Page 1 CS 3 ADOBE PHOTOSHOP ® ® USER GUIDE...
Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorpo- rated.
Page 3: Table Of Contents
Adobe Help ........
Page 4 Color-managing documents for online viewing ......... . 136 Proofing colors .
Page 5 Chapter 11: Painting Painting tools ................325 Brush presets .
Page 6 Chapter 16: Printing Printing from Photoshop ..............483 Printing with color management .
Page 7 Chapter 21: Keyboard shortcuts Customizing keyboard shortcuts ............629 Default keyboard shortcuts .
Page 8: Chapter 1: Getting Started
Note: For more information, see the Read Me file on the installation disc. Activate the software If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.
Page 9: Adobe Help
LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web. For some products, you can also add comments to the topics in LiveDocs Help. Find LiveDocs Help for your product in the Adobe Help Resource Center, at www.adobe.com/go/documentation.
Page 10 • Topics may contain links to the Help systems of other Adobe products or to additional content on the web. • Some topics are shared across two or more products. For instance, if you see a Help topic with an Adobe Photoshop®...
Page 11 Accessibility features Adobe Help content is accessible to people with disabilities—such as mobility impairments, blindness, and low vision. In-product Help supports these standard accessibility features: • The user can change text size with standard context menu commands.
Page 12: Resources
The Adobe Creative Suite 3 Video Workshop offers over 200 training videos covering a wide range of subjects for print, web, and video professionals. You can use the Adobe Video Workshop to learn about any Creative Suite 3 product. Many videos show you how to use Adobe applications together.
Page 13 PHOTOSHOP CS3 User Guide When you start the Adobe Video Workshop, you choose the products you want to learn and the subjects you want to view. You can see details about each video to focus and direct your learning. Community of presenters With this release, Adobe Systems invited the community of its users to share their expertise and insights.
Page 14 Extras You have access to a wide variety of resources that will help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.
Page 15 Bridge Home, a new destination in Adobe Bridge CS3, provides up-to-date information on all your Adobe Creative Suite 3 software in one convenient location. Start Adobe Bridge, then click the Bridge Home icon at the top of the Favorites panel to access the latest tips, news, and resources for your Creative Suite tools.
Page 16: Adobe Design Center
Note: Bridge Home may not be available in all languages. Adobe Design Center Adobe Design Center offers articles, inspiration, and instruction from industry experts, top designers and Adobe publishing partners. New content is added monthly. You can find hundreds of tutorials for design products and learn tips and techniques through videos, HTML...
Page 17: Adobe Developer Center
Visit the Adobe Support website, at www.adobe.com/support, to find troubleshooting information for your product and to learn about free and paid technical support options. Follow the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.
Page 18: What's New
Adobe Labs fosters a collaborative software development process. In this environment, customers quickly become productive with new products and technologies. Adobe Labs is also a forum for early feedback, which the Adobe development teams use to create software that meets the needs and expectations of the community.
Page 19 PHOTOSHOP CS3 User Guide Next generation Camera Raw Process raw data—at high quality—from more than 150 digital cameras. You can also apply Camera Raw processing to JPEG and TIFF files. See “Camera Raw” on page 85. Image editing improvements Smart Filters Preserve image data integrity as you enhance your images with flexible, nondestructive smart filters.
Page 20 PHOTOSHOP CS3 User Guide 3D and motion advances Vanishing Point with 3D support Edit images in perspective across multiple planes at any angle, and export 3D information in formats supported by 3D applications. See “Vanishing Point” on page 225. 3D visualization and texture editing (Photoshop Extended) Import 3D models;...
Page 21: Chapter 2: Workspace
Chapter 2: Workspace The Adobe® Photoshop® CS3 workspace is arranged to help you focus on creating and editing images. The workspace includes menus and a variety of tools and palettes for viewing, editing, and adding elements to your images. Workspace basics Workspace overview You create and manipulate your documents and files using various elements such as panels, bars, and windows.
Page 22 A. Document window B. Dock of panels collapsed to icons C. Panel title bar D. Menu bar E. Options bar F. Tools palette G. Collapse To Icons button H. Three palette (panel) groups in vertical dock For a video on understanding the workspace, see www.adobe.com/go/vid0187. Hide or show all panels •...
Page 23 Click the double arrow at the top of the Tools panel. Customize the workspace To create a custom workspace, move and manipulate panels (called palettes in Photoshop and in Adobe Creative Suite 2 components). Narrow blue drop zone indicates Color panel will be docked on its own above Layers panel group.
Page 24 PHOTOSHOP CS3 User Guide Navigator panel being dragged out to new dock, indicated by blue vertical highlight Navigator panel now in its own dock To prevent panels from filling all space in a dock, drag the bottom edge of the dock up so it no longer meets the edge of the workspace.
Page 25 PHOTOSHOP CS3 User Guide Adding a panel to a panel group • To rearrange panels in a group, drag a panel’s tab to a new location in the group. • To remove a panel from a group so that it floats freely, drag the panel by its tab outside the group. •...
Page 26 PHOTOSHOP CS3 User Guide Minimize button Manipulate panels collapsed to icons Collapse panels to icons to reduce clutter on the workspace. (In some cases, panels are collapsed to icons in the default workspace.) Click a panel icon to expand the panel. You can expand only one panel or panel group at a time. Panels collapsed to icons Panels expanded from icons •...
Page 27 PHOTOSHOP CS3 User Guide Save, delete, and switch between workspaces By saving the current size and position of panels as a named workspace, you can restore that workspace even if you move or close a panel. The names of saved workspaces appear in the Window > Workspace menu. In Photoshop, the saved workspace can include a specific keyboard shortcut set and menu set.
Page 28: Palettes And Menus
Note: Tool tips may not be available in some dialog boxes. Adobe Bridge Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 3 components that helps you locate, organize, and browse the assets you need to create print, web, video, and audio content. You can start Bridge from any Creative Suite component, and use it to access both Adobe and non-Adobe assets.
Page 29 PHOTOSHOP CS3 User Guide Ways to enter values A. Menu arrow B. Scrubby slider C. Text box D. Dial E. Slider See also “About scrubby sliders” on page 22 About pop-up sliders Some palettes, dialog boxes, and options bars contain settings that use pop-up sliders (for example, the Opacity option in the Layers palette).
Page 30 PHOTOSHOP CS3 User Guide Click a tool thumbnail in the options bar to show its pop-up palette. Click an item in the pop-up palette to select it. Viewing the Brush pop-up palette in the options bar A. Click to show the pop-up palette. B. Click to view the pop-up palette menu. Rename or delete an item in a pop-up palette ❖...
Page 31 PHOTOSHOP CS3 User Guide Display context menus Context menus display commands relevant to the active tool, selection, or palette. They are distinct from the menus across the top of the workspace. Viewing the context menu for the Eyedropper tool Position the pointer over an image or palette item. Right-click (Windows) or Control-click (Mac OS).
Page 32: Tools
Other tools allow you to change foreground/background colors, go to Adobe Online, and work in different modes. You can expand some tools to show hidden tools beneath them. A small triangle at the lower right of the tool icon...
Page 33 PHOTOSHOP CS3 User Guide You can view information about any tool by positioning the pointer over it. The name of the tool appears in a tool tip below the pointer. Some tool tips contain links leading to additional information about the tool. Toolbox overview Selection tools Blur (R)
Page 34 PHOTOSHOP CS3 User Guide Selection tools gallery The marquee tools make The Move tool moves selec- The lasso tools make The Quick Selection tool lets rectangular, elliptical, single tions, layers, and guides. freehand, polygonal you quickly “paint” a row, and single column selec- (straight-edged), and selection using an adjustable tions.
Page 35 PHOTOSHOP CS3 User Guide The Clone Stamp tool paints The Pattern Stamp tool The Eraser tool erases pixels The Background Eraser tool with a sample of an image. paints with part of an image and restores parts of an erases areas to transparency as a pattern.
Page 36 PHOTOSHOP CS3 User Guide The Art History brush tool The gradient tools create The Paint Bucket tool fills paints with stylized strokes straight-line, radial, angle, similarly colored areas with that simulate the look of reflected, and diamond the foreground color. different paint styles, using a blends between colors.
Page 37 PHOTOSHOP CS3 User Guide The Zoom tool magnifies and reduces the view of an image. Use a tool ❖ Do one of the following: • Click a tool in the Tools palette. If there is a small triangle at a tool’s lower right corner, hold down the mouse button to view the hidden tools.
Page 38 PHOTOSHOP CS3 User Guide Displays pointers as cross hairs. Precise Displays the painting tool cursors as brush shapes representing the size of the Brush Size (painting cursors only) current brush. Brush Size cursors may not appear for very large brushes. Select Brush Cursor options if you selected Brush Size as the tool pointer setting: The pointer outline corresponds to approximately 50% of the area that the tool will affect.
Page 39 PHOTOSHOP CS3 User Guide To choose a tool preset, click the Tool Preset picker in the options bar, and select a preset from the pop-up palette. You can also choose Window > Tool Presets and select a preset in the Tools Presets palette. Viewing the Tool Preset picker A.
Page 40: Viewing Images
PHOTOSHOP CS3 User Guide Viewing images Change the screen mode You can use the screen mode options to view images on your entire screen. You can show or hide the menu bar, title bar, and scroll bars. ❖ Do one of the following: •...
Page 41 PHOTOSHOP CS3 User Guide Use the Navigator palette You use the Navigator palette to quickly change the view of your artwork using a thumbnail display. The colored box in the Navigator (called the proxy view area) corresponds to the currently viewable area in the window. ❖...
Page 42 PHOTOSHOP CS3 User Guide Zoom into or out of multiple images Open one or more images, or copies of a single image. Choose Window > Arrange > Tile Horizontally/Tile Vertically to display the images edge to edge. Select the Zoom tool, and then do one of the following: •...
Page 43 PHOTOSHOP CS3 User Guide Fit an image to the screen ❖ Do one of the following: • Double-click the Hand tool in the toolbox. • Choose View > Fit On Screen. • Select a zoom tool or the Hand tool, and click the Fit On Screen button in the options bar. These options scale both the zoom level and the window size to fit the available screen space.
Page 44 PHOTOSHOP CS3 User Guide Without Match Zoom And Location (top), and with Match Zoom And Location (bottom) selected Select the Zoom tool or the Hand tool. Select one of the images, hold down the Shift key, and click in or drag an area of an image. The other images are magnified to the same percentage and snap to the area you clicked.
Page 45 PHOTOSHOP CS3 User Guide Use the Info palette The Info palette displays file information about an image and also provides feedback about the color values as you move a tool pointer over an image. Make sure the Info palette is visible in your workspace if you want to view infor- mation while dragging in the image.
Page 46 Displays information on the amount of data in the image. The number on the left represents the Document Sizes printing size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format. The number on the right indicates the file’s approximate size including layers and channels.
Page 47 Information on the amount of data in the image. The number on the left represents the printing Document Sizes size of the image—approximately the size of the saved, flattened file in Adobe Photoshop format. The number on the right indicates the file’s approximate size, including layers and channels.
Page 48: Rulers, The Grid, And Guides
PHOTOSHOP CS3 User Guide See also “Adjust dynamic range view for HDR images” on page 81 Duplicate an image You can duplicate an entire image (including all layers, layer masks, and channels) into available memory without saving to disk. Open the image you want to duplicate. Choose Image >...
Page 49 Using columns is convenient when you plan to import an image into a page-layout program, such as Adobe InDesign®, and you want the image to fit exactly within a certain number of columns.
Page 50 PHOTOSHOP CS3 User Guide Measure between two points Select the Ruler tool Drag from the starting point to the ending point. Hold down the Shift key to constrain the tool to 45˚ increments. To create a protractor from an existing measuring line, Alt-drag (Windows) or Option-drag (Mac OS) at an angle from one end of the measuring line, or double-click the line and drag.
Page 51 PHOTOSHOP CS3 User Guide Place a guide If the rulers are not visible, choose View > Rulers. Note: For the most accurate readings, view the image at 100% magnification or use the Info palette. Do one of the following to create a guide: •...
Page 52 PHOTOSHOP CS3 User Guide Set guide and grid preferences Do one of the following: • (Windows) Choose Edit > Preferences > Guides, Grid, Slices & Count. • (Mac OS) Choose Photoshop > Preferences > Guides, Grid, Slices & Count. For Color, choose a color for the guides, the grid, or both. If you choose Custom, click the color box, choose a color, and click OK.
Page 53: Work With The Preset Manager
Each type of library has its own file extension and default folder. Preset files are installed on your computer inside the Presets folder in the Adobe Photoshop CS3 application folder. To open the Preset Manager, choose Edit > Preset Manager. Choose an option from the Preset Type menu to switch to a specific preset type.
Page 54 PHOTOSHOP CS3 User Guide Rearranging tool presets in the Preset Manager Note: To delete a preset in the Preset Manager, select the preset and click Delete. You can always use the Reset command to restore the default items in a library. Load a library of preset items ❖...
Page 55: Preferences
Preferences About preferences Numerous program settings are stored in the Adobe Photoshop CS3 Prefs file, including general display options, file- saving options, performance options, cursor options, transparency options, type options, and options for plug-ins and scratch disks. Most of these options are set in the Preferences dialog box. Preference settings are saved each time you quit the application.
Page 56 • Press and hold Alt+Control+Shift (Windows) or Option+Command+Shift (Mac OS) as you start Photoshop. You are prompted to delete the current settings. • (Mac OS only) Open the Preferences folder in the Library folder, and drag the Adobe Photoshop CS Settings folder to the Trash.
Page 57: Plug-Ins
Do one of the following: • To install an Adobe Systems plug-in module, use the plug-in installer, if provided. In Windows, you can also install or copy the module into the appropriate Plug-ins folder in the Photoshop program folder. In Mac OS, drag a copy of the module to the appropriate Plug-Ins folder in the Photoshop program folder.
Page 58: Recovery And Undo
PHOTOSHOP CS3 User Guide • (Mac OS) Choose Photoshop > About Plug-in, and then choose a plug-in from the submenu. Recovery and undo Use the Undo or Redo commands The Undo and Redo commands let you undo or redo operations. You can also use the History palette to undo or redo operations.
Page 59 PHOTOSHOP CS3 User Guide Click OK. Work with the History palette You can use the History palette to jump to any recent state of the image created during the current working session. Each time you apply a change to an image, the new state of that image is added to the palette. For example, if you select, paint, and rotate part of an image, each of those states is listed separately in the palette.
Page 60 PHOTOSHOP CS3 User Guide • By default, deleting a state deletes that state and those that came after it. If you choose the Allow Non-Linear History option, deleting a state deletes only that state. Revert to a previous image state ❖...
Page 61 The Edit History Log helps you keep a textual history of changes made to an image. You can view the Edit History Log metadata using Adobe Bridge or the File Info dialog box. You can choose to export the text to an external log file, or you can store the information in the metadata of edited files.
Page 62 PHOTOSHOP CS3 User Guide Make a snapshot of an image The Snapshot command lets you make a temporary copy (or snapshot) of any state of the image. The new snapshot is added to the list of snapshots at the top of the History palette. Selecting a snapshot lets you work from that version of the image.
Page 63: Memory And Performance
PHOTOSHOP CS3 User Guide • To delete a snapshot, select the snapshot and either choose Delete from the palette menu, click the Delete icon or drag the snapshot to the Delete icon. Paint with a state or snapshot of an image The History Brush tool lets you paint a copy of one image state or snapshot into the current image window.
Page 64: Free Memory
• To enable or disable a scratch disk, select or deselect the Active checkbox. Click OK. For the changes to take effect, you will need to restart Photoshop. Enable 3D Acceleration (Adobe® Photoshop® CS3 Extended) Enabling 3D acceleration lets you override software rendering of 3D layers. ❖...
Page 65: Chapter 3: Opening And Importing Images
Chapter 3: Opening and importing images Adobe® Photoshop® CS3 can open and import many types of graphic files. To work effectively, you should under- stand basic imaging concepts, and how to acquire, import, and resize images. Photoshop images About bitmap images Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent...
Page 66: Color Channels
The vector objects you create using the drawing and shape tools in Adobe Creative Suite are examples of vector graphics. You can use the Copy and Paste commands to duplicate vector graphics between Creative Suite compo- nents.
Page 67: Bit Depth
PHOTOSHOP CS3 User Guide In addition to color channels, alphachannels, can be added to an image for storing and editing selections as masks, and spot color channels can be added to add spot color plates for printing. For more information, see “Channels” on page 264.
Page 68: Image Size And Resolution
PHOTOSHOP CS3 User Guide Image size and resolution About pixel dimensions and resolution The pixel dimensions (image size or height and width) of a bitmap image is a measure of the number of pixels along an image’s width and height. Resolution is the fineness of detail in a bitmap image and is measured in pixels per inch (ppi).
Page 69 PHOTOSHOP CS3 User Guide Pixel dimensions equal document (output) size times resolution. A. Original dimensions and resolution B. Decreasing the resolution without changing pixel dimensions (no resampling) C. Decreasing the resolution at same document size decreases pixel dimensions (resampling). Display the current image size quickly If you want to quickly display a document’s current image size, use the information box at the bottom of the document window.
Page 70 PHOTOSHOP CS3 User Guide About monitor resolution Your monitor’s resolution is described in pixel dimensions. For example, if your monitor resolution and your photo’s pixel dimensions are the same size, the photo will fill the screen when viewed at 100%. How large an image appears on-screen depends on a combination of factors—the pixel dimensions of the image, the monitor size, and the monitor resolution setting.
Page 71 PHOTOSHOP CS3 User Guide Screen frequency examples A. 65 lpi: Coarse screen typically used to print newsletters and grocery coupons B. 85 lpi: Average screen typically used to print newspapers C. 133 lpi: High-quality screen typically used to print four-color magazines D. 177 lpi: Very fine screen typically used for annual reports and images in art books Resampling Resampling is changing the amount of image data as you change either the pixel dimensions or the resolution of an...
Page 72 PHOTOSHOP CS3 User Guide You can avoid the need for resampling by scanning or creating the image at a sufficiently high resolution. If you want to preview the effects of changing pixel dimensions on-screen or to print proofs at different resolutions, resample a duplicate of your file.
Page 73 PHOTOSHOP CS3 User Guide Change the print dimensions and resolution When creating an image for print media, it’s useful to specify image size in terms of the printed dimensions and the image resolution. These two measurements, referred to as the document size, determine the total pixel count and therefore the file size of the image;...
Page 74: Acquiring Images From Cameras And Scanners
You can copy images to your computer by connecting your camera or a media card reader to your computer. • Use the Get Photos From Camera command in Adobe® Bridge® CS3 to download photos, and to organize, rename, and apply metadata to them.
Page 75 Other scanning software saves the image as a file on your computer that can be opened in Photoshop. Note: Scanner drivers are supported by the scanner manufacturer, not Adobe® Systems Incorporated. If you have problems with scanning, make sure that you are using the latest version of the scanner driver.
Page 76: Creating, Opening, And Importing Images
PHOTOSHOP CS3 User Guide Make sure that Open Acquired Images in Photoshop is selected. If you have a large number of images to import, or if you want to edit the images at a later time, deselect it. Make sure that Unique Subfolder is selected if you want to save the imported images directly into a folder whose name is the current date.
Page 77: Open Files
Photoshop, or across multiple components, such as Photoshop, Flash, and Illustrator. You access Version Cue features by way of the Adobe dialog box or through Adobe Bridge, depending on whether you are using Version Cue-enabled software and whether or not you have installed a Creative Suite software set (for example, Adobe Creative Suite 3 Design Premium).
Page 78 Note: If the file does not open, then the chosen format may not match the file’s true format, or the file may be damaged. Open PDF files Adobe Portable Document Format (PDF) is a versatile file format that can represent both vector and bitmap data. It has electronic document search and navigation features. PDF is the primary format for Adobe Illustrator and Adobe...
Page 79 • (Photoshop) Choose File > Open. • (Bridge) Select the PDF file and choose File > Open With > Adobe Photoshop CS3. Skip to step 3. In the Open dialog box, select the name of the file, and click Open.
Page 80 Adobe applications that produce PostScript artwork include Adobe Illustrator, Adobe® Dimensions®, and Adobe® Streamline™. When you open an EPS file containing vector art, it is rasterized—the mathematically defined lines and curves of the vector artwork are converted into the pixels or bits of a bitmap image.
Page 81: Placing Files
PHOTOSHOP CS3 User Guide Select options for the source image: Specifies the pixel dimensions of the image. Keep in mind that the on-screen size of the opened image Pixel Size depends on both the pixel size and resolution you choose. Specifies a device profile for color management.
Page 82 Photoshop image, it is resized to fit. Note: In addition to the Place command, you can also add Adobe Illustrator art as a Smart Object by copying and pasting the art from Illustrator into a Photoshop document. See “Paste Adobe Illustrator art into Photoshop” on page 76.
Page 83 Place PDF or Illustrator files in Photoshop When you place a PDF or Adobe Illustrator file, use the Place PDF dialog box to set options for placing the artwork. With the destination Photoshop document open, place a PDF or Adobe Illustrator file.
Page 84: High Dynamic Range Images
PHOTOSHOP CS3 User Guide In the Paste dialog box, select how you want to paste the Adobe Illustrator art and then click OK: Pastes the art as a Vector Smart Object that can be scaled, transformed, or moved without degrading Smart Object the image.
Page 85 Adobe Photoshop CS3 now offers layers support for 32-bpc images, as well as access to more tools, filters, and commands. 32 bit has been added as an option when creating new documents in Photoshop. For more information, see below.
Page 86 PHOTOSHOP CS3 User Guide Normal, Dissolve, Behind, Clear, Darken, Multiply, Lighten, Color Darken, Linear Dodge (Add), Blend Modes Color Lighter, Difference, Hue, Saturation, Color, and Luminosity. In the New dialog box, 32 bit is an option in the bit depth pop-up menu to the right Create new 32-bpc documents of the Color Mode pop-up menu.
Page 87 PHOTOSHOP CS3 User Guide Click OK. A second Merge To HDR dialog box displays thumbnails of the images being used in the merged result, a preview of the merged result, a Bit Depth menu, and a slider for setting the white point preview. If necessary, do one of the following to set the view options for the merged result preview: •...
Page 88 PHOTOSHOP CS3 User Guide • Vary the shutter speed to create different exposures. Changing the aperture changes the depth of field in each exposure and can produce lower-quality results. Changing the ISO or aperture may also cause noise or vignetting in the image.
Page 89 PHOTOSHOP CS3 User Guide In the HDR Conversion dialog box, choose a method for adjusting the brightness and contrast in the image: Lets you manually adjust the brightness and contrast of the HDR image. Exposure And Gamma Compresses the highlight values in the HDR image so they fall within the luminance values Highlight Compression range of the 8- or 16-bpc image file.
Page 90 The HDR Color Picker allows you to accurately view and select colors for use in 32-bit HDR images. As in the regular Adobe Color Picker, you select a color by clicking a color field and adjusting the color slider. The Intensity slider allows you to adjust the brightness of a color to match the intensity of the colors in the HDR image you’re working...
Page 91 Select a color by clicking in the color field and moving the color slider, or by entering HSB or RGB numeric values, as in the Adobe Color Picker. Adjust the Intensity slider to boost or reduce the color’s brightness. The new color swatch in the Preview scale at the top of the color picker shows the effect of increasing or decreasing stops for the selected color.
Page 92: Chapter 4: Camera Raw
About Camera Raw Camera Raw software is included as a plug-in with Adobe After Effects and Adobe Photoshop, and also adds functionality to Adobe Bridge. Camera Raw gives each of these applications the ability to import and work with camera raw files.
Page 93 As new versions of Camera Raw become available, you can update this software by installing a new version of the plug-in. You can check for updates to Adobe software by choosing Help > Updates. For up-to-date documentation for Camera Raw, go to the Adobe website at www.adobe.com/go/learn_ps_camerarawhelp.
Page 94 XMP file or in the Camera Raw database. You can convert camera raw files to the DNG format by using the Adobe DNG Converter or the Camera Raw dialog box. For more information on the DNG format and DNG Converter, see www.adobe.com/go/learn_ps_dng.
Page 95 PHOTOSHOP CS3 User Guide 6. Set workflow options for Photoshop. Set options to specify how images are saved from Camera Raw and how Photoshop should open them. You can access the Workflow Options settings by clicking the link beneath the image preview in the Camera Raw dialog box. 7.
