Adobe Photoshop CS4 User Manual

Using

ADOBE® PHOTOSHOP® CS4

Last updated 1/10/2010

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Adobe Systems Incorporated, 345 Park Avenue, San Jose, California 95110, USA.

Last updated 1/10/2010

Chapter 1: Resources

Activation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Help and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Services, downloads, and extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

What’s new in Photoshop CS4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Chapter 2: Workspace

Workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Panels and menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Viewing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Rulers, the grid, and guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Presets, Plug-ins, and Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Undo and history panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Memory and performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Managing connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

iii

Chapter 3: Opening and importing images

Image essentials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Image size and resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Acquiring images from cameras and scanners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Creating, opening, and importing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Placing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

High dynamic range images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter 4: Camera Raw

Introduction to Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Navigating, opening, and saving images in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Making color and tonal adjustments in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Retouching and transforming images in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Making local adjustments in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Correcting lens distortion and noise in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Managing Camera Raw settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Chapter 5: Color fundamentals

About color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Color modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Converting between color modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Choosing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Kuler panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Chapter 6: Color management

Understanding color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Keeping colors consistent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Last updated 1/10/2010

USING PHOTOSHOP CS4

Contents

Color-managing imported images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Color-managing documents for online viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Proofing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Color-managing documents when printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Working with color profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Color settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Chapter 7: Color and tonal adjustments

Viewing histograms and pixel values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Understanding color adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Adjusting image color and tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Targeting images for press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Matching, replacing, and mixing colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Making quick image adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Applying special color effects to images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Chapter 8: Retouching and transforming

Adjusting crop, rotation, and canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Retouching and repairing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Correcting image distortion and noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Adjusting image sharpness and blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Transforming objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Content-aware scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Liquify filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Vanishing Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Create panoramic images with Photomerge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Chapter 9: Selecting and masking

Making selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251

Adjusting pixel selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Moving and copying selected pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Deleting and extracting objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Saving selections and using masks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Channel calculations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Chapter 10: Layers

Layer basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Selecting, grouping, and linking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Moving, stacking, and locking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Managing layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Setting opacity and blending . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Layer effects and styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

Adjustment and fill layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Nondestructive editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Layer comps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Masking layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

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Chapter 11: Painting

Painting tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Brush presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Creating and modifying brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Filling and stroking selections, layers, and paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Creating and managing patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Chapter 12: Drawing

About drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Drawing shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Drawing with the Pen tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Managing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Editing paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Converting between paths and selection borders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Adding color to paths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Chapter 13: Filters

Filter basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Filter effects reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Applying specific filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Add Lighting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Chapter 14: Type

Creating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Editing text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Formatting characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421

Line and character spacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Scaling and rotating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Formatting paragraphs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Creating type effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Asian type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Chapter 15: Saving and exporting images

Saving images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Saving PDF files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Saving and exporting files in other formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

File formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Metadata and notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Adding and viewing Digimarc copyright protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Placing Photoshop images in other applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Chapter 16: Printing

Printing from Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Printing with color management in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

Printing images to a commercial printing press . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

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Printing duotones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

Printing spot colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497

Chapter 17: Web graphics

Working with web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

Slicing web pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

Modifying slices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506

Slice output options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510

Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512

Web graphics optimization options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518

Output settings for web graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530

Chapter 18: Video and animation

Video and animation in Photoshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533

Creating images for video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538

Importing video files and image sequences (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543

Interpreting video footage (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545

Painting frames in video layers (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546

Editing video and animation layers (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549

Creating frame animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553

Creating timeline animations (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560

Previewing video and animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 566

Saving and exporting video and animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569

Chapter 19: 3D and technical imaging

3D overview (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577

3D editing and output (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590

DICOM files (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603

Measurement (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607

Counting objects in an image (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613

Photoshop and MATLAB (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 615

Image Stacks (Photoshop Extended) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 617

Chapter 20: Automating tasks

Automating with actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620

Creating actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624

Processing a batch of files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628

Scripting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 632

Creating data-driven graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

Chapter 21: Optional plug-ins

Picture packages and contact sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639

Creating web photo galleries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643

Extract an object from its background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 650

Generate a pattern using the Pattern Maker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 652

Import an image using the TWAIN interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653

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Chapter 22: Keyboard shortcuts

Customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655

Index ...............................................................................................................681

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Chapter 1: Resources

Before you begin working with your software, take a few moments to read an overview of activation and the many resources available to you. You have access to instructional videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more.

Activation and registration

Help with installation

For help with installation issues, see the Installation Support Center at www.adobe.com/go/cs4install.

License activation

During the installation process, your Adobe software contacts Adobe to complete the license activation process. No personal data is transmitted. For more information on product activation, visit the Adobe website at

www.adobe.com/go/activation.

A single-user retail license activation supports two computers. For example, you can install the product on a desktop computer at work and on a laptop computer at home. If you want to install the software on a third computer, first deactivate it on one of the other two computers. Choose Help

> Deactivate.

Register

❖ To register, follow the on-screen instructions in the Registration dialog box, which appears after you install the

software.

If you postpone registration, you can register at any time by choosing Help > Registration.

Adobe Product Improvement Program

After you have used your Adobe software a certain number of times, a dialog box appears, asking whether you want to participate in the Adobe Product Improvement Program.

If you choose to participate, data about your use of Adobe software is sent to Adobe. No personal information is recorded or sent. The Adobe Product Improvement Program only collects information about the features and tools that you use in the software and how often you use them.

You can opt in to or opt out of the program at any time:

• To participate, choose Help > Adobe Product Improvement Program and click Yes, Participate.

• To stop participating, choose Help > Adobe Product Improvement Program and click No, Thank You.

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Resources

ReadMe

A ReadMe file for your software is available on-line and on the installation disc. Open the file to read important information about topics such as the following:

• System requirements

• Installation (including uninstalling the software)

• Activation and registration

• Font installation

• Troubleshooting

• Customer support

• Legal notices

Help and support

Community Help

Community Help is an integrated environment on Adobe.com that gives you access to community-generated content moderated by Adobe and industry experts. Comments from users help guide you to an answer.

Community Help draws on a number of resources, including:

• Videos, tutorials, tips and techniques, blogs, articles, and examples for designers and developers.

• Complete on-line product Help, which is updated regularly by the Adobe documentation team.

• All other content on Adobe.com, including knowledgebase articles, downloads and updates, Developer

Connection, and more.

Choose Help > product name Help in the application to access the Help and Support page, the portal to all of the Community Help content for your product. You can also use the Help search field in some Creative Suite 4 applications, or press F1 (Windows), to access Community Help for your product.

The sites searched by the default Community Help search engine are hand-selected and reviewed for quality by Adobe and Adobe Community Experts. Adobe experts also work to ensure that the top search results include a mixture of different kinds of content, including results from on-line product Help.

For more information on using Community Help, see http://help.adobe.com/en_US/CommunityHelp/.

For a video overview of Community Help, see www.adobe.com/go/lrvid4117_xp.

For frequently asked questions about Community Help, see http://community.adobe.com/help/profile/faq.html

Product Help

Adobe provides a comprehensive user guide for each product in several formats, including on-line product Help, PDF, and printed book. Results from on-line product Help are included in your results whenever you search Community Help.

If you’re connected to the Internet, the Help menu within the product opens the product Help and Support page by default. This page is a portal to all of the Community Help content for the product. If you want to consult or search on-line product Help only, you can access it by clicking the product Help link in the upper-right corner of the Help and Support page. Be sure to select the This Help System Only option before you do your search.

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If you’re not connected to the Internet, the Help menu within the product opens local Help, a subset of the content available in on-line product Help. Because local Help is not as complete or up-to-date as on-line product Help, Adobe recommends that you use the PDF version of product Help if you want to stay offline. A downloadable PDF of complete product Help is available from two places:

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Resources

• The product’s Help and Support page (upper-right corner of the page)

• Local and web Help (top of the Help interface)

For more information on accessing product help, see http://help.adobe.com/en_US/CommunityHelp/.

If you are working in Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, and you want to turn off Community Help so that local Help opens by default, do the following:

1 Open the Connections panel (Window > Extensions > Connections).

2 From the Connections panel menu , select Offline Options.

3 Select Keep Me Offline and click OK.

Note: When you disable web services from the Connections panel, all other web services (such as Adobe Kuler and Adobe ConnectNow) are also disabled.

Printed resources

Printed versions of the complete on-line product Help are available for the cost of shipping and handling at

www.adobe.com/go/store.

Support resources

Visit the Adobe Support website at www.adobe.com/support to learn about free and paid technical support options.

Services, downloads, and extras

You can enhance your product by integrating a variety of services, plug-ins, and extensions in your product. You can also download samples and other assets to help you get your work done.

Adobe creative on-line services

Adobe® Creative Suite® 4 includes new on-line features that bring the power of the web to your desktop. Use these features to connect with the community, collaborate, and get more from your Adobe tools. Powerful creative on-line services let you complete tasks ranging from color matching to data conferencing. The services seamlessly integrate with desktop applications so you can quickly enhance existing workflows. Some services offer full or partial functionality when you’re offline too.

Visit Adobe.com to learn more about available services. Some Creative Suite 4 applications include these initial offerings:

Kuler™ panel Quickly create, share, and explore color themes on-line.

Adobe® ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia.

Resource Central Instantly access tutorials, sample files, and extensions for Adobe digital video applications.

For information on managing your services, see the Adobe website at www.adobe.com/go/learn_creativeservices_en.

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Resources

Adobe Exchange

Visit the Adobe Exchange at www.adobe.com/go/exchange to download samples as well as thousands of plug-ins and extensions from Adobe and third-party developers. The plug-ins and extensions can help you automate tasks, customize workflows, create specialized professional effects, and more.

Adobe downloads

Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software.

Adobe Labs

Adobe Labs at www.adobe.com/go/labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. At Adobe Labs, you have access to resources such as these:

• Prerelease software and technologies

• Code samples and best practices to accelerate your learning

• Early versions of product and technical documentation

• Forums, wiki-based content, and other collaborative resources to help you interact with like-minded users.

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. The Adobe development teams use this feedback to create software that meets the needs and expectations of the community.

Adobe TV

Visit Adobe TV at http://tv.adobe.com to view instructional and inspirational videos.

Extras

The installation disc contains a variety of extras to help you make the most of your Adobe software. Some extras are installed on your computer during the setup process; others are located on the disc.

To view the extras installed during the setup process, navigate to the application folder on your computer.

• Windows®: [startup drive]\Program Files\Adobe\[Adobe application]

• Mac OS®: [startup drive]/Applications/[Adobe application]

To view the extras on the disc, navigate to the Goodies folder in your language folder on the disc. Example:

• /English/Goodies/

What’s new in Photoshop CS4

Adjustments panel

Quickly access the controls you need to non-destructively adjust image color and tone in the Adjustments panel. Includes on-image controls and presets in one location. See

“Adjustments panel overview” on page 160.

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Resources

Masks panel

Quickly create precise masks in the Masks panel. The Masks panel offers tools and options for creating editable pixeland vector-based masks, adjusting mask density and feathering, and selecting non-contiguous objects. See

“Masking

layers” on page 323.

Advanced compositing

Create more accurate composites using the enhanced Auto-Align Layers command, and use the spherical alignment to create 360-degree panoramas. The enhanced Auto-Blend Layers command smoothly blends color and shading, and extends your depth of field by correcting vignettes and lens distortion. See

“Retouching and transforming” on

page 196.

Canvas rotation

Click to smoothly turn your canvas for nondestructive viewing at any desired angle. See “Use the Rotate View tool” on page 28.

Smoother panning and zooming

Gracefully navigate to any area of an image with smoother panning and zooming. Maintain clarity as you zoom to individual pixels, and easily edit at the highest magnification with the new Pixel Grid. See

“Viewing images” on

page 27.

Better raw processing in Camera Raw

Apply corrections to specific areas of an image using the Camera Raw 5.0 plug-in, enjoy superior conversion quality, and apply postcrop vignettes to images. See

“Camera Raw” on page 79.

Improved Lightroom workflow

Enhanced integration between Photoshop CS4 and Photoshop® Lightroom® 2 allows you to open photos from Lightroom in Photoshop and seamlessly roundtrip back to Lightroom. Automatically merge photos from Lightroom into panoramas, open as HDR images, or open as multilayer Photoshop file.

Efficient file management with Adobe® Bridge CS4

Enjoy efficient visual asset management with Adobe Bridge CS4, which features faster startup, workspaces that suit the task at hand, and the ability to create web galleries and Adobe

PDF contact sheets. See Working with Adobe Bridge.

