile devices. You can interact with the emulated device in a way that allows you to test your content in real-world situations. Device Central provides a library of devices and each device includes a profile with information about the device, including media and content support types.
Adobe Extension Manager Adobe Extension Manager allows you to install and delete added program functionality, known as extensions, to many Adobe programs.
Adobe CS Live
Adobe ExtendScript Toolkit
Adobe CS Live (New!) is an online service that allows you to set up or manage (sign in and out) an Adobe account, review CS5 docu-
Adobe ExtendScript Toolkit allows you to create, edit, and debug JavaScript to be used for scripting Adobe programs.
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Adobe Updater (p. 24-25) The Adobe Updater Preferences dialog box allows you to set update options for Photoshop and other installed Adobe products, such as Bridge. You can also set an option to have Adobe notify you of updates in the menu bar.
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Adobe Community Help (p. 26-27) When you start Photoshop Help, the Adobe Community Help window opens, displaying help categories and topics. You can search product help from Local Help, Community Help, or Adobe.com by using keywords or phrases or browsing through a list of categories and topics.
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Don’t Show Again Option (p. 29) A Don’t Show Again option when saving files with maximum compatibility allows you to work more efficiently.
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Close All Documents At Once (p. 31) With the Close All command, you can apply an option to all open documents to close them more efficiently.
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Straighten Button (p. 48) With the Straighten button on the Control panel for the Ruler tool, you can create a straight ruler line.
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Cache Presets (p. 53, 68-69) You can use presets for setting Cache Tile Size and Cache Levels in Performance Preferences.
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Color Picker (p. 54) The Color Picker options in General Preferences allow you to select a color picker, either Adobe or the OS, and a HUD color picker (in 8-bit and 16-bit documents).
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Smart Objects (p. 55) Select the Place or Drag Raster Images as Smart Objects option in General Preferences to convert raster images to Smart Objects when you place or drag it.
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Save To Original Folder (p. 56) Select the Save As To Original Folder option in File Handling Preferences to save files to original folder as the default.
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Enable Gestures (p. 58) Select the Enable Gestures option in Interface Preferences to use gestures with a tablet and pen.
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Adobe Drive (p. 57) Select the Enable Adobe Drive option in File Handling Preferences to use Adobe Drive in your work process.
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Workspaces (p. 59, 72-73) You can access workspaces by using Workspace buttons or the Workspace Switcher menu on the Application bar. When you create or change a workspace, Photoshop auto-saves any changes. Use the Restore Default Workspace button in File Handling Preferences to restore all panels to their default workspaces.
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Cursors (p. 60) When you paint, you can specify how Photoshop displays the brush tip. Select the Show Only Crosshair While Painting option in Cursors Preferences to display a crosshair while using a paint brush.
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Configurator 2.0 (p. 74) You can use the Configurator 2.0 panel utility to build specialized workspaces in Photoshop. The external program is available as a separate download from Adobe at www.labs.adobe.com.
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Refine Edge Tool (p. 88-89) The Refine Edge tool is useful for selecting elements with different edge types. You can set Refine Edit tool options to create, expand, or restore selections for complex elements.
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Crop Tool (p. 91) With the Crop tool, you can select the cropping area, and then adjust it using a cropping shield and guide overlay.
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Paste Special (p. 95) You can use the Paste Special submenu to specify a paste location by using the Paste In Place and Paste Outside commands.
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Puppet Warp Tool (p. 98) The Puppet Warp tool allows you to push and pull elements within an image to create a warp effect.
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Content-Aware Fill (p. 100-101, 195) The Content-Aware Fill option with the Spot Healing Brush tool or in the Fill dialog box allows you to replace content in a selection.
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Opacity (p. 104, 119, 149) Select a value from 0% to 100% to change the opacity for one or more selected layers.
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Create Layer with Drag and Drop (p. 106) You can drag a file from the Finder (Mac) or Windows Explorer (Win) onto an open Photoshop document.
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Nested Layers (p. 109) Layer groups can be nested more than five levels deep.
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Hidden Layer (p. 111) You can drag the selection marquee of a hidden layer.
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Delete Empty Layers (p. 121) You can delete empty layers from the Layers panel using the Delete All Empty Layers command on the Scripts submenu.