Page 96 PHOTOSHOP CS3 User Guide Camera Raw dialog box overview Camera Raw dialog box A. Filmstrip B. Toggle Filmstrip C. Camera, file name, and Exif information D. Toggle full screen mode E. Image adjustment tabs F. Histogram G. Camera Raw Settings menu H. Zoom levels I. Click to display workflow options J. Navigation arrows K. Adjustment sliders Note: Some controls, such as the Workflow Options link, that are available when you open the Camera Raw dialog box from Bridge or Photoshop are not available when you open the Camera Raw dialog box from After Effects.
Page 97: Navigating, Opening, And Saving Images
Work with the Camera Raw cache in Bridge When you view camera raw files in Adobe Bridge, the thumbnails and previews use either the default settings or your adjusted settings. The cache in Bridge and the Camera Raw cache store data for the file thumbnails, metadata, and file information.
Page 98 PHOTOSHOP CS3 User Guide You can also synchronize settings to apply settings from the active image to all selected images. You can quickly apply a set of adjustments to an entire set of images—such as all shots taken under the same conditions—and then do fine- tuning on the individual shots later, after you’ve determined which you’ll use for your final output.
Page 99 PHOTOSHOP CS3 User Guide See also “Convert files with the Image Processor” on page 618 “Processing a batch of files” on page 618 Open images in Camera Raw • To process raw images in Camera Raw, select one or more camera raw files in Bridge, and then choose File > Open In Camera Raw or press Ctrl+R (Windows) or Command+R (Mac OS).
Page 100: Making Color And Tonal Adjustments In Camera Raw
PHOTOSHOP CS3 User Guide Alt-click (Windows) or Option-click (Mac OS) Save to suppress the Camera Raw Save Options dialog box when saving a file. In the Save Options dialog box, specify the following options: Specifies where to save the file. If necessary, click the Select Folder button and navigate to the location. Destination Specifies the file name using a naming convention that includes elements such as date and camera serial File Naming...
Page 101 PHOTOSHOP CS3 User Guide One common task for adjusting an image is to spread out the pixel values more evenly from left to right on the histogram, instead of having them bunched up at one end or the other. A histogram is made up of three layers of color that represent the red, green, and blue color channels. White appears when all three channels overlap;...
Page 102 PHOTOSHOP CS3 User Guide A digital camera records the white balance at the time of exposure as a metadata entry. The Camera Raw plug-in reads this value and makes it the initial setting when you open the file in the Camera Raw dialog box. This setting usually yields the correct color temperature, or nearly so.
Page 103 PHOTOSHOP CS3 User Guide Sets the white balance to compensate for a green or magenta tint. Decrease Tint to add green to the image; Tint increase Tint to add magenta. To adjust the white balance quickly, select the White Balance tool , and then click an area in the preview image that should be a neutral gray or white.
Page 104 PHOTOSHOP CS3 User Guide Attempts to recover details from shadows, without brightening blacks. Camera Raw can reconstruct some Fill Light details from areas in which one or two color channels are clipped to black. Using Fill Light is similar to using the shadows portion of the Photoshop Shadow/Highlight filter or the After Effects Shadow/Highlight effect.
Page 105 PHOTOSHOP CS3 User Guide Clarity, Saturation, and Vibrance controls in Camera Raw You can change the color saturation (vividness or color purity) of all colors by adjusting the Clarity, Vibrance, and Saturation controls on the Basic tab. (To adjust saturation for a specific range of colors, use the controls on the HSL / Grayscale tab.) Adds depth to an image by increasing local contrast.
Page 106 PHOTOSHOP CS3 User Guide Sometimes colors rendered by the Camera Raw plug-in do not look as expected. The cause may be a difference between a camera’s profile and the profile in Camera Raw for that camera model. Alternatively, the photo may have been taken under nonstandard lighting conditions beyond the compensating range of the Camera Raw plug-in.
Page 107: Modifying Images With Camera Raw
PHOTOSHOP CS3 User Guide Another type of chromatic artifact affects the edges of specular highlights, such as those found when light is reflected off of the surface of rippled water or edges of polished metal. This situation usually results in a purple fringe around each specular highlight.
Page 108 PHOTOSHOP CS3 User Guide Crop selected images in Camera Raw In the Camera Raw dialog box, select the Crop tool To constrain your initial crop area to a specific aspect ratio, hold the mouse button down as you select the Crop tool, and choose an option from the menu.
Page 109 PHOTOSHOP CS3 User Guide • To cancel the operation, press Backspace (Windows) or Delete (Mac OS). Repeat this procedure for each area of the image that needs retouching. To remove all sample areas and start over, click the Clear All button in the Toolbar. Adjust sharpening in Camera Raw The sharpening controls on the Detail tab adjust edge definition in the image.
Page 110: Camera Raw Settings
PHOTOSHOP CS3 User Guide Moving Luminance Smoothing slider right reduces grayscale noise (above right), and moving Color Noise Reduction slider right reduces chroma noise (below right). Camera Raw settings Save, reset, and load Camera Raw settings You can reuse the adjustments that you’ve made to an image. You can save all of the current Camera Raw image settings, or any subset of them, as a preset or as a new set of defaults.
Page 111 Stores the settings in a Camera Raw database file in the folder Document and Settings/[user Camera Raw Database name]/Application Data/Adobe/CameraRaw (Windows) or Users/[user name]/Library/Preferences (Mac OS). This database is indexed by file content, so the image retains camera raw settings even if the camera raw image file is moved or renamed.
Page 112 PHOTOSHOP CS3 User Guide In the Paste Camera Raw Settings dialog box, choose which settings to apply. Apply saved Camera Raw settings In Bridge or in the Camera Raw dialog box, select one or more files. In Bridge, choose Edit > Develop Settings or right-click a selected file. Or, in the Camera Raw dialog box, choose Camera Raw Settings Choose one of the following: Uses the settings from the selected camera raw image.
Page 113 PHOTOSHOP CS3 User Guide Camera Raw Workflow options Workflow options specify settings for all files output from Camera Raw, including the color bit depth, color space, and pixel dimensions. Workflow options determine how Photoshop opens these files, but do not affect how After Effects imports a camera raw file.
Page 114: Chapter 5: Color
Chapter 5: Color Color can be described in several ways using a color model such as RGB or CMYK. As you work in your image, you specify colors using one of the color models. In Photoshop you choose the approach to color that’s appropriate for your image and how it’s being used.
Page 115 See also “Choose a color with the Adobe Color Picker” on page 120 Color models, spaces, and modes A color model describes the colors we see and work with in digital images. Each color model, such as RGB, CMYK,...
Page 116 A color space is a variant of a color model and has a specific gamut (range) of colors. For example, within the RGB color model are a number of color spaces: Adobe RGB, sRGB, ProPhoto RGB, and so on. Each device, like your monitor or printer, has its own color space and can only reproduce colors in its gamut. When an image moves from one device to another, image colors may change because each device interprets the RGB or CMYK values according to its own color space.
Page 117: Color Modes
PHOTOSHOP CS3 User Guide Color modes RGB Color mode Photoshop RGB Color mode uses the RGB model, assigning an intensity value to each pixel. In 8-bits-per-channel images, the intensity values range from 0 (black) to 255 (white) for each of the RGB (red, green, blue) components in a color image.
Page 118 The Lab Color mode has a lightness component (L) that can range from 0 to 100. In the Adobe Color Picker and Color palette, the a component (green-red axis) and the b component (blue-yellow axis) can range from +127 to –128.
Page 119: Converting Between Color Modes
PHOTOSHOP CS3 User Guide Although its palette of colors is limited, indexed color can reduce file size yet maintain the visual quality needed for multimedia presentations, web pages, and the like. Limited editing is available in this mode. For extensive editing, you should convert temporarily to RGB mode.
Page 120 PHOTOSHOP CS3 User Guide Add a conditional mode change to an action You can specify conditions for a mode change so that the conversion can occur during an action, which is a series of commands applied sequentially to a single file or a batch of files. When a mode change is part of an action, an error can occur if the file being opened is not in the source mode specified in the action.
Page 121 PHOTOSHOP CS3 User Guide Choose one of the following bitmap conversion methods from the Use pop-up menu: Converts pixels with gray values above the middle gray level (128) to white and pixels with gray 50% Threshold values below that level to black. The result is a very high-contrast, black-and-white representation of the image. Converts an image by organizing the gray levels into geometric configurations of black and white dots.
Page 122 PHOTOSHOP CS3 User Guide Pattern Dither conversion method, and Diffusion Dither conversion method Convert a Bitmap mode image to Grayscale mode You can convert a Bitmap mode image to Grayscale mode in order to edit it. Keep in mind that a Bitmap mode image edited in Grayscale mode may not look the same when you convert it back to Bitmap mode.
Page 123 (up to 256) by entering a value for Colors. The Colors text box controls only how the indexed color table is created. Adobe Photoshop still treats the image as an 8-bit, 256-color image. To specify colors to be included in the indexed color table or to specify trans-...
Page 124 PHOTOSHOP CS3 User Guide dither amount. A higher amount dithers more colors but may increase file size. You can choose from the following dither options: • Does not dither colors but instead uses the color closest to the missing color. This tends to result in sharp None transitions between shades of color in the image, creating a posterized effect.
Page 125: Choosing Colors
You use the Save and Load buttons in the Color Table dialog box to save your indexed color tables for use with other Adobe Photoshop images. After you load a color table into an image, the colors in the image change to reflect the color positions they reference in the new color table.
Page 126 Adobe Color Picker overview In the Adobe Color Picker, you choose colors using four color models: HSB, RGB, Lab, and CMYK. Use the Adobe Color Picker to set the foreground color, background color, and text color. You can also set target colors for different tools, commands, and options.
Page 127 User Guide The color field in the Adobe Color Picker displays color components in HSB color mode, RGB color mode, and Lab color mode. If you know the numeric value of the color you want, you can enter it into the text fields. You can also use the color slider and the color field to preview a color to choose.
Page 128 In the Adobe Color Picker, select the H option and then enter a numeric value in the H text box or select a hue in the color slider.
Page 129 Some colors in the RGB, HSB, and Lab color models cannot be printed because they are out-of-gamut and have no equivalents in the CMYK model. When you choose a non-printable color in either the Adobe Color Picker or the Color palette, a warning alert triangle appears. A swatch below the triangle displays the closest CMYK equivalent.
Page 130 Open the Adobe Color Picker, and click Color Libraries. The Custom Colors dialog box displays the color closest to the color currently selected in the Adobe Color Picker. For Book, choose a color library. See below for descriptions of the color libraries.
Page 131 Choose a color picker from the Color Picker menu, and click OK. For more information, see your operating system documentation. Note: To return to the Adobe Color Picker, choose it from the Color Picker menu in the General Preferences. Color palette overview The Color palette (Window >...
Page 132 See also “Adobe Color Picker overview” on page 119 Select a color in the Swatches palette The Swatches palette (Window > Swatches) stores colors that you use often. You can add or delete colors from the palette or display different libraries of colors for different projects.
Page 133 PHOTOSHOP CS3 User Guide Color selected from image (left), and added to Swatches palette (right) Note: New colors are saved in the Photoshop preferences file so that they persist between editing sessions. To permanently save a color, save it in a library. Replace a color in the Swatches palette Click a color swatch in the Swatches palette to make it the foreground color.
Page 134 PHOTOSHOP CS3 User Guide You can save the library anywhere. However, if you place the library file in the Presets/Swatches folder in the default presets location, the library name will appear at the bottom of the Swatches palette menu after you restart the appli- cation.
Page 135: Chapter 6: Color Management
Chapter 6: Color management A color management system reconciles color differences among devices so that you can be reasonably certain of the colors your system ultimately produces. Viewing color accurately allows you to make sound color decisions throughout your workflow, from digital capture through final output. Color management also allows you to create output based on ISO, SWOP, and Japan Color print production standards.
Page 136: Do You Need Color Management
A color management system translates colors with the help of color profiles. A profile is a mathematical description of a device’s color space. For example, a scanner profile tells a color management system how your scanner “sees” colors. Adobe color management uses ICC profiles, a format defined by the International Color Consortium (ICC) as a cross-platform standard.
Page 137: Keeping Colors Consistent
Keeping colors consistent About color management in Adobe applications Adobe color management helps you maintain the appearance of colors as you bring images in from external sources, edit documents and transfer them between Adobe applications, and output your finished compositions. This system...
Page 138 Color settings for Adobe Creative Suite are synchronized in a central location through Adobe Bridge. If you decide to change the default settings, easy-to-use presets let you configure Adobe color management to match common output conditions. You can also customize color settings to meet the demands of your particular color workflow.
Page 139 Adobe applications” on page 132.) • If you use only one Adobe application, or if you want to customize advanced color management options, you can change color settings for a specific application. (See “Set up color management” on page 132.) 5.
Page 140 Color Settings dialog box. However, customizing is recommended for advanced users only. Note: If you work with more than one Adobe application, it is highly recommended that you synchronize your color settings across applications. (See “Synchronize color settings across Adobe applications” on page 132.) See also “Customize color settings”...
Page 141: Color-Managing Imported Images
CMYK color policy back to Preserve Numbers (Ignore Linked Profiles). You can override safe CMYK settings when you print a document or save it to Adobe PDF. However, doing so may cause colors to be reseparated. For example, pure CMYK black objects may be reseparated as rich black. For more...
Page 142 “Color management policy options” on page 148 Preparing imported graphics for color management Use the following general guidelines to prepare graphics for being color-managed in Adobe applications: • Embed an ICC-compliant profile when you save the file. The file formats that support embedded profiles are JPEG, PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), Photoshop EPS, Large Document Format, and TIFF.
Page 143: Color-Managing Documents For Online Viewing
When you color-manage documents that will be viewed exclusively on the web, Adobe recommends that you use the sRGB color space. sRGB is the default working space for most Adobe color settings, but you can verify that sRGB is selected in the Color Settings dialog box (Photoshop, Illustrator, InDesign) or the Color Management preferences (Acrobat).
Page 144: Proofing Colors
PHOTOSHOP CS3 User Guide Proofing colors Soft-proofing colors In a traditional publishing workflow, you print a hard proof of your document to preview how its colors will look when reproduced on a specific output device. In a color-managed workflow, you can use the precision of color profiles to soft-proof your document directly on the monitor.
Page 145 PHOTOSHOP CS3 User Guide Creates a soft proof of colors in an RGB document using your current Monitor RGB (Photoshop and Illustrator) monitor color space as the proof profile space. This option assumes that the simulated device will display your document without using color management.
Page 146: Color-Managing Documents When Printing
Your options for printing color-managed documents depend on the Adobe application you use, as well as the output device you select. In general, you have the following choices for handling colors during printing: •...
Page 147 Color-managing PDFs for printing When you create Adobe PDFs for commercial printing, you can specify how color information is represented. The easiest way to do this is using a PDF/X standard; however, you can also specify color-handling options manually in the Output section of the PDF dialog box.
Page 148: Working With Color Profiles
R=127, G=12, B=107 is just a set of numbers that different devices will display differently. But when tagged with the Adobe RGB color space, these numbers specify an actual color or wavelength of light–in this case, a specific color of purple.
Page 149 PHOTOSHOP CS3 User Guide Managing color with profiles A. Profiles describe the color spaces of the input device and the document. B. Using the profiles’ descriptions, the color management system identifies the document’s actual colors. C. The monitor’s profile tells the color management system how to translate the document’s numeric values to the monitor’s color space.
Page 150: Calibrate And Profile Your Monitor
To embed a color profile in a document you created in Illustrator, InDesign, or Photoshop, you must save or export the document in a format that supports ICC profiles. Save or export the document in one of the following file formats: Adobe PDF, PSD (Photoshop), AI (Illustrator), INDD (InDesign), JPEG, Photoshop EPS, Large Document Format, or TIFF.
Page 151 User Guide Select the option for embedding ICC profiles. The exact name and location of this option varies between applica- tions. Search Adobe Help for additional instructions. Embed a color profile (Acrobat) You can embed a color profile in an object or an entire PDF. Acrobat attaches the appropriate profile, as specified in the Destination Space area of the Convert Colors dialog box, to the selected color space in the PDF.
Page 152 PHOTOSHOP CS3 User Guide appearance of colors is defined by the application’s working space profiles, and you can no longer embed a profile in the document. Assigns the working space profile to the document. Assign Current Working Space [working space] Lets you select a different profile.
Page 153: Color Settings
Color settings Customize color settings For most color-managed workflows, it is best to use a preset color setting that has been tested by Adobe Systems. Changing specific options is recommended only if you are knowledgeable about color management and very confident about the changes you make.
Page 154 Adobe RGB is recommended when you prepare documents for print, because Adobe RGB’s gamut includes some printable colors (cyans and blues in particular) that can’t be defined using sRGB. Adobe RGB is also a good choice when working with images from professional-level digital cameras, because most of these cameras use Adobe RGB as their default color space.
Page 155 Preserves color numbers when opening files and importing images, but still allows you to use color management to view colors accurately in Adobe applications. Select this option if you want to use a safe CMYK workflow. In InDesign, you can override this policy on a per-object basis by choosing Object > Image Color Settings.
Page 156 In general, it is best to use the default rendering intent for the selected color setting, which has been tested by Adobe Systems to meet industry standards. For example, if you choose a color setting for North America or Europe, the default rendering intent is Relative Colorimetric.
Page 157 PHOTOSHOP CS3 User Guide Tries to produce vivid colors in an image at the expense of color accuracy. This rendering intent is Saturation suitable for business graphics like graphs or charts, where bright saturated colors are more important than the exact relationship between colors.
Page 158: Chapter 7: Making Color And Tonal Adjustments
Chapter 7: Making color and tonal adjustments Traditional photographers use different types of film or lens filters to achieve certain color and tonal results in their photographs. They also use various tools and techniques to adjust the color and tonality of a photographic print in the darkroom.
Page 159 PHOTOSHOP CS3 User Guide Histogram palette A. Channel menu B. Palette menu C. Uncached Refresh button D. Cached Data Warning icon E. Statistics Adjust the view of the Histogram palette ❖ Choose a view from the Histogram palette menu. Displays the histogram with statistics and with controls for choosing the channel represented by the Expanded View histogram, viewing options in the Histogram palette, refreshing the histogram to display uncached data, and choosing a specific layer in a multilayered document.
Page 160 PHOTOSHOP CS3 User Guide View a specific channel in the histogram If you chose the Expanded View or All Channels View of the Histogram palette, you can choose a setting from the Channel menu. Photoshop remembers the channel setting if you switch from either Expanded View or All Channels View back to Compact View.
Page 161 PHOTOSHOP CS3 User Guide magnification). The original image is cache level 1. At each level above level 1, four adjacent pixels are averaged to arrive at a single pixel value. So, each level is half the dimensions (has 1/4 the number of pixels) of the one below. When Photoshop needs to do a quick approximation, it can use one of the upper levels.
Page 162 PHOTOSHOP CS3 User Guide View color values in an image You can use the Info palette to see the color value of pixels as you make color corrections. When you work with a color adjustment dialog box, the Info palette displays two sets of color values for the pixels under the pointer. The value in the left column is the original color value.
Page 163: Understanding Color Adjustments
PHOTOSHOP CS3 User Guide • To view the color values under the color samplers, look at the lower half of the Info palette. To place additional color samplers in the image while the adjustment dialog box is open, Shift-click in the image. The Color palette also shows the color value of pixels under the eyedropper.
Page 164 PHOTOSHOP CS3 User Guide • Duplicate or make a copy of the image file. Working on a copy of your image preserves the original in the event you need to use the image in its original state. • Remove any flaws such as dust spots, blemishes, and scratches from the image before making color and tonal adjustments.
Page 165 PHOTOSHOP CS3 User Guide For videos on making tonal and lighting corrections, see www.adobe.com/go/vid0009 www.adobe.com/go/vid0010. Color adjustment commands You can choose from the following color adjustment commands: Quickly corrects the color balance in an image. Although its name implies an automatic Auto Color command adjustment, you can fine-tune how the Auto Color command behaves.
Page 166 PHOTOSHOP CS3 User Guide Do one of the following: • Choose Image > Adjustments, and choose a command from the submenu. • Create an adjustment layer. (See “Create adjustment and fill layers” on page 307.) • Double-click the thumbnail of an existing adjustment layer in the Layers palette. To see your adjustments in the image before accepting them, select Preview in the Color Adjustment dialog box.
Page 167: Adjusting Image Color And Tone
PHOTOSHOP CS3 User Guide In RGB mode, you can tell whether a color is out of gamut in the following ways: • In the Info palette, an exclamation point appears next to the CMYK values whenever you move the pointer over an out-of-gamut color.
Page 168 PHOTOSHOP CS3 User Guide You can save Levels dialog box settings to apply to other images. See “Save and reapply adjustment dialog box settings” on page 159. Levels dialog box A. Shadows B. Midtones C. Highlights D. Apply Auto Color Correction E. Open Auto Color Correction Options dialog box Adjust tonal range using Levels The outer two Input Levels sliders map the black point and white point to the settings of the Output sliders.
Page 169 • Double-click the Set Gray Point Eyedropper tool in the Levels dialog box to display the Adobe Color Picker. Enter the values you want to assign to the neutral gray, and click OK. Then click in a part of the image that should...
Page 170 User Guide • Click Options in the Levels dialog box. Click the Midtones color swatch to display the Adobe Color Picker. Enter the values you want to assign to the neutral gray, and click OK. This method has the advantage of showing you a preview of the values you’re assigning.
Page 171 PHOTOSHOP CS3 User Guide Default Curves dialog boxes for CMYK and RGB images A. Default orientation of CMYK tonal output bar B. CMYK Input and Output values in percentages C. Default orientation of CMYK tonal input bar D. Default orientation of RGB tonal output bar E. RGB Input and Output values in intensity levels F. Default orientation of RGB tonal input bar Set Curve display options You can control the curve grid display using the Curve display options.
Page 172 PHOTOSHOP CS3 User Guide If the Curves dialog box is set to display levels rather than percentages, the highlights are represented in the top right corner of the graph. Moving a point in the top portion of the curve adjusts the highlights; moving a point in the center of the curve adjusts the midtones;...
Page 173 PHOTOSHOP CS3 User Guide Ctrl-click (Windows) or Command-click (Mac OS) three areas of an image to add points to the curve. Lightening the highlights and darkening the shadows is represented by an S-curve where the image contrast is increased. To determine the lightest and darkest areas in an RGB image, drag across the image. The Curves dialog box displays the intensity values of the area under the pointer, and the corresponding location on the curve.
Page 174 , or the Set White Point Eyedropper tool Use the Adobe Color Picker to specify a neutral target color. If you’re working in RGB, enter the same values for R, G, and B to specify a neutral color. The neutral color should be close as possible to the values of the color sampler.
Page 175 PHOTOSHOP CS3 User Guide If necessary, make final adjustments in the Levels or Curves dialog box. Click OK. If you specified new target colors for an eyedropper, Photoshop asks whether you want to save the new target colors as defaults. Adjust hue and saturation The Hue/Saturation command lets you adjust the hue, saturation, and brightness of a specific color component in an image or simultaneously adjust all the colors in an image.
Page 176 PHOTOSHOP CS3 User Guide Note: Click the Reset button to undo a setting in the Hue/Saturation dialog box. Press Alt (Windows) or Option (Mac OS) to change the Cancel button to Reset. Specify the range of colors adjusted in the Hue/Saturation command Do one of the following: •...
Page 177 Black & White functions like the Channel Mixer, which also converts color images to monochrome while allowing you to adjust color channel input. For a video on converting color images to black & white, see www.adobe.com/go/vid0017. Choose Image > Adjustments > Black & White. Photoshop performs a default grayscale conversion based on the color mix in the image.