Powerful printing options

The Photoshop CS4 print engine provides tight integration with all the most popular printers, the capability to preview out-of-gamut image areas, and support for 16-bit printing on Mac

OS. See “Printing” on page 479.

3D acceleration

Enable OpenGL Drawing to accelerate 3D operations. See “About OpenGL” on page 578.

Comprehensive 3D tools

Paint directly on 3D models, wrap 2D images around 3D shapes, convert gradient shapes to 3D objects, add depth to layers and text, and enjoy exporting to common 3D formats. See

“3D and technical imaging” on page 577.

Higher performance on very large images (Windows only)

Work faster with very large images by taking advantage of additional RAM. (Requires a 64-bit computer with a 64-bit version of Microsoft Windows Vista®).

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Chapter 2: Workspace

The Adobe® Photoshop® CS4 workspace is arranged to help you focus on creating and editing images. The workspace includes menus and a variety of tools and panels for viewing, editing, and adding elements to your images.

For a video on editing and merging images from Lightroom, see www.adobe.com/go/lrvid4001_ps.

Workspace basics

Workspace overview

You create and manipulate your documents and files using various elements, such as panels, bars, and windows. Any arrangement of these elements is called a workspace. The workspaces of the different applications in Adobe® Creative Suite® 4 share the same appearance so that you can move between the applications easily. You can also adapt each application to the way you work by selecting from several preset workspaces or by creating one of your own.

Although the default workspace layout varies in different products, you manipulate the elements much the same way in all of them.

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Workspace

B DC

Default Illustrator workspace A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel G. Collapse To Icons button H. Four panel groups in vertical dock

• The Application bar across the top contains a workspace switcher, menus (Windows only), and other application

controls. On the Mac for certain products, you can show or hide it using the Window menu.

• The Tools panel contains tools for creating and editing images, artwork, page elements, and so on. Related tools are

grouped.

• The Control panel displays options for the currently selected tool. The Control panel is also known as the options

bar in Photoshop. (Adobe Flash®, Adobe Dreamweaver®, and Adobe Fireworks® have no Control panel.)

• Flash, Dreamweaver, and Fireworks have a Property inspector that displays options for the currently selected

element or tool.

• The Document window displays the file you’re working on. Document windows can be tabbed and, in certain cases,

grouped and docked.

• Panels help you monitor and modify your work. Examples include the Timeline in Flash, the Layers panel in Adobe

Photoshop®, and the CSS Styles panel in Dreamweaver. Panels can be grouped, stacked, or docked.

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Workspace

• On the Mac, the Application frame groups all the workspace elements in a single, integrated window that lets you

treat the application as a single unit. When you move or resize the Application frame or any of its elements, all the elements within it respond to each other so none overlap. Panels don’t disappear when you switch applications or when you accidentally click out of the application. If you work with two or more applications, you can position each application side by side on the screen or on multiple monitors. If you prefer the traditional, free-form user interface of the Mac, you can turn off the Application frame. In Adobe Illustrator®, for example, select Window > Application Frame to toggle it on or off. (In Flash, the Application frame is on permanently. Dreamweaver does not use an Application frame.)

Hide or show all panels

• (Illustrator, Adobe InCopy®, Adobe InDesign®, Photoshop, Fireworks)To hide or show all panels, including the

Tools panel and Control panel, press

• (Illustrator, InCopy, InDesign, Photoshop) To hide or show all panels except the Tools panel and Control panel,

press Shift+Tab.

You can temporarily display hidden panels if Auto-Show Hidden Panels is selected in Interface preferences. It’s always on in Illustrator. Move the pointer to the edge of the application window (Windows®) or to the edge of the

monitor (Mac

OS®) and hover over the strip that appears.

• (Flash, Dreamweaver, Fireworks) To hide or show all panels, press F4.

Tab.

Display panel options

❖ Click the panel menu icon in the upper-right corner of the panel.

You can open a panel menu even when the panel is minimized.

(Illustrator) Adjust panel brightness

❖ In User Interface preferences, move the Brightness slider. This control affects all panels, including the Control

panel.

Reconfigure the Tools panel

You can display the tools in the Tools panel in a single column, or side by side in two columns. (This feature is not available in the Tools panel in Fireworks and Flash.)

In InDesign and InCopy, you also can switch from single-column to double-column (or single-row) display by setting an option in Interface preferences.

❖ Click the double arrow at the top of the Tools panel.

Manage windows and panels

You can create a custom workspace by moving and manipulating Document windows and panels. You can also save workspaces and switch among them.

Note: The following examples use Photoshop for demonstration purposes. The workspace behaves the same in all the products.

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A B

Narrow blue drop zone indicates Color panel will be docked on its own above the Layers panel group. A. Title bar B. Tab C. Drop zone

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In Photoshop, you can change the font size of the text in the Control panel, in the panels, and in tool tips. Choose a size from the UI Font Size menu in Interface preferences.

Manage Document windows

When you open more than one file, the Document windows are tabbed.

• To rearrange the order of tabbed Document windows, drag a window’s tab to a new location in the group.

• To undock a Document window from a group of windows, drag the window’s tab out of the group.

• To dock a Document window to a separate group of Document windows, drag the window into the group.

Note: Dreamweaver does not support docking and undocking Document windows. Use the Document window’s Minimize button to create floating windows.

Workspace

• To create groups of stacked or tiled documents, drag the window to one of the drop zones along the top, bottom, or

sides of another window. You can also select a layout for the group by using the Layout button on the Application bar.

Note: Some products do not support this functionality. However, your product may have Cascade and Tile commands in the Window menu to help you lay out your documents.

• To switch to another document in a tabbed group when dragging a selection, drag the selection over the document’s

tab for a moment.

Note: Some products do not support this functionality.

Dock and undock panels

A dock is a collection of panels or panel groups displayed together, generally in a vertical orientation. You dock and undock panels by moving them into and out of a dock.

Note: Docking is not the same as stacking. A stack is a collection of floating panels or panel groups, joined top to bottom.

• To dock a panel, drag it by its tab into the dock, at the top, bottom, or in between other panels.

• To dock a panel group, drag it by its title bar (the solid empty bar above the tabs) into the dock.

• To remove a panel or panel group, drag it out of the dock by its tab or title bar. You can drag it into another dock

or make it free-floating.

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Navigator panel being dragged out to new dock, indicated by blue vertical highlight

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Workspace

Navigator panel now in its own dock

You can prevent panels from filling all the space in a dock. Drag the bottom edge of the dock up so it no longer meets the edge of the workspace.

Move panels

As you move panels, you see blue highlighted drop zones, areas where you can move the panel. For example, you can move a panel up or down in a dock by dragging it to the narrow blue drop zone above or below another panel. If you drag to an area that is not a drop zone, the panel floats freely in the workspace.

• To move a panel, drag it by its tab.

• To move a panel group or a stack of floating panels, drag the title bar.

Press Ctrl (Windows) or Command (Mac OS) while moving a panel to prevent it from docking. Press Esc while moving the panel to cancel the operation.

Note: The dock is stationary and can’t be moved. However, you can create panel groups or stacks and move them anywhere.

Add and remove panels

If you remove all panels from a dock, the dock disappears. You can create a dock by moving panels to the right edge of the workspace until a drop zone appears.

• To remove a panel, right-click (Windows) or Control-click (Mac) its tab and then select Close, or deselect it from

the Window menu.

• To add a panel, select it from the Window menu and dock it wherever you want.

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Workspace

Manipulate panel groups

• To move a panel into a group, drag the panel’s tab to the highlighted drop zone in the group.

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.

• To move a group, drag the title bar (the area above the tabs).

Stack floating panels

When you drag a panel out of its dock but not into a drop zone, the panel floats freely. The floating panel allows you to position it anywhere in the workspace. You can stack floating panels or panel groups so that they move as a unit when you drag the topmost title bar. (Panels that are part of a dock cannot be stacked or moved as a unit in this way.)

Free-floating stacked panels

• To stack floating panels, drag a panel by its tab to the drop zone at the bottom of another panel.

• To change the stacking order, drag a panel up or down by its tab.

Note: Be sure to release the tab over the narrow drop zone between panels, rather than the broad drop zone in a title bar.

• To remove a panel or panel group from the stack, so that it floats by itself, drag it out by its tab or title bar.

Resize panels

• To minimize or maximize a panel, panel group, or stack of panels, double-click a tab. You can also single-click the

tab area (the empty space next to the tabs).

• To resize a panel, drag any side of the panel. Some panels, such as the Color panel in Photoshop, cannot be resized

by dragging.

Manipulate panels collapsed to icons

You can collapse panels to icons to reduce clutter on the workspace. In some cases, panels are collapsed to icons in the default workspace.

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Panels collapsed to icons

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Workspace

Panels expanded from icons

• To collapse or expand all panel icons in a dock, click the double arrow at the top of the dock.

• To expand a single panel icon, click it.

• To resize panel icons so that you see only the icons (and not the labels), adjust the width of the dock until the text

disappears. To display the icon text again, make the dock wider.

• To collapse an expanded panel back to its icon, click its tab, its icon, or the double arrow in the panel’s title bar.

In some products, if you select Auto-Collapse Icon Panels from the Interface or User Interface Options preferences, an expanded panel icon collapses automatically when you click away from it.

• To add a floating panel or panel group to an icon dock, drag it in by its tab or title bar. (Panels are automatically

collapsed to icons when added to an icon dock.)

• To move a panel icon (or panel icon group), drag the icon. You can drag panel icons up and down in the dock, into

other docks (where they appear in the panel style of that dock), or outside the dock (where they appear as floating, expanded panels).

Restore the default workspace

• Select the default, Essentials workspace from the workspace switcher in the Application bar.

• (Photoshop) Select Window > Workspace > Essentials (Default).

• (InDesign, InCopy) Select Window > Workspace > Reset [Workspace Name].

Save and switch 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 workspace switcher in the Application bar.

In Photoshop, the saved workspace can include a specific keyboard shortcut set and menu set.

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Save a custom workspace

1 With the workspace in the configuration you want to save, do one of the following:

• (Photoshop, Illustrator) Choose Window > Workspace > Save Workspace.

• (InDesign, InCopy) Choose Window > Workspace > New Workspace.

• (Dreamweaver) Choose Window > Workspace Layout > New Workspace.

• (Flash) Choose New Workspace from the workspace switcher in the Application bar.

• (Fireworks) Choose Save Current from the workspace switcher in the Application bar.

2 Type a name for the workspace.

3 (Photoshop, InDesign) Under Capture, select one or more options:

Panel Locations Saves the current panel locations.

Keyboard shortcuts Saves the current set of keyboard shortcuts (Photoshop only).

Menus Saves the current set of menus.

4 Click OK or Save.

Display or switch workspaces

❖ Select a workspace from the workspace switcher in the Application bar.

In Photoshop, you can assign keyboard shortcuts to each workspace to navigate among them quickly.

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Workspace

Delete a custom workspace

• Select Manage Workspaces from the workspace switcher in the Application bar, select the workspace, and then

click Delete. (The option is not available in Fireworks.)

• (Photoshop, InDesign, InCopy) Select Delete Workspace from the workspace switcher.

• (Illustrator) Choose Window > Workspace > Manage Workspaces, select the workspace, and then click the Delete icon.

• (InDesign) Choose Window > Workspace > Delete Workspace, select the workspace, and then click Delete.

(Photoshop) Start with the last or default panel locations

When you start Photoshop, panels can either appear in their original default locations, or appear as you last used them.

In Interface preferences:

• To display panels in their last locations on startup, select Remember Panel Locations.

• To display panels in their default locations on startup, deselect Remember Panel Locations.

Display or hide tool tips

❖ In Interface preferences, select or deselect Show Tool Tips.

Note: Tool tips may not be available in some dialog boxes.

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Workspace

Adobe Bridge

Adobe® Bridge is a cross-platform application included with Adobe® Creative Suite® 4 components. Adobe Bridge helps you locate, organize, and browse assets for print, web, video, and mobile content creation. You can start Bridge from most Creative Suite components, and use it to access both Adobe and non-Adobe assets.

From Adobe Bridge, you can:

• Manage image, video, and audio files: Preview, search, sort, and process files in Adobe Bridge without opening

individual applications. You can also edit metadata for files, and use Adobe Bridge to place files into your documents, projects, or compositions.

• Manage your photos: Import and edit photos from your digital camera card, group related photos in stacks, and

open or import camera raw files and edit their settings without starting Photoshop.

• Work with Adobe Version Cue®-managed assets.