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Layer Options (p. 125) Select the Add “copy” to Copied Layers and Groups option in the Layer Options dialog box to add the text “copy” to copied layers or layer groups.
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Brush Panel Button (p. 136, 138) You can quickly open the Brush Panel with the Brush Panel button on the Control panel and Brush Presets panel to open the Brush panel (named changed from Brushes panel in CS4).
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Tablet Pressure Controls (p. 138) On the Control panel for brushes and other tablet related options, you can use Tablet Pressure Controls to override settings and use tablet pressure controls.
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Lens Correction Filter (p. 156-157) You can select options to automatically correct image problems or apply a Lens Correction Profile (LCP) for a camera. If a profile for your camera is not available, you can search online or use Adobe Lens Profile Creator (available at www.labs.adobe.com) to create one.
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Protect Details with Sharpen Tool (p. 164) Select the Protect Detail option on the Control panel with the Sharpen tool to minimize pixelization while maintaining details.
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Clone Source Panel (p. 165) You can use Flip buttons on the Clone Source panel for reversing the clone source.
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HDR Toning Adjustments (p. 210-211, 418-419) With HDR Pro, you can combine multiple images into a single HDR (High Dynamic Range) image that preserves the tonal quality of the images. If you don’t have multiple images, you can use the HDR Toning command with a single image to simulate the toning mapping process to create the look of an HDR-processed image.
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Brush and Brush Presets Panels (p. 218-220, 222) Photoshop's Brushes Panel in CS4 has been split into two panels—Brush and Brush Presets—in CS5. The Brush panel allows you to create and select individual brushes, while the Brush Presets panel allows you to select and use predefined or custom brush tip sets or individual brushes. The Brush Preset panel comes with a wide variety of predefined brush tip sets, including natural bristle brushes. If you want to see a visual representation of your changes with a natural bristle brush, use the Toggle The Bristle Brush Preview button on the panel.
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Mixed Brush Tool (p. 226) With the Mixed Brush tool, you can define multiple colors on a single brush tip, and then mix and blend them together with the underlying hues on your canvas.
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Gradient Tool (p. 239) The Gradient tool comes packaged with several sets of predesigned gradients—including the neutral density option.
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Mask (p. 246) You can create a mask from transparent areas.
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Layer Style (p. 287, 289, 291, 294-295, 297, 299, 301) You can set or reset default settings for each effect.
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Record Print Action (p. 360) When you record an action using the Print dialog box, you can capture all aspects of the printed file, including printer, profile, page size, printer marks.
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Printing (p. 382-383, 389, 390, 430-431) When you select a printer, Photoshop automatically selects a printer profile for the best results. If you want to use the same print settings the next time you print, Photoshop can remember your settings. In addition, when you save the image, your print settings are saved along with it, which allows for one-button printing. With the Print Settings button—replaces Page Setup in Photoshop CS4—in the Preview Print dialog box, you can set printer specific options.
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JPEG (p. 400-401) If you’re working with a 16-bit document, you can save it in the JPEG format (8-bit) using the Save As command without having to change the bit depth before hand.
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Adobe CS Live (p. 502, 514-515) Adobe CS Live is an online service that allows you to set up or manage an Adobe account, and access an Adobe Web site with CS Live online services. You can access these options directly from the CS Live menu on the right side of the menu bar next to the Search bar.
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CS Review (p. 516-517) Adobe CS Review is an integrated online service that provides a simple way for you to quickly share your designs on the Web so others can provide feedback. You can create a review using the CS Review panel, which uploads a snapshot of the document to Acrobat.com, where reviewers can add comments.
Photoshop CS5 Extended
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524
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3D Preferences (p. 490-491) 3D preferences allow you to control how the Photoshop 3D engine works with 3D objects.
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Create 3D Models (p. 492-493) In addition to the 3D menu, you can also use the 3D panel to create 3D models.
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Repoussé (p. 494-495) Repoussé is an ancient metalworking technique for embossing artwork on the surface of metals, such as gold, silver, copper, tin, and bronze. In Photoshop, you can use Adobe Repoussé to convert 2D artwork, including rasterized text, into 3D models.
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3D Presets (p. 498-499) The 3D panel makes it easier to set 3D options by providing presets.