Page 178 PHOTOSHOP CS3 User Guide Improve shadow and highlight detail The Shadow/Highlight command is suitable for correcting photos with silhouetted images due to strong backlighting or correcting subjects that have been slightly washed out because they were too close to the camera flash.
Page 179 PHOTOSHOP CS3 User Guide Tonal Width is set to 50% by default. If you find that you are trying to lighten a dark subject but the midtones or lighter regions are changing too much, try reducing Shadow Tone Width towards zero so that only the darkest regions are lightened.
Page 180 PHOTOSHOP CS3 User Guide Image pixels don’t extend to the ends of the graph, indicating that the image is not using the full tonal range. A. Shadow Input slider B. Highlight Input slider If the image uses the full tonal range, but needs midtone contrast, choose Image > Adjustments > Curves. Drag the curve into an S shape.
Page 181: Targeting Images For Press
PHOTOSHOP CS3 User Guide Targeting images for press Setting highlight and shadow target values Assigning (targeting) an image’s highlight and shadow values is necessary because most output devices (usually printing presses) cannot print detail in the blackest shadow values (near level 0) or the whitest highlight values (near level 255).
Page 182 PHOTOSHOP CS3 User Guide Do one of the following to identify areas of highlights and shadows that you want to preserve in the image: • Move the pointer around the image, and look at the Info palette to find the lightest and darkest areas that you want preserved (not clipped to pure black or white).
Page 183: Matching, Replacing, And Mixing Colors
PHOTOSHOP CS3 User Guide To assign shadow values to the darkest area of the image that you want preserved, double-click the Set Black Point Eyedropper tool in the Levels or Curves dialog box to display the Color Picker. Enter the values you want to assign to the darkest area in the image, and click OK.
Page 184 PHOTOSHOP CS3 User Guide • In the Image Statistics area, select Use Selection In Source To Calculate Colors if you made a selection in the source image and want to use the colors in the selection to compute the adjustment. Deselect this option to ignore the selection in the source image, and use the colors from the entire source image to compute the adjustment.
Page 185 PHOTOSHOP CS3 User Guide To adjust the range of color pixel values in the target layer, adjust the Color Intensity slider. Alternatively, enter a value in the Color Intensity text box. The maximum value is 200, the minimum is 1 (which produces a grayscale image), and the default is 100.
Page 186 PHOTOSHOP CS3 User Guide Select a display option: Displays the mask in the preview box. Masked areas are black, and unmasked areas are white. Partially Selection masked areas (areas covered with a semitransparent mask) appear as varying levels of gray according to their opacity. Displays the image in the preview box.
Page 187 PHOTOSHOP CS3 User Guide • Choose Layer > New Adjustment Layer > Channel Mixer. Click OK in the New Layer dialog box. For Output Channel, choose the channel in which to blend one or more existing channels. Choosing an output channel sets the source slider for that channel to 100% and all other channels to 0%. For example, choosing Red as the output channel sets the Source Channels sliders to 100% for Red, and to 0% for Green and Blue (in an RGB image).
Page 188 PHOTOSHOP CS3 User Guide Photoshop displays the total value of the source channels in the Total field. If the combined channel values are above 100%, Photoshop displays a warning icon next to the total. (Optional) If you select and then deselect the Monochrome option, you can modify the blend of each channel separately, creating a hand-tinted appearance.
Page 189: Making Quick Image Adjustments
Choose the filter color, either a custom filter or a preset, from the Photo Filter dialog box. For a custom filter, select the Color option, click the color square, and use the Adobe Color Picker to specify a color for a custom color filter.
Page 190 PHOTOSHOP CS3 User Guide Do one of the following: • Choose Image > Adjustments > Color Balance. • Choose Layer > New Adjustment Layer > Color Balance. Click OK in the New Layer dialog box. Select Shadows, Midtones, or Highlights to select the tonal range in which you want to focus the changes. (Optional) Select Preserve Luminosity to prevent changing the luminosity values in the image while changing the color.
Page 191 PHOTOSHOP CS3 User Guide Note: By default, Auto Levels clips the white and black pixels by 0.1%—that is, it ignores the first 0.1% of either extreme when identifying the lightest and darkest pixels in the image. The default settings for Auto Levels can be changed in the Auto Color Correction Options dialog box.
Page 192 PHOTOSHOP CS3 User Guide Remove a color cast with Auto Color The Auto Color command adjusts the contrast and color of an image by searching the image to identify shadows, midtones, and highlights. By default, Auto Color neutralizes the midtones using a target color of RGB 128 gray and clips the shadows and highlight pixels by 0.5%.
Page 193 PHOTOSHOP CS3 User Guide Specify the algorithm you want Photoshop to use to adjust the overall tonal range of an image: Clips all channels identically. This preserves the overall color relationship while Enhance Monochromatic Contrast making highlights appear lighter and shadows appear darker. The Auto Contrast command uses this algorithm. Maximizes the tonal range in each channel to produce a more dramatic correction.
Page 194: Applying Special Color Effects To Images
PHOTOSHOP CS3 User Guide Changes the degree of hue in the image. If you exceed the maximum saturation for a color, it may be Saturation clipped. Drag the Fine/Coarse slider to determine the amount of each adjustment. Moving the slider one tick mark doubles the adjustment amount.
Page 195: Invert Colors
PHOTOSHOP CS3 User Guide Invert colors The Invert command inverts the colors in an image. You can use this command as part of the process of making an edge mask to apply sharpening and other adjustments to selected areas of an image. Note: Because color print film contains an orange mask in its base, the Invert command cannot make accurate positive images from scanned color negatives.
Page 196 PHOTOSHOP CS3 User Guide Apply a gradient map to an image The Gradient Map command maps the equivalent grayscale range of an image to the colors of a specified gradient fill. If you specify a two-color gradient fill, for example, shadows in the image are mapped to one of the endpoint colors of the gradient fill, highlights are mapped to the other endpoint color, and midtones are mapped to the grada- tions in between.
Page 197: Chapter 8: Retouching And Transforming
Chapter 8: Retouching and transforming The retouch and transform features in Adobe® Photoshop® CS3 let you alter your images to accomplish a variety of tasks—to improve a composition, correct distortions or flaws, creatively manipulate picture elements, add or remove items, sharpen or blur, or merge multiple images into a panorama. The Vanishing Point feature lets you retouch and paint according to the perspective of an image.
Page 198 PHOTOSHOP CS3 User Guide Resampling while cropping uses the default interpolation method set in the General preferences. Drag over the part of the image you want to keep to create a marquee. The marquee doesn’t have to be precise— you can adjust it later. If necessary, adjust the cropping marquee: •...
Page 199 PHOTOSHOP CS3 User Guide Transform perspective while cropping The Crop tool has an option that lets you transform the perspective in an image. This is very useful when working with images that contain keystone distortion. Keystone distortion occurs when an object is photographed from an angle rather than from a straight-on view.
Page 200 PHOTOSHOP CS3 User Guide • To cancel the cropping operation, press Esc or click the Cancel button in the options bar. Crop and Straighten photos You can place several photos on your scanner and scan them in one pass, which creates a single image file. The Crop and Straighten Photos command is an automated feature that can create separate image files from the multiple-image scan.
Page 201 PHOTOSHOP CS3 User Guide Rotates the image by the angle you specify. If you choose this option, enter an angle between -359.99 and Arbitrary 359.99 in the angle text box. (In Photoshop, you can select CW or CCW to rotate clockwise or counterclockwise.) Then click OK.
Page 202: Retouching And Repairing Images
See also “Cloning content in video and animation frames (Photoshop Extended)” on page 558 For a video on repairing images, see www.adobe.com/go/vid0011. Retouch with the Clone Stamp tool...
Page 203 PHOTOSHOP CS3 User Guide Altering an image with the Clone Stamp tool Select the Clone Stamp tool Choose a brush tip and set brush options for the blending mode, opacity, and flow in the options bar. To specify how you want to align the sampled pixels and how to sample data from the layers in your document, set any of the following in the options bar: Samples pixels continuously, without losing the current sampling point, even if you release the mouse Aligned...
Page 204 PHOTOSHOP CS3 User Guide (Photoshop Extended) When cloning video or animation, you can set sampling points in the current frame you’re painting or sample sources in a different frame, even if the frame is in a different video layer or in a different open document.
Page 205 PHOTOSHOP CS3 User Guide Specify the clone source offset When using the Clone Stamp tool or Healing Brush tool, you can paint with the sampled source anywhere in the target image. The overlay options will help you visualize where you want to paint. However, if you need to paint in a very specific location relative to the sampling point, you can specify the x and y pixel offset.
Page 206 PHOTOSHOP CS3 User Guide (Optional) In the Clone Source palette, click a clone source button and set an additional sampling point. You can set up to 5 different sampling sources. The Clone Source palette remembers the sampled sources until you close the document you’re editing.
Page 207 PHOTOSHOP CS3 User Guide Choose a brush size in the options bar. A brush that is slightly larger than the area you want to fix works best so that you can cover the entire area with one click. (Optional) Choose a blending mode from the Mode menu in the options bar. Choose Replace to preserve noise, film grain, and texture at the edges of the brush stroke when using a soft-edge brush.
Page 208 PHOTOSHOP CS3 User Guide Patched image Repair an area using sampled pixels Select the Patch tool Do one of the following: • Drag in the image to select the area you want to repair, and select Source in the options bar. •...
Page 209: Remove Red Eye
PHOTOSHOP CS3 User Guide Remove red eye The Red Eye tool removes red eye in flash photos of people or animals, and white or green reflections in flash photos of animals. Select the Red Eye tool Click in the red eye. If you are not satisfied with the result, undo the correction, set one or more of the following options in the options bar, and click the red eye again: Increases or decreases the area affected by the Red Eye tool.
Page 210 PHOTOSHOP CS3 User Guide Smudge image areas The Smudge tool simulates the effect you see when you drag a finger through wet paint. The tool picks up color where the stroke begins and pushes it in the direction you drag. Select the Smudge tool Choose a brush tip and options for the blending mode in the options bar.
Page 211 PHOTOSHOP CS3 User Guide See also “Sharpen filters” on page 393 “List of blending modes” on page 344 Dodge or burn areas Used to lighten or darken areas of the image, the Dodge tool and the Burn tool are based on a traditional photog- rapher’s technique for regulating exposure on specific areas of a print.
Page 212: Correcting Image Distortion And Noise
PHOTOSHOP CS3 User Guide Correcting image distortion and noise About lens distortion Barrel distortion is a lens defect that causes straight lines to bow out toward the edges of the image. Pincushion distortion is the opposite effect, where straight lines bend inward. Examples of barrel distortion (left) and pincushion distortion (right) Vignetting is a defect where the edges, especially the corners, of an image are darker than the center.
Page 213 PHOTOSHOP CS3 User Guide Corrects color fringing. Zoom in on the image preview to get a closer view of the fringing as Chromatic Aberration you make the correction. Compensates for red/cyan color fringing by adjusting the size of the red channel relative to the Fix Red/Cyan Fringe green channel.
Page 214: Adjusting Image Sharpness And Blur
PHOTOSHOP CS3 User Guide Reduce image noise and JPEG artifacts Image noise appears as random extraneous pixels that aren’t part of the image detail. Noise can be caused by photo- graphing with a high ISO setting on a digital camera, underexposure, or shooting in a dark area with a long shutter speed.
Page 215 PHOTOSHOP CS3 User Guide • Sharpening increases image contrast. If you find that highlights or shadows are clipped after you sharpen, use the layer blending controls (if you sharpen a separate layer) to prevent sharpening in highlights and shadows. See “Specify a tonal range for blending layers”...
Page 216 PHOTOSHOP CS3 User Guide Controls the size of the area around each pixel that is used to determine whether a pixel is in the shadows or Radius highlights. Moving the slider to the left specifies a smaller area, and moving it to the right specifies a larger area. Click OK.
Page 217 PHOTOSHOP CS3 User Guide Drag the Radius slider or enter a value to determine the number of pixels surrounding the edge pixels that affect the sharpening. The greater the radius value, the wider the edge effects. And the wider the edge effects, the more obvious the sharpening.
Page 218 PHOTOSHOP CS3 User Guide Selecting a channel with the greatest contrast • Duplicate the selected channel. • With the duplicate channel selected, choose Filter > Stylize > Find Edges. • Choose Image > Adjustments > Invert to invert the image. Find Edges filter applied and image inverted •...
Page 219 PHOTOSHOP CS3 User Guide Choose Select > Inverse. With the selection active on the image layer, choose Filter > Sharpen > Unsharp Mask. Set the desired options and click OK. To view your results, select the RGB channel in the Channels palette and deselect the selection in the image. You can create an action to conveniently apply all the steps in the procedure.
Page 220: Transforming Objects
PHOTOSHOP CS3 User Guide Transforming objects Apply transformations Transforming scales, rotates, skews, stretches, or warps an image. You can apply transformations to a selection, an entire layer, multiple layers, or a layer mask. You can also apply transformations to a path, a vector shape, a vector mask, a selection border, or an alpha channel.
Page 221 PHOTOSHOP CS3 User Guide Stretches an item in all directions. Distort Applies one-point perspective to an item. Perspective Manipulates the shape of an item. Warp Flips the selection vertically or horizontally. Flip Select an item to transform ❖ Do one of the following: •...
Page 222 PHOTOSHOP CS3 User Guide Note: If you are transforming a shape or entire path, the Transform menu becomes the Transform Path menu. If you are transforming multiple path segments (but not the entire path), the Transform menu becomes the Transform Points menu. (Optional) In the options bar, click a square on the reference point locator Do one or more of the following: •...
Page 223 PHOTOSHOP CS3 User Guide Note: If you are transforming a shape or entire path, the Transform command becomes the Transform Path command. If you are transforming multiple path segments (but not the entire path), the Transform command becomes the Transform Points command. Repeat a transformation ❖...
Page 224 PHOTOSHOP CS3 User Guide • To warp, click the Switch Between Free Transform And Warp Modes button in the options bar. Drag control points to manipulate the shape of the item or choose a warp style from the Warp pop-up menu in the options bar. After choosing from the Warp pop-up menu, a square handle is available for adjusting the shape of the warp.
Page 225 PHOTOSHOP CS3 User Guide • If you chose a different transform command or the Free Transform command, click the Switch Between Free Transform And Warp Modes button in the options bar. Do one or more of the following: • To warp using a specific shape, choose a warp style from the Warp pop-up menu in the options bar. Dragging a control point to warp the mesh •...
Page 226: Liquify Filter
PHOTOSHOP CS3 User Guide Liquify filter Liquify filter overview The Liquify filter lets you push, pull, rotate, reflect, pucker, and bloat any area of an image. The distortions you create can be subtle or drastic, which makes the Liquify command a powerful tool for retouching images as well as creating artistic effects.
Page 227 PHOTOSHOP CS3 User Guide Magnify or reduce the preview image ❖ Select the Zoom tool in the Liquify dialog box, and click or drag in the preview image to zoom in; hold down Alt (Windows) or Option (Mac OS), and click or drag in the preview image to zoom out. Alternatively, you can specify a magnification level in the Zoom text box at the bottom of the dialog box.
Page 228 PHOTOSHOP CS3 User Guide Used for the Reconstruct tool, the mode you choose determines how the tool reconstructs an area Reconstruct Mode of the preview image. Uses pressure readings from a stylus tablet. (This option is available only when you are Select Stylus Pressure working with a stylus tablet.) When selected, the brush pressure for the tools is the stylus pressure multiplied by the Brush Pressure value.
Page 229 PHOTOSHOP CS3 User Guide Click the Mask All button in the Mask Options area of the dialog box. Freezing all thawed areas Click Invert All in the Mask Options area of the dialog box. Inverting thawed and frozen areas Select or deselect Show Mask in the View Options area of the dialog box. Showing or hiding frozen areas Choose a color from the Mask Color pop-up menu in the View Options area of Changing the color of frozen areas...
Page 230 PHOTOSHOP CS3 User Guide Reconstruction based on distortions in frozen areas. A. Original image B. Distorted with frozen areas C. Reconstructed in Rigid mode (using button) D. Thawed, edges reconstructed in Smooth mode (using tool) Reconstruct an entire image Select a reconstruction mode from the Reconstruct Options area of the dialog box. Press the Reconstruct button in the Reconstruction Options area to apply the effect once.
Page 231 PHOTOSHOP CS3 User Guide Reconstruction modes You can choose one of the following reconstruction modes: Maintains right angles in the pixel grid (as shown by the mesh) at the edges between frozen and unfrozen Rigid areas, sometimes producing near-discontinuities at the edges. This restores the unfrozen areas so that they approx- imate their original appearance.
Page 232: Vanishing Point
Photoshop Extended users can also measure objects in an image, and export 3D information and measurements to DXF and 3DS formats for use in 3D applications. For a video on using Vanishing Point, see www.adobe.com/go/vid0019. Vanishing Point dialog box overview The Vanishing Point dialog box (Filter >...
Page 233 PHOTOSHOP CS3 User Guide Vanishing Point dialog box A. Vanishing Point menu B. Options C. Toolbox D. Preview of vanishing point session E. Zoom options For the keyboard shortcuts in Vanishing Point, see “Keys for using Vanishing Point” on page 637. Vanishing Point tools Vanishing Point tools behave like their counterparts in the main Photoshop toolbox.
Page 234 PHOTOSHOP CS3 User Guide Magnifies or reduces the view of the image in the preview window. Zoom tool Moves the image in the preview window. Hand tool Magnify or reduce the preview image ❖ Do any of the following: • Select the Zoom tool in the Vanishing Point dialog box, and click or drag in the preview image to zoom in;...
Page 235 PHOTOSHOP CS3 User Guide Defining the four corner nodes with the Create Plane tool To tear off additional planes, use the Create Plane tool and Ctrl-drag (Windows) or Command-drag (Mac OS) an edge node. Ctrl-drag (Windows) or Command-drag (Mac OS) an edge node to tear off a plane. For more information, see “Define and adjust perspective planes in Vanishing Point”...
Page 236 PHOTOSHOP CS3 User Guide About perspective planes and the grid Before you can make edits in Vanishing Point, you define rectangular planes that line up with the perspective in an image. The accuracy of the plane determines whether any edits or adjustments are properly scaled and oriented in your image.
Page 237 PHOTOSHOP CS3 User Guide Overlapping planes Create related perspective planes After creating a plane in Vanishing Point, you can create (tear off) additional planes that share the same perspective. Once a second plane is torn off from the initial perspective plane, you can tear off additional planes from the second plane and so forth.
Page 238 PHOTOSHOP CS3 User Guide Bounding box and grid alerts in Vanishing Point The bounding box and grid change colors to indicate the plane’s current condition. If your plane is invalid, move a corner node until the bounding box and grid are blue. Indicates a valid plane.
Page 239 PHOTOSHOP CS3 User Guide Copying a selection and moving a selection from one perspective plane to another See also “Fill selections with another area of an image” on page 233 “Copy selections in Vanishing Point” on page 234 “Define and adjust perspective planes in Vanishing Point” on page 229 Make selections in Vanishing Point Select the Marquee tool.
Page 240 PHOTOSHOP CS3 User Guide Choose one of the following from the Move Mode menu to determine the behavior when you move a selection: • To select the area you move the selection marquee to, choose Destination. • To fill the selection with the image pixels in the area where you drag the Selection tool pointer to (same as Ctrl- dragging or Command-dragging a selection), choose Source.
Page 241 PHOTOSHOP CS3 User Guide Ctrl-dragging (Windows) or Command-dragging (Mac OS) a selection A. Original selection B. Moving the selection to the source image C. The source image fills the original selection See also “About selections in Vanishing Point” on page 231 Copy selections in Vanishing Point Make a selection in a perspective plane.
Page 242 • Select the Eyedropper tool and click a color in the preview image. • Click the Brush Color box to open the Adobe Color Picker to select a color. In the tool options area, set the Diameter (brush size), Hardness (the amount of anti-aliasing on the brush), and...
Page 243 PHOTOSHOP CS3 User Guide Choose a Healing mode: • To paint without blending with the color, lighting, and shading of the surrounding pixels, choose Off. • To paint and blend the strokes with the lighting of the surrounding pixels while retaining the selected color, choose Luminance.
Page 244 Once the measurement and its length have been set, all subsequent measurements correctly scale to your initial measurement. For a video on using Vanishing Point, see www.adobe.com/go/vid0019. There’s an option for linking the line’s measurement length with the grid spacing of the perspective plane. For example, a measurement length of 5 causes the grid to display 5 spaces, when the link option is selected.
Page 245 PHOTOSHOP CS3 User Guide Automatically drawing a measurement in Vanishing Point The Measure tool can automatically draw the length and width measurements of a surface that’s defined by a perspective plane. ❖ Double-click the Measure tool in a perspective plane. Move a measurement in Vanishing Point In Vanishing Point, you can move a measurement line without changing its orientation (angle) or length.
Page 246: Create Panoramic Images
To open Photomerge compositions, choose File > Automate > Photomerge and then choose your source files and a layout option. You can also load and edit previous photomerge compositions. For a video on using Photomerge, see www.adobe.com/go/vid0013. Take pictures for use with Photomerge Your source photographs play a large role in panoramic compositions.
Page 247 • Choose File > Automate > Photomerge. • In Adobe® Bridge CS3, choose Tools > Photoshop > Photomerge from the Bridge menu bar. Skip to step 5. Note: In Bridge, choosing the Photomerge command uses all images currently displayed in Bridge. If you only want specific images used, select them before choosing the Photomerge command.
Page 248 PHOTOSHOP CS3 User Guide Adding Cylindrical Mapping A. Original B. Cylindrical Mapping applied Aligns the layers and matches overlapping content, but does not transform (stretch or skew) any of Reposition Only the source layers. Choose this option to open the source images in a dialog and position them manually for the best Interactive Layout result.
Page 249 PHOTOSHOP CS3 User Guide Photomerge dialog box A. Lightbox B. Navigator view box C. Toolbox D. Work area E. Status bar For a video about using Photomerge, see www.adobe.com/go/vid0013. Navigate in the dialog box ❖ Do one of the following: •...
Page 250 PHOTOSHOP CS3 User Guide Change the vanishing point of a composition The Vanishing Point tool selects the vanishing point image, which changes the perspective of the composition. By default, the middle image contains the vanishing point (it has a blue border around it when selected). There can only be one vanishing point.
Page 251: Chapter 9: Selecting
If you want to apply changes to parts of an image, you first need to select the pixels that make up those parts. You select pixels in Adobe Photoshop CS3 using the selection tools or by painting on a mask and loading the mask as a selection.
Page 252 PHOTOSHOP CS3 User Guide Deselect selections ❖ Do one of the following: • Choose Select > Deselect. • If you are using the Rectangle Marquee tool, the Elliptical Marquee tool, or the Lasso tool, click anywhere in the image outside the selected area. Reselect the most recent selection ❖...
Page 253 PHOTOSHOP CS3 User Guide • To drag a marquee from its center, hold down Alt (Windows) or Option (Mac OS) after you begin dragging. Dragging a marquee from the corner of an image (left), and from the center of an image (right) by pressing Alt/Option as you drag •...
Page 254 PHOTOSHOP CS3 User Guide Selection options A. New B. Add To C. Subtract From D. Intersect With (Optional) Set feathering and anti-aliasing in the options bar. See “Soften the edges of selections” on page 256. Click in the image to set the starting point. Do one or more of the following: •...
Page 255 PHOTOSHOP CS3 User Guide To change the lasso pointer so that it indicates the lasso width, press the Caps Lock key. You can change the pointer while the tool is selected but not in use. To specify the lasso’s sensitivity to edges in the image, enter a value between 1% and 100% for Contrast. A Contrast higher value detects only edges that contrast sharply with their surroundings;...
Page 256 PHOTOSHOP CS3 User Guide • To close the border, drag back over the starting point and click. (Optional) Click Refine Edge to further adjust the selection boundary or view the selection against different backgrounds or as a mask. See “Refine selection edges” on page 255. Select with the Quick Selection tool You can use the Quick Selection tool to quickly “paint”...
Page 257 PHOTOSHOP CS3 User Guide • To change the tool cursor, choose Edit > Preferences > Cursors > Painting Cursors (Windows) or Photoshop > Preferences > Cursors > Painting Cursors (Mac OS). Normal Brush Tip displays the standard Quick Selection cursor with a plus or minus sign to show the selection mode. (Optional) Click Refine Edge to further adjust the selection boundary or view the selection against different backgrounds or as a mask.
Page 258 PHOTOSHOP CS3 User Guide To refine an existing selection, use the Color Range command repeatedly to select a subset of colors. For example, to select the green areas in a cyan selection, select Cyans in the Color Range dialog box, and click OK. Then reopen the Color Range dialog box, and select Greens.
Page 259: Adjusting Pixel Selections
Select menu, such as Reds, when the image didn’t contain any red hues with high enough saturation. For a video on making selections, see www.adobe.com/go/vid0002. Adjusting pixel selections Move, hide, or invert a selection You can move a selection border around an image, hide a selection border, and invert a selection so that the previ- ously unselected part of the image is selected.