• Perform automated tasks, such as batch commands.

• Synchronize color settings across color-managed Creative Suite components.

More Help topics

Using Adobe Bridge

Panels and menus

Enter values in panels, dialog boxes, and the options bar

❖ Do any of the following:

• Type a value in the text box, and press Enter (Windows) or Return (Mac OS).

• Drag the slider.

• Move the pointer over the title of a slider or pop-up slider. When the pointer turns to a pointing finger, drag the

scrubby slider to the left or right. This feature is available only for selected sliders and pop-up sliders.

• Drag the dial.

• Click the arrow buttons in the panel to increase or decrease the value.

• (Windows) Click the text box and then use the Up Arrow key and the Down Arrow key on the keyboard to increase

or decrease the value.

• Select a value from the menu associated with the text box.

ADB C

Ways to enter values A. Menu arrow B. Scrubby slider C. Text box D. Dial E. Slider

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Workspace

More Help topics

“About scrubby sliders” on page 15

About pop-up sliders

Some panels, dialog boxes, and options bars contain settings that use pop-up sliders (for example, the Opacity option in the Layers panel). If there is a triangle next to the text box, you can activate the pop-up slider by clicking the triangle. Position the pointer over the triangle next to the setting, hold down the mouse button, and drag the slider or angle radius to the desired value. Click outside the slider box or press Enter to close the slider box. To cancel changes, press the Esc key.

To increase or decrease values in 10% increments when the pop-up slider box is open, hold down Shift and press the Up Arrow or Down Arrow key.

Using different kinds of pop-up sliders A. Click to open pop-up slider box. B. Drag slider or angle radius.

You can also “scrub” some pop-up sliders. For example, if you hold the pointer over the word “Fill” or “Opacity” in the Layers panel, the pointer changes to the Hand icon. Then you can move the pointer left or right to change the fill

or opacity percentage.

About scrubby sliders

In some panels, dialog boxes, and options bars, you can drag scrubby sliders to change option values. Scrubby sliders are hidden until you position the pointer over the title of sliders and pop-up sliders. When the pointer changes to a pointing finger, you drag to the left or right. Holding down the Shift key while dragging accelerates the scrubbing by a factor of

Hovering over the title of a slider or pop-up slider shows the scrubby slider

10.

Working with pop-up panels

Pop-up panels provide easy access to available options for brushes, swatches, gradients, styles, patterns, contours, and shapes. You can customize pop-up panels by renaming and deleting items and by loading, saving, and replacing libraries. You both names and icons.

Click a tool thumbnail in the options bar to show its pop-up panel. Click an item in the pop-up panel to select it.

can also change the display of a pop-up panel to view items by their names, as thumbnail icons, or with

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Viewing the Brush pop-up panel in the options bar A. Click to show the pop-up panel. B. Click to view the pop-up panel menu.

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Workspace

Rename or delete an item in a pop-up panel

❖ Select an item, click the triangle in the upper right corner of the pop-up panel, and choose one of the following:

Rename Tool Preset Lets you enter a new name for the item.

Delete Tool Preset Deletes an item in the pop-up panel.

Note: You can also delete an item in a pop-up panel by holding down Alt (Windows) or Option (Mac OS) and clicking the item.

Customize the list of items in a pop-up panel

1 Click the triangle in the upper right corner of the pop-up panel to view the panel menu.

2 To return to the default library, choose the Reset Tool Presets command. You can either replace the current list or

add the default library to the current list.

3 To load a different library, do one of the following:

• Choose the Load Tool Presets command to add a library to the current list. Then select the library file you want to

use, and click Load.

• Choose the Replace Tool Presets command to replace the current list with a different library. Then select the library

file you want to use, and click Load.

• Choose a library file (displayed at the bottom of the panel menu). Then click OK to replace the current list, or click

Append to add it to the current list.

4 To save the current list as a library for later use, choose the Save Tool Presets command. Then enter a name for the

library file, and click Save.

(Mac OS) Include the extension of the library file name so that you can easily share the libraries across operating systems. Select Append File Extension Always in the File Handling Preferences to append extensions to file names.

Change the display of items in a pop-up panel

1 Click the triangle in the upper right corner of the pop-up panel to view the panel menu.

2 Select a view option: Text Only, Small List, and Large List.

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Display context menus

Context menus display commands relevant to the active tool, selection, or panel. They are distinct from the menus across the top of the workspace.

Viewing the context menu for the Eyedropper tool

1 Position the pointer over an image or panel item.

2 Right-click (Windows) or Control-click (Mac OS).

Define a set of menus

1 Do one of the following:

• Choose Edit > Menus.

• Choose Window > Workspace > Keyboard Shortcuts & Menus and click the Menus tab.

2 In the Keyboard Shortcuts and Menus dialog box, choose a set of menus from the Set drop-down menu.

3 Choose a type from the Menu For menu:

Application Menus Lets you show, hide, or add color to items in the application menus.

Panel Menus Lets you show, hide, or add color to items in panel menus.

4 Click the triangle next to a menu or panel name.

5 Do one of the following:

• To hide a menu item, click the Visibility button .

• To show a menu item, click the empty Visibility button.

• To add color to a menu item, click the color swatch (if no color is assigned, it will say None) and choose a color.

6 When you finish changing the menus, do one of the following:

• To save all changes to the current set of menus, click the Save Set button . Changes to a custom set are saved. If

you’re saving changes to the Photoshop Defaults set, the Save dialog box opens. Enter a name for the new set and click Save.

• To create a new set based on the current set of menus, click the Save Set As button .

Note: If you haven’t saved the current set of changes, you can click Cancel to discard all changes and close the dialog box.

7 In the Save dialog box, enter a name for the set and click Save.

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Choosing a color for a menu item using the Keyboard Shortcuts & Menus dialog box

Delete a set of menus

1 Do one of the following:

• Choose Edit > Menus.

• Choose Window > Workspace > Keyboard Shortcuts & Menus and click the Menu tab.

2 In the Keyboard Shortcuts & Menus dialog box, choose a set of menus from the Set menu.

3 Click the Delete Set icon .

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Temporarily show hidden menu items

It’s possible to temporarily show items that you’ve hidden in a menu. After the menu closes, the items return to their hidden state.

❖ Do one of the following:

• From a menu with hidden items, choose Show All Menu Items.

• Ctrl-click (Windows) or Command-click (Mac OS) a menu with hidden items.

To permanently reveal all menu items, select Window > Workspace > Essentials.

Turn menu colors on or off

❖ In Interface preferences, select or deselect Show Menu Colors.

Tools

About tools

When you start Photoshop, the Tools panel appears at the left of the screen. Some tools in the Tools panel have options that appear in the context-sensitive options bar. These include the tools that let you use type, select, paint, draw, sample, edit, move, annotate, and view images. 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 signals the presence of hidden tools.

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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.

Tools panel overview

Selection tools

Move (V)*

Rectangular Marquee (M)

Elliptical Marquee (M) Single Column Marquee Single Row Marquee

Lasso (L)

Polygonal Lasso (L) Magnetic Lasso (L)

Quick Selection (W)

Magic Wand (W )

Crop and slice tools

Crop (C)

Slice (C) Slice Select (C)

Measuring tools

Eyedropper (I)

Color Sampler (I) Ruler (I) Note (I) Count (I)†

Retouching tools

Spot Healing Brush (J)

Healing Brush (J) Patch (J) Red Eye (J)

Clone Stamp (S)

Pattern Stamp (S)

Eraser (E)

Background Eraser (E) Magic Eraser (E)

Blur

Sharpen Smudge

Dodge (O)

Burn (O) Sponge (O)

Painting tools

Brush (B)

Pencil (B) Color Replacement (B)

History Brush (Y)

Art History Brush (Y)

Gradient (G)

Paint Bucket (G)

Drawing and type tools

Pen (P)

Freeform Pen (P) Add Anchor Point Delete Anchor Point Convert Point

Horizontal Type (T)

Vertical Type (T) Horizontal Type Mask (T) Vertical Type Mask (T)

Path Selection (A)

Direct Selection (A)

Rectangle (U)

Rounded Rectangle (U) Ellipse (U) Polygon (U) Line (U) Custom Shape (U)

Navigation & 3D tools

3D Rotate (K)†

3D Roll (K)†

3D Pan (K)†

3D Slide (K)†

3D Scale (K)†

3D Orbit (N)†

3D Roll View (N)†

3D Pan View (N)†

3D Walk View (N)†

3D Zoom View (N)†

Hand (H)

Rotate View (R)

Zoom (Z)

Indicates default tool * Keyboard shortcuts appear in parenthesis † Extended only

More Help topics

“Workspace overview” on page 6

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Selection tools gallery

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The marquee tools make rectangular, elliptical, single row, and single column selections.

The Magic Wand tool selects similarly colored areas.

The Move tool moves selections, layers, and guides.

More Help topics

“Making selections” on page 251

Crop and slice tools gallery

The lasso tools make freehand, polygonal (straight-edged), and magnetic (snap-to) selections.

The Quick Selection tool lets you quickly “paint” a selection using an adjustable round brush tip

The Crop tool trims images. The Slice tool creates slices. The Slice Select tool selects

slices.

More Help topics

“Crop images” on page 196

“Slicing web pages” on page 503

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Retouching tools gallery

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The Spot Healing Brush tool removes blemishes and

objects

The Clone Stamp tool paints with a sample of an image.

The Magic Eraser tool erases solid-colored areas to transparency with a single click.

The Healing Brush tool paints with a sample or pattern to repair imperfections in a image.

The Pattern Stamp tool paints with part of an image as a pattern.

The Blur tool blurs hard edges in an image.

The Patch tool repairs imperfections in a selected area of an image using a sample or pattern.

The Eraser tool erases pixels and restores parts of an image to a previously saved state.

The Sharpen tool sharpens soft edges in an image.

The Red Eye tool removes the red reflection caused by a flash.

The Background Eraser tool erases areas to

transparency by dragging.

The Smudge tool smudges data in an image.

The Dodge tool lightens areas in an image.

The Burn tool darkens areas in an image.

More Help topics

“Retouching and repairing images” on page 201

The Sponge tool changes the color saturation of an area.

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Painting tools gallery

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The Brush tool paints brush strokes.

The Art History brush tool paints with stylized strokes that simulate the look of different paint styles, using a selected state or snapshot.

The Pencil tool paints hardedged strokes.

The gradient tools create straight-line, radial, angle, reflected, and diamond blends between colors.

More Help topics

“Painting” on page 332

Drawing and type tools gallery

The Color Replacement tool replaces a selected color with a new color.

The Paint Bucket tool fills similarly colored areas with the foreground color.

The History Brush tool paints a copy of the selected state or snapshot into the current image window.

The path selection tools make shape or segment selections showing anchor points, direction lines, and direction points.

The type tools create type on an image.

The type mask tools create a selection in the shape of type.

The pen tools let you draw smooth-edged paths.

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The shape tools and Line tool draw shapes and lines in

a normal layer or a shape layer.

The Custom Shape tool makes customized shapes selected from a custom shape list.

More Help topics

“Drawing” on page 364

“Creating type” on page 410

Notes, measuring and navigation tools gallery

The Eyedropper tool samples colors in an image.

The Ruler tool measures distances, locations, and angles.

The Hand tool moves an image within its window.

The Zoom tool magnifies and reduces the view of an image.

The Counting tool counts objects in an image. (Photoshop Extended only)

The Rotate View tool nondestructively rotates the canvas.

The Note tool makes notes that can be attached to an image.

More Help topics

“Viewing images” on page 27

“Rulers, the grid, and guides” on page 36

“Counting objects in an image (Photoshop Extended)” on page 613

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3D tools (Photoshop Extended)

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The 3D Rotate tool rotates the model around its x-axis (moves the object not the camera).

The 3D Scale tool scales the model larger or smaller.

The 3D Walk View tool walks the camera.

The 3D Roll tool rotates the model around its z-axis (moves the object not the camera).

The 3D Orbit tool orbits the camera in the x or y direction (moves the camera, not the object).

The 3D Zoom tool changes the field of view closer or farther away.

The 3D Pan tool pans the camera in the x or y direction (moves the object, not the camera).

The 3D Roll View tool rotates the camera around the z-axis (moves the camera, not the object).

The 3D Slide tool drags side to side to move the model horizontally, or up and down to move the model closer or farther away.

The 3D Pan View tool pans the camera in the x or y direction (moves the camera not he object).

More Help topics

“Using the 3D tools (Photoshop Extended)” on page 578

Use a tool

❖ Do one of the following:

• Click a tool in the Tools panel. If there is a small triangle at a tool’s lower right corner, hold down the mouse button

to view the hidden tools. Then click the tool you want to select.

