Introduction
Welcome
Making Photoshop your default image editor
Installing the dekeKeys keyboard shortcuts
Remapping OS shortcuts
Installing the Best Workflow color settings
The color settings explained
Loading the CS5 color settings in Bridge
13. What Photoshop Can Do, Pt. 2: The Eyes
What you can do with Photoshop
The mission-critical eyes
Copy Merged and Paste in Place
Sharpening details to match
Masking eyes
Working with clipping-mask layers
Shading with layer effects
Color and highlight effects
Refining layer masks
Fabricating the highlights in the pupils
Using a merged copy to sharpen
14. Levels and Curves
Highlights, shadows, and midtones
Introducing the Auto commands
Adjusting Cache Level settings
Reading a channel-by-channel histogram
How the Auto commands work
Auto Tone, Auto Contrast, and Auto Color
Blending the Auto results
Introducing the Levels command
Using Levels as an adjustment layer
Applying custom Levels adjustments
Understanding the gamma value
The futility of Output Levels
Selections and adjustment layers
Opening up the shadows
Previewing clipped pixels
The black, white, and gray eyedroppers
Gray card tips and tricks
Making channel-by-channel adjustments
Introducing the Curves command
Curves dialog box tricks
Curves adjustment layer tricks
Correcting an image with Curves
Filling in the highlights
Neutralizing casts and smoothing transitions
15. Sharpening Details
The art of enhancing edges
How sharpening works
The single-shot sharpeners
Introducing Unsharp Mask
Radius and Threshold
Sharpening colors vs. luminosity
Gauging the ideal settings
Unsharp Mask vs. Smart Sharpen
Using the Remove settings
The More Accurate checkbox
Saving your Smart Filter settings
The Advanced sharpening settings
Accounting for camera shake
Sharpening with the Emboss filter
Sharpening with High Pass
The new and improved Sharpen tool
16. Noise and Texture
Edge's evil twin: noise
Color vs. luminance noise
Reducing color noise
Reducing luminance noise
Relegating an effect to the shadows
Switching between layer and mask
The Dust & Scratches filter
Adjusting shadow saturation
Combining High Pass with Lens Blur
Masking a layer of Lens Blur
Painting away High Pass sharpening
Building up a noise pattern
Converting noise to texture
Bleeding colors into paper
Matching different noise levels
17. Shadows, Highlights, and Contours
We are the stuff of light
Applying automatic lens correction
Introducing Shadows/Highlights
Shadows/Highlights in depth
Creating a "bounce" with Gaussian Blur
Sharpening on top of blur
Sharpening the merged composition
Grouping and masking layers
Adjusting the density of a mask
Creating a Shadows/Highlights shortcut
Restoring detail with Shadows/Highlights
Changing the Shadows/Highlights defaults
Smoothing skin details with Gaussian Blur
Smoothing with High Pass
Lowering contrast with Gaussian Blur
Inverting a sharpening effect
18. Black & White and Colorize
Color becomes monochrome
Converting an image to grayscale
Extracting luminance information
Introducing the Channel Mixer
Aggressive channel mixing
Proofing CMYK colors
Color settings and intent
Practical Channel Mixer variations
Saving variations as layer comps
The default grayscale recipe
Creating a custom black-and-white mix
Shadows/Highlights in black and white
Introducing the Black & White command
Adjusting Black & White settings
Mixing a Black & White portrait
Black & White vs. Channel Mixer
Adding tint and color
Introducing the Gradient Map
Loading custom gradients
Editing gradient color stops
Colorizing with blend modes and Opacity
19. Color Range and Refine Edge
Two great commands working great together
Introducing the Color Range command
Setting key colors and Fuzziness
Predefined vs. sampled colors
The Localized Color Clusters option
Defining a selection with care
Introducing the Quick Mask mode
Testing edges with the Magic Wand
Hand-brushing a selection
Saving and loading an alpha channel
Converting a selection to a layer mask
Switching between an image and a layer mask
Protecting elements with a layer mask