Page 260 PHOTOSHOP CS3 User Guide Original selection border (left), and selection border moved (right) You can apply geometric transformations to change the shape of a selection border. Control the movement of a selection • To constrain the direction to multiples of 45˚, begin dragging, and then hold down Shift as you continue to drag. •...
Page 261 PHOTOSHOP CS3 User Guide Using any selection tool, do one of the following: • Select the Subtract From Selection option in the options bar, and drag to intersect with other selections. • Hold down Alt (Windows) or Option (Mac OS), and drag to subtract another selection. A minus sign appears next to the pointer when you’re subtracting from a selection.
Page 262 PHOTOSHOP CS3 User Guide Choose Select > Modify > Border. Enter a value between 1 and 200 pixels for the border width of the new selection, and click OK. The new selection frames the original selected area, and is centered on the original selection border. For example, a border width of 20 pixels creates a new, soft-edged selection that extends 10 pixels inside the original selection border and 10 pixels outside it.
Page 263 PHOTOSHOP CS3 User Guide Shrinks or enlarges the selection boundary. Enter a value or move the slider to set the amount from Contract/Expand 0 to 100% to expand, 0 to -100% to contract. Most useful for making subtle adjustments to soft-edged selections. Shrinking the selection can help remove unwanted background colors from selection edges.
Page 264 PHOTOSHOP CS3 User Guide Enter a value for the Feather Radius, and click OK. Note: A small selection made with a large feather radius may be so faint that its edges are invisible and thus not selectable. If you see the message “No pixels are more than 50% selected, ” either decrease the feather radius or increase the size of the selection.
Page 265: Moving And Copying Selected Pixels
PHOTOSHOP CS3 User Guide Remove a matte from a selection ❖ Choose Layer > Matting > Remove Black Matte or Layer > Matting > Remove White Matte. Moving and copying selected pixels Move a selection Select the Move tool Move the pointer inside the selection border, and drag the selection to a new position. If you have selected multiple areas, all move as you drag.
Page 266 PHOTOSHOP CS3 User Guide Copy a selection Select the area you want to copy. Choose Edit > Copy, or Edit > Copy Merged. Copy a selection while dragging Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool. Hold down Alt (Windows) or Option (Mac OS), and drag the selection you want to copy and move.
Page 267 PHOTOSHOP CS3 User Guide Using the Paste Into command A. Window panes selected B. Copied image C. Paste Into command D. Layer thumbnails and layer mask in Layers palette E. Pasted image repositioned Select the Move tool , or hold down the Ctrl (Windows) or Command (Mac OS) key to activate the Move tool. Then drag the source contents until the part you want appears through the mask.
Page 268 Creates a new shape layer that uses the path as a vector mask. Shape Layer Note: When copying artwork from Adobe Illustrator, the default clipboard preferences in Illustrator may prevent the Paste dialog box from appearing in Photoshop. Select AICB in the File Handling and Clipboard area of the Preferences dialog box in Illustrator if you want the Paste options to appear when you paste the artwork into Photoshop.
Page 269: Deleting And Extracting Objects
PHOTOSHOP CS3 User Guide Deleting and extracting objects Remove (cut) an object from a photo In the Layers palette, select the layer containing the object you want to remove. Using a selection tool, select the object you want to remove. If you need to refine the selection, click the Quick Mask Mode button in the toolbox.
Page 270 PHOTOSHOP CS3 User Guide You can add back opacity to the background and create other effects using the Edit > Fade command after an extraction. In the Layers palette, select the layer containing the object you want to extract. If you select a background layer, it becomes a normal layer after the extraction.
Page 271: Channels
PHOTOSHOP CS3 User Guide Define the foreground area by doing one of the following: • If the object has a well-defined interior, select the Fill tool . Click inside the object to fill its interior. Clicking a filled area again with the Fill tool removes the fill. •...
Page 272 PHOTOSHOP CS3 User Guide • Alpha channels store selections as grayscale images. You can add alpha channels to create and store masks, which let you manipulate or protect parts of an image. • Spot color channels specify additional plates for printing with spot color inks. An image can have up to 56 channels.
Page 273 PHOTOSHOP CS3 User Guide Viewing thumbnails is a convenient way of tracking channel contents; however, turning off the display of thumbnails can improve performance Show or hide a channel You can use the Channels palette to view any combination of channels in the document window. For example, you can view an alpha channel and the composite channel together to see how changes made in the alpha channel relate to the entire image.
Page 274 PHOTOSHOP CS3 User Guide • To edit a channel, select it and then use a painting or editing tool to paint in the image. You can paint on only one channel at a time. Paint with white to add the selected channel’s color at 100% intensity. Paint with a value of gray to add the channel’s color at a lower intensity.
Page 275 PHOTOSHOP CS3 User Guide Do one of the following: • Drag the channel from the Channels palette into the destination image window. The duplicated channel appears at the bottom of the Channels palette. • Choose Select > All, and then choose Edit > Copy. Select the channel in the destination image and choose Edit > Paste.
Page 276: Saving Selections And Using Masks
PHOTOSHOP CS3 User Guide Delete a channel You may want to delete spot or alpha channels you no longer need before saving an image. Complex alpha channels can substantially increase the disk space required for an image. ❖ In Photoshop, select the channel in the Channels palette and do one of the following: •...
Page 277 PHOTOSHOP CS3 User Guide Selection saved as an alpha channel in Channels palette Note: You can mask or hide parts of a layer using a layer mask. See also “About layer and vector masks” on page 318 Create a temporary quick mask To use Quick Mask mode, start with a selection and then add to or subtract from it to make the mask.
Page 278 PHOTOSHOP CS3 User Guide To edit the mask, select a painting tool from the toolbox. The swatches in the toolbox automatically become black and white. Paint with white to select more of an image (the color overlay is removed from areas painted with white). To deselect areas, paint over them with black (the color overlay covers areas painted with black).
Page 279 Changing these settings may make the mask more easily visible against the colors in the image. See also “Choose a color with the Adobe Color Picker” on page 120 Create and edit alpha channel masks You can create a new alpha channel and then use painting tools, editing tools, and filters to create a mask from the alpha channel.
Page 280 PHOTOSHOP CS3 User Guide Options available in the New Channel and Channel Options dialog boxes: Sets masked areas to black (opaque) and selected areas to white (transparent). Painting with black Masked areas increases the masked area; painting with white increases the selected area. When this option is selected, the Quick Mask button in the toolbox becomes a white circle on a gray background Sets masked areas to white (transparent) and selected areas to black (opaque).
Page 281 PHOTOSHOP CS3 User Guide Chooses a destination channel for the selection. By default, the selection is saved in a new channel. You can Channel choose to save the selection to any existing channel in the selected image or to a layer mask if the image contains layers.
Page 282: Channel Calculations
PHOTOSHOP CS3 User Guide Subtracts the loaded selection from existing selections in the image. Subtract From Selection Saves a selection from an area intersected by the loaded selection and existing selections in Intersect With Selection the image. You can drag a selection from one open Photoshop image into another. Channel calculations Blending layers and channels You can use the blending effects associated with layers to combine channels within and between images into new...
Page 283 PHOTOSHOP CS3 User Guide If you want to apply the blending through a mask, select Mask. Then choose the image and layer containing the mask. For Channel, you can choose any color or alpha channel to use as the mask. You can also use a mask based on the active selection or the boundaries of the chosen layer (Transparency).
Page 284 PHOTOSHOP CS3 User Guide The Offset value lets you lighten or darken the pixels in the destination channel by any brightness value between +255 and –255. Negative values darken the image; positive values lighten the image. Subtract Subtracts the pixel values in the source channel from the corresponding pixels in the target channel. As with Add mode, the result is then divided by the Scale factor and added to the Offset value.
Page 285: Chapter 10: Layers
Chapter 10: Layers Layers are the building blocks of many image creation workflows. You may not need to work with layers if you are doing simple image adjustments, but layers help you work efficiently and are essential to most nondestructive image editing.
Page 286 See “Supported video and image sequence formats (Photoshop Extended)” on page 545. For a video on using layers, see www.adobe.com/go/vid0001. Layers palette overview The Layers palette lists all layers, layer groups, and layer effects in an image. You can use the Layers palette to show and hide layers, create new layers, and work with groups of layers.
Page 287 PHOTOSHOP CS3 User Guide Convert background and layers When you create a new image with a white background or a colored background, the bottommost image in the Layers palette is called Background. An image can have only one background layer. You cannot change the stacking order of a background layer, its blending mode, or its opacity.
Page 288 PHOTOSHOP CS3 User Guide Specifies an opacity level for the layer or group. Opacity Fills the layer with a preset, neutral color. Fill With Mode-Neutral Color Create a new layer with effects from another layer Select the existing layer in the Layers palette. Drag the layer to the New Layer button at the bottom of the Layers palette.
Page 289 PHOTOSHOP CS3 User Guide Choose Duplicate Layer or Duplicate Group from the Layers menu or the Layers palette menu. Choose New from the Document pop-up menu, and click OK. Show or hide a layer, group, or style ❖ Do one of the following in the Layers palette: •...
Page 290: Selecting, Grouping, And Linking Layers
PHOTOSHOP CS3 User Guide Selecting, grouping, and linking layers Select layers You can select one or more layers to work on them. For some activities, such as painting or making color and tone adjustments, you can work on only one layer at a time. A single selected layer is called the active layer. The name of the active layer appears in the title bar of the document window.
Page 291: Moving, Stacking, And Locking Layers
PHOTOSHOP CS3 User Guide Click the triangle to the left of the folder icon. Click the individual layer in the group. Group and ungroup layers Select multiple layers in the Layers palette. Do one of the following: • Choose Layer > Group Layers. •...
Page 292 PHOTOSHOP CS3 User Guide Note: If a group is expanded so that you can see all the layers within it, adding a layer beneath the expanded group automatically adds the layer to that group. To avoid this, collapse the group before adding the new layer. •...
Page 293 PHOTOSHOP CS3 User Guide • Hold down Shift and press an arrow key on the keyboard to nudge the objects by 10 pixels. Align objects on different layers You can align the content of layers and groups using the Move tool. (See “Move the content of layers” on page 285.) Do one of the following: •...
Page 294 After auto-aligning, you can use Edit > Free Transform to fine tune the alignment or make tonal adjustments to even out exposure differences between layers, then combine the layers into one composite image. For a video on aligning layers by content, see www.adobe.com/go/vid0014.
Page 295 PHOTOSHOP CS3 User Guide See also “Combine multiple images into a group portrait” on page 324 “Image Stacks (Photoshop Extended)” on page 594 Auto blend layers When stitching or combining images to create a composite image, exposure differences between the source images may create seams or inconsistencies in the combined image.
Page 296: Managing Layers
PHOTOSHOP CS3 User Guide Lock layers You can lock layers fully or partially to protect their contents. For instance, you may want to lock a layer fully when you finish with it. You may want to lock a layer partially if it has the correct transparency and styles, but you are still deciding on positioning.
Page 297 PHOTOSHOP CS3 User Guide Assign a color to a layer or group Color coding layers and groups helps you locate related layers in the Layers palette. Do one of the following: • Select a layer or group, and choose Layer Properties or Group Properties from the Layers menu or the Layers palette menu.
Page 298 PHOTOSHOP CS3 User Guide Export layers You can export all layers or visible layers to separate files. ❖ Choose File > Scripts > Export Layers To Files. Track file size File size depends on the pixel dimensions of an image and the number of layers it contains. Images with more pixels may produce more detail when printed, but they require more disk space to store and may be slower to edit and print.
Page 299: Setting Opacity And Blending
PHOTOSHOP CS3 User Guide Stamp multiple layers or linked layers When you stamp multiple selected layers or linked layers, Photoshop creates a new layer containing the merged content. Select multiple layers. Press Ctrl+Alt+E (Windows) or Command+Option+E (Mac OS). Stamp all visible layers Turn visibility on for the layers you want to merge.
Page 300 • From the Layers palette, choose an option from the Blend Mode pop-up menu. • Choose Layer > Layer Style > Blending Options, and then choose an option from the Blend Mode pop-up menu. For a video on using blending modes, see www.adobe.com/go/vid0012. See also “List of blending modes”...
Page 301 PHOTOSHOP CS3 User Guide Create a knockout Knockout options let you specify which layers “punch through” to reveal content from other layers. For example, you can use a text layer to knock out a color adjustment layer and reveal a portion of the image using the original colors. As you plan your knockout effect, you need to decide which layer will create the shape of the knockout, which layers will be punched through, and which layer will be revealed.
Page 302 PHOTOSHOP CS3 User Guide Click OK. Exclude channels from blending You can restrict blending effects to a specified channel when you blend a layer or group. By default, all channels are included. When using an RGB image, for example, you can choose to exclude the red channel from blending; in the composite image, only the information in the green and blue channels is affected.
Page 303 PHOTOSHOP CS3 User Guide Advanced blending options A. Farm Logo and Paint Stroke layers, each with its own blending mode B. Blend Interior Effects As Group option selected C. Blend Clipped Layers As Group option selected • Select Transparency Shapes Layers to restrict layer effects and knockouts to opaque areas of the layer. Deselecting this option, which is always selected by default, applies these effects throughout the layer.
Page 304: Layer Effects And Styles
PHOTOSHOP CS3 User Guide Use the This Layer and Underlying Layer sliders to set the brightness range of the blended pixels—measured on a scale from 0 (black) to 255 (white). Drag the white slider to set the high value of the range. Drag the black slider to set the low value of the range.
Page 305 PHOTOSHOP CS3 User Guide Apply preset styles You can apply preset styles from the Styles palette. The layer styles that come with Photoshop are grouped into libraries by function. For example, one library contains styles for creating web buttons; another library contains styles adding effects to text.
Page 306 PHOTOSHOP CS3 User Guide Layer Styles dialog box. Click a check box to apply the current settings without displaying the effect’s options. Click an effect name to display its options. You can create custom styles using one or more of the following effects: Adds a shadow that falls behind the contents on the layer.
Page 307 PHOTOSHOP CS3 User Guide Layer style options For the Bevel and Emboss effect, sets the height of the light source. A setting of 0 is equivalent to ground Altitude level, 90 is directly above the layer. Determines the lighting angle at which the effect is applied to the layer. You can drag in the document window Angle to adjust the angle of a Drop Shadow, Inner Shadow, or Satin effect.
Page 308 PHOTOSHOP CS3 User Guide Specifies the pattern of a layer effect. Click the pop-up palette and choose a pattern. Click the New preset Pattern button to create a new preset pattern based on the current settings. Click Snap To Origin to make the origin of the pattern the same as the origin of the document (when Link With Layer is selected), or to place the origin at the upper left corner of the layer (if Link With Layer is deselected).
Page 309 PHOTOSHOP CS3 User Guide You can select, reset, delete, or change the preview of contours in the Contour pop-up palette and Preset Manager. Detail of Layer Style dialog box for Drop Shadow effect A. Click to display the Contour Editor dialog box. B. Click to display the pop-up palette. Create a custom contour Select the Drop Shadow, Inner Shadow, Inner Glow, Outer Glow, Bevel and Emboss, Contour, or Satin effect in the Layer Style dialog box.
Page 310 PHOTOSHOP CS3 User Guide Hide or show all layer styles in an image ❖ Choose Layer > Layer Style > Hide All Effects or Show All Effects. Expand or collapse layer styles in the Layers palette ❖ Do one of the following: •...
Page 311 PHOTOSHOP CS3 User Guide Save a set of preset styles as a library Do one of the following: • Choose Save Styles from the Styles palette menu. • Select Styles on the left side of the Layer Styles dialog box. Then choose Save Styles from the pop-up menu. •...
Page 312 PHOTOSHOP CS3 User Guide Scale a layer effect A layer style may have been fine-tuned for a target resolution and features of a given size. Using Scale Effects allows you to scale the effects in the layer style without scaling the object to which the layer style is applied. Select the layer in the Layers palette.
Page 313: Adjustment And Fill Layers
PHOTOSHOP CS3 User Guide Adjustment and fill layers About adjustment layers and fill layers An adjustment layer applies color and tonal adjustments to your image without permanently changing pixel values. For example, rather than making a Levels or Curves adjustment directly to your image, you can create a Levels or Curves adjustment layer.
Page 314 PHOTOSHOP CS3 User Guide Create adjustment and fill layers Adjustment layers and fill layers have the same opacity and blending mode options as image layers. You can rearrange, delete, hide, and duplicate them just as you do image layers. By default, adjustment layers and fill layers have layer masks, as indicated by the mask icon to the left of the layer thumbnail.
Page 315: Nondestructive Editing
PHOTOSHOP CS3 User Guide Click the pattern, and choose a pattern from the pop-up palette. Click Scale, and enter a value or drag the Pattern slider. Click Snap To Origin to make the origin of the pattern the same as the origin of the document. Select Link With Layer if you want the pattern to move along with the layer as the layer moves.
Page 316 PHOTOSHOP CS3 User Guide Filters applied to Smart Objects become Smart Filters and allow for nondestructive filter Filtering with Smart Filters effects. Shadow/Highlight and Variations commands Adjusting variations, shadows, and highlights with Smart Objects can be applied to a Smart Object as Smart Filters. Clone Stamp, Healing Brush, and Spot Healing Brush tools let you retouch nonde- Retouching on a separate layer structively on a separate layer.
Page 317 Smart Object. Clipping masks aren’t retained when you group layers into a Smart Object. • Drag PDF or Adobe Illustrator layers or objects into a Photoshop document. • Paste artwork from Illustrator into a Photoshop document, and choose Smart Object in the Paste dialog box. For the greatest flexibility, enable both PDF and AICB (No Transparency Support) in the File Handling section of the Preferences dialog box.
Page 318 User Guide See also “Place a file in Photoshop” on page 75 “Paste Adobe Illustrator art into Photoshop” on page 76 Duplicate a Smart Object ❖ In the Layers palette, select a Smart Object layer, and do one of the following: •...
Page 319 Filter effects when you open it, including filter masks. However, if you subsequently edit the Smart Object layer, Photoshop won’t display the layer’s Smart Filters. You cannot edit filter masks in Photoshop. For a video on smart filters, see www.adobe.com/go/vid0004. Apply a Smart Filter Do one of the following: •...
Page 320 Layers palette; press Alt-drag (Windows) or Option-drag (Mac OS) Smart Filters. You can’t drag Smart Filters onto regular layers. For a video on applying smart filters, see www.adobe.com/go/vid0004. Edit a Smart Filter If a Smart Filter contains editable settings, you can edit it at any time. You can also edit blending options for Smart Filters.
Page 321 PHOTOSHOP CS3 User Guide Reorder Smart Filters ❖ In the Layers palette, drag a Smart Filter up or down in the list. You can’t reorder Smart Filters applied from the Filter Gallery. Photoshop applies Smart Filters from the bottom up. Duplicate Smart Filters ❖...
Page 322: Layer Comps
PHOTOSHOP CS3 User Guide • To show portions of the filter, paint the mask with white. • To make the filter partially visible, paint the mask with gray. You can also apply image adjustments and filters to filter masks. Display only the filter mask ❖...
Page 323 PHOTOSHOP CS3 User Guide Choose Window > Layer Comps to show the palette. Layer Comps palette A. Apply Layer Comp icon B. Last Document State C. Selected comps D. Layer Comp Cannot Be Fully Restored icon Create a layer comp Choose Window >...
Page 324 PHOTOSHOP CS3 User Guide Change and update a layer comp If you change the configuration of a layer comp, you need to update it. Select the layer comp in the Layer Comps palette. Make changes to the layer’s visibility, position, or style. You may need to change the layer comp’s options to record these changes.
Page 325: Masking Layers
PHOTOSHOP CS3 User Guide Masking layers You can add a mask to a layer and use the mask to hide portions of the layer and reveal the layers below. Masking layers is a valuable compositing technique for combining multiple photos into a single image or for making local color and tonal corrections.
Page 326 PHOTOSHOP CS3 User Guide A vector mask creates a sharp-edged shape on a layer and is useful anytime you want to add a design element with clean, defined edges. After you create a layer with a vector mask, you can apply one or more layer styles to it, edit them if needed, and instantly have a usable button, panel, or other web-design element.
Page 327 PHOTOSHOP CS3 User Guide • To make the layer partially visible, paint the mask with gray. Darker grays make the level more transparent, lighter grays make it more opaque. • To add to the mask and hide the layer or group, paint the mask with black. The layers below become visible. To edit the layer instead of the layer mask, select it by clicking its thumbnail in the Layers palette.
Page 328 PHOTOSHOP CS3 User Guide Add and edit vector masks You create vector masks with the pen or shapes tools. For more information on working with these tools, see “Drawing” on page 358. Add a vector mask that shows or hides the entire layer In the Layers palette, select the layer you want to add the vector mask to.
Page 329 PHOTOSHOP CS3 User Guide Note: By default, masks applied to Smart Objects aren’t linked to Smart Object layers. • To unlink a layer from its mask, click the link icon in the Layers palette. • To reestablish the link between a layer and its mask, click between the layer and mask path thumbnails in the Layers palette.
Page 330 PHOTOSHOP CS3 User Guide Mask layers with clipping masks A clipping mask lets you use the content of a layer to mask the layers above it. The masking is determined by the content of the bottom or base layer. The non-transparent content of the base layer clips (reveals), the content of the layers above it in the clipping mask.
Page 331 In another shot her eyes are open. Using Auto-Align Layers and layer masking, you can combine these shots and eliminate the flaw in the final image. For a video on aligning layers by content, see www.adobe.com/go/vid0014. Open the two images you want to combine.
Page 332: Chapter 11: Painting
About painting tools, options, and palettes Adobe Photoshop CS3 provides several tools for painting and editing image color. The Brush tool and the Pencil tool work like traditional drawing tools by applying color with brush strokes. The Gradient tool, Fill command, and Paint Bucket tool apply color to large areas.
Page 333 PHOTOSHOP CS3 User Guide Paint with the Brush tool or Pencil tool The Brush tool and the Pencil tool paint the current foreground color on an image. The Brush tool creates soft strokes of color. The Pencil tool creates hard-edged lines. Choose a foreground color.
Page 334 PHOTOSHOP CS3 User Guide Select Aligned in the options bar to maintain the pattern’s continuity with your original start point, even if you release the mouse button and then continue painting. Deselect Aligned to restart the pattern each time you stop and start painting.
Page 335 PHOTOSHOP CS3 User Guide Erase with the Eraser tool The Eraser tool changes pixels to either the background color or to transparent. If you’re working in the background or in a layer with transparency locked, the pixels change to the background color; otherwise, the pixels are erased to transparency.
Page 336 PHOTOSHOP CS3 User Guide • Select Contiguous to erase only pixels contiguous to the one you click, or deselect to erase all similar pixels in the image. • Select Sample All Layers to sample the erased color using combined data from all visible layers. •...
Page 337: Brush Presets
PHOTOSHOP CS3 User Guide Auto Erase with the Pencil tool The Auto Erase option for the Pencil tool lets you paint the background color over areas containing the foreground color. Specify foreground and background colors. Select the Pencil tool Select Auto Erase in the options bar. Drag over the image.
Page 338 PHOTOSHOP CS3 User Guide Change options for the preset brush. Temporarily changes the brush size. Drag the slider or enter a value. If the brush has a dual tip, both the Diameter primary and dual brush tips are scaled. Uses the original diameter of the brush tip if the brush tip shape is based on a sample. (Not available Use Sample Size for round brushes.) Temporarily changes the amount of anti-aliasing for the brush tool.
Page 339: Creating And Modifying Brushes
PHOTOSHOP CS3 User Guide You can save the library anywhere. However, if you place the library file in the Presets/Brushes folder in the default preset location, the library name will appear at the bottom of the Brush Preset picker menu and Brushes palette menu after you restart Photoshop.
Page 340 PHOTOSHOP CS3 User Guide The brush stroke preview at the bottom of the palette shows how paint strokes look with the current brush options. Brushes palette with Brush Tip Shape options displayed A. Locked B. Unlocked C. Selected brush tip D. Brush settings E. Brush stroke preview F. pop-up menu G. Brush tip shapes (available when Brush Tip Shape option is selected) H.
Page 341 PHOTOSHOP CS3 User Guide Create a brush and set painting options Open the Brushes palette by clicking the brushes palette button in the options bar. Make sure the Brush tool is selected to see the button. In the Brushes palette, choose an existing brush preset to modify or select a brush shape from the Brush Tip Shape panel of the Brushes palette.