• Press the tool’s keyboard shortcut. The keyboard shortcut is displayed in its tool tip. For example, you can select

the Move tool by pressing the V key.

Pressing and holding a keyboard shortcut key lets you temporarily switch to a tool. When you let go of the shortcut key, Photoshop returns to the tool you were using before the temporary switch.

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Using the selecting tools A. Tools panel B. Active tool C. Hidden tools D. Tool name E. Tool shortcut F. Hidden tool triangle

D E

Cycle through hidden tools

By default, you cycle through a set of hidden tools by holding down Shift and repeatedly pressing a tool shortcut key. If you prefer to cycle through tools without holding down Shift, you can disable this preference.

1 Choose Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS).

2 Deselect Use Shift Key For Tool Switch.

Change tool pointers

Each default pointer has a different hotspot, where an effect or action in the image begins. With most tools, you can switch to precise cursors, which appear as cross hairs centered around the hotspot.

In most cases, the pointer for a tool is the same as the icon for that tool; you see that pointer when you select the tool. The default pointer for the marquee tools is the cross-hair pointer

; for the text tool, the default pointer is the

I-beam ; and for the painting tools the default pointer is the Brush Size icon.

1 Choose Edit > Preferences > Cursors (Windows) or choose Photoshop > Preferences > Cursors (Mac OS).

2 Choose tool pointer settings under Painting Cursors or Other Cursors:

Standard Displays pointers as tool icons.

Precise Displays pointers as cross hairs.

Normal Brush Tip The pointer outline corresponds to approximately 50% of the area that the tool will affect. This

option shows the pixels that would be most visibly affected.

Full Size Brush Tip The pointer outline corresponds to nearly 100% of the area that the tool will affect, or nearly all the

pixels that would be affected.

Show Crosshair In Brush Tip Displays cross hairs in the center of the brush shape.

3 Click OK.

The Painting Cursors options control the pointers for the following tools:

Eraser, Pencil, Paintbrush, Healing Brush, Rubber Stamp, Pattern Stamp, Quick Selection, Smudge, Blur, Sharpen, Dodge, Burn, and Sponge tools

The Other Cursors options control the pointers for the following tools:

Marquee, Lasso, Polygonal Lasso, Magic Wand, Crop, Slice, Patch, Eyedropper, Pen, Gradient, Line, Paint Bucket, Magnetic Lasso, Magnetic Pen, Freeform Pen, Measure, and Color Sampler tools

To toggle between standard and precise cursors in some tool pointers, press Caps Lock.

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Resize or change hardness of painting cursors by dragging

You can resize or change the hardness of a painting cursor by dragging in the image. As you drag, you preview both the size and hardness of the painting tool.

❖ Do one of the following:

• To resize a cursor, right-click + Alt (Windows) or Control + Option (Mac OS) and drag to the left or right.

• To change the hardness of a cursor, Shift + right-click + Alt (Windows) or Control + Option + Command (Mac

OS) and drag to the left or right.

Using the options bar

The options bar appears below the menu bar at the top of the workspace. The options bar is context sensitive—it changes as you select different tools. Some settings in the options bar (such as painting modes and opacity) are common to several tools, and some are specific to one tool.

You can move the options bar in the workspace by using the gripper bar, and you can dock it at the top or bottom of the screen. Tool tips appear when you position the pointer over a tool. To show or hide the options bar, choose

> Options.

Window

Lasso options bar A. Gripper bar B. Tool tip

To return tools to their default settings, right-click (Windows) or Control-click (Mac OS) the tool icon in the options bar, and then choose Reset Tool or Reset All Tools from the context menu.

For more information on setting options for a specific tool, search for the tool’s name in Photoshop Help.

Create and use tool presets

Tool presets let you save and reuse tool settings. You can load, edit, and create libraries of tool presets using the Tool Preset picker in the options bar, the Tool Presets panel, and the Preset Manager.

To choose a tool preset, click the Tool Preset picker in the options bar, and select a preset from the pop-up panel. You can also choose Window

> Tool Presets and select a preset in the Tools Presets panel.

Viewing the Tool Preset picker A. Click the Tool Preset picker in the options bar to show the Tool Preset pop-up panel. B. Select a preset to change the tool’s options to the preset, which applies each time you select the tool until you choose Reset Tool from the panel menu. C. Deselect to show all tool presets; select to show presets for only the tool selected in the toolbox.

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Create a tool preset

1 Choose a tool, and set the options you want to save as a tool preset in the options bar.

2 Do one of the following:

• Click the Tool Preset button next to the tool at the left of the options bar.

• Choose Window > Tool Presets to display the Tool Presets panel.

3 Do one of the following:

• Click the Create New Tool Preset button .

• Choose New Tool Preset from the panel menu.

4 Enter a name for the tool preset, and click OK.

Change the list of tool presets

❖ Click the triangle to open the Tool Presets pop-up panel menu and choose one of the following:

Show All Tool Presets Shows all loaded presets.

Sort By Tool Sorts the presets by tool.

Show Current Tool Presets Shows only the loaded presets for the active tool. You can also select the Current Tool Only

option in the Tool Presets pop-up panel.

Text Only, Small List, or Large List Determines how presets are displayed in the pop-up panel.

Note: To create, load, and manage libraries of tool presets, see “Working with pop-up panels” on page 15 and “Work with

the Preset Manager” on page 41.

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

scroll bars.

bar, and

❖ Do one of the following:

• To display the default mode (menu bar at the top and scroll bars on the side), choose View > Screen Mode >

Standard Screen Mode. Or, click the Screen Mode button Mode from the pop-up menu.

• To display a full-screen window with a menu bar and a 50% gray background, but no title bar or scroll bars, choose

> Screen Mode > Full Screen Mode With Menu Bar. Or, click the Screen Mode button in the Application bar,

View and select Full Screen Mode With Menu Bar from the pop-up menu.

• To display a full-screen window with only a black background (no title bar, menu bar, or scroll bars), choose View >

Screen Mode Mode from the pop-up menu.

> Full Screen Mode. Or, click the Screen Mode button in the Application bar, and select Full Screen

in the Application bar, and select Standard Screen

View another area of an image

❖ Do one of the following:

• Use the window scroll bars.

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• Select the Hand tool and drag to pan over the image. To use the Hand tool while another tool is selected, hold down

the spacebar as you drag in the image.

If your computer has OpenGL, you can use the Hand tool to “flick pan” the image in the direction you want to view.

After a quick mouse gesture, the image will move as if you were continuously dragging. Enable this feature by choosing Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS) and then select Enable Flick Panning.

Dragging the Hand tool to view another area of an image

• Drag the colored box (proxy view area) in the Navigator panel.

Use the Rotate View tool

You use the Rotate View tool to rotate the canvas non-destructively; it does not transform the image. Rotating the canvas can be useful for any number of reasons, including facilitating easier painting or drawing. (OpenGL is required.)

Use rotate gestures on Macbook Pro and Macbook Air computers with multi-touch trackpads to non-destructively

rotate the canvas.

1 Do any of the following:

• Select the Rotate View tool and click-drag in the image to rotate. A compass will indicate north in the image,

regardless of the current canvas angle.

• Select the Rotate View tool. Enter a numeric value (to indicate degrees of shifting) in the Rotation Angle field.

• Select the Rotate View tool. Click (or click-drag to scrub) on the Set Angle of Rotation of the View control.

2 To restore the canvas to the original angle, click Reset View.

For a video on the Rotate View tool and other workspace tips, see www.adobe.com/go/lrvid4001_ps

Use the Navigator panel

You use the Navigator panel 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.

❖ Do one or more of the following:

• To display the Navigator panel, select Window > Navigator.

• To change the magnification, type a value in the text box, click the Zoom Out or Zoom In button, or drag the zoom

slider.

• To move the view of an image, drag the proxy view area in the image thumbnail. You can also click the image

thumbnail to designate the viewable area.

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To simultaneously set the size and position of the proxy area, Control-drag (Windows) or Command-drag (Mac OS)

in the image thumbnail.

• To change the color of the proxy view area, select Panel Options from the panel menu. Select a preset color from

the Color pop-up menu, or click the color box to choose a custom color.

DE FG

Navigator panel

A. Panel menu button B. Thumbnail display of artwork C. Proxy preview area D. Zoom text box E. Zoom Out button F. Zoom slider G. Zoom In button

Zoom in or out

Use the Zoom tool or the View menu commands to zoom in or zoom out of an image. When you use the Zoom tool, each click magnifies or reduces the image to the next preset percentage and centers the display around the point you click. When the image has reached its maximum magnification level of 3200% or minimum size of 1 pixel, the magnifying glass appears empty.

❖ Do any of the following:

• Select the Zoom tool , and click either the Zoom In or Zoom Out button in the options bar. Then, click

the area you want to zoom in or out.

• Select the Zoom tool. The pointer becomes a magnifying glass with a plus sign in its center. Click the center of the

area that you want to magnify. Hold down Alt (Windows) or Option (Mac

OS) and click the center of the area that you want to reduce. The zoom will be smooth if your computer has OpenGL and Animated Zoom is selected in the General Preferences.

• Select the Zoom tool and then click-hold in the image for a continuous-motion smooth zoom in. Alt + click-hold

(Windows) or Option + click-hold (Mac OS) to continuously zoom out. To use this feature, your computer must have OpenGL and Animated Zoom must be selected in the General Preferences.

• Select the Zoom tool and drag a dotted rectangle (marquee) around the area you want to magnify. To move the

marquee around the artwork, hold down the spacebar and continue dragging until the marquee is in the desired location.

• Choose View > Zoom In or View > Zoom Out. The Zoom In or Zoom Out command becomes unavailable when

the maximum image magnification or reduction is reached.

• Set the zoom level at the lower left corner of the document window or in the Navigator panel.

For a video on zooming and navigating in an image, see www.adobe.com/go/lrvid4010_ps

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Set Zoom tool preferences

Some of the Zoom tool preferences require that your computer has OpenGL. If your computer has OpenGL, be sure to enable it in Photoshop. Choose Edit Performance (Mac

❖ Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS) and then do any of the

OS), and then select Enable OpenGL Drawing under the GPU Settings.

> Preferences > Performance (Windows) or Photoshop > Preferences >

following:

• To enable continuous zooming in or out by holding down the Zoom tool, select Animated Zoom. Zooming from

one magnification to another will also be smooth when clicking with the Zoom tool.

• To enable zooming in or out using the scroll wheel on your mouse, select the Zoom With Scroll Wheel option.

• To enable centering the zoom view on the click location, select the Zoom Clicked Point To Center option.

Zoom into or out of multiple images

1 Open one or more images, or open one image in multiple windows.

2 Choose Window > Arrange > Tile to display the images edge to edge.

3 Select the Zoom tool, and then do one of the following:

• Select Zoom All Windows in the options bar, and then click one of the images. The other images zoom in or out at

the same time.

• Choose Window > Arrange > Match Zoom. Hold down the Shift key and click one of the images. The other images

zoom in or out at the same magnification.

Magnify by dragging

1 Select the Zoom tool.

2 Drag over the part of the image that you want to magnify.

Dragging the Zoom tool to magnify the view of an image

The area inside the zoom marquee is displayed at the highest possible magnification. To move the marquee around the artwork in Photoshop, begin dragging a marquee and then hold down the spacebar while dragging.

Temporarily zoom an image

1 Hold down the H key, and then click in the image and hold down the mouse button.

The current tool changes to the Hand tool, and the image magnification changes as follows:

• If the entire image originally fit within the document window, the image zooms in to fit the window.

• If only a portion of the image was originally visible, the image zooms out. Drag the zoom marquee to magnify a

different part of the image.

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2 Release the mouse button and then the H key.

The image returns to the previous magnification and tool.

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Automatically resize the window when zooming

❖ With the Zoom tool active, select Resize Windows To Fit in the options bar. The window is resized when you

magnify or reduce the view of the image.

When Resize Windows To Fit is deselected (the default), the window maintains a constant size regardless of the image magnification. This

Note: To automatically resize the window when using keyboard shortcuts to reduce or magnify an image view, choose

> Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS), then select the Zoom Resizes

Edit Windows preference and click

can be helpful when using smaller monitors or working with tiled views.

OK.

Hide the pixel grid

Over 500% magnification, the image’s pixel grid becomes visible by default. To hide the grid, do the following.

❖ Choose View > Show, and deselect Pixel Grid.

Display an image at 100%

❖ Do one of the following:

• Double-click the Zoom tool in the toolbox.

• Choose View > Actual Pixels.

