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Acknowledgments
Once again thanks to Andy Shafran, who realizes that a book about working with
color images deserves nothing less than a full-color treatment, and knows how to
publish such a book at a price that everyone can afford. It’s refreshing to work for
a publisher who has actually written best-selling books on imaging, too. Also,
thanks to senior editor Kevin Harreld, for valuable advice as the book progressed,
as well as project editor Jenny Davidson; technical editor Michael D. Sullivan;
book/cover designer Mike Tanamachi; interior design William Hartman; proof-
reader Sara Gullion; and indexer Kelly Talbot.
Also thanks to my agent, Carole McClendon, who has the amazing ability to keep
both publishers and authors happy.
About the Author
David D. Busch has been demystifying arcane computer and imaging technol-
ogy since the early 1980s. However, he had a successful career as a professional
photographer for a decade before he sat down at the keyboard of his first personal
computer. Busch has worked as a newspaper photographer, done commercial stu-
dio and portrait work, shot weddings, and roved the United States and Europe as
a photojournalist. His articles on photography and image editing have appeared
in magazines as diverse as Popular Photography and Imaging, Petersen’s
PhotoGraphic,The Rangefinder, andThe Professional Photographer, as well as com-
puter magazines such as MacworldandComputer Shopper. He’s currently review-
ing digital cameras for CNet.
Busch has written more than 80 books since 1983, including the mega bestsellers
Digital Photography All-In-One Desk Reference for Dummies and The Hewlett-
Packard Scanner Handbook. Other recent books include Mastering Digital SLR
Photography, Mastering Digital Photography, andMastering Digital Scanning with
Slides, Film, and Transparencies, all from Thomson Course Technology PTR.
He earned top category honors in the Computer Press Awards the first two years
they were given (for Sorry About The Explosion, Prentice-Hall; and Secrets of
MacWrite, MacPaint and MacDraw, Little, Brown), and later served as Master of
Ceremonies for the awards.
Contents
Preface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Chapter 1
Photoshop and Photography from
50,000 Feet 1
Images in the Digital Domain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Transferring Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Basic Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Lens Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Selective Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Choosing the Right Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Darkroom Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Creative Use of Black and White . . . . . . . . . . . . . . . . . . . . . . . . 12
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Chapter 2
Camera and Lens Effects in Photoshop 15
Lens Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Perspective Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Zoom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Telephoto Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Compressing Distances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Fisheye Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Lens Flare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Contents vii
Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Selective Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Creating the Alpha Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Applying the Lens Blur Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Photoshop CS Photo Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Lens Distortion Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
No Perfect Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Fixing Chromatic Aberration . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Correcting Barrel and Pincushion Distortion . . . . . . . . . . . . . . 61
Correcting Vignetting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Correcting Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Chapter 3
Darkroom Techniques with Photoshop CS2 67
Manipulating Digital Negatives . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Photoshop’s RAW Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Using the Camera RAW Plug-In . . . . . . . . . . . . . . . . . . . . . . . . 70
Film Development Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Solarization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Reticulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Cross-Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
High-Contrast Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Grainy Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Black-and-White Infrared Film . . . . . . . . . . . . . . . . . . . . . . . . . 98
Color Infrared Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Printing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Dodging/Burning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Vignetting Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Sepia Toning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Automatically Crop and Straighten Photos . . . . . . . . . . . . . . . . . . 111
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
viii Adobe Photoshop CS2:Photographers’ Guide
Chapter 4
Secrets of Retouching 113
Retouching, the Old Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Retouching Negatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Retouching Transparencies . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Retouching Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Retouching, the New Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Dust Spots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Double Catchlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Other Defects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Tackling a Retouching Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Avoiding Retouching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Removing Dust and Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Fixing Dual Catchlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Removing Unwanted Objects . . . . . . . . . . . . . . . . . . . . . . . . . 127
Darkening and Lightening . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Moving Boy Over . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Repairing Images with the Healing Brush and Patch Tools . . . . . . 131
Canceling Red Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Chapter 5
Compositing in Photoshop CS 139
Your Compositing Toolkit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Selection Refresher Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Making Rectangular, Square, Oval, and Circular Selections . . 145
Creating Single-Row and Single-Column Selections . . . . . . . . 146
Making Freehand Selections with the Lasso Tool . . . . . . . . . . 146
Other Selection Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Adding, Subtracting, or Combining Selections . . . . . . . . . . . . 147
Other Selection Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Magic Wand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
The Select Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Making Selections with the Paths Palette . . . . . . . . . . . . . . . . 150
Creating a Simple Composite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Contents ix
Stitching Two Photos Together . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Merging Photos the Hard Way . . . . . . . . . . . . . . . . . . . . . . . . 161
Merging Photos the Easy Way . . . . . . . . . . . . . . . . . . . . . . . . . 164
Creating a Fantasy Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Adding Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Bringing the Seashore Inland . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Adding a Castle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Compositing Close Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Extracting the Kitten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Kitten on a Desktop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Creating a Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
More than One Way to Skin a Cat . . . . . . . . . . . . . . . . . . . . . 180
Compositing Possibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Combining Compositing and Retouching . . . . . . . . . . . . . . . . . . . 181
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Chapter 6
Correcting Your Colors 185
Wonderful World of Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Color Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Other Color Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Capturing Color Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Color Calibration and Gamma Curves . . . . . . . . . . . . . . . . . . . . . 196
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Color Correction Made Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Using Color Balance Controls . . . . . . . . . . . . . . . . . . . . . . . . . 203
Adjusting Hue/Saturation/Brightness . . . . . . . . . . . . . . . . . . . . 205
Using Color Ring Arounds and Variations . . . . . . . . . . . . . . . 206
Image Correction Made Easier With Photoshop CS2 . . . . . . . . . . 209
Using Exposure Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Using Live Histograms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Matching Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216
Replacing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
The Color Replacement Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Using Exposuremerge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Calibrating Your Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Next Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