Page 342 PHOTOSHOP CS3 User Guide Flipping a brush tip on its x axis. A. Brush tip in its default position B. Flip X selected C. Flip X and Flip Y selected Changes the direction of a brush tip on its y axis. Flip Y Flipping a brush tip on its y axis.
Page 343: Create A Brush And Set Painting Options
PHOTOSHOP CS3 User Guide Brush strokes with different hardness values Controls the distance between the brush marks in a stroke. To change the spacing, type a number, or use Spacing the slider to enter a value that is a percentage of the brush diameter. When this option is deselected, the speed of the cursor determines the spacing.
Page 344: Brush Shape Dynamics
PHOTOSHOP CS3 User Guide See also “Brushes palette overview” on page 332 “Create a brush and set painting options” on page 334 Brush shape dynamics Shape dynamics determine the variance of brush marks in a stroke. Brush stokes without shape dynamics and with shape dynamics Specifies how the size of brush marks vary in a stroke.
Page 345: Brush Scattering
PHOTOSHOP CS3 User Guide Specifies how the roundness of brush marks varies in a stroke. To specify the maximum Roundness Jitter and Control percentage of jittering, enter a percentage indicating the ratio between the brush’s short and long axes. To specify how you want to control the roundness variance of brush marks, choose an option from the Control pop-up menu: •...
Page 346: Textured Brush Options
PHOTOSHOP CS3 User Guide Specifies how the number of brush marks varies for each spacing interval. To specify the Count Jitter and Control maximum percentage of brush marks applied at each spacing interval, enter a value. To specify how you want to control the count variance of brush marks, choose an option from the Control pop-up menu: •...
Page 347: Dual Brushes
PHOTOSHOP CS3 User Guide Specifies how the depth varies when Texture Each Tip is selected. To specify the maximum Depth Jitter and Control percentage of jitter, enter a value. To specify how you want to control the depth variance of brush marks, choose an option from the Control pop-up menu: •...
Page 348: Other Dynamics Brush Options
PHOTOSHOP CS3 User Guide Brush strokes without color dynamics (left) and with color dynamics (right) Specifies how paint varies between the foreground color and Foreground/Background Jitter and Control background color. To specify a percentage by which the color of the paint can vary, type a number, or use the slider to enter a value. To specify how you want to control the color variance of brush marks, choose an option from the Control pop-up menu: •...
Page 349: Other Brush Options
PHOTOSHOP CS3 User Guide Brush strokes without paint dynamics (left) and with paint dynamics (right) Specifies how the opacity of paint varies in a brush stroke, up to (but not exceeding) the Opacity Jitter and Control opacity value specified in the options bar. To specify a percentage by which the opacity of the paint can vary, type a number or use the slider to enter a value.
Page 350: Blending Modes
PHOTOSHOP CS3 User Guide Copy textures between tools When you specify a texture for the current tool, you can copy the texture’s pattern and scale to all tools that support textures. For example, you can copy the current texture pattern and scale for the Brush tool to the Pencil, Clone Stamp, Pattern Stamp, History Brush, Art History Brush, Eraser, Dodge, Burn, and Sponge tools.
Page 351 PHOTOSHOP CS3 User Guide List of blending modes Choose from the Mode pop-up menu in the options bar. Note: Only the Normal, Dissolve, Darken, Multiply, Lighten, Linear Dodge (Add), Difference, Hue, Saturation, Color, Luminosity, Lighter Color, and Darker Color blending modes are available for 32-bit images. Edits or paints each pixel to make it the result color.
Page 352 PHOTOSHOP CS3 User Guide Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh Hard Light spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened.
Page 353 PHOTOSHOP CS3 User Guide Blending mode examples These examples show the result of painting part of the image’s face using each blending mode. For a video on blend modes, see www.adobe.com/go/vid0012. Original Image Normal, 100% opacity Dissolve, 50% opacity Normal, 50% opacity...
Page 354: Gradients
PHOTOSHOP CS3 User Guide Hard Mix Difference Exclusion Saturation Color Luminosity, 80% opacity Lighter Color Darker Color Gradients Apply a gradient fill The Gradient tool creates a gradual blend between multiple colors. You can choose from preset gradient fills or create your own.
Page 355 PHOTOSHOP CS3 User Guide Shades in a counterclockwise sweep around the starting point. Angle gradient Shades using symmetric linear gradients on either side of the starting point. Reflected gradient Shades from the starting point outward in a diamond pattern. The ending point defines one Diamond gradient corner of the diamond.
Page 356 PHOTOSHOP CS3 User Guide Change how preset gradients are displayed ❖ Choose a display option from the palette menu: Displays the gradients as a list. Text Only Displays the gradients as thumbnails. Small or Large Thumbnail Displays the gradients as a list with thumbnails. Small or Large List Rename a preset gradient •...
Page 357 PHOTOSHOP CS3 User Guide To choose a color, do one of the following: • Double-click the color stop, or click the color swatch in the Stops section of the dialog box. Choose a color, and click OK. • Choose an option from the Color pop-up menu in the Stops section of the dialog box. •...
Page 358: Filling And Stroking Selections, Layers, And Paths
PHOTOSHOP CS3 User Guide To adjust the location of the midpoint opacity (the point midway between the starting and ending opacities), do one of the following: • Drag the diamond above the gradient bar to the left or right. • Select the diamond and enter a value for Location. To delete the opacity stop you are editing, click Delete.
Page 359 PHOTOSHOP CS3 User Guide Fill with the Paint Bucket tool The Paint Bucket tool fills adjacent pixels that are similar in color value to the pixels you click. Note: The Paint Bucket tool cannot be used with images in Bitmap mode. Choose a foreground color.
Page 360 PHOTOSHOP CS3 User Guide To apply a foreground color fill only to the areas that contain pixels, press Alt+Shift+Backspace (Windows) or Option+Shift+Delete (Mac OS). This preserves the transparency of the layer. To apply a background color fill only to the areas that contain pixels, press Ctrl+Shift+Backspace (Windows) or Command+Shift+Delete (Mac OS). Fill the work canvas Set the foreground color you want to use for the canvas.
Page 361: Creating And Managing Patterns
Choose Edit > Stroke. In the Stroke dialog box, type a value for Width, and then click the color swatch to display the Adobe Color Picker. In the Adobe Color Picker, locate the color range you want using the triangle sliders on the color spectrum bar, and then click the desired color in the color field.
Page 362 PHOTOSHOP CS3 User Guide See also “Generate a pattern using the Pattern Maker” on page 356 “Create and use tool presets” on page 31 Define an image as a preset pattern Use the Rectangle Marquee tool on any open image to select an area to use as a pattern. Feather must be set to 0 pixels.
Page 363 PHOTOSHOP CS3 User Guide Delete a preset pattern ❖ Do one of the following: • Select the pattern you want to delete, and choose Delete Pattern from the palette menu. • Hold down Alt (Windows) or Option (Mac OS), position the pointer over a pattern (the pointer turns into scissors), and click.
Page 364 PHOTOSHOP CS3 User Guide Specifies the size of pattern slices in the tile. A high value maintains more of the original detail in the Sample Detail pattern. A low value uses smaller slices in the tile. Tiles take longer to generate when you use a high value. Navigate through the generated tiles in the Tile History panel to select the tile that you want to use to fill the layer or to save as a pattern preset.
Page 365: Chapter 12: Drawing
Drawing shapes and paths Drawing in Adobe Photoshop CS3 involves creating vector shapes and paths. In Photoshop, you can draw with any of the shape tools, the Pen tool, or the Freeform Pen tool. Options for each tool are available in the options bar.
Page 366: Drawing Shapes
PHOTOSHOP CS3 User Guide Paints directly on a layer—much as a painting tool does. When you work in this mode, you’re creating Fill Pixels raster images—not vector graphics. You work with the shapes you paint just as you do with any raster image. Only the shape tools work in this mode.
Page 367 PHOTOSHOP CS3 User Guide See also “Edit shapes” on page 361 “Drawing and type tools gallery” on page 29 Draw multiple shapes in a layer You can draw separate shapes on a layer, or use the Add, Subtract, Intersect, or Exclude options to modify the current shape on a layer.
Page 368 PHOTOSHOP CS3 User Guide Draw a custom shape You can draw custom shapes by using shapes from the Custom Shape pop-up palette, or save a shape or path to use as a custom shape. Select the Custom Shape tool Select a shape from the Custom Shape pop-up palette in the options bar. If you don’t find a shape you want in the palette, click the arrow in the upper right corner of the palette, and choose a different category of shapes.
Page 369 PHOTOSHOP CS3 User Guide • To fill a shape with a pattern or gradient, select a shape layer in the Layers palette and choose Layer > Change Layer Content > Gradient, and set gradient options. • To fill a shape with a pattern or gradient, select a shape layer in the Layers palette and choose Layer > Change Layer Content >...
Page 370: Drawing With The Pen Tools
PHOTOSHOP CS3 User Guide Constrains a rectangle or rounded rectangle to a square. Square Lets you set the width and height of a rectangle, rounded rectangle, ellipse, or custom shape by Unconstrained dragging. Determines the width, in pixels, of a line. Weight Drawing with the Pen tools About the Pen tools...
Page 371 PHOTOSHOP CS3 User Guide Note: The first segment you draw will not be visible until you click a second anchor point. (Select the Rubber Band option in Photoshop to preview path segments.) Also, if direction lines appear, you’ve accidentally dragged the Pen tool; choose Edit >...
Page 372 • To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects. To leave the path open, you can also select a different tool, or choose Select > Deselect in Illustrator or Edit > Deselect All in InDesign. For a video on using the Pen tool in Illustrator, see www.adobe.com/go/vid0037.
Page 373 PHOTOSHOP CS3 User Guide Finish drawing a path ❖ Complete a path in one of the following ways: • To close a path, position the Pen tool over the first (hollow) anchor point. A small circle appears next to the Pen tool pointer when it is positioned correctly.
Page 374 PHOTOSHOP CS3 User Guide Press Alt (Windows) or Option (Mac OS) to temporarily change the Pen tool to the Convert Point tool. Select the Pen tool from the toolbox, position the Pen tool where you want the straight segment to end, and click to complete the straight segment.
Page 375 PHOTOSHOP CS3 User Guide Draw using the magnetic pen options The Magnetic Pen is an option of the Freeform Pen tool that lets you draw a path that snaps to the edges of defined areas in your image. You can define the range and sensitivity of the snapping behavior, as well as the complexity of the resulting path.
Page 376: Managing Paths
PHOTOSHOP CS3 User Guide Managing paths Paths palette overview The Paths palette (Window > Paths) lists the name and a thumbnail image of each saved path, the current work path, and the current vector mask. Turning thumbnails off can improve performance. To view a path, you must first select it in the Paths palette.
Page 377 PHOTOSHOP CS3 User Guide Removes the new area from the overlapping path area. Subtract From Path Area Restricts the path to the intersection of the new area and the existing area. Intersect Path Areas Excludes the overlap area in the consolidated path. Exclude Overlapping Path Areas While drawing with a shape tool, hold down Shift to temporarily select the Add To Path Area option;...
Page 378: Editing Paths
PHOTOSHOP CS3 User Guide Editing paths Path segments, components, and points A path consists of one or more straight or curved segments. Anchor points mark the end points of the path segments. On curved segments, each selected anchor point displays one or two direction lines, ending in direction points. The positions of direction lines and points determine the size and shape of a curved segment.
Page 379 PHOTOSHOP CS3 User Guide Separate path components selected Select a path Selecting a path component or path segment displays all of the anchor points on the selected portion, including any direction lines and direction points if the selected segment is curved. Direction points appear as filled circles, selected anchor points as filled squares, and unselected anchor points as hollow squares.
Page 380 PHOTOSHOP CS3 User Guide Adjust path segments You can edit a path segment at any time, but editing existing segments is slightly different from drawing them. Keep the following tips in mind when editing segments: • If an anchor point connects two segments, moving that anchor point always changes both segments. •...
Page 381 PHOTOSHOP CS3 User Guide Drag the anchor point, or drag the direction point. Note: You can also apply a transformation, such as scaling or rotating, to a segment or anchor point. Delete a segment Select the Direct Selection tool , and select the segment you want to delete. Press Backspace (Windows) or Delete (Mac OS) to delete the selected segment.
Page 382 You can also use the Copy and Paste commands to duplicate vector objects between a Photoshop image and an image in another application, such as Adobe Illustrator. See also “Path segments, components, and points”...
Page 383 PHOTOSHOP CS3 User Guide Reshape a path component Select the path name in the Paths palette, and use the Direct Selection tool to select an anchor point in the path. Drag the point or its handles to a new location. Merge overlapping path components Select the path name in the Paths palette, and select the Path Selection tool Click Combine in the options bar to create a single component from all overlapping components.
Page 384 PHOTOSHOP CS3 User Guide Note: To align shapes that are on separate layers, use the Move tool. • To align components, use the Path Selection tool to select the components you want to align, and select one of the alignment options from the options bar. Alignment options A.
Page 385 PHOTOSHOP CS3 User Guide Disable or temporarily override automatic Pen tool switching You can override automatic switching of the Pen tool to the Add Anchor Point tool or the Delete Anchor Point tool. This is useful when you want to start a new path on top of an existing path. •...
Page 386: Converting Between Paths And Selection Borders
PHOTOSHOP CS3 User Guide Converting a smooth point to a corner point See also “Path segments, components, and points” on page 371 Converting between paths and selection borders Convert paths to selection borders Paths provide smooth outlines that you can convert into precise selection borders. You also can convert selection borders into paths, using the Direct Selection tool for fine-tuning.
Page 387: Adding Color To Paths
PHOTOSHOP CS3 User Guide Select an Operation option: Selects only the area defined by the path. New Selection Adds the area defined by the path to the original selection. Add To Selection Removes the area defined by the path from the current selection. Subtract From Selection Selects the area common to both the path and the original selection.
Page 388 PHOTOSHOP CS3 User Guide Fill a path using the current Fill Path settings Select the path in the Paths palette. Click the Fill Path button at the bottom of the Paths palette. Fill a path and specify options Select the path in the Paths palette. Fill the path: •...
Page 389 PHOTOSHOP CS3 User Guide Stroke a path using the current Stroke Path settings Select the path in the Paths palette. Click the Stroke Path button at the bottom of the Paths palette. Each click of the Stroke Path button builds up the opacity of the stroke and, in some cases, makes it look thicker.
Page 390: Chapter 13: Filters
This section provides an overview of Adobe Photoshop CS3 filters and how to apply them to images. Complete information on using some filters is available in other sections. Search Adobe Help or check the index for information on the Sharpening, Blurring, Lens Correction, Lens Blur, Noise Reduction, Liquify, and Vanishing Point filters.
Page 391 PHOTOSHOP CS3 User Guide See also “About plug-in modules” on page 50 Apply a filter from the Filter menu You can apply a filter to the active layer, or to a Smart Object. Filters applied to a Smart Object are nondestructive and can be readjusted at any time.
Page 392 PHOTOSHOP CS3 User Guide Filter Gallery dialog box A. Preview B. Filter category C. Thumbnail of selected filter D. Show/Hide filter thumbnails E. Filters pop-up menu F. Options for selected filter G. List of filter effects to apply or arrange H. Filter effect selected but not applied I. Filter effects applied cumulatively but not selected J.
Page 393 PHOTOSHOP CS3 User Guide • To apply a filter to an area of a layer, select that area. • To apply a filter nondestructively, so you can change your filter settings later, select the Smart Object that contains the image content that you want to filter. Choose Filter >...
Page 394 PHOTOSHOP CS3 User Guide Tips for creating special effects You can use various techniques to treat the edges of an effect applied to only part of an image. Creating edge effects To leave a distinct edge, simply apply the filter. For a soft edge, feather the edge, and then apply the filter. For a trans- parent effect, apply the filter, and then use the Fade command to adjust the selection’s blending mode and opacity.
Page 395: Filter Effects Reference
PHOTOSHOP CS3 User Guide Filter effects reference Artistic filters Filters from the Artistic submenu help you achieve painterly and artistic effects for a fine arts or commercial project. For example, use the Cutout filter for collages or typography. These filters replicate natural or traditional media effects.
Page 396 PHOTOSHOP CS3 User Guide Before (left) and after (right) using the Lens Blur filter; the background is blurred but foreground stays sharp Note: To apply a Blur filter to the edges of a layer, deselect the Lock Transparent Pixel option in the Layers palette. Finds the average color of an image or selection, and then fills the image or selection with the color to create Average a smooth look.
Page 397: Brush Stroke Filters
PHOTOSHOP CS3 User Guide controls how much the tonal values of neighboring pixels must diverge from the center pixel value before being part of the blur. Pixels with tonal value differences less than the Threshold value are excluded from the blur. Brush Stroke filters Like the Artistic filters, the Brush Stroke filters give a painterly or fine-arts look using different brush and ink stroke effects.
Page 398: Noise Filters
PHOTOSHOP CS3 User Guide Creates an undulating pattern on a selection, like ripples on the surface of a pond. For greater control, use Ripple the Wave filter. Options include the number and size of ripples. Distorts an image along a curve. Specify the curve by dragging the line in the box. You can adjust any point Shear along the curve.
Page 399: Pixelate Filters
PHOTOSHOP CS3 User Guide Pixelate filters The filters in the Pixelate submenu sharply define a selection by clumping pixels of similar color values in cells. Simulates the effect of using an enlarged halftone screen on each channel of the image. For each Color Halftone channel, the filter divides the image into rectangles and replaces each rectangle with a circle.
Page 400: Sharpen Filters
PHOTOSHOP CS3 User Guide Sharpen filters The Sharpen filters focus blurred images by increasing the contrast of adjacent pixels. Focus a selection and improve its clarity. The Sharpen More filter applies a stronger Sharpen and Sharpen More sharpening effect than does the Sharpen filter. Find the areas in the image where significant color changes occur and sharpen Sharpen Edges and Unsharp Mask them.
Page 401: Stylize Filters
PHOTOSHOP CS3 User Guide Molds an image from 3D plaster, and then colorizes the result using the foreground and background color. Plaster Dark areas are raised, and light areas are recessed. Simulates the controlled shrinking and distortion of film emulsion to create an image that appears Reticulation clumped in the shadows and lightly grained in the highlights.
Page 402: Texture Filters
PHOTOSHOP CS3 User Guide Texture filters Use the Texture filters to simulate the appearance of depth or substance, or to add an organic look. Paints an image onto a high-relief plaster surface, producing a fine network of cracks that follow the Craquelure contours of the image.
Page 403: Applying Specific Filters
PHOTOSHOP CS3 User Guide Moves a selection a specified horizontal or vertical amount, leaving an empty space at the selection’s original Offset location. You can fill the empty area with the current background color, with another part of the image, or with your choice of fill if the selection is near the edge of an image.
Page 404 The filter creates displacement maps using a flattened file saved in Adobe Photoshop format (except Bitmap mode images). You can also use the files in the Plug-Ins/Displacement Maps folder in the Photoshop program folder.
Page 405 PHOTOSHOP CS3 User Guide Apply the Color Halftone filter Choose Filter > Pixelate > Color Halftone. Enter a value in pixels for the maximum radius of a halftone dot, from 4 to 127. Enter a screen-angle value (the angle of the dot from the true horizontal) for one or more channels: •...
Page 406: Add Lighting Effects
PHOTOSHOP CS3 User Guide Select the center text box, which represents the pixel being evaluated. Enter the value by which you want to multiply that pixel’s brightness value, from –999 to +999. Select a text box representing an adjacent pixel. Enter the value by which you want the pixel in this position multi- plied.
Page 407 PHOTOSHOP CS3 User Guide Lighting Effects types You can choose from several lighting types: Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Omni Shines light from far away so that the light angle doesn’t change—like the sun. Directional Casts an elliptical beam of light.
Page 408 PHOTOSHOP CS3 User Guide Lighting Effects styles Use the Style menu in the Lighting Effects dialog box to choose from 17 light styles. You can also create your own lighting style by adding lights to the Default setting. The Lighting Effects filter requires at least one light source. Only one light can be edited at a time, but all added lights are used to create the effect.
Page 409 PHOTOSHOP CS3 User Guide Use the Texture Channel in the Lighting Effects The Texture Channel in the Lighting Effects dialog box lets you control lighting effects using grayscale images (called bump maps) that you add to your image as alpha channels. You can add any grayscale image to your image as an alpha channel, or create a new alpha channel and add texture to it.
Page 410: Chapter 14: Type
Chapter 14: Type Type in Adobe Photoshop CS3 consists of vector-based type outlines—mathematically defined shapes that describe the letters, numbers, and symbols of a typeface. Many typefaces are available in more than one format, the most common formats being Type 1 (also called PostScript fonts), TrueType, OpenType, New CID, and CID nonprotected (Japanese only).
Page 411 PHOTOSHOP CS3 User Guide Entering type There are three ways to create type: at a point, inside a paragraph, and along a path. • Point type is a horizontal or vertical line of text that begins where you click in the image. Entering text at a point is a useful way to add a few words to your image.
Page 412 PHOTOSHOP CS3 User Guide Note: You can also transform point type while in edit mode. Hold down the Ctrl (Windows) or Command (Mac OS) key. A bounding box appears around the type. You can grab a handle to scale or skew the type. You can also rotate the bounding box.
Page 413: Editing Text
PHOTOSHOP CS3 User Guide Note: You can transform point type while in edit mode. Hold down the Ctrl (Windows) or Command (Mac OS) key, and a bounding box appears around the type. • To resize the bounding box, position the pointer over a handle—the pointer turns into a double arrow —and drag.
Page 414 PHOTOSHOP CS3 User Guide • Select one or more characters you want to edit. Enter text as desired. Commit the changes to the type layer. See also “Formatting characters” on page 411 “Formatting paragraphs” on page 422 “Line and character spacing” on page 419 “Scaling and rotating type”...
Page 415 PHOTOSHOP CS3 User Guide Note: When you use anti-aliasing, type may be rendered inconsistently at small sizes and low resolutions (such as the resolution used for web graphics). To reduce this inconsistency, deselect the Fractional Width option in the Character palette menu.
Page 416 PHOTOSHOP CS3 User Guide Find and replace text Do one of the following: • Select the layer containing the text you want to find and replace. Place the insertion point at the beginning of the text you want to search. •...
Page 417 PHOTOSHOP CS3 User Guide Association of Cacto- philes Association of Cac- tophiles Association des Cactophi- Examples of hyphenation for different languages A. “Cactophiles” in English USA B. “Cactophiles” in English UK C. “Cactophiles” in French Do one of the following: •...
Page 418: Formatting Characters
PHOTOSHOP CS3 User Guide Formatting characters About character formatting You can set type attributes before you enter characters or reset them to change the appearance of selected characters in a type layer. Before you can format individual characters, you must select them. You can select one character, a range of characters, or all characters in a type layer.
Page 419 PHOTOSHOP CS3 User Guide Character palette A. Font Family B. Font Size C. Vertical Scale D. Set Tsume option E. Tracking F. Baseline Shift G. Language H. Font Style I. Leading J. Horizontal scale K. Kerning Note: You must select Show Asian Text Options in the Type preferences for the Set Tsume option to appear in the Character palette.
Page 420 ❖ Do one of the following: • Click the Color selection box in the options bar or Character palette, and select a color using the Adobe Color Picker. • Use fill shortcuts. To fill with the foreground color, press Alt+Backspace (Windows) or Option+Delete (Mac OS);...
Page 421 User Guide In the Adobe Color Picker, locate the color range you want using the triangle sliders on the color spectrum bar, and then click the desired color in the color field. The color you select appears in the top half of the color swatch in the Adobe Color Picker.
Page 422: Fonts
Program Files/Common Files/Adobe/Fonts Windows Library/Application Support/Adobe/Fonts Mac OS If you install a Type 1, TrueType, OpenType, or CID font into the local Fonts folder, the font appears in Adobe appli- cations only. See also “OpenType fonts” on page 417 “About missing fonts and glyph protection” on page 416...
Page 423 PHOTOSHOP CS3 User Guide • Type 1 • TrueType • Multiple Master You can turn off the preview feature or change the point size of the font names in Type preferences. Choose a font family and style Choose a font family from the Font Family menu in the Character palette or options bar. If more than one copy of a font is installed on your computer, an abbreviation follows the font name: (T1) for Type 1 fonts, (TT) for TrueType fonts, or (OT) for OpenType fonts.
Page 424 OpenType fonts may include an expanded character set and layout features to provide richer linguistic support and advanced typographic control. OpenType fonts from Adobe that include support for central European (CE) languages include the word “Pro, ” as part of the font name in application font menus. OpenType fonts that don’t contain central European language support are labeled “Standard, ”...
Page 425 However, you can preview and apply OpenType features by using the Adobe Illustrator Glyphs palette. Copy and paste your text into Adobe Illustrator and use the Glyphs palette to preview and apply OpenType features. You can then paste the text back into Photoshop.
Page 426: Line And Character Spacing
PHOTOSHOP CS3 User Guide Line and character spacing Set leading The vertical space between lines of type is called leading (rhymes with sledding). For Roman type, leading is measured from the baseline of one line of text to the baseline of the line above it. The baseline is the invisible line on which most letters sit.