• Enter 100% in the Status Bar and press Enter (Windows) or Return (Mac OS).

Note: The 100% view of an image displays an image as it will appear in a browser (based on the monitor resolution and the image resolution).

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.

View images in multiple windows

The document window is where your images appear. You can open multiple windows to display different images or different views of the same one. A list of open windows appears in the Window menu. To bring an open image to the front, choose the file name from the bottom of the Window menu. Available memory may limit the number of windows per image.

1 Choose Window > Arrange > New Window For [Image

File Name].

2 If you want to arrange the windows, choose Window > Arrange and then choose one of the following:

Cascade Displays undocked windows stacked and cascading from the upper-left to the lower right of the screen.

Tile Displays windows edge to edge. As you close images, the open windows are resized to fill the available space.

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Float in Window Allows image to float freely.

Float All in Windows Floats all images.

Consolidate All to Tabs Shows one image in full screen and minimizes the other images to tabs.

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You can use the Hand tool’s Scroll All Windows option to scroll through all open images. Select it in the options bar and drag in one image to scroll through all visible images.

Match locations in images

1 Open one or more images, or open a single image in multiple windows.

2 Choose Window > Arrange > Tile.

3 Do either of the following:

• Choose Window > Arrange > Match Location.

• Select the Hand tool, select Scroll All Windows in the options bar, and then drag to view another area in one of the

images. (To temporarily enable this option, hold down the Shift key while dragging with the Hand tool.)

Note: Photoshop automatically scrolls to the same relative location on the horizontal and vertical axes. You may need to manually scroll to reveal the edges of images.

Match zoom and locations in images

1 Open one or more images, or multiple copies of a single image.

2 Choose Window > Arrange > Tile.

3 Choose Window > Arrange > Match All.

Without Match All command (top), and with Match All command (bottom) selected

4 Select the Zoom tool or the Hand tool.

5 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.

Work with the Info panel

The Info panel shows the color values beneath the pointer and, depending on the tool in use, gives other useful information. The Info panel also displays a hint on using the selected tool, gives document status information, and can display 8-bit, 16-bit, or 32-bit values.

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The Info panel displays the following information:

• Depending on the option you specify, the Info panel displays 8-bit, 16-bit, or 32-bit values.

• When displaying CMYK values, the Info panel displays an exclamation point next to the CMYK values if the color

beneath the pointer or color sampler is out of the printable CMYK color gamut.

• When a marquee tool is being used, the Info panel displays the x and y coordinates of the pointer position and the

width (W) and height (H) of the marquee as you drag.

• When the Crop tool or Zoom tool is being used, the Info panel displays the width (W) and height (H) of the

marquee as you drag. The panel also shows the angle of rotation of the crop marquee.

• When the Line tool, the Pen tool, or Gradient tool is being used, or when a selection is being moved, the Info panel

displays the x and y coordinates of your starting position, the change in X (DX), the change in Y (A), and the length (D) as you

drag.

(DY), the angle

• When a two-dimensional transformation command is being used, the Info panel displays the percentage change in

width (W) and height (H), the angle of rotation (A), and the angle of horizontal skew (H) or vertical skew (V).

• When any color adjustment dialog box (for example, Curves) is being used, the Info panel displays before-and-after

color values for the pixels beneath the pointer and beneath color samplers.

• If the Show Tool Hints option is enabled, you see hints for using the tool selected in the toolbox.

• Depending on the options selected, the Info panel displays status information, such as document size, document

profile, document dimensions, scratch sizes, efficiency, timing, and current tool.

Use the Info panel

The Info panel 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 panel is visible in your workspace if you want to view information while dragging in the image.

1 (Optional) Do one of the following if you need to display the Info panel:

• Click the Info panel tab if it’s docked with other panels.

• Choose Window > Info. File information about the image is displayed at the bottom of the Info panel. You can

change the information displayed by clicking the triangle in the upper right corner of the panel and choosing Panel Options from the panel menu.

2 Set the options for the information you want displayed in the Info Panel by doing any of the following:

• Choose Panel Options from the Info panel menu and specify options in the Info Panel Options dialog box.

• Click an eyedropper icon and choose display options from the pop-up menu. You can also use the pop-up menu to

specify whether the Info panel displays 8-bit, 16-bit, or 32-bit values.

• Click the cursor coordinates icon and choose a unit of measurement.

3 Select a tool.

4 Move the pointer in the image, or drag in the image to use the tool. The following information may appear,

depending on which tool you’re using:

Displays the numeric values for the color beneath the pointer.

Displays the x and y coordinates of the pointer.

Displays the width (W) and height (H) of a marquee or shape as you drag, or the width and height of an active

selection.

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Change the Info panel options

1 Click the triangle in the upper right corner to open the Info panel menu and choose Panel Options.

2 In the Info Panel Options dialog box, for First Color Readout, choose one of the following display options:

Actual Color Displays values in the current color mode of the image.

Proof Color Displays values for the output color space of the image.

A color mode Displays the color values in that color mode.

Total Ink Displays the total percentage of all CMYK ink at the pointer’s current location, based on the values set in the

CMYK Setup dialog box.

Opacity Displays the opacity of the current layer. This option does not apply to the background.

You can also set the readout options by clicking the eyedropper icon in the Info panel. In addition to the First Color Readout options, you can also display 8-bit, 16-bit, or 32-bit values.

3 For Second Color Readout, choose a display option from the list in step 2. For the second readout, you can also click

the eyedropper icon in the Info panel and choose readout options from the pop-up menu.

Clicking an eyedropper icon and choosing a readout mode from the pop-up menu

4 For Ruler Units, choose a unit of measurement.

5 Under Status information, select from the following to display file information in the Info panel:

Document Sizes Displays information on the amount of data in the image. The number on the left represents the

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.

Document Profile Displays the name of the color profile used by the image.

Document Dimensions Displays the dimensions of the image.

Scratch Sizes Displays information on the amount of RAM and the scratch disk used to process the image. The

number on the left represents the amount of memory that is currently being used by the program to display all open images. The number on the right represents the total amount of RAM available for processing images.

Efficiency Displays the percentage of time spent performing an operation instead of reading or writing to the scratch

disk. If the value is below 100%, Photoshop is using the scratch disk and is therefore operating more slowly.

Timing Displays the amount of time it took to complete the last operation.

Current Tool Displays the name of the active tool.

Version Cue Displays Version Cue workgroup status. This option is valid when Version Cue is active.

Measurement Scale Displays the scale of the document.

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6 (Optional) Select Show Tool Hints to display a hint for using a selected tool at the bottom of the Info panel.

7 Click OK.

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To change measurement units, click the crosshair icon in the Info panel and choose from the menu.

Display file information in the document window

The status bar is located at the bottom of every document window and displays useful information—such as the current magnification and file size of the active image, and brief instructions for using the active tool. The status bar also displays Version Cue information if you have Version Cue enabled.

Note: You can also view copyright and authorship information that has been added to the file. This information includes standard file information and Digimarc watermarks. Photoshop automatically scans opened images for watermarks using the Digimarc Detect Watermark plug-in. If a watermark is detected, Photoshop displays a copyright symbol in the image window’s title bar and updates the Copyright fields of the File Info dialog box.

1 Click the triangle in the bottom border of the document window.

File information view options when Version Cue is enabled

2 Choose a view option from the pop-up menu:

Note: If you have Version Cue enabled, choose from the Show submenu.

Version Cue Displays the Version Cue workgroup status of your document, such as open, unmanaged, unsaved, and

so forth. This option is available only if you have Version Cue enabled.

Document Sizes Information on the amount of data in the image. The number on the left represents the 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.

Document Profile The name of the color profile used by the image.

Document Dimensions The dimensions of the image.

Measurement Scale The scale of the document.

Scratch Sizes Information on the amount of RAM and the scratch disk used to process the image. The number on the

left represents the amount of memory currently being used by the program to display all open images. The number on the right represents the total amount of RAM available for processing images.

Efficiency The percentage of time actually spent performing an operation instead of reading or writing to the scratch

disk. If the value is below 100%, Photoshop is using the scratch disk and is therefore operating more slowly.

Timing The time it took to complete the last operation.

Current Tool The name of the active tool.

32-bit Exposure Option for adjusting the preview image for viewing 32-bits-per-channel high dynamic range (HDR)

images on your computer monitor. The slider is available only when the document window displays an HDR image.

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Click the file information area of the status bar to display document width, height, channels, and resolution. Controlclick (Windows) or Command-click (Mac OS), to display tile width and height.

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More Help topics

“Adjust dynamic range view for HDR images” on page 75

Duplicate an image

You can duplicate an entire image (including all layers, layer masks, and channels) into available memory without saving to disk.

1 Open the image you want to duplicate.

2 Choose Image > Duplicate.

3 Enter a name for the duplicated image.

4 If you want to duplicate the image and merge the layers, select Duplicate Merged Layers Only. To preserve the

layers, make sure this option is deselected.

5 Click OK.

Rulers, the grid, and guides

About rulers

Rulers help you position images or elements precisely. When visible, rulers appear along the top and left side of the active window. Markers in the ruler display the pointer’s position when you move it. Changing the ruler origin (the (0,

0) mark on the top and left rulers) lets you measure from a specific point on the image. The ruler origin also determines the grid’s point of origin.

To show or hide rulers, choose View > Rulers.

Change a ruler’s zero origin

1 (Optional) Choose View > Snap To, then choose any combination of options from the submenu. This snaps the

ruler origin to guides, slices, or

2 Position the pointer over the intersection of the rulers in the upper-left corner of the window, and drag diagonally

down onto the image. A set of cross hairs appears, marking the new origin on the rulers.

You can hold down Shift as you drag to make the ruler origin snap to the ruler ticks.

To reset a ruler’s origin to its default value, double-click the upper-left corner of the ruler.

document bounds. You can also snap to the grid.

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Dragging to create new ruler origin

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More Help topics

“Use snapping” on page 40

Change the unit of measurement

1 Do one of the following:

• Double-click a ruler.

• (Windows) Choose Edit > Preferences > Units & Rulers, or right-click the ruler and then choose a new unit from

the context menu.

• (Mac OS) Choose Photoshop > Preferences > Units & Rulers, or Control-click the ruler and then choose a new unit

from the context menu.

2 For Rulers, choose a unit of measurement.

Note: Changing the units on the Info panel automatically changes the units on the rulers.

3 For Point/Pica Size, choose from the following options:

PostScript (72 points per inch) Sets a unit size compatible for printing to a PostScript device.

Traditional Uses 72.27 points per inch, as traditionally used in printing.

4 Click OK.

Specify columns for an image

Columns help you position images or elements precisely. The New, Image Size, and Canvas Size commands let you specify image width in terms of columns. Using columns is convenient when you plan to import an image into a pagelayout program, such as Adobe InDesign®, and you want the image to fit exactly within a certain number of columns.

1 Choose Edit > Preferences > Units & Rulers (Windows) or Photoshop > Preferences > Units & Rulers (Mac OS).

2 Enter values for Width and Gutter.

Position with the Ruler tool

The Ruler tool helps you position images or elements precisely. The Ruler tool calculates the distance between any two points in the workspace. When you measure from one point to another, a nonprinting line is drawn, and the options bar and Info panel show the following information:

• The starting location (X and Y)

• The horizontal (W) and vertical (H) distances traveled from the x and y axes

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• The angle measured relative to the axis (A)

• The total length traveled (D1)

• The two lengths traveled (D1 and D2), when you use a protractor

All measurements except the angle are calculated in the unit of measure currently set in the Units & Rulers preference dialog box.

If your document has an existing measuring line, selecting the Ruler tool causes it to be displayed.

Measure between two points

1 Select the Ruler tool .

2 Drag from the starting point to the ending point. Hold down the Shift key to constrain the tool to 45° increments.

3 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. Hold down the Shift key to constrain the tool to multiples of 45°.

Edit a measuring line

1 Select the Ruler tool .

2 Do one of the following:

• To resize the line, drag one end of an existing measuring line.

• To move the line, place the pointer on the line away from either endpoint, and drag the line.

• To remove the line, place the pointer on the line away from either endpoint, and drag the line out of the image, or

click Clear in the tool options bar.

Note: You can drag out a measure line on an image feature that should be horizontal or vertical, and then choose Image > Image Rotation the Rotate Canvas dialog box.

> Arbitrary. The correct angle of rotation required to straighten the image is automatically entered into

Position with guides and the grid

Guides and the grid help you position images or elements precisely. Guides appear as nonprinting lines that float over the image. You can move and remove guides. You can also

Smart Guides help you align shapes, slices, and selections. They appear automatically when you draw a shape, or create a selection or slide. You can hide Smart Guides if you need to.