Duplicating and editing a layer mask
Introducing the Refine Edge command
Accessing the various Refine Edge options
Refine Edge's preview options
The Adjust Edge values
Edge Detection and Smart Radius
Using the Refine Radius tool
Using the Decontaminate Colors option
Old-school masking adjustments
Four micro mask adjustments
20. Text and Shape Layers
Photoshop's vector exceptions
Making text in Photoshop
Creating and editing a text layer
Font and type style
Type size and color
Combining layer effects and type
Drawing a custom shape layer
Side bearing, kerning, and tracking
Point text vs. area text
Selecting and formatting a paragraph
Copying and pasting unformatted text
Creating text inside a custom path
Creating text along a path
Adjusting baseline shift
Drawing a fading arrowhead
Fading a shadow with a layer
Logo creation and Fill Opacity
Stretching a background element
Drawing with shape outlines
Combining vector-based shapes
Masking vector-based shape layers
Correcting spacing problems
Drawing the ultimate specular sparkle
Preparing text for commercial output
Saving a high-resolution PDF file
Inspecting the final PDF document
Saving large poster art
21. Layer Effects and Styles
What filters ought to be
Layer effects vs. filters
Carving with an Inner Shadow effect
Selling an effect with Drop Shadow
Creating blurry shadow type
Saving custom default settings
Creating a custom contour
Introducing Bevel and Emboss
Adjusting Angle and Altitude
Exploiting global light
Gloss and edge contour
Applying and creating layer styles
Loading, saving, and merging styles
Creating a textured bevel effect
Using shadows as highlights
Combining filters and effects
Working with random effects
Smoothing with Gaussian Blur and Levels
Masking blacks from whites
Applying liquid styles
Simulating liquid reflections
Finessing and cropping a liquid effect
Initiating a displacement map
Applying a displacement map
22. Transform, Distort, and Warp
Two words: Free Transform
Scale, rotate, and constrain
Using the transformation origin
Applying a slant (aka skew)
The four-point "perspective" distortion
Two ways to make gradient text
Building complexity from a simple shape
Duplicating a series of transformations
Rasterizing a layer with its effects
Applying a custom warp
Blending and softening a warped layer
Creating spherical highlights
Using a center-source inner glow
23. Puppet Warp and Liquify
Distorting reality
Extracting a foreground element
Introducing the Puppet Warp command
Setting and manipulating pins
Rotating pins and switching warp modes
Expanding and contracting the mesh
Changing the Density setting
Adjusting the pin depth
Winding an image into a pretzel
Applying Puppet Warp to type
Warping single characters
Editing puppet-warped text
Extending an image with Free Transform
Extracting from a white background
Tracing a shape with Puppet Warp
Introducing the Liquify command
Warp, Twirl, Pucker, and Bloat
Saving and loading a mesh
Push, Mirror, and Turbulence
Lifting and slimming details
Warping fabric, arms, and legs
Masking and finessing the results
24. Adobe Camera Raw
Welcome to the digital darkroom
Introducing Camera Raw
Adjusting white balance
Selecting and synchronizing images
Making automatic adjustments and saving changes
Creating and managing snapshots
Adjusting the Exposure value
Working with clipping warnings
Adjusting Brightness and Contrast
Vibrance, Saturation, and Clarity
Recovery and Fill Light
Using the Graduated Filter tool
Painting edits with the Adjustment Brush
Straighten, crop, and geometric distortions
Applying manual lens corrections
Vignette and chromatic aberrations
Introducing the Tone Curves
Parametric curves and targeted adjustments
Correcting a low-noise photograph
Sharpening and high-noise photos
Selective Hue/Saturation adjustments
Selective Luminance adjustments
Adding grain and vignetting effects
Mixing a subjective black-and-white image
Colorizing with the Split Toning options
Opening a raw image as a Smart Object
Camera Raw wrap-up
Conclusion
Until next time