Page 427 PHOTOSHOP CS3 User Guide Kerning and tracking options A. Original text B. Text with optical kerning C. Text with manual kerning between W and a D. Text with tracking E. Cumulative kerning and tracking You can also use manual kerning, which is ideal for adjusting the space between two letters. Tracking and manual kerning are cumulative, so you can first adjust individual pairs of letters, and then tighten or loosen a block of text without affecting the relative kerning of the letter pairs.
Page 428: Scaling And Rotating Type
PHOTOSHOP CS3 User Guide Shift the baseline Use Baseline Shift to move selected characters up or down relative to the baseline of the surrounding text. Shifting the baseline is especially useful when you’re hand-setting fractions or adjusting the position of a picture font. Select the characters or type objects you want to change.
Page 429: Formatting Paragraphs
PHOTOSHOP CS3 User Guide Rotate type ❖ Do the following: • To rotate type, select the type layer and use any rotate command or the Free Transform command. For paragraph type, you can also select the bounding box and use a handle to rotate the type manually. •...
Page 430 PHOTOSHOP CS3 User Guide • To apply formatting to all paragraphs in the layer, select the type layer in the Layers palette. See also “Formatting characters” on page 411 “Line and character spacing” on page 419 “Scaling and rotating type” on page 421 “Editing text”...
Page 431 PHOTOSHOP CS3 User Guide The options for vertical type are: Aligns type to the top, leaving the bottom edge of the paragraph ragged. Top Align Text Aligns type to the center, leaving both the top and bottom edges of the paragraph ragged. Center Text Aligns type to the bottom, leaving the top edge of the paragraph ragged.
Page 432 PHOTOSHOP CS3 User Guide Enter values for Word Spacing, Letter Spacing, and Glyph Spacing. The Minimum and Maximum values define a range of acceptable spacing for justified paragraphs only. The Desired value defines the desired spacing for both justified and unjustified paragraphs: The space between words that results from pressing the spacebar.
Page 433 PHOTOSHOP CS3 User Guide Specify hanging punctuation for Roman fonts Hanging punctuation controls the alignment of punctuation marks for a specific paragraph. When Roman Hanging Punctuation is turned on, the following characters appear outside the margins: single quotes, double quotes, apostrophes, commas, periods, hyphens, em dashes, en dashes, colons, and semicolons.
Page 434 Specifies a distance from the right edge of a paragraph, demarcating a portion of the line where Hyphenation Zone hyphenation is not allowed. A setting of 0 allows all hyphenation. This option applies only when you use the Adobe Single-line Composer.
Page 435: Creating Type Effects
PHOTOSHOP CS3 User Guide Single-line Composer The Single-line composer offers a traditional approach to composing type one line at a time. This option is useful if you want manual control over how lines break. The Single-line Composer uses the following principles when consid- ering a breakpoint: •...
Page 436 PHOTOSHOP CS3 User Guide Horizontal and vertical type on a closed path created by a shape tool See also “Drawing shapes and paths” on page 358 “Shift the baseline” on page 421 Enter type along a path Do one of the following: •...
Page 437 PHOTOSHOP CS3 User Guide Using the Direct Selection tool or Path Selection tool to move or flip type on a path To move type across a path without changing the direction of the type, use the Baseline Shift option in the Character palette.
Page 438 PHOTOSHOP CS3 User Guide Do one of the following: • Select a type tool, and click the Warp button in the options bar. • Choose Layer > Type > Warp Text. Note: You can use the Warp command to warp text in a type layer. Choose Edit > Transform > Warp. Choose a warp style from the Style pop-up menu.
Page 439 PHOTOSHOP CS3 User Guide Create a type selection border When you use the Horizontal Type Mask tool or Vertical Type Mask tool, you create a selection in the shape of the type. Type selections appear on the active layer, and can be moved, copied, filled, or stroked just like any other selection.
Page 440: Asian Type
PHOTOSHOP CS3 User Guide (Optional) If the image layer is the background layer, double-click the image layer in the Layers palette to convert it from a background layer into a regular layer. Note: Background layers are locked and prevent you from moving them in the Layers palette. It’s necessary to convert background layers to regular layers to unlock them.
Page 441 PHOTOSHOP CS3 User Guide Reduce spacing around Asian type characters Tsume reduces the space around a character by a specified percentage value. As a result, the character itself is not stretched or squeezed. Instead, the space between the character’s bounding box and the em box is compressed. When tsume is added to a character, spacing around both sides of the character is reduced by an equal percentage.
Page 442 It is usually best to use any weights of KozMinPro and KozGoPro OpenType fonts. These fonts have the largest collection of glyphs of the Asian fonts produced by Adobe. With the Type tool selected, do one of the following: •...
Page 443 PHOTOSHOP CS3 User Guide • (Mac OS) From the Input pop-up menu at the right side of the menu bar, choose Show Character Palette. Note: (Mac OS) If the Input menu does not display in the menu bar, choose Apple menu > System Preferences > International >...
Page 444 PHOTOSHOP CS3 User Guide Asian OpenType options Additional OpenType options are available, depending on the font. Substitutes the standard glyph with the jp78-variant glyph. Japanese 78 Substitutes the standard glyph with the expert-variant glyphs. Japanese Expert Substitutes the standard glyph with the traditional-variant glyph. Japanese Traditional Substitutes the half-width and the full-width glyphs with the proportional glyph.
Page 445 PHOTOSHOP CS3 User Guide Mojikumi Set 3, and Mojikumi Set 4 Choose kinsoku shori settings for a paragraph Kinsoku shori specifies line breaks for Japanese text. Characters that cannot begin a line or end a line are known as kinsoku characters. Photoshop includes weak and maximum kinsoku sets based on the Japanese Industrial Standard (JIS) X 4051-1995.
Page 446 PHOTOSHOP CS3 User Guide Specify a kinsoku line-breaking option ❖ From the Paragraph panel menu, choose Kinsoku Shori Type and then choose one of the following methods: Moves characters up to the previous line to prevent prohibited characters from ending or beginning a line. Push In First Moves characters down to the next line to prevent prohibited characters from ending or beginning a line.
Page 447: Chapter 15: Saving And Exporting Images
Chapter 15: Saving and exporting images Adobe Photoshop CS3 supports a variety of file formats to suit a wide range of output needs. You can save or export your image to any of these formats. You can also use special Photoshop features to add information to files, set up multiple page layouts, and place images in other applications.
Page 448 PHOTOSHOP CS3 User Guide See also “Duplicate an image” on page 41 “Save a camera raw image in another format” on page 92 “Make a snapshot of an image” on page 55 Save changes to the current file ❖ Choose File > Save. Save a file with a different name, location, or format Choose File >...
Page 449 PHOTOSHOP CS3 User Guide Makes the file extension lowercase. Use Lower Case Extension Specifies the format for file extensions. Select Append to add the format’s extension File Extension options (Mac OS) to a filename and Use Lower Case to make the extension lowercase. Set file saving preferences Do one of the following: •...
Page 450 “Photoshop Raw format” on page 461 “TIFF” on page 466 Testing Photoshop images for mobile devices with Adobe Device Central Device Central enables Photoshop users to preview how Photoshop files will look on a variety of mobile devices. Creative professionals can create Photoshop files specifically for mobile devices and easily test the files. Users can create a document in Photoshop based on a targeted device.
Page 451: Saving Pdf Files
PDF document using Adobe Bridge. You can save your PDF settings as a PDF preset for creating consistent Photoshop PDF files. Adobe PDF presets and settings are shared across Adobe Creative Suite components, including Photoshop, InDesign, Illustrator, GoLive, and Acrobat.
Page 452 (Optional) If you want to reuse the PDF save settings, click Save Preset and save your settings as a PDF preset. The new preset appears in the Adobe PDF Preset menu the next time you save a Photoshop PDF file and in any product in the Adobe Creative Suite.
Page 453 These PDF files can be opened in Acrobat 5.0 and Acrobat Reader 5.0 and later. Note: Before creating an Adobe PDF file to send to a commercial printer or print service provider, find out what the output resolution and other settings should be, or ask for a .joboptions file with the recommended settings. You might...
Page 454 This set of options uses PDF 1.5 and embeds subsets of all fonts. It also optimizes files for byte serving. These PDF files can be opened in Acrobat 6.0 and Adobe Reader 6.0 and later. (The Rich Content PDF preset is in the Extras folder.)
Page 455 Compression and downsampling options for Adobe PDF When saving artwork in Adobe PDF, you can compress text and line art, and compress and downsample bitmap images. Depending on the settings you choose, compression and downsampling can significantly reduce the size of...
Page 456 PHOTOSHOP CS3 User Guide The Compression area of the Adobe PDF Options dialog box is divided into three sections. Each section provides the following options for compressing and resampling images in your artwork. If you plan to use the PDF file on the web, use downsampling to allow for higher compression. If you Downsampling plan to print the PDF file at high resolution, do not use downsampling.
Page 457 Color management and PDF/X options for Adobe PDF You can set the following options in the Output section of the Adobe PDF Options dialog box. Interactions between Output options change depending on whether Color Management is on or off and which PDF standard is selected.
Page 458 If you chose the Adobe PDF Presets command, do one of the following in the Adobe PDF Presets dialog box: • To create a new preset, click the New button in the Adobe PDF Presets dialog box. In the New PDF Preset dialog box, type a name for the preset in the Preset text box.
Page 459: Saving And Exporting Files In Other Formats
PHOTOSHOP CS3 User Guide • To load an Adobe PDF preset, click the Load button, select the preset file, and click the Load button. The preset is added to the Presets window. When you browse for an Adobe PDF preset to load, only files with the .joboptions extension are visible in the Load dialog box.
Page 460 PHOTOSHOP CS3 User Guide Note: To have Photoshop prompt you before saving an image with multiple layers, select Ask Before Saving Layered TIFF Files in the File Handling area of the Preferences dialog box. See also “TIFF” on page 466 “About file formats and compression”...
Page 461 PHOTOSHOP CS3 User Guide Click OK. See also “PNG format” on page 465 Save a file in GIF format You can use the Save As command to save RGB, Indexed Color, Grayscale, or Bitmap mode images directly in CompuServe GIF (known as GIF) format. The image is automatically converted to Indexed Color mode. Choose File >...
Page 462 PHOTOSHOP CS3 User Guide Preserves any vector graphics (such as shapes and type) in the file. However, vector data in EPS Include Vector Data and DCS files is available only to other applications; vector data is rasterized if you reopen the file in Photoshop. This option is only available if your file contains vector data.
Page 463 To save files in the JPEG 2000 format, you must get the optional JPEG 2000 plug-in and install it in this location: Adobe Photoshop CS3/Plug-Ins/File Formats. This plug-in is available from the Photoshop CS3 installation CD in Goodies/Optional Plug-Ins/File Formats. Extended JPEG 2000 (JPF) format provides an expanded set of options compared to the standard JPEG 2000 (JP2) format.
Page 464 PHOTOSHOP CS3 User Guide Note: You can’t save Duotone, Multichannel, or Bitmap mode images in JPEG 2000 format. To save these files in JPEG 2000 format, first convert them to RGB Color mode. Choose File > Save As, and choose JPEG 2000 from the Format menu. Specify a filename and location, select saving options, and click Save.
Page 465 PHOTOSHOP CS3 User Guide Specifies the metadata formats to include in the image file. JPEG2000 XML is JPEG 2000-specific Metadata Format XML data; this option is available only if the image file contains this data. XMP is File Info data and EXIF is digital camera data.
Page 466: File Formats
PHOTOSHOP CS3 User Guide Select the Visible Layers Only option if you want to export only those layers that have visibility enabled in the Layers palette. Use this option if you don’t want all the layers exported. Turn off visibility for layers that you don’t want exported.
Page 467 Photoshop format (PSD) is the default file format and the only format, besides the Large Document Format (PSB), that supports most Photoshop features. Because of the tight integration between Adobe products, other Adobe appli- cations, such as Adobe Illustrator, Adobe InDesign, Adobe Premiere, Adobe After Effects, and Adobe GoLive, can directly import PSD files and preserve many Photoshop features.
Page 468 Digital Negative (DNG) is a file format that contains the raw image data from a digital camera and metadata that defines what the data means. DNG, Adobe’s publicly available, archival format for camera raw files, is designed to provide compatibility and decrease the current proliferation of camera raw file formats. The Camera Raw plug-in can save camera raw image data in the DNG format.
Page 469 Filmstrip format Filmstrip format is used for RGB animation or movie files created by Adobe Premiere Pro®. If you resize, resample, remove alpha channels, or change the color mode or file format of a Filmstrip file in Photoshop, you won’t be able to save it back to Filmstrip format.
Page 470: Jpeg Format
To save files in the JPEG 2000 format, you must locate the optional JPEG 2000 plug-in and install it in this location: Adobe Photoshop CS3/Plug-Ins/File Formats. You can find the plug-in on the Photoshop CS3 installation CD in Goodies/Optional Plug-Ins/File Formats.
Page 471 In addition, PDF files can contain electronic document search and navigation features such as electronic links. PDF supports 16-bits-per-channel images. Adobe Acrobat also has a Touch Up Object tool for minor editing of images in a PDF. For more information about working with images in PDFs, see Acrobat Help.
Page 472 PHOTOSHOP CS3 User Guide You can use the Import command or the Open command to open a PICT resource. When saving a file as a PICT resource, you can specify the resource ID and resource name. As with other PICT files, you also specify bit depth and compression options.
Page 473: Metadata And Annotations
About the XMP standard Metadata information is stored using the Extensible Metadata Platform (XMP) standard, on which Adobe Bridge, Adobe Illustrator, Adobe InDesign, and Adobe Photoshop are built. Adjustments made to images with Photoshop® Camera Raw are stored as XMP metadata. XMP is built on XML, and in most cases the metadata is stored in the file.
Page 474 Metadata that is stored in other formats, such as Exif, IPTC (IIM), GPS, and TIFF, is synchronized and described with XMP so that it can be more easily viewed and managed. Other applications and features (for example, Adobe Version Cue) also use XMP to communicate and store information such as version comments, which you can search using Bridge.
Page 475 Author Chooses the size for the note text. Size Selects a color for the note icon and the title bar of note windows. Clicking the color box opens the Adobe Color Color Picker so you can select a color. Click where you want to place the note, or drag to create a custom-sized window.
Page 476: Adding And Viewing Digimarc Copyright Protection
PHOTOSHOP CS3 User Guide Note: Resizing an image does not resize the annotation icons and note windows. The icons and note windows keep their locations relative to the image. Cropping an image removes any annotations from the cropped area; you can recover the annotations by undoing the Crop command.
Page 477: Adding Digital Copyright Information
PHOTOSHOP CS3 User Guide Adding digital copyright information You can add copyright information to Photoshop images and notify users that an image is copyright protected via a digital watermark that uses Digimarc ImageBridge technology. The watermark—a digital code added as noise to the image—is virtually imperceptible to the human eye.
Page 478 PHOTOSHOP CS3 User Guide Embed a watermark To embed a digital watermark, you must first register with Digimarc Corporation—which maintains a database of artists, designers, and photographers and their contact information—to get a unique Digimarc ID. You can then embed the Digimarc ID in your images, along with information such as the copyright year or a restricted-use identifier.
Page 479: Presentations And Photo Layouts
PHOTOSHOP CS3 User Guide Check the signal strength meter The signal strength meter helps you determine whether a watermark is durable enough to survive the intended use of the image. ❖ Choose Filter > Digimarc > Read Watermark. The signal strength meter appears at the bottom of the dialog box. You can also display the meter automatically by selecting Verify while embedding the watermark.
Page 480 PHOTOSHOP CS3 User Guide Note: If you want a file to appear more than once in your PDF presentation, select the file and click Duplicate. You can then drag the duplicate file to the desired location in the Source Files window. Dragging a file to a new position in the list In the Output Options area of the PDF Presentation dialog box, select from the following options: Creates a PDF document with the images on separate pages.
Page 481: Create A Contact Sheet
In the Save dialog box, enter a name for the PDF presentation, select a destination for the saved file, and then click Save. In the Save Adobe PDF dialog box, choose an Adobe PDF preset or specify save options for the PDF document.
Page 482 PHOTOSHOP CS3 User Guide Uses images displayed in Bridge. All images in Bridge are used unless you select Selected Images From Bridge specific images before choosing the Contact Sheet II command. Images in subfolders are not included. In the Document area, specify the dimensions, resolution, and color mode for the contact sheet. Select Flatten All Layers to create a contact sheet with all images and text on a single layer.
Page 483 PHOTOSHOP CS3 User Guide A picture package layout Do one of the following: • (Photoshop) Choose File > Automate > Picture Package. If you have multiple images open, Picture Package uses the frontmost image. • (Bridge) Choose Tools > Photoshop > Picture Package. The Picture Package command uses the first image listed in Bridge unless you select a specific image before giving the Picture Package command.
Page 484 PHOTOSHOP CS3 User Guide Add an image to a picture package by dragging the image from the desktop into a placeholder. You can change any image in the layout by clicking a placeholder and browsing to select an image. In the Document area of the Picture Package dialog box, select page size, layout, resolution, and color mode. A thumbnail of the chosen layout appears on the right side of the dialog box.
Page 485: Placing Photoshop Images In Other Applications
How you prepare an image for a page-layout program depends upon the file formats the program recognizes: • Adobe InDesign 2.0 and later can place Photoshop PSD files. You do not need to save or export your Photoshop image to a different file format. Transparent areas are displayed and printed as expected.
Page 486 Use Photoshop artwork in Adobe Illustrator Adobe Illustrator can both open or place Photoshop files; you do not need to save or export your Photoshop image to a different file format. If you place an image into an open Illustrator file, you can incorporate the image as if it were any other element in the artwork, or you can maintain a link to the original file.
Page 487 • To print the file using a PostScript printer, save in Photoshop EPS, DCS, or PDF format. • To print the file using a non-PostScript printer, save in TIFF format and export to Adobe InDesign, or to Adobe PageMaker® 5.0 or later.
Page 488 Click Save. Open the file in Adobe Illustrator. You can manipulate the path or use the path to align Illustrator objects that you add to the file. Note that the crop marks in Adobe Illustrator reflect the dimensions of the Photoshop image. The position of the path within the Photoshop image is maintained, provided you don’t change the crop marks or move the path.
Page 489 PHOTOSHOP CS3 User Guide Link or embed a selection or image in an OLE application ❖ Do one of the following: • Copy a selection in Photoshop, and insert it in your OLE container application using the application’s Paste Special command.
Page 490: Chapter 16: Printing
(higher) a screen ruling (lines per inch) you can use. Many inkjet printer drivers offer simplified print settings for higher quality printing. For a video on printing photos, see www.adobe.com/go/vid0015. About desktop printing Unless you work in a commercial printing company or service bureau, you probably print images to a desktop printer, such as an inkjet, dye sublimation, or laser printer, not to an imagesetter.
Page 491 PHOTOSHOP CS3 User Guide Monitors display images using light, whereas desktop printers reproduce images using inks, dyes, or pigments. For this reason, a desktop printer can’t reproduce all the colors displayed on a monitor. However, by incorporating certain procedures (such as a color management system) into your workflow, you can achieve predictable results when printing your images to a desktop printer.
Page 492 A. Specify color management and proofing options B. Specify prepress output options C. Preview print D. Set paper orientation E. Set printer and print job options F. Position and scale image For a video on printing photos, see www.adobe.com/go/vid0015. Do one or more of the following: •...
Page 493 PHOTOSHOP CS3 User Guide • To save the print options without closing the dialog box, hold down Alt (Windows) or Option (Mac OS), and click Remember. Note: If you get a warning that your image is larger than the printable area of the paper, click Cancel, choose File > Print, and select the Scale To Fit Media box.
Page 494: Printing With Color Management
PHOTOSHOP CS3 User Guide • Deselect Center Image, and drag the image in the preview area. Scale the print size of an image ❖ Choose File > Print, and do one of the following: • To fit the image within the printable area of the selected paper, click Scale To Fit Media. •...
Page 495 PHOTOSHOP CS3 User Guide Choose Color Management to display options for prepress and color management In the Print area, select Document. The profile is displayed in parentheses on the same line. In the Options area, for Color Handling, choose Printer Manages Colors. (Optional) Choose a rendering intent for converting colors to the destination color space.
Page 496 PHOTOSHOP CS3 User Guide The more accurately the profile describes the behavior of the output device and printing conditions (such as paper type), the more accurately the color management system can translate the numeric values of the actual colors in a document.
Page 497 PHOTOSHOP CS3 User Guide Simulates what colors look like on the paper of the simulated device. Using this option Simulate Paper Color produces the most accurate proof, but it is not available for all profiles. Simulates the brightness of dark colors for the simulated device. Using this option results in more Simulate Black Ink accurate proofs of dark colors, but it is not available for all profiles.
Page 498: Printing Images To A Commercial Printing Press
Flatten the file if necessary, then send the CMYK file to the professional printer. • Place your RGB or CMYK image in Adobe InDesign or Adobe Illustrator. In general, most images printed on a commercial press are not printed directly from Photoshop but from a page-layout program like Adobe InDesign or an illustration program like Adobe Illustrator.
Page 499 PHOTOSHOP CS3 User Guide Olé No Moire 177lpi 45 cyan magenta yellow black carnival series Page marks A. Gradient tint bar B. Label C. Registration marks D. Progressive color bar E. Corner crop mark F. Center crop mark G. Description H.
Page 500: Selecting Halftone Screen Attributes
PHOTOSHOP CS3 User Guide If you print separations directly to film, you probably want a negative, although in many countries film positives are common. Check with your print shop to determine which is required. To determine the emulsion side, examine the film under a bright light after it has been developed.
Page 501 PHOTOSHOP CS3 User Guide 105 90 75 Halftone screens with process ink at different screen angles; correctly registered dots form rosettes. In traditional print production, a halftone is produced by placing a halftone screen between a piece of film and the image and then exposing the film.
Page 502 DCS 2.0 format. DCS 2.0 preserves spot channels. This format is supported by applications such as Adobe InDesign and QuarkXPress. Make sure that your document is in CMYK Color or Multichannel mode, and then choose File > Print.
Page 503 PHOTOSHOP CS3 User Guide Prepare an image with spot channels for printing from another application If the image is a duotone, convert it to Multichannel color mode. Save the image in DCS 2.0 format. In the DCS 2.0 Format dialog box, deselect the Include Halftone Screen and the Include Transfer Function options.
Page 504 PHOTOSHOP CS3 User Guide Trapping to correct misalignment A. Misregistration with no trap B. Misregistration with trap Trapping is intended to correct the misalignment of solid colors. In general, you don’t need traps for continuous-tone images such as photographs. Excessive trapping may produce an outline effect. These problems may not be visible on-screen and might show up only in print.
Page 505: Printing Duotones
PHOTOSHOP CS3 User Guide Determine the ratio of the final image dimensions to the original image dimensions. For example, the ratio of a 6-by-9-inch final image to a 2-by-3-inch original image is 3:1. Multiply the result of step 1 by the result of step 2. For example, suppose you are printing to an imagesetter with a screen frequency of 85 lpi and the ratio of the final image to the original is 3:1.
Page 506 PHOTOSHOP CS3 User Guide Convert an image to duotone Convert the image to grayscale by choosing Image > Mode > Grayscale. Only 8-bit grayscale images can be converted to duotones. Choose Image > Mode > Duotone. In the Duotone Options dialog box, select Preview to preview the image. For the Type option, select Monotone, Duotone, Tritone, or Quadtone.
Page 507 PHOTOSHOP CS3 User Guide You can use the Info palette to display ink percentages when you’re working with duotone images. Set the readout mode to Actual Color to determine what ink percentages will be applied when the image is printed. These values reflect any changes you’ve entered in the Duotone Curve dialog box.
Page 508: Printing Spot Colors
PHOTOSHOP CS3 User Guide Select the channel you want to examine in the Channels palette. Choose Edit > Undo Multichannel to revert to Duotone mode. Printing duotones When creating duotones, keep in mind that both the order in which the inks are printed and the screen angles you use have a significant effect on the final output.
Page 509 PHOTOSHOP CS3 User Guide • Printing an image with a spot color channel to a composite color printer will print the spot color at an opacity indicated by the Solidity setting. • You can merge spot channels with color channels, splitting the spot color into its color channel components. See also “About channels”...
Page 510 PHOTOSHOP CS3 User Guide Note: The Solidity and color choice options affect only the on-screen preview and the composite print. They have no effect on the printed separations. See also “Choose a spot color” on page 123 Convert an alpha channel to a spot channel Do one of the following: •...