The grid is useful for laying out elements symmetrically. The grid appears by default as nonprinting lines but can also be displayed as dots.

Guides and grids behave in similar ways:

• Selections, selection borders, and tools snap to a guide or the grid when dragged within 8 screen (not image) pixels.

Guides also snap to the grid when moved. You can turn this feature on and off.

• Guide spacing, along with guide and grid visibility and snapping, is specific to an image.

• Grid spacing, along with guide and grid color and style, is the same for all images.

More Help topics

“Slice a web page” on page 504

lock them so that you don’t move them by accident.

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Show or hide a grid, guides, or smart guides

❖ Do one of the following:

• Choose View > Show > Grid.

• Choose View > Show > Guides.

• View > Show > Smart Guides.

• Choose View > Extras. This command also shows or hides layer edges, selection edges, target paths, and slices.

Place a guide

1 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 panel.

2 Do one of the following to create a guide:

• Choose View > New Guide. In the dialog box, select Horizontal or Vertical orientation, enter a position, and

OK.

click

• Drag from the horizontal ruler to create a horizontal guide.

Dragging to create a horizontal guide

• Hold down Alt (Windows) or Option (Mac OS), and drag from the vertical ruler to create a horizontal guide.

• Drag from the vertical ruler to create a vertical guide.

• Hold down Alt (Windows) or Option (Mac OS), and drag from the horizontal ruler to create a vertical guide.

• Hold down Shift and drag from the horizontal or vertical ruler to create a guide that snaps to the ruler ticks. The

pointer changes to a double-headed arrow when you drag a guide.

3 (Optional) If you want to lock all guides, choose View > Lock Guides.

Move a guide

1 Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate the Move tool.

2 Position the pointer over the guide (the pointer turns into a double-headed arrow).

3 Move the guide in any of the following ways:

• Drag the guide to move it.

• Change the guide from horizontal to vertical, or vice versa, by holding down Alt (Windows) or Option (Mac OS)

as you click or drag the guide.

• Align the guide with the ruler ticks by holding down Shift as you drag the guide. The guide snaps to the grid if the

grid is visible and View

> Snap To > Grid is selected.

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Remove guides from the image

❖ Do one of the following:

• To remove a single guide, drag the guide outside the image window.

• To remove all guides, choose View > Clear Guides.

Set guide and grid preferences

1 Do one of the following:

• (Windows) Choose Edit > Preferences > Guides, Grid, & Slices.

• (Mac OS) Choose Photoshop > Preferences > Guides, Grid, & Slices.

2 For Color, choose a color for the guides, the grid, or both. If you choose Custom, click the color box, choose a color,

OK.

and click

3 For Style, choose a display option for guides or the grid, or both.

4 For Gridline Every, enter a value for the grid spacing. For Subdivisions, enter a value by which to subdivide the grid.

If desired, change the units for this option. The Percent option creates a grid that divides the image into even sections. For example, choosing 25 for the Percent option creates an evenly divided 4-by-4 grid.

5 Click OK.

Use snapping

Snapping helps with precise placement of selection edges, cropping marquees, slices, shapes, and paths. However, if snapping prevents you from correctly placing elements, you can disable it.

Enable or disable snapping

❖ Choose View > Snap. A check mark indicates that snapping is enabled.

To temporarily disable snapping while using the Move tool, hold down Ctrl.

Specify what to snap to

❖ Choose View > Snap To, and choose one or more options from the submenu:

Guides Snaps to guides.

Grid Snaps to the grid. You cannot select this option when the grid is hidden.

Layer Snaps to the content in the layer.

Slices Snaps to slice boundaries. You cannot select this option when slices are hidden.

Document Bounds Snaps to the edges of the document.

All Selects all Snap To options.

None Deselects all Snap To options.

A check mark indicates that the option is selected and snapping is enabled.

If you want to enable snapping for only one option, make sure the Snap command is disabled, and then choose View > Snap To and choose an option. This automatically enables snapping for the selected option, and deselects all other

Snap To options.

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Show or hide Extras

Guides, grid, target paths, selection edges, slices, text bounds, text baselines, and text selections are nonprinting Extras that help you select, move, or edit images and objects. You can turn on or off an Extra or any combination of Extras without affecting the image. You

Hiding Extras only suppresses the display of Extras. It does not turn off these options.

❖ Do one of the following:

• To show or hide Extras, choose View > Extras. A check mark appears next to all shown Extras in the Show

submenu.

• To turn on and show an Extra from a group of hidden Extras, choose View > Show and choose an Extra from the

submenu.

• To turn on and show all available Extras, choose View > Show > All.

• To turn off and hide all Extras, choose View > Show > None.

Note: Showing Extras causes color samplers to be shown as well, even though color samplers are not an option in the Show submenu.

can also show or hide Extras by choosing the Extras command in the View menu.

Presets, Plug-ins, and Preferences

Work with the Preset Manager

About the Preset Manager

The Preset Manager lets you manage the libraries of preset brushes, swatches, gradients, styles, patterns, contours, custom shapes, and preset tools that come with Photoshop. For example, you can use the Preset Manager to change the current set of preset items or create new libraries. After you load a library in the Preset Manager, you can access the library’s items in locations such as the options bar, panels, dialog boxes, and so on.

In general, when you change a preset, Photoshop prompts you to save the changes as a new preset so that both the original and changed preset remain available.

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 CS4 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.

You can adjust the configuration of presets by clicking the panel menu button and choosing a display mode from the top section of the menu:

Text Only Displays the name of each preset item.

Small Thumbnail or Large Thumbnail Displays a thumbnail of each preset item.

Small List or Large List Displays the name and thumbnail of each preset item.

Stroke Thumbnail Displays a sample brush stroke and brush thumbnail of each brush preset. (This option is available

for brush presets only.)

To rearrange the list of items, drag an item up or down in the list.

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Rearranging tool presets in the Preset Manager

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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

❖ Do one of the following:

• Click the triangle to the right of the Preset Type pop-up menu and then choose a library file from the bottom of the

panel menu. Click

• To add a library to the current list, click Load, select the library file you want to add, and click Load.

• To replace the current list with a different library, choose Replace [Preset Type] from the panel menu. Select the

library file you want to use, and click Load.

Note: Each type of library has its own file extension and default folder.

OK to replace the current list, or click Append to add the current list.

Manage preset items

You can rename or delete preset items, as well as create or restore libraries of presets.

Rename preset items

1 Select a preset item. Shift-click to select multiple items.

2 Do one of the following:

• Click Rename, and then enter a new name for the brush, swatch, and so on.

• If the Preset Manager currently displays presets as thumbnails, double-click a preset, enter a new name, and

OK.

click

• If the Preset Manager currently displays presets as a list or text only, double-click a preset, enter a new name inline,

and press Enter (Windows) or Return (Mac

Delete preset items

❖ Do one of the following:

• Select a preset item, and click Delete.

• Alt-click (Windows) or Option-click (Mac OS) the items you want to delete.

Create a new library of presets

1 Do one of the following:

• To save all the presets in the list as a library, make sure that all items are selected.

OS).

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• To save a subset of the current list as a library, hold down Shift, and select the items you want to save.

2 Click Save Set, choose a location for the library, enter a file name, and click Save.

You can save the library anywhere. However, if you place the library file in the appropriate Presets folder in the default preset location, the library name will appear at the bottom of the panel menu after you restart Photoshop.

Restore the default library of preset items

❖ Choose Reset from the panel menu. You can either replace the current list or append the default library to the

current list.

Default preset locations

1 The default location for saving/loading/replacing presets depends on your operating system.

• Mac: <User>/Library/Application Support/Adobe/Adobe Photoshop CS4/Presets.

• Windows XP: [Drive]:\Document and Settings\<user>\Application Data\Adobe\Adobe Photoshop CS4\Presets.

• Windows Vista: [Drive]:\Users\<user>\AppData\Roaming\Adobe\Adobe Photoshop CS4\Presets.

2 Presets that ship with Adobe Photoshop CS4 are stored in the Photoshop program folder.

Displaying Hidden Files in Windows

The default locations for saving/loading/replacing presets are hidden by default in Windows.

1 To display hidden files in Windows XP:

a Go to Start > Control Panel > Folder Options.

b In the View tab, under Hidden files and folders, select Show hidden files and folders.

c Click OK.

2 To display hidden files in Windows Vista:

a Go to Start > Control Panel > Appearance and Personalization > Folder Options.

b In the View tab, under Hidden files and folders, select Show hidden files and folders.

c Click OK.

Preferences

About preferences

Numerous program settings are stored in the Adobe Photoshop CS4 Prefs file, including general display options, filesaving 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.

Unexpected behavior may indicate damaged preferences. If you suspect damage to preferences, restore preferences to their default settings.

Detailed information about specific preference settings appears in task-specific topics. For example, search Help for “Transparency preferences” to see those settings discussed in the context of related features such as layers.

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Open a preferences dialog box

1 Do one of the following:

• (Windows) Choose Edit > Preferences and choose the desired preference set from the submenu.

• (Mac OS) Choose Photoshop > Preferences, and then choose the desired preference set from the submenu.

2 To switch to a different preference set, do one of the following:

• Choose the preference set from the menu at the left of the dialog box.

• Click Next to display the next preference set in the list; click Prev to display the previous set.

For information on a specific preference option, see the index.

Restore all preferences to default settings

❖ Do one of the following:

• 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.

New Preferences files are created the next time you start Photoshop.

Disable and enable warning messages

Sometimes you will see messages containing warnings or prompts. You can suppress the display of these messages by selecting the Don’t Show Again option in the message. You can also globally redisplay all messages that have been suppressed.

1 Do one of the following:

• (Windows) Choose Edit > Preferences > General.

• (Mac OS) Choose Photoshop > Preferences > General.

2 Click Reset All Warning Dialogs, and click OK.

Plug-ins

About plug-in modules

Plug-in modules are software programs developed by Adobe Systems and by other software developers in conjunction with Adobe Systems to add features to Photoshop. A number of importing, exporting, and special-effects plug-ins come with your program. They are automatically installed in folders inside the Photoshop Plug-ins folder.

You can select an additional Plug-ins folder for compatible plug-ins stored with another application. You can also create a shortcut (Windows) or an alias (Mac add the shortcut or alias to the plug-ins folder and use that plug-in with Photoshop.

Once installed, plug-in modules appear as options in the Import or Export menu; as file formats in the Open, and Save As dialog boxes; or as filters in the Filter submenus. Photoshop can accommodate a large number of plug-ins. However, if the list of installed plug-in modules becomes too long, Photoshop may not be able to display all the plug-ins in their appropriate menus. If so, newly installed plug-ins appear in the Filter

OS) for a plug-in stored in another folder on your system. You can then

> Other submenu.

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Install a plug-in module

In Mac OS, you cannot run Photoshop in the Classic environment. Plug-ins originally intended to work on Mac OS 9 won’t appear.

❖ 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 of the module to the appropriate Plug-Ins folder in the Photoshop program folder. Make sure that the files are uncompressed.

OS, drag a copy

• To install a third-party plug-in module, follow the installation instructions that came with the plug-in module. If

you cannot run a third-party plug-in, it may require a legacy Photoshop serial number.

Select an additional plug-ins folder

1 Choose Edit > Preferences > Plug-ins (Windows) or choose Photoshop > Preferences > Plug-ins (Mac OS).

2 Select Additional Plug-ins Folder.

3 Click Choose, and select a folder or directory from the list. Make sure that you do not select a location inside the

Plug-ins folder. To display the contents of a folder, double-click the directory (Windows) or click Open (Mac

4 When you have highlighted the additional plug-ins folder, click OK (Windows) or Choose (Mac OS).

5 Restart Photoshop for the plug-ins to take effect.

OS).

Suppress the loading of plug-ins

❖ Add a tilde ~ character at the beginning of the plug-in name, folder, or directory. That file (or all files in the folder)

will be ignored by the application.

View information about installed plug-ins

❖ Do one of the following:

• (Windows) Choose Help > About Plug-in and choose a plug-in from the submenu.

• (Mac OS) Choose Photoshop > About Plug-in, and then choose a plug-in from the submenu.

Undo and history panel

Use the Undo or Redo commands

The Undo and Redo commands let you undo or redo operations. You can also use the History panel to undo or redo operations.

❖ Choose Edit > Undo or Edit > Redo.

If an operation can’t be undone, the command is dimmed and changes to Can’t Undo.

More Help topics

“Work with the History panel” on page 46

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Revert to the last saved version

❖ Choose File > Revert.