Page 511 PHOTOSHOP CS3 User Guide Merge spot channels Select the spot channel in the Channels palette. Choose Merge Spot Channel from the palette menu. The spot color is converted to and merged with the color channels. The spot channel is deleted from the palette. Merging spot channels flattens layered images.
Page 512: Chapter 17: Web Graphics
Chapter 17: Web graphics The web tools in Adobe Photoshop CS3 can help you design and optimize individual web graphics or complete page layouts. Use the Slice tool to divide a graphic or page into seamlessly interlocking pieces and apply different compression and interactivity settings to each segment.
Page 513 (not the Save For Web & Devices dialog box). Copy the color by doing one of the following: • Set the foreground color using the Color palette, the Swatches palette, or the Adobe Color Picker. Choose Copy Color As HTML from the Color palette menu.
Page 514: Slicing Web Pages
PHOTOSHOP CS3 User Guide • With the Eyedropper tool selected, move the pointer over the color that you want to copy, and then right-click (Windows) or Control-click (Mac OS) and choose Copy Color As HTML from the context menu The color is copied to the clipboard as the HTML COLOR attribute with the hexadecimal value (color=#xxyyzz). To paste the color into an HTML file, open the target file in an HTML editing application and choose Edit >...
Page 515 PHOTOSHOP CS3 User Guide User slices, layer-based slices, and auto slices look different—user slices and layer-based slices are defined by a solid line, whereas auto slices are defined by a dotted line. In addition, user slices and layer-based slices display a distinct icon.
Page 516 PHOTOSHOP CS3 User Guide A layer-based slice is updated when the source layer is modified. Layer-based slices are less flexible than user slices; however, you can convert (“promote”) a layer-based slice to a user slice. See “Convert auto and layer-based slices to user slices” on page 509. Select a layer in the Layers palette.
Page 517: Modifying Slices
PHOTOSHOP CS3 User Guide The following badges, or icons, indicate certain conditions. Slice badges • User slice has Image content. • User slice has No Image content. • Slice is layer based. Show or hide slice boundaries ❖ Choose View > Show > Slices. To hide and show slices along with other items, use the Extras command. See “Show or hide Extras”...
Page 518 PHOTOSHOP CS3 User Guide Move, resize, and snap user slices You can move and resize user slices in Photoshop, but not in the Save For Web & Devices dialog box. Move or resize a user slice Select one or more user slices. Do one of the following: •...
Page 519 To view this information in Dreamweaver, right-click (Windows) or Ctrl+click (Mac OS) the image and choose Design Notes, then locate the FilePathSrc field on the All Info tab. For a video on designing web sites with Photoshop and Dreamweaver, see www.adobe.com/go/vid0200. Combine slices You can combine two or more slices into a single slice.
Page 520 PHOTOSHOP CS3 User Guide Right-click (Windows) or Ctrl-click (Mac OS) and choose Combine Slices. Change the stacking order of slices When slices overlap, the last slice you create is the top slice in the stacking order. You can change the stacking order to gain access to underlying slices.
Page 521: Slice Output Options
PHOTOSHOP CS3 User Guide Note: You cannot delete auto slices. If you delete all user slices and layer-based slices in an image, one auto slice covering the entire image remains. Select one or more slices. Choose the Slice or Slice Select tool and press the Backspace key or the Delete key. To delete all user slices and layer-based slices, choose View >...
Page 522 Slice Select tool to display the Slice Options dialog box. In the Slice Options dialog box, select a background color from the Background Color pop-up menu. Select None, Matte, Eyedropper (to use the color in the eyedropper sample box), White, Black, or Other (using the Adobe Color Picker).
Page 523: Creating Web Photo Galleries
PHOTOSHOP CS3 User Guide Add HTML text to a slice When you choose a slice of type No Image, you can enter text to be displayed in the slice area of the resulting web page. This can be plain text or text formatted with standard HTML tags. You can also select vertical and horizontal alignment options.
Page 524 Create a web photo gallery (Optional) Select the files or folder you want to use in Adobe Bridge. Your images will be presented in the order in which they’re displayed in Bridge. If you’ d rather use a different order, change the order in Bridge.
Page 525 Making sure that your colors match If you work with photos in a wide-gamut color working space such as ProPhoto RGB or Adobe RGB, image colors may change when viewed in a web gallery by a browser that doesn’t read embedded color profiles. If this happens, try converting the image profiles to sRGB (which most browsers use as a default) before optimizing them or including them in a Web Photo Gallery.
Page 526 Options for colors of elements in the gallery. To change the color of an element, click its color swatch Custom Colors and then select a new color from the Adobe Color Picker. You can change the background color of each page (Background option) and of the banner (Banner option).
Page 527 PHOTOSHOP CS3 User Guide <TITLE>%TITLE%</TITLE> When Photoshop generates the gallery using this template file, it replaces the token %TITLE% with the text that you entered for Site Name in the Web Photo Gallery dialog box. To better understand an existing style, you can open and study its HTML template files using an HTML editor. Because only standard ASCII characters are required to create HTML documents, you can open, edit, and create these documents using a plain-text editor such as Notepad (Windows) or TextEdit (Mac OS).
Page 528 Determines the font size of the caption. %CAPTIONFONTSIZE% Determines the character set used on each page. %CHARSET% Expands to “Adobe Photoshop CS3 Web Photo Gallery. ” %CONTENT_GENRATOR% Determines the link for the current home page. %CURRENTINDEX% Resides in SubPage.htm and points to the first index page.
Page 529 PHOTOSHOP CS3 User Guide Enables the Add Width And Height Attributes For Images check box. This allows the user to %IMAGE_HEIGHT% download the attributes, reducing download time. This token is replaced by a numeral (only) representing the width of the image. %IMAGE_HEIGHT_NUMBER% Determines the link to a gallery page.
Page 530: Optimizing Images
PHOTOSHOP CS3 User Guide This token is replaced by a numeral (only) representing the width of the %THUMBNAIL_WIDTH_NUMBER% thumbnail. Determines the title of the gallery. %TITLE% Determines the color of visited links. %VLINK% Optimizing images About optimization When preparing images for the web and other online media, you often need to compromise between image display quality and the file size of the image.
Page 531 PHOTOSHOP CS3 User Guide Save For Web & Devices dialog box A. Display options B. Toolbox C. Preview pop-up menu D. Optimize pop-up menu E. Color Table pop-up menu F. Animation controls G. Zoom text box H. Original image I. Optimized image J. Preview In Browser menu Preview images in the dialog box ❖...
Page 532 PHOTOSHOP CS3 User Guide View optimized image information and download time The annotation area below each image in the Save For Web & Devices dialog box provides optimization information. The annotation for the original image shows the file name and file size. The annotation for the optimized image shows the current optimization options, the size of the optimized file, and the estimated download time using the selected modem speed.
Page 533 Save For Web & Devices dialog box, press Alt/Option and click Remember. For a video on saving files for the web in Illustrator, see www.adobe.com/go/vid0063. See also “Web graphics optimization options” on page 530 “Preview optimized images in a web browser”...
Page 534 PHOTOSHOP CS3 User Guide Work with slices in the Save For Web & Devices dialog box If your image contains multiple slices, you must specify the slices to be optimized. You can apply optimization settings to additional slices by linking the slices. Linked slices in GIF and PNG-8 format share a color palette and dither pattern to prevent the appearance of seams between the slices.
Page 535 Visible Creates a hidden CSS layer in the resulting HTML file. Hidden CSS layers are the same as GoLive layers. Using Adobe GoLive, you can animate a CSS layer and use built-in JavaScript actions to create interactive effects. See also “Save For Web &...
Page 536 PHOTOSHOP CS3 User Guide The white areas of the mask (which include type or shapes on shape layers) indicate the image areas that will have the highest level of image quality. The black areas are the least important parts of the image and will have lower JPEG quality, or the higher dithering and lossiness for GIF images.
Page 537: Web Graphics Optimization Options
The vector formats—SVG and SWF—are resolution-independent and can be scaled up or down without losing any image quality. The vector formats can also include raster data. You can export from Save For Web & Devices to SVG and SWF in Adobe Illustrator only. JPEG optimization options JPEG is the standard format for compressing continuous-tone images such as photographs.
Page 538 PHOTOSHOP CS3 User Guide Pixels that were fully transparent in the original image are filled with the selected color; pixels that were partially transparent in the original image are blended with the selected color. See also “Optimize an image for the web” on page 525 GIF and PNG-8 optimization options GIF is the standard format for compressing images with flat color and crisp detail, such as line art, logos, or illustra- tions with type.
Page 539 PHOTOSHOP CS3 User Guide (This palette is also called the web-safe palette.) Using the web palette can create larger files, and is recommended only when avoiding browser dither is a high priority. • Uses a color palette that is created or modified by the user. If you open an existing GIF or PNG-8 file, it Custom will have a custom color palette.
Page 540 PHOTOSHOP CS3 User Guide Examples of transparency and matting A. Original image B. Transparency selected with a matte color C. Transparency selected with no matting D. Transparency deselected with a matte color When the Transparency option is selected, you can choose a method for dithering partially Transparency Dithering transparent pixels: •...
Page 541 PHOTOSHOP CS3 User Guide Displays a low-resolution version of the image in a browser while the full image file is downloading. Inter- Interlace lacing can make downloading time seem shorter and can assure viewers that downloading is in progress. However, interlacing also increases file size.
Page 542 PHOTOSHOP CS3 User Guide You can add and delete colors in the color table, shift selected colors to web-safe colors, and lock selected colors to prevent them from being dropped from the palette. Sort a color table Choose a sorting order from the Color Table palette menu: •...
Page 543 PHOTOSHOP CS3 User Guide Shift a color You can change a selected color in the color table to any other RGB color value. When you regenerate the optimized image, the selected color changes to the new color wherever it appears in the image. Double-click the color in the color table to display the default color picker.
Page 544 Name the color table and choose a location where it will be saved. By default, the color table file is given the extension .act (for Adobe Color Table). If you want to access the color table when selecting Optimization options for a GIF or PNG image, save the color...
Page 545 Select Load Color Table from the Color Table palette menu. Navigate to a file containing the color table you want to load—either an Adobe Color Table (.act) file, an Adobe Color Swatch (.aco) file, or a GIF file (to load the file’s embedded color table).
Page 546 Use the Export command instead of the Save For Web & Devices command to maintain artwork’s stacking order by exporting each layer to a separate SWF file. You can then import the exported SWF files into Adobe Flash simulta- neously.
Page 547 SVG file is dynamic (such as server-generated text or user-interactive text). Specifies how fonts are exported. Font Type • Uses font hinting for better rendering of small fonts. This font type is supported by the Adobe SVG Adobe CEF Viewer but may not be supported by other SVG viewers. •...
Page 548: Output Settings For Web Graphics
XML processors. (UTF-8 is an 8-bit format; UTF-16 is a 16-bit format.) ISO 8859-1 and UTF-16 encoding don’t preserve file metadata. Optimizes images for Adobe SVG Viewer. Optimize For Adobe SVG Viewer Output settings for web graphics...
Page 549 PHOTOSHOP CS3 User Guide HTML output options You can set the following options in the HTML set: Creates web pages meeting the XHTML standard on export. Choosing Output XHTML disables Output XHTML other output options that might conflict with this standard. Selecting this option automatically sets the Tags Case and Attribute Case options.
Page 550 PHOTOSHOP CS3 User Guide Choose elements from the pop-up menus or enter text into the fields to create default names Default Slice Naming for slices. Elements include the document name, the word slice, numbers or letters designating slices or rollover states, the slice creation date, punctuation, or none.
Page 551: Chapter 18: Video And Animation
Photoshop tool to edit and paint on video, you can also apply filters, masks, transformations, layers styles, and blending modes. After making edits, you can save the document as a PSD file (that can be played back in other Adobe applications such as Premiere Pro and After Effects or accessed as a static file in other applications), or you can render it as a QuickTime movie or image sequence.
Page 552 • MPEG-1 • MPEG-4 • MOV • AVI • FLV from QuickTime is supported if you have Adobe Flash 8 installed. • MPEG-2 is supported if an MPEG-2 encoder is installed on your computer. Image sequence formats • BMP • DICOM •...
Page 553 Note: When animated layers are grouped as a Smart Object, the animation information from the Animation palette is stored in the Smart Object. See also “About Smart Objects” on page 309. For a video on the timeline mode, see www.adobe.com/go/vid0023. Frame mode controls In frame mode, the Animation palette includes the following controls: Sets the number of times an animation plays when exported as an animated GIF file.
Page 554 PHOTOSHOP CS3 User Guide Sets the duration of a frame during playback. Frame Delay Time Adds a series of frames between two existing frames, varying the layer properties Tween Animation Frames evenly between the new frames. Adds a frame to the animation by duplicating the selected frame in the Animation Duplicate Selected Frames palette.
Page 555 To show or hide layer properties, click the triangle to the left of the layer name. For a video on the timeline mode, see www.adobe.com/go/vid0023. Show or hide layers in the timeline (Photoshop Extended) In Photoshop Extended, all document layers appear in the timeline by default. To show only a subset of layers, first set them as favorites.
Page 556: Creating Images For Video
PHOTOSHOP CS3 User Guide Important: You may lose some interpolated keyframes when converting a timeline animation to a frame animation (the appearance of the animation doesn’t change). ❖ In the Animation palette, do any of the following: • Click the Convert To Frame Animation icon •...
Page 557: Aspect Ratio
580. For more information on FireWire (IEEE 1394), see Apple’s website. Other considerations Both Adobe After Effects and Adobe Premiere Pro support PSD files created in Photoshop. However, if you’re using other film and video applications, you might consider these details when you create images for use in video: •...
Page 558 Note: When copying or importing images into a nonsquare pixel document, Photoshop automatically converts and scales the image to the pixel aspect ratio of the document. Images imported from Adobe Illustrator CS3 are also properly scaled.
Page 559 PHOTOSHOP CS3 User Guide Important: By default, nonsquare pixel documents open with Pixel Aspect Ratio Correction enabled. This setting scales the image so it appears as it would on the nonsquare-pixel output device (usually a video monitor). To view the image as it would appear on a computer monitor (square pixel), choose View > Pixel Aspect Ratio Correction.
Page 560 PHOTOSHOP CS3 User Guide Click Load. See also “Automating tasks” on page 610 Adjust pixel aspect ratio You can create a custom pixel aspect ratio in existing documents, or delete or reset pixel aspect ratios previously assigned to a document. Assign a pixel aspect ratio value to an existing document ❖...
Page 561: Import Video Files And Image Sequences (Photoshop Extended)
In the Open dialog box, for Files Of Type (Windows) or Enable (Mac OS), choose either All Readable Documents or QuickTime Movie. Select a video file and then click Open. You can also open video directly from Bridge: select a video file and then choose File > Open With > Adobe Photoshop CS3. See also “Supported video and image sequence formats (Photoshop Extended)”...
Page 562 (Optional) Use the control points to scale, rotate, move, or warp the imported content. Click the Commit Transform button in the options bar to place the file. You can also place video directly from Adobe Bridge CS3. Select the video file and then choose File > Place > In Photoshop. See also “About Smart Objects”...
Page 563: Interpreting Video Footage (Photoshop Extended)
PHOTOSHOP CS3 User Guide Reload footage in a video layer (Photoshop Extended) If the source file for a video layer is modified in a different application, Photoshop Extended generally reloads and updates the footage, when you open the document containing the video layer referencing the changed source file. If your document is already open and the source file has been modified, use the Reload Frame command to reload and update the current frame in the Animation palette.
Page 564: Painting Frames In Video Layers (Photoshop Extended)
Interprets the alpha channel as premultiplied with black, white, or a color. If necessary, click Premultiplied-Matte the color swatch in the Interpret Footage dialog box to open the Adobe Color Picker to specify the matte color. Alpha channel premultiplied with white matte...
Page 565 You can lock in the source frame you first sampled, or enter a frame offset value to change the source to a different frame, relative to the frame you first sampled. For a video on cloning, see www.adobe.com/go/vid0025. See also “Retouch with the Clone Stamp tool”...
Page 566 Photoshop document, you may need to make adjustments. For example, a standard definition video movie may be in SDTV 601 NTSC, while the Photoshop Extended document is in Adobe RGB. Your final exported video or document might not have the colors you expect due to the color space mismatch.
Page 567: Editing Video And Animation Layers (Photoshop Extended)
PHOTOSHOP CS3 User Guide The Convert To Profile command (Edit > Convert To Profile) also converts all pixel edits to the document’s color space. However, using the Assign Profile command (Edit > Assign Profile) does not convert the pixel edits to a video layer.
Page 568 PHOTOSHOP CS3 User Guide Open a video file ❖ Choose File > Open, select a video file, and click Open. The video appears on a video layer in a new document. Add a video file as a new video layer For the active document, make sure the Animation palette is displayed in timeline mode.
Page 569 PHOTOSHOP CS3 User Guide Layers (In timeline mode) with the layer duration bar selected to drag • Move the current-time indicator to the frame you want as the new In or Out point, and from the Animation palette menu, choose Trim Layer Start To Current Time or Trim Layer End To Current Time. This shortens the layer duration by hiding the frames between the current-time indicator and either the start or the end of the layer.
Page 570 PHOTOSHOP CS3 User Guide Layers before applying the Lift Work Area command Layers after applying the Lift Work Area command Extract work area (Photoshop Extended) Specific portions of an animation or video can be deleted using the Extract Work Area command. All layers are affected by the command.
Page 571: Creating Frame Animations
The Animation palette displays a group of grouped layers with a common opacity layer property. For a video on working with video layers, see www.adobe.com/go/vid0027. ❖ In the Layers palette, select two or more layers and do one of the following: •...
Page 572 PHOTOSHOP CS3 User Guide Note: In Photoshop Extended, you can also create animations using a timeline and keyframes. See “Creating timeline animations (Photoshop Extended)” on page 572. Illustration of an animation. The unicycle image is on its own layer; the position of the layer changes in each frame of the animation. To create frame-based animations in Photoshop, use the following general workflow.
Page 573 PHOTOSHOP CS3 User Guide 7. Add more frames and edit layers as needed. The number of frames you can create is limited only by the amount of system memory available to Photoshop. You can generate new frames with intermediate changes between two existing frames in the palette using the Tween command.
Page 574 PHOTOSHOP CS3 User Guide • In the Animation palette, click the Selects Next Frame button to select the next frame in the series as the current frame. • In the Animation palette, click the Selects Previous Frame button to select the previous frame in the series as the current frame.
Page 575 PHOTOSHOP CS3 User Guide The Propagate Frame 1 option in the Layers palette also determines how the changes you make to attributes in the first frame will apply to the other frames in the same layer. When it is selected, you can change an attribute in the first frame, and all subsequent frames in the active layer will change in relation to the first frame (and preserve the animation you have already created).
Page 576 PHOTOSHOP CS3 User Guide pasted layers are visible, and the original layers are hidden. In the non-destination frames, the newly pasted layers are hidden. Adds the copied frames before or after the destination frame. When Paste Before Selection or Paste After Selection you paste frames between images, new layers are added to the image;...
Page 577 PHOTOSHOP CS3 User Guide Specify layer properties to be varied: Varies the position of the layer’s content in the new frames evenly between the beginning and ending Position frames. Varies the opacity of the new frames evenly between the beginning and ending frames. Opacity Varies the parameter settings of layer effects evenly between the beginning and ending frames.
Page 578 PHOTOSHOP CS3 User Guide • Choose Other, enter a value in the Set Frame Delay dialog box, and click OK. If you selected multiple frames, specifying a delay value for one frame applies the value to all frames. Choose a disposal method The frame disposal method specifies whether to discard the current frame before displaying the next frame.
Page 579: Creating Timeline Animations (Photoshop Extended)
If you want to create a SWF format animation, use Adobe Flash, Adobe After Effects, or Adobe Illustrator. To create a timeline-based animation in Photoshop Extended, use the following general workflow.
Page 580 You can save the animation as an animated GIF using the Save For Web & Devices command, or as an image sequence or video using the Render Video command. You can also save it in PSD format, which can be imported into Adobe After Effects.
Page 581 If you want to animate different objects independently, it’s best to create them on separate layers. For a video on creating animations from images, see www.adobe.com/go/vid0024. Here are some examples of how you can animate layer properties: •...
Page 582 PHOTOSHOP CS3 User Guide • To select multiple keyframes, Shift-click the keyframes or drag a marquee around the keyframes. • To select all keyframes for a layer property, click the layer property name next to the Stopwatch icon. Move keyframes (Photoshop Extended) Select one or more keyframes.
Page 583 PHOTOSHOP CS3 User Guide In Photoshop, the two types of interpolation are linear interpolation and hold interpolation. Creates an evenly-paced change from one keyframe to another. Changes created with linear Linear Interpolation interpolation start and stop abruptly at each keyframe. Changes the value of a layer property over time without a gradual transition.
Page 584 PHOTOSHOP CS3 User Guide Choose Layer > Video Layers and then choose one of the following: Inserts a blank video frame in the selected blank video layer at the current time. Insert Blank Frame Deletes the video frame in the selected blank video layer at the current time. Delete Frame Adds a copy of the video frame at the current time in the selected blank video layer.
Page 585 PHOTOSHOP CS3 User Guide Onion skinning A. Current frame with one frame after B. Current frame with both one frame before and after C. Current frame with one frame before See also “List of blending modes” on page 344 Convert frame and timeline animations (Photoshop Extended) A frame animation created in either Photoshop or Photoshop Extended can be converted to a timeline animation so you can use keyframes and other timeline features to animate the layer properties.
Page 586: Preview Video And Animations
PHOTOSHOP CS3 User Guide In the Layers palette, select the layers you want for the animation, and choose Make Frames From Layers from the Animation palette menu. Keyframes are generated for the position, opacity, and style of each layer in the Animation palette so that the original animation is preserved.
Page 587 PHOTOSHOP CS3 User Guide Previewing video or timeline animations (Photoshop Extended) Your video or animation can be previewed in the document window. Photoshop uses RAM preview to preview the video or animation during your editing session. When you play or drag to preview frames, they are automatically cached for faster playback the next time they’re played.
Page 588: Save And Export Video And Animations
PSD is best because it preserves the edits and saves the file in a format that’s supported by Adobe digital video applications and many motion picture editing applications. For a video on working with Image Sequences, see www.adobe.com/go/vid0026.
Page 589 PHOTOSHOP CS3 User Guide Optimize animation frames After you complete your animation, you should optimize it for efficient download to a web browser. You optimize an animation in two ways: • Optimize the frames to include only areas that change from frame to frame. This greatly reduces the file size of the animated GIF.
Page 590 An animation format for playback of computer-generated animations on workstations, Windows, and Mac OS computers. This format is also referred to as FLI. Adobe® Flash® Video is the Adobe format for streaming audio and video over the web and other Flash Video (FLV) networks (you must install a FLV QuickTime encoder).
Page 591 PHOTOSHOP CS3 User Guide A multimedia standard for delivering audio and video streams over a range of bandwidths. MPEG-4 Note: Photoshop also supports other third-party formats such as Avid AVR Codecs; however, the necessary QuickTime Codecs must be installed. 3G export settings For more information on 3G settings, search for 3G on the Apple Computer web site.
Page 592 PHOTOSHOP CS3 User Guide Note: These options are available only if your movie has a text track, such as credits, titles, subtitles, and so forth. Choose Streaming from the pop-up menu below the File Format menu and specify the following: Streaming •...
Page 593 PHOTOSHOP CS3 User Guide reliability of the delivery network, you may want to increase keyframe frequency to one keyframe every 1 or 2 seconds. Specifies the kilobits per second (kbps) during playback. A higher kbps rate usually improves Limit Data Rate To movie playback quality;...
Page 594 PHOTOSHOP CS3 User Guide Specifies an option if the movie needs to be scaled to the new pixel dimensions. Preserve Aspect Ratio Using Letterbox scales the source proportionally to fit into the clean aperture, adding black bars to the top and bottom or sides as necessary.
Page 595 PHOTOSHOP CS3 User Guide original frame rates of the source clips) but uses more disk space. If available, specify how often the keyframes are generated. Certain QuickTime Codecs use frame differencing to compress the movie file by taking one full image frame of video information and generating the next number of frames by storing only the differences between each frame and the first full image frame.
Page 596 Interprets the alpha channel as premultiplied with black, white, or a color. If necessary, click Premultiplied - Matte the color swatch in the Interpret Footage dialog box to open the Adobe Color Picker to specify the matte color.
Page 597: Chapter 19: Technical Imaging
Chapter 19: Technical imaging Adobe Photoshop CS3 Extended offers powerful tools for technical image analysis and editing, including MATLAB integration, support for DICOM medical imaging formats, and image stack technology for sophisticated image enhancement. Measurement tools let you precisely measure complex image content, record data, and create and display measurement scales.
Page 598 PHOTOSHOP CS3 User Guide Click Apply and then OK. Connect/disconnect to Photoshop from MATLAB (Photoshop Extended) ❖ In MATLAB, do one of the following: • To launch or connect to Photoshop, type pslaunch, and then press Enter (Windows) or Return (Mac OS). •...
Page 599: Dicom Files (Photoshop Extended)
You can also view and edit metadata for DICOM files in Bridge or in the Photoshop File Info dialog box. DICOM files support external automation through scripting (see “About scripting” on page 622). For a video about DICOM files, see www.adobe.com/go/vid0028. See also “Annotating images”...
Page 600 New Video Layer from File command. See “Import image sequences (Photoshop Extended)” on page 554 For a video on opening DICOM files, see www.adobe.com/go/vid0028. Choose File > Open, select a DICOM file, and click Open. Select the frames you want to open. Shift-click to select contiguous frames. To select noncontiguous frames, Ctrl- click (Windows) or Command-click (Mac OS).
Page 601: Image Stacks (Photoshop Extended)
PHOTOSHOP CS3 User Guide DICOM metadata (Photoshop Extended) You can view and edit several categories of DICOM metadata in the Photoshop File Info dialog box. Includes patient name, ID, sex, and date of birth. Patient data Includes study ID, referring physician, study date and time, and study description. Study data Includes series number, modality, series date and time, and series description.
Page 602 PHOTOSHOP CS3 User Guide Image stacks are stored as Smart Objects. The processing options you can apply to the stack are called stack modes. Applying a stack mode to an image stack is a non-destructive edit. You can change stack modes to produce different effects;...
Page 603 PHOTOSHOP CS3 User Guide Rendering plug-in name Result Comments Entropy entropy = - sum( (probability of value) * log2( prob- The binary entropy (or zero order entropy) defines ability of value) ) a lower bound on how many bits would be neces- sary to losslessly encode the information in a set.
Page 604: Measurement (Photoshop Extended)
Measurement data is recorded in the Measurement Log palette. You can customize the Measurement Log columns, sort data within columns, and export data from the log to a tab-delimited, Unicode text file. For a video on measurement features, see www.adobe.com/go/vid0029. Measurement scale Setting a measurement scale sets a specified number of pixels in the image equal to a number of scale units, such as inches, millimeters, or microns.
Page 605 (if the Display Text option is selected) and a graphic layer. You can use the Move tool to move the scale marker, or the Text tool to edit the caption or change text size, font, or color. For a video on understanding and using the measurement features, see www.adobe.com/go/vid0029.
Page 606 • Select an existing data point preset from the submenu. For a video on understanding and using the measurement features, see www.adobe.com/go/vid0029. In the Select Data Points dialog box, data points are grouped according to the measurement tool that can measure them.
Page 607 PHOTOSHOP CS3 User Guide Note: When you measure with a particular tool, only the data points associated that tool will be displayed in the log, even if other data points are selected. For example, if you make a measurement with the Ruler tool, only the Ruler tool data points will appear in the Measurement Log, along with any Common data points that are selected.
Page 608 When you measure an object, a new row appears in the Measurement Log. You can reorder columns in the log, sort data in columns, delete rows or columns, or export data from the log to a comma-delimited text file. For a video on understanding and using the measurement features, see www.adobe.com/go/vid0029.
Page 609 PHOTOSHOP CS3 User Guide Display the Measurement Log ❖ Do one of the following: • Choose Analysis > Record Measurements. • Choose Window > Measurement Log. Select rows in the Log ❖ Do one of the following: • Click a row in the log to select it. •...
Page 610: Counting Objects In An Image (Photoshop Extended)
PHOTOSHOP CS3 User Guide Do one of the following: • Choose Export from the Measurement Log options menu. • Click the Export icon at the top of the palette. • Right-click in a row, then select Export from the pop-up menu. Enter a filename and location, and click Save.
Page 611: Working With 3D Files (Photoshop Extended)
The three-dimensional (3D) file support in Photoshop allows you to open and work with 3D files (.u3d, .3ds, .obj, .kmz, and Collada file formats) created by programs like Adobe® Acrobat® 3D Version 8, 3D Studio Max, Alias, Maya, and Google Earth.
Page 612 PHOTOSHOP CS3 User Guide For a video on mapping 2D images onto 3D models, see www.adobe.com/go/vid0020. For a video on using the 3D camera tool, see www.adobe.com/go/vid0022. Opening 3D files (Photoshop Extended) You can open a 3D file or add it to an existing Photoshop file as a 3D layer. When opening a 3D file, you will need to set a height and width for the file.
Page 613 PHOTOSHOP CS3 User Guide Move, rotate, or scale a 3D model You can use the 3D object editing tools to rotate a 3D model around its x-axis, y-axis, or z-axis; move the model along an axis; or scale the object. While you manipulate the 3D model the camera view remains fixed. For tooltips on each 3D tool, choose Palette Options from the Info Palette’s options menu and select Show Tool Hints.
Page 614 PHOTOSHOP CS3 User Guide To view or edit the numeric values for the x, y, and z position, rotation or field of view of the 3D camera, click the arrow to the right of the Edit Camera tools to open the 3D Camera Settings. Select Orthographic View to display the model in accurate scale view without any perspective distortion.
Page 615 Note: You cannot edit textures when the 3D tools are active. Click Commit or Cancel in the options bar to exit 3D transform mode. For a video on editing textures, see www.adobe.com/go/vid0021. Double-click a texture in the Layers palette. The texture opens as a separate document in its own window.
Page 616 You can place a 3D model against a background image and change its position or viewing angle to match the background. For a video on mapping 2D images onto 3D models, see www.adobe.com/go/vid0020. Open the file you want to serve as the backdrop.
Page 617: Chapter 20: Automating Tasks
Chapter 20: Automating tasks Automating tasks can save you time and ensure consistent results for many types of operations. Photoshop provides a variety of ways to automate tasks—using actions, droplets, the Batch command, scripting, templates, variables, and data sets. Automating with actions About actions An action is a series of tasks that you play back on a single file or a batch of files—menu commands, palette options, tool actions, and so on.
Page 618 PHOTOSHOP CS3 User Guide View actions by name only ❖ Choose Button Mode from the Actions palette menu. Choose Button Mode again to return to list mode. Note: You can’t view individual commands or sets in Button mode. Select actions in the Actions palette ❖...
Page 619 PHOTOSHOP CS3 User Guide (Photoshop only) Select Pause For Audio Annotation to ensure that each audio annotation in an action is played before the next step in the action is initiated. Deselect this option if you want an action to continue while an audio annotation is playing.
Page 620 PHOTOSHOP CS3 User Guide Note: Any actions that you create are automatically listed in the Actions palette, but to truly save an action and not risk losing it if you delete your preferences file (Illustrator) or Actions palette file (Photoshop), you have to save it as part of an action set.
Page 621: Creating Actions
PHOTOSHOP CS3 User Guide • To rename a set of actions, double-click the name of the set in the Actions palette or choose Set Options from the Actions palette menu. Then enter the new name of the set, and click OK. •...
Page 622 Record a path The Insert Path command lets you include a complex path (a path created with a pen tool or pasted from Adobe Illustrator) as part of an action. When the action is played back, the work path is set to the recorded path. You can insert a path when recording an action or after it has been recorded.
Page 623 PHOTOSHOP CS3 User Guide You can also display a short message when the action reaches the stop as a reminder of what needs to be done before continuing with the action. You can include a Continue button in the message box in case no other task needs to be done. Choose where to insert the stop by doing one of the following: •...
Page 624 PHOTOSHOP CS3 User Guide Insert a non-recordable menu command You cannot record the painting and toning tools, tool options, View commands, and Window commands. However, you can insert many non-recordable commands into an action using the Insert Menu Item command. You can insert a command when recording an action, or after it has been recorded.
Page 625: Processing A Batch Of Files
PHOTOSHOP CS3 User Guide If a dialog box appears, change the settings, and click OK to record them, or click Cancel to retain the same values. Processing a batch of files Convert files with the Image Processor The Image Processor converts and processes multiple files. Unlike the Batch command, the Image Processor lets you process files without first creating an action.
Page 626 Before you process your images, click Save to save the current settings in the dialog box. The next time you need to process files using this group of settings, click Load and navigate to your saved Image Processor settings. For a tutorial on image processing techniques, see www.adobe.com/go/learn_ps_processraw. Process a batch of files The Batch command runs an action on a folder of files.
Page 627 Import Processes all open files. Opened Files Processes selected files in Adobe Bridge. If no files are selected, the files in the current Bridge folder are Bridge processed. Set processing, saving, and file naming options. For descriptions of the Batch dialog box settings see “Batch and droplet processing options”...
Page 628 PHOTOSHOP CS3 User Guide Tips for cross-platform droplets When creating droplets for both Windows and Mac OS, keep the following compatibility issues in mind: • After moving a droplet created in Windows to Mac OS, you must drag the droplet onto the Photoshop icon on your desktop.
Page 629: Scripting
COM automation, such as VB Script. In Mac OS, you can use languages such as AppleScript that allow you to send Apple events. These languages are not cross-platform but can control multiple applications such as Adobe Photoshop, Adobe Illustrator, and Microsoft Office. In Mac OS, you can also use Apple’s Photoshop Actions for Automator to control tasks in Photoshop.
Page 630: Creating Data-Driven Graphics
You generate the graphics by exporting them from Photoshop, or you can create templates for use in other programs such as Adobe® GoLive® or Adobe® Graphics Server (see “Saving templates for use with other Adobe products” on page 628).
Page 631 PHOTOSHOP CS3 User Guide 3. Create or import the data sets. You can create the data sets in the template, or import them from a text file. (See “Define a data set” on page 626 and “Creating data sets in external files” on page 627.) 4.
Page 632 PHOTOSHOP CS3 User Guide Two versions of an image based on the same template A. Visibility variable B. Pixel Replacement variable C. Text Replacement variable You cannot define variables for the Background layer. Choose Image > Variables > Define. Select a layer from the Layer pop-up menu that contains the content you want to define as a variable. Select one or more types of variables: Shows or hides the content of the layer.
Page 633 PHOTOSHOP CS3 User Guide To define variables for another layer, choose a layer from the Layer pop-up menu. An asterisk appears next to the name of a layer that contains variables. You can use the navigation arrows to move between layers. Click OK.
Page 634 PHOTOSHOP CS3 User Guide Generate graphics using data sets After you define variables and one or more data sets, you can output, in batch mode, images using the data set values. You can output images as PSD files. Choose File > Export > Data Sets As Files. Enter a base name for all files generated.
Page 635 You can save a template in PSD format for use with other Adobe products, such as Adobe Graphics Server (available only in English) and Adobe GoLive. For example, a GoLive user can place a PSD template in a page layout, bind its variables to a database using dynamic links, and then use Graphics Server to generate iterations of the artwork.
Page 636: Customizing Keyboard Shortcuts
Chapter 21: Keyboard shortcuts Keyboard shortcuts make you more productive in Photoshop. You can use the default shortcuts listed here, or add and customize shortcuts to suit your needs. Customizing keyboard shortcuts About customizing keyboard shortcuts Photoshop lets you view a list of all shortcuts, and edit or create shortcuts. The Keyboard Shortcuts dialog box serves as a shortcut editor, and includes all commands that support shortcuts, some of which aren’t addressed in the default shortcut set.
Page 637: Default Keyboard Shortcuts
PHOTOSHOP CS3 User Guide • To return a new shortcut to the default, click Use Default. • To export the displayed set of shortcuts, click Summarize. You can use this HTML file to display the set of shortcuts in a web browser. •...
Page 638 PHOTOSHOP CS3 User Guide Result Windows Mac OS Slice tool Slice Select tool Spot Healing Brush tool Healing Brush tool Patch tool Red Eye tool Brush tool Pencil tool Color Replacement tool Clone Stamp tool Pattern Stamp tool History Brush tool Art History Brush tool †...
Page 639 PHOTOSHOP CS3 User Guide Result Windows Mac OS Rectangle tool Rounded Rectangle tool Ellipse tool Polygon tool Line tool Custom Shape tool Notes tool Audio Annotation tool † Eyedropper tool Color Sampler tool Measure tool Count tool † Hand tool Zoom tool †...
Page 640 PHOTOSHOP CS3 User Guide Result Windows Mac OS Turbulence tool Freeze Mask tool Thaw Mask tool Keys for working with Extract, Liquify, and Pattern Maker Result (Extract, Liquify, and Pattern Windows Mac OS Maker) Cycle through controls on right from top Cycle through controls on right from Shift + Tab Shift + Tab...
Page 641 PHOTOSHOP CS3 User Guide Result (Extract only) Windows Mac OS Cycle through Display menu in preview Shift + F Shift + F from bottom to top Decrease/increase brush size by 1 Down Arrow/Up Arrow in Brush Size text Down Arrow or Up Arrow in Brush Size text †...
Page 642 PHOTOSHOP CS3 User Guide Keys for using the Filter Gallery Result Windows Mac OS Apply a new filter on top of selected Alt-click a filter Option-click a filter Open/close all disclosure triangles Alt-click a disclosure triangle Option-click a disclosure triangle Change Cancel button to Default Control Command...
Page 643 PHOTOSHOP CS3 User Guide Result Windows Mac OS Rotate image right Zoom in Control + + (plus) Command + + (plus) Zoom out Control + - (hyphen) Command + - (hyphen) Temporarily switch to Zoom In tool Control Command (Doesn’t work when Straighten tool is selected.
Page 644 PHOTOSHOP CS3 User Guide Result Windows Mac OS Set a point to the composite curve Control-click the image Command-click the image Set a point to the channel curves Shift + Control-click the image Shift + Command-click the image Toggle grid size Alt-click the field Option-click the field Keys for using Photomerge...
Page 645 PHOTOSHOP CS3 User Guide Result Windows Mac OS Decrease brush hardness (Brush, Stamp Shift + [ Shift + [ tools) Undo last action Control + Z Command + Z Redo last action Control + Shift + Z Command + Shift + Z Deselect all Control + D Command + D...
Page 646 PHOTOSHOP CS3 User Guide Result Windows Mac OS Darken Shift + Alt + K Shift + Option + K Multiply Shift + Alt + M Shift + Option + M Color Burn Shift + Alt + B Shift + Option + B Linear Burn Shift + Alt + A Shift + Option + A...
Page 647: Keys For Selecting And Moving Objects
PHOTOSHOP CS3 User Guide Result Windows Mac OS Cycles through open documents Control + Tab Control + Tab Close a file in Photoshop and open Bridge Shift-Control-W Shift-Command-W Toggle between Standard mode and Quick Mask mode Toggle (forward) between Standard screen mode, Maximized screen mode, Full screen mode, and Full screen mode with menu bar Toggle (backward) between Standard...
Page 648 PHOTOSHOP CS3 User Guide Result Windows Mac OS ‡ Reposition marquee while selecting Any marquee tool (except single column Any marquee tool (except single column and single row) + spacebar-drag and single row) + spacebar-drag Add to a selection Any selection tool + Shift-drag Any selection tool + Shift-drag Subtract from a selection Any selection tool + Alt-drag...
Page 649 PHOTOSHOP CS3 User Guide Result Windows Mac OS Select multiple anchor points Direct selection tool + Shift-click Direct selection tool + Shift-click Select entire path Direct selection tool + Alt-click Direct selection tool + Option-click Duplicate a path Pen (any pen tool), Path Selection or Direct Pen (any pen tool), Path Selection or Direct Selection tool + Control + Alt-drag Selection tool+ Command + Option-drag...
Page 650 PHOTOSHOP CS3 User Guide Keys for transforming selections, selection borders, and paths This is not a complete list of keyboard shortcuts. This table lists only those shortcuts that are not displayed in menu commands or tool tips. Result Windows Mac OS Transform from center or reflect Option Constrain...
Page 651 PHOTOSHOP CS3 User Guide Result Windows Mac OS Align left, center, or right Horizontal type tool + Control + Shift + L, C, Horizontal type tool + Command + Shift + L, or R C, or R Align top, center, or bottom Vertical type tool + Control + Shift + L, C, or Vertical type tool + Command + Shift + L, C, or R...
Page 652 PHOTOSHOP CS3 User Guide Result Windows Mac OS Set options (except for Actions, Animation, Alt-click New button Option-click New button Styles, Brushes, Tool Presets, and Layer Comps palettes) Delete without confirmation (except for the Alt-click Delete button Option-click Delete button Brushes palette) Apply value and keep text box active Shift + Enter...
Page 653 PHOTOSHOP CS3 User Guide Keys for using the Animation palette Result Windows Mac OS Select/deselect multiple contiguous frames Shift-click second frame. Shift-click second frame. Select/deselect multiple discontiguous Control-click multiple frames. Command-click multiple frames. frames Paste using previous settings without Alt + Paste Frames command from the Option + Paste Frames command from the displaying the dialog box Palette pop-up menu...
Page 654 PHOTOSHOP CS3 User Guide Keys for using the Brushes palette Result Windows Mac OS Delete brush Alt-click brush Option-click brush Rename brush Double-click brush Double-click brush Decrease/increase brush size [ or ] [ or ] Decrease/increase brush softness/hardness Shift + [ or ] Shift + [ or ] in 25% increments Select previous/next brush size...
Page 655 PHOTOSHOP CS3 User Guide Result Windows Mac OS Step backward through image states Control + Alt + Z Command + Option + Z Duplicate any image state, except the Alt-click the image state Option-click the image state current state Permanently clear history (no Undo) Alt + Clear History (in History palette Option + Clear History (in History palette pop-up menu)
Page 656 PHOTOSHOP CS3 User Guide Result Windows Mac OS Select next layer down/up Alt + [ or ] Option + [ or ] Move target layer down/up Control + [ or ] Command + [ or ] Merge a copy of all visible layers into target Control + Shift + Alt + E Command + Shift + Option + E layer...
Page 657 PHOTOSHOP CS3 User Guide Result Windows Mac OS Create vector mask that hides all/selection Control + Alt-click Add Layer Mask button Command + Option-click Add Layer Mask button Display layer group properties Right-click layer group or double-click Control-click the layer group or double-click group group Select/deselect multiple contiguous layers...
Page 658: Function Keys
PHOTOSHOP CS3 User Guide Result Windows Mac OS Extend/shorten selected measurement in Shift + left/right arrow key Shift + left/right arrow key increments Rotate selected measurement Control + arrow key Command + arrow key Rotate selected measurement in incre- Shift + Control + arrow key Shift + Command + arrow key ments Keys for using 3D tools (Photoshop Extended)
Page 659 PHOTOSHOP CS3 User Guide Result Windows Mac OS Show/Hide Color palette Show/Hide Layers palette Show/Hide Info palette Show/Hide Actions palette Option + F9 Revert Fill Shift + F5 Shift + F5 Feather Selection Shift + F6 Shift + F6 Inverse Selection Shift + F7 Shift + F7...
Page 660: Index
466 file size of 265 keyboard shortcuts for 645 Adobe PDF conversion settings 445 in JPEG 2000 files 458 activation of software 1 Adobe PDF presets. See PDF files loading a saved selection from 274 active layer 283...
Page 661 619 converting 378 selections 256 batches of data sets 627 moving and nudging 373, 374 type 407 saving templates for other Adobe rules for adjusting 373 applications 628 in web graphics 527 angle through scripting 622 Apple Color Picker 124...
Page 662 Box Blur filter 389 about 85 channels Bridge Home 8 automated batch processing 91 bit depth 60 Bridge. See Adobe Bridge bit depth of 106 blending 275 brightness cache in Bridge 86, 90 calculating 275 adjusting 172...
Page 663 INDEX 656 maximum number of 265 clipping masks 323 color management merging 268 clipping paths See also color profiles, color settings mixing 179 about 480 about 128, 129, 130 optimizing images with 528 printing 481 color settings reference 146 options for 272 Clone Source palette 195 considerations for importing Quick Mask 270...
Page 664 147 complementary colors. See color wheel selecting web-safe colors with 122 customizing 146 composition methods 427 color palettes for Adobe applications 132 compression See also Color palette presets for 146 about 459 Adaptive 116 rendering intents 149...
Page 665 Deselect command 245 command 182 distributing deselecting selections 245 Custom filter 395 layers 286 See also selecting custom ink colors, choosing in Adobe shapes 376 Design Center 9 Color Picker 123 dithering desktop printers, color profiles Custom Spot Function option 494...
Page 666 INDEX 659 document size Duplicate Merged Layers Only lasso segments 247 option 41 about 66 to history to restore previous Duplicate Path command 376 state 51 viewing 40 Dust & Scratches filter 391 Events Manager 623 document window, viewing file information in 39 Dynamic Color Sliders option 125 Every-line Composer 427...
Page 667 INDEX 660 for nonsupported previews 460 Dry Brush 388 fractional character widths 421 supporting paths 370 Fine Grain 388 Fragment filter 392 file information area, in status bar 40 for 16-bit images 383 frame delay 570 file size for 8-bit images 383 frames about 62 Fresco 388...
Page 668 19 Hard light mode 345 viewing a specific channel in 153 IFF format, about 462 Hard mix mode 345 histograms Illustrator. See Adobe Illustrator hard proof 489 about 151 image areas Hardness option 335 cache level 153 adjust color saturation 195...
Page 669 WIA support 67, 68 texture depth 340 converting between bit depths 60 indenting paragraphs 425 JP2 format. See JPEG 2000 format converting between color InDesign. See Adobe InDesign JPEG 2000 format modes 112 Indexed Color mode about 456, 463 copying selections between 259...
Page 670 Lab Color mode adjustment layers, about 306 selecting opaque areas of 322 about 111 aligning 286, 287, 324 showing edges 285 in Adobe Color Picker 121 applying preset styles to 298 stroking 352 Lab color model 111 background 280 thumbnails 279...
Page 671 INDEX 664 Lighting Effects filter locking layers 289 saving as alpha channels 269 about 392, 399 locking slices 514 saving selections in 269 adding 401 looping, in animations 571 selecting opaque areas with 322 creating styles with 401 lossless compression formats 459 unlinking from layers 321 textures in 402 lossy compression...
Page 672 Multiply mode 344 overprint colors 500 creating, with Pen tool 366 Oversized Pages, PDF preset 446 Open Recent command 71 OpenEXR format 463 navigation shortcuts, in Adobe opening Help 4 page marks 491 EPS files 73 Navigator palette 34 page setup 483, 486...
Page 673 PDF/X-compliant files, options 450 stacking 18 editing 375 PDFs panoramic images, creating 239 exporting to Illustrator 481 Adobe PDF presets 450 Paragraph palette, about 422 filling 380, 381 color management considerations 136, 140 paragraph type. See type from selection borders 380...
Page 674 68 brush 330 Photoshop EPS format. See EPS files for unsupported file format 459 contour 302 Photoshop format 460 in Adobe Store 10 for converting files 445 Photoshop PDF format 464 selecting folder for 50 gradient 350 Photoshop Raw format Plug-Ins &...
Page 675 487 Rectangular Marquee tool 245 tonal and color adjustments in 159 previewing 67, 484 Red Eye tool 202 RGB color space, Adobe 146 scaling for 487 red eye, removing 195 RGB images vector graphics 487 reference point 214...
Page 676 INDEX 669 rulers layers 441 keyboard shortcuts for 640 about 41 options 441 layers 283 changing settings 42 page layouts 479 layers in a group 283 zero origin 41 preferences 441 pixels 244 Run Length Encoding (RLE) specifying file extensions when 442 RGB colors 121 compression 459 spot channels 441...
Page 677 INDEX 670 previewing, using Refine Edge subtracting from 360 renaming 514 option 255 wheel 360 resizing 511 refining edges of 255 Sharpen Edges filter 393 selecting 510 refining with Color Range Sharpen filter 207, 393 slice lines 510 command 251 Sharpen More filter 393 snapping to 511 removing fringe pixels from 257...
Page 678 52 Stamp filter 394 tate-chu-yoko. See Asian type Soft light mode 344, 345 standard deviation pixel values 153 templates, using with other Adobe soft proofs 159 Standard mode button, for turning applications 628 soft-proofing off quick mask 271...
Page 679 INDEX 672 Hue/Saturation command 168 transformations curly and straight quotes in 407 made in Curves dialog box 164 applying 213 editing 406 made with adjustment layers 158 repeating 213 editing hyphenation 427 Match Color command 178 selecting an item for 213 filling 413 Replace Color command 178 setting or moving the reference...
Page 680 519, 521 NTSC Colors 395 Use Accurate Screens option 501 Web Shift/Unshift Selected Colors video layers Use Adobe Dialog option 70 command 536 about 279 user slices. See slices web-safe alert, in Color Picker 120, color mode, bit depth 545...
Page 681 INDEX 674 work paths about 358 converting selection to 380 creating 369, 370 working spaces, color 146 workspaces customizing 20 customizing menus in 24 deleting menus from 25 menu colors in 25 XHTML-compliant web pages 542 XMP (Extensible Metadata Platform) 466 XMP sidecar files in Camera Raw 103 viewing in Bridge 104...

This manual is also suitable for:

Photoshop cs3

Adobe 13102498 - Photoshop CS3 - Mac User Manual

Chapter 1: Getting Started

Chapter 2: Workspace

Chapter 3: Opening and Importing Images

Chapter 4: Camera Raw

Chapter 5: Color

Chapter 6: Color Management

Chapter 7: Making Color and Tonal Adjustments

Chapter 8: Retouching and Transforming

Chapter 9: Selecting

Chapter 10: Layers

Chapter 11: Painting

Create a Brush and Set Painting Options

See also

Chapter 12: Drawing

Chapter 13: Filters

Chapter 14: Type

Chapter 15: Saving and Exporting Images

Chapter 16: Printing

Chapter 17: Web Graphics

Chapter 18: Video and Animation

Chapter 19: Technical Imaging

Chapter 20: Automating Tasks

Chapter 21: Keyboard Shortcuts

Index

Quick Links

Related Manuals for Adobe 13102498 - Photoshop CS3 - Mac

Summary of Contents for Adobe 13102498 - Photoshop CS3 - Mac