Note: Revert is added as a history state in the History panel and can be undone.

Restore part of an image to its previously saved version

❖ Do one of the following:

• Use the History Brush tool to paint with the selected state or snapshot on the History panel.

• Use the Eraser tool with the Erase To History option selected.

• Select the area you want to restore, and choose Edit > Fill. For Use, choose History, and click OK.

Note: To restore the image with a snapshot of the initial state of the document, choose History Options from the Panel menu and make sure that the Automatically Create First Snapshot option is selected.

More Help topics

“Erase with the Eraser tool” on page 335

Cancel an operation

❖ Hold down Esc until the operation in progress has stopped. In Mac OS, you can also press Command+period.

Receive notification when an operation is completed

A progress bar indicates that an operation is being performed. You can interrupt the operation or have the program notify you when it has finished the operation.

1 Do one of the following:

• (Windows) choose Edit > Preferences > General.

• (Mac OS) choose Photoshop > Preferences > General.

2 Select Beep When Done.

3 Click OK.

Work with the History panel

You can use the History panel 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 panel.

For example, if you select, paint, and rotate part of an image, each of those states is listed separately in the panel. When you select one of the states, the image reverts to how it looked when that change was first applied. You can then work from that state.

You can also use the History panel to delete image states and, in Photoshop, to create a document from a state or snapshot.

To display the History panel, choose Window > History, or click the History panel tab.

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Photoshop History panel A. Sets the source for the history brush B. Thumbnail of a snapshot C. History state D. History state slider

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Keep the following in mind when using the History panel:

• Program-wide changes, such as changes to panels, color settings, actions, and preferences, are not reflected in the

History panel, because they are not changes to a particular image.

• By default, the History panel lists the previous 20 states. You can change the number of remembered states by

setting a preference. Older states are automatically deleted to free more memory for

Photoshop. To keep a

particular state throughout your work session, make a snapshot of the state.

• Once you close and reopen the document, all states and snapshots from the last working session are cleared from

the panel.

• By default, a snapshot of the initial state of the document is displayed at the top of the panel.

• States are added to the bottom of the list. That is, the oldest state is at the top of the list, the most recent one at the

bottom.

• Each state is listed with the name of the tool or command used to change the image.

• By default, when you select a state, the states below it are dimmed. This way you can easily see which changes will

be discarded if you continue working from the selected state.

• By default, selecting a state and then changing the image eliminates all states that come after it.

• If you select a state and then change the image, eliminating the states that came after, you can use the Undo

command to undo the last change and restore the eliminated states.

• 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

❖ Do any of the following:

• Click the name of the state.

• Choose Step Forward or Step Backward from the History panel menu or the Edit menu to move to the next or

state.

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Delete one or more image states

❖ Do one of the following:

• Click the name of the state, and choose Delete from the History panel menu to delete that change and those that

came after it.

• Drag the state to the Delete icon to delete that change and those that came after it.

• Choose Clear History from the panel menu to delete the list of states from the History panel, without changing the

image. This option doesn’t reduce the amount of memory used by Photoshop.

• Hold down Alt (Windows) or Option (Mac OS), and choose Clear History from the panel menu to purge the list

of states without changing the image. If

you get a message that Photoshop is low on memory, purging states is useful, because the command deletes the states from the Undo buffer and frees up memory. You can’t undo the Clear History command.

• Choose Edit > Purge > Histories to purge the list of states for all open documents. You can’t undo this action.

Create or replace a document with an image state

❖ Do one of the following:

• Drag a state or snapshot onto the Create a New Document From Current State button in the History panel.

The history list for the newly created document contains only the Duplicate State entry.

• Select a state or snapshot, and click the Create a New Document From Current State button . The history list

for the newly created document contains only the Duplicate State entry.

• Select a state or snapshot, and choose New Document from the History panel menu. The history list for the newly

created document contains only the Duplicate State entry.

• Drag a state onto an existing document.

To save one or more snapshots or image states for use in a later editing session, create a new file for each state you

save, and save each in a separate file. When you reopen your original file, plan to open the other saved files also. You can drag each file’s initial snapshot to the original image to access the snapshots again from the original image’s History panel.

Set history options

You can specify the maximum number of items to include in the History panel and set other options to customize the panel.

1 Choose History Options from the History panel menu.

2 Select an option:

Automatically Create First Snapshot Automatically creates a snapshot of the initial state of the image when the

document is opened.

Automatically Create New Snapshot When Saving Generates a snapshot every time you save.

Allow Non-Linear History Makes changes to a selected state without deleting the states that come after. Normally,

when you select a state and change the image, all states that come after the selected one are deleted. In this way, the History panel can display a list of the editing steps in the order that they were made. By recording states in a nonlinear way, you can select a state, make a change to the image, and delete just that state. The change is appended at the end of the list.

Show New Snapshot Dialog By Default Forces Photoshop to prompt you for snapshot names even when you use the

buttons on the panel.

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Make Layer Visibility Changes Undoable By default, turning layer visibility on or off is not recorded as a history step

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and therefore can’t be undone. Select this option to include layer visibility changes in history steps.

Set Edit History Log options

You may need to keep careful track of what’s been done to a file in Photoshop, either for your own records, client records, or legal purposes. 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. Storing many editing operations as file metadata increases file size; such files may take longer than usual to open and save.

If you need to prove that the log file hasn’t been tampered with, keep the edit log in the file’s metadata, and then use

Adobe Acrobat to digitally sign the log file.

By default, history log data about each session is saved as metadata embedded in the image file. You can specify where the history log data is saved and the level of detail contained in the history log.

1 Choose Edit > Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS).

2 Click the History Log preference to toggle from on to off or vice versa.

3 For the Save Log Items To option, choose one of the following:

Metadata Saves the history log as metadata embedded in each file.

Text File Exports the history log to a text file. You are prompted to name the text file and choose a location in which

to store it.

Both Stores metadata in the file and creates a text file.

Note: If you want to save the text file in a different location or save another text file, click the Choose button, specify where to save the text file, name the file if necessary, and click Save.

4 From the Edit Log Items menu, choose one of the following options:

Sessions Only Keeps a record of each time your start or quit Photoshop and each time you open and close files (each

image’s filename is included). Does not include any information about edits made to the file.

Concise Includes the text that appears in the History panel in addition to the Sessions information.

Detailed Includes the text that appears in the Actions panel in addition to the Concise information. If you need a

complete history of all changes made to files, choose Detailed.

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 panel. Selecting a snapshot lets you work from that version of the image.

Snapshots are similar to the states listed in the History panel, but they offer additional advantages:

• You can name a snapshot to make it easy to identify.

• Snapshots can be stored for an entire work session.

• You can compare effects easily. For example, you can take a snapshot before and after applying a filter. Then select

the first snapshot, and try the same filter with different settings. Switch between the snapshots to find the settings you like best.

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• With snapshots, you can recover your work easily. When you experiment with a complex technique or apply an

action, take a snapshot first. If you’re not satisfied with the results, you can select the snapshot to undo all the steps.

Note: Snapshots are not saved with the image—closing an image deletes its snapshots. Also, unless you select the Allow Non-Linear History option, selecting a snapshot and changing the image deletes all of the states currently listed in the History panel.

More Help topics

“About blending modes” on page 350

“Create a brush and set painting options” on page 340

“Paint with the Art History Brush” on page 334

Create a snapshot

1 Select a state and do one of the following:

• To automatically create a snapshot, click the Create New Snapshot button on the History panel, or if

Automatically Create New Snapshot When Saving is selected in the history options, choose New Snapshot from the History panel menu.

• To set options when creating a snapshot, choose New Snapshot from the History panel menu, or Alt-click

(Windows) or Option-click (Mac

2 Enter the name of the Snapshot in the Name text box.

3 Choose the snapshot contents from the From menu:

Full Document Makes a snapshot of all layers in the image at that state

OS) the Create New Snapshot button.

Merged Layers Makes a snapshot that merges all layers in the image at that state

Current Layer Makes a snapshot of only the currently selected layer at that state

Work with snapshots

❖ Do one of the following:

• To select a snapshot, click the name of the snapshot or drag the slider at the left of the snapshot up or down to a

different snapshot.

• To rename a snapshot, double-click the snapshot and enter a name.

• To delete a snapshot, select the snapshot and either choose Delete from the panel 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. This tool makes a copy, or sample, of the image and then paints with it.

For example, you might make a snapshot of a change you made with a painting tool or filter (with the Full Document option selected when you create the snapshot). After undoing the change to the image, you could use the History Brush tool to apply the change selectively to areas of the image. Unless you select a merged snapshot, the History Brush tool paints from a layer in the selected state to the same layer in another state.

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The History Brush tool copies from one state or snapshot to another, but only at the same location. In Photoshop, you can also paint with the Art History Brush tool to create special effects.

1 Select the History Brush tool .

2 Do one of the following in the options bar:

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• Specify the opacity and blending mode.

• Choose a brush and set brush options.

3 In the History panel, click the left column of the state or snapshot to be used as the source for the History Brush tool.

4 Drag to paint with the History Brush tool.

More Help topics

“Paint with the Art History Brush” on page 334

Memory and performance

Allocate RAM to Photoshop

Photoshop displays the RAM available to Photoshop and the ideal range of RAM for Photoshop (a percentage of the total available RAM) in Performance preferences.

❖ In Performance preferences, enter the amount of RAM you want to allocate to Photoshop in the Let Photoshop Use

text box. Alternatively, drag the slider.

Assigning scratch disks

When your system does not have enough RAM to perform an operation, Photoshop uses a proprietary virtual memory technology, also called scratch disks. A scratch disk is any drive or drive partition with free memory. By default, Photoshop uses the hard drive on which the operating system is installed as the primary scratch disk.

Photoshop detects and displays all available internal disks in the Preferences panel. Using the Preferences panel, you can enable other scratch disks to be used when the primary disk is full. Your primary scratch disk should be your fastest hard disk; make sure it has plenty of defragmented

The following guidelines can help you assign scratch disks:

space available.

• For best performance, scratch disks should be on a different drive than any large files you are editing.

• Scratch disks should be on a different drive than the one your operating system uses for virtual memory.

• RAID disks/disk arrays are good choices for dedicated scratch disk volumes.

• Drives with scratch disks should be defragmented regularly.

Change the scratch disk assignment

1 Do any of the following in the Scratch Disks area of Performance preferences:

• To change the scratch disk order, click the arrow buttons.

• To enable or disable a scratch disk, select or deselect the Active checkbox.

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To ensure optimal performance, only local drives are available as scratch disks.

2 Click OK.

3 To apply the changes, restart Photoshop.

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Specify history and cache settings

❖ In Performance preferences, do any of the following:

• To specify how many states the History panel displays by default, click the triangle on the History States menu and

drag the slider.

• To specify the cache level Photoshop uses, drag the Cache Level slider. You must restart Photoshop to have the

cache settings take effect.

Free memory

The Purge command lets you free memory used by the Undo command, the History panel, or the clipboard.

❖ Choose Edit > Purge, and choose the item type or buffer you want to clear. If it is already empty, the item type or

buffer is dimmed.

Note: The Purge command permanently clears from memory the operation stored by the command or buffer; Purge cannot be undone. For example, choosing Edit the Purge command when the amount of information in memory is so large that Photoshop performance is noticeably affected.

> Purge > Histories deletes all history states from the History panel. Use

Managing connections

Working with ConnectNow

Adobe® ConnectNow provides you with a secure, personal online meeting room where you can meet and collaborate with others via the web in real time. With ConnectNow, you can share and annotate your computer screen, send chat messages, and communicate using integrated audio. You can also broadcast live video, share files, capture meeting notes, and control an attendee's computer.

You can access ConnectNow directly from the application interface.

1 Choose File > Share My Screen.

2 In the Share My Screen dialog box, enter your Adobe ID and password, and click Sign In. If you don’t have an

Adobe ID and password, click the Create a Free Adobe ID link at the top of the dialog box.

3 To share your screen, click the Share My Computer Screen button at the center of the ConnectNow application

window.

For complete instructions on using ConnectNow, see

http://help.adobe.com/en_US/Acrobat.com/ConnectNow/index.html.

For a video tutorial about using ConnectNow, see Using ConnectNow to share your screen (7:12). (This demonstration is in Dreamweaver.)

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Manage connections to web services

In Adobe® Creative Suite® 4, the Connections panel lets you manage connections to web services and the locally installed extensions that interact with them. The Connections panel itself is an extension. Additional extensions installed with Creative Suite applications include the following:

Adobe ConnectNow Collaborate with dispersed working teams over the web, sharing voice, data, and multimedia.

Kuler™ panel Quickly create, share, and explore color themes online.

Search for Help In the upper-right corner of applications, enter search terms to access Community Help. Community

Help includes Adobe product Help, plus additional content from the design and production communities.

Visit www.adobe.com to learn about additional services and extensions.

Log into Adobe web services

Regardless of which application you use to access the Connections panel, logging in automatically connects you to services such as ConnectNow meetings.

1 In Adobe InDesign, Photoshop, Illustrator, Flash, Fireworks, or Dreamweaver, choose Window > Extensions >

Connections.

2 Enter your Adobe ID and password. (If you lack an ID or can’t remember it, click the appropriate link.)

3 (Optional) To remain logged in when you restart the computer, select Remember Me On This Computer.

4 Click Log In.

Disable automatic extension updates

By default, the Connections panel automatically updates installed extensions. However, you can disable automatic updates and instead check for them manually.

1 From the Connections panel menu , select Update Preferences.

2 Deselect Check For Updates Automatically.

3 Restart any open Adobe Creative Suite applications.

Manually check for updated extensions

❖ From the Connections panel menu , select Check For Updates.

Disable web services

If your work environment disallows online connections, you can disable web services. You can also use this option to disable your product from accessing online Community Help. When you disable web services and search for help, the product provides results from the local help system only.

Note: Local Help includes only a portion of the full version of online product Help.

1 From the Connections panel menu , select Offline Options.

2 Select Keep Me Offline.

To disable the Connections panel and web services only in Photoshop, deselect Allow Extensions To Connect in the

Plug-Ins section of the Preferences dialog box.

More Help topics

“Help and support” on page 2

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Chapter 3: Opening and importing images

Adobe® Photoshop® CS4 can open and import many types of graphic files. To work effectively, you should understand basic imaging concepts, and how to acquire, import, and resize images.

Image essentials

About bitmap images

Bitmap images—technically called raster images—use a rectangular grid of picture elements (pixels) to represent images. Each pixel is assigned a specific location and color value. When working with bitmap images, you edit pixels rather than objects or shapes. Bitmap images are the most common electronic medium for continuous-tone images, such as photographs or digital paintings, because they can more efficiently represent subtle gradations of shades and color.

Bitmap images are resolution-dependent—that is, they contain a fixed number of pixels. As a result, they can lose detail and appear jagged if they are scaled to high magnifications on-screen or if they are printed at a lower resolution than they were created for.

3:1

24:1

Example of a bitmap image at different levels of magnification

Bitmap images sometimes require large amounts of storage space, and often need to be compressed to keep file sizes down when used in certain Creative Suite components. For instance, you compress an image file in its original application before you import it into a layout.

Note: In Adobe Illustrator, you can create bitmap effects in your artwork using effects and graphic styles.

More Help topics

“About vector graphics” on page 54

About vector graphics

Vector graphics (sometimes called vector shapes or vector objects) are made up of lines and curves defined by mathematical objects called vectors, which describe an image according to its geometric characteristics.

You can freely move or modify vector graphics without losing detail or clarity, because they are resolutionindependent—they maintain crisp edges when resized, printed to a PostScript printer, saved in a PDF file, or imported into a vector-based graphics application. As a result, vector graphics are the best choice for artwork, such as logos, that will be used at various sizes and in various output media.

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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 components.

More Help topics

“About bitmap images” on page 54

Combining vector graphics and bitmap images

When combining vector graphics and bitmap images in a document, it’s important to remember that how your artwork looks on-screen isn’t always how it will look in its final medium (whether commercially printed, printed on a desktop printer, or viewed on the web). The following factors influence the quality of your final artwork:

Transparency Many effects add partially transparent pixels to your artwork. When your artwork contains

transparency, Photoshop performs a process called flattening before printing or exporting. In most cases, the default flattening process produces excellent results. However, if your artwork contains complex, overlapping areas and you require high-resolution output, you will probably want to preview the effects of flattening.

Image Resolution The number of pixels per inch (ppi) in a bitmap image. Using too low a resolution for a printed

image results in pixelation—output with large, coarse-looking pixels. Using too high a resolution (pixels smaller than what the output device can produce) increases the file size without increasing the quality of the printed output, and slows the printing of the artwork.

Printer resolution and screen frequency The number of ink dots produced per inch (dpi) and the number of lines per

inch (lpi) in a halftone screen. The relationship between image resolution, printer resolution, and screen frequency determines the quality of detail in the printed image.

Color channels

Every Photoshop image has one or more channels, each storing information about color elements in the image. The number of default color channels in an image depends on its color mode. By default, images in Bitmap, Grayscale, Duotone, and Indexed Color mode have one channel; RGB and Lab images have three; and CMYK images have four. You can add channels to all image types except Bitmap mode images. For more information, see page 110.

Channels in color images are actually grayscale images that represent each of the color components of an image. For example, an RGB image has separate channels for red, green, and blues color values.

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 page 269.

More Help topics

“About masks and alpha channels” on page 274

“About spot colors” on page 497

“Color modes” on

“Channels” on

Bit depth

Bit depth specifies how much color information is available for each pixel in an image. The more bits of information per pixel, the more available colors and more accurate color representation. For example, an image with a bit depth of

1 has pixels with two possible values: black and white. An image with a bit depth of 8 has 2 Grayscale mode images with a bit depth of 8 have 256 possible gray values.

, or 256, possible values.

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RGB images are made of three color channels. An 8-bit per pixel RGB image has 256 possible values for each channel which means it has over 16 million possible color values. RGB images with 8-bits per channel (bpc) are sometimes called 24-bit images (8 bits x 3 channels = 24 bits of data for each pixel).

In addition to 8-bpc images, Photoshop can also work with images that contain 16-bpc or 32-bpc. Images with 32-bpc are also known as high dynamic range (HDR) images.

Photoshop support for 16-bit images

Photoshop provides the following support for working with 16-bpc images:

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• Working in Grayscale, RGB Color, CMYK Color, Lab Color, and Multichannel, modes.

• All tools in the toolbox, except the Art History Brush tool, can be used with 16-bpc images.

• All color and tonal adjustment commands, except Variations, are available

• You can work with layers, including adjustment layers, in 16-bpc images.

• Some filters, including Liquify, can be used with 16-bpc images.

To take advantage of certain Photoshop CS4 features, such as some filters, you can convert a 16-bpc image to an 8-bpc image. It’s best if you do a Save As and convert a copy of the image file so the original file retains the full 16-bpc image data.

More Help topics

“About high dynamic range images” on page 71

Convert between bit depths

❖ Do any of the following:

• To convert between 8 bpc and 16 bpc, Choose Image > Mode > 16 Bits/Channel or 8 Bits/Channel.

• To convert from 8 bpc or 16 bits to 32 bpc, choose Image > Mode > 32 Bits/Channel.

More Help topics

“Convert from 32 bits to 8 or 16 bpc” on page 75

Image size and resolution

About pixel dimensions and printed image resolution

Pixel dimensions measure the total 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). The more pixels per inch, the greater the resolution. Generally, an image with a higher resolution produces a better printed image quality.

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Same image at 72-ppi and 300-ppi; inset zoom 200%

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Unless an image is resampled (see “Resampling” on page 59), the amount of image data remains constant as you change either the pixel dimension or resolution. For example, if you change the resolution of a file, its width and height change accordingly to maintain the same amount of image data.

In Photoshop, you can see the relationship between image size and resolution in the Image Size dialog box (choose

> Image Size). Deselect Resample Image, because you don’t want to change the amount of image data in your

Image photo. Then change width, height, or resolution. As you change one value, the other two values change accordingly.

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).

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Quickly display the current image size

If you want to quickly display a document’s current image size, use the information box at the bottom of the document window.

❖ Position the pointer over the file information box, and hold down the mouse button.

More Help topics

“Display file information in the document window” on page 35

File size

The file size of an image is the digital size of the image file, measured in kilobytes (K), megabytes (MB), or gigabytes (GB). File size is proportional to the pixel dimensions of the image. Images with more pixels may produce more detail at a given printed size, but they require more disk space to store and may be slower to edit and print. Image resolution thus becomes a compromise between image quality (capturing all the data you need) and file size.

Another factor that affects file size is file format. Because of the varying compression methods used by GIF, JPEG, and PNG file formats, file sizes can vary considerably for the same pixel dimensions. Similarly, color bit-depth and the number of layers and channels in an image affect file size.

Photoshop supports a maximum pixel dimension of 300,000 by 300,000 pixels per image. This restriction places limits on the print size and resolution available to an image.

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. In Photoshop, you can change the image magnification on-screen, so you can easily work with images of any pixel dimensions.

20"

15"

832 x 624 / 640 x 480

A 620- by 400-pixel image displayed on monitors of various sizes and resolutions.

1024 x 768 / 640 x 480

When preparing images for viewing on-screen, you should consider the lowest monitor resolution that your photo is likely to be viewed on.

About printer resolution

Printer resolution is measured in ink dots per inch, also known as dpi. Generally, the more dots per inch, the finer the printed output you’ll get. Most inkjet printers have a resolution of approximately 720 to 2880 dpi. (Technically, inkjet printers produce a microscopic spray of ink, not actual dots like imagesetters or laser printers.)

Printer resolution is different from, but related to image resolution. To print a high quality photo on an inkjet printer, an image resolution of at least 220 ppi should provide good results.

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Screen frequency is the number of printer dots or halftone cells per inch used to print grayscale images or color separations. Also known as screen ruling or line screen, screen frequency is measured in lines per inch (lpi)—or lines of cells per inch in a halftone screen. The higher the resolution of the output device, the finer (higher) a screen ruling you can use.

The relationship between image resolution and screen frequency determines the quality of detail in the printed image. To produce a halftone image of the highest quality, you generally use an image resolution that is from 1.5 to at most 2 times the screen frequency. But with some images and output devices, a lower resolution can produce good results. To determine your printer’s screen frequency, check your printer documentation or consult your service provider.

Note: Some imagesetters and 600-dpi laser printers use screening technologies other than halftoning. If you are printing an image on a nonhalftone printer, consult your service provider or your printer documentation for the recommended image resolutions.

C D

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

More Help topics

“About desktop printing” on page 479

“Preparing images for press” on page 487

Resampling

Resampling is changing the amount of image data as you change either the pixel dimensions or the resolution of an image. When you downsample (decrease the number of pixels), information is deleted from the image. When you resample up (increase the number of pixels, or upsample), new pixels are added. You specify an interpolation to determine how pixels are added or deleted.

method

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Resampling pixels A. Downsampled B. Original C. Resampled up (selected pixels displayed for each set of images)

Keep in mind that resampling can result in poorer image quality. For example, when you resample an image to larger pixel dimensions, the image loses some detail and sharpness. Applying the Unsharp Mask filter to a resampled image can help refocus the image details.

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.

Photoshop resamples images using an interpolation method to assign color values to any new pixels based on the color values of existing pixels. You can choose which method to use in the Image Size dialog box.

Nearest Neighbor A fast but less precise method that replicates the pixels in an image. This method is for use with

illustrations containing edges that are not anti-aliased, to preserve hard edges and produce a smaller file. However, this method can produce jagged effects, which become apparent when you distort or scale an image or perform multiple manipulations on a selection.

Bilinear A method that adds pixels by averaging the color values of surrounding pixels. It produces medium-quality

results.

Bicubic A slower but more precise method based on an examination of the values of surrounding pixels. Using more

complex calculations, Bicubic produces smoother tonal gradations than Nearest Neighbor or Bilinear.

Bicubic Smoother A good method for enlarging images based on Bicubic interpolation but designed to produce

smoother results.

Bicubic Sharper A good method for reducing the size of an image based on Bicubic interpolation with enhanced

sharpening. This method maintains the detail in a resampled image. If Bicubic Sharper oversharpens some areas of an image, try using Bicubic.

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You can specify a default interpolation method to use whenever Photoshop resamples image data. Choose Edit >

Preferences > General (Windows) or Photoshop > Preferences > General (Mac OS), and then choose a method from the Image Interpolation Methods menu.

More Help topics

“Sharpen recommendations” on page 213

Change pixel dimensions of an image

Changing an image’s pixel dimensions affects not only its on-screen size but also its image quality and its printed characteristics—either its printed dimensions or its image resolution.

1 Choose Image > Image Size.

2 To maintain the current ratio of pixel width to pixel height, select Constrain Proportions. This option automatically

updates the width as you change the height, and vice versa.

3 Under Pixel Dimensions, enter values for Width and Height. To enter values as percentages of the current

dimensions, choose Percent as the unit of measurement. The new file size for the image appears at the top of the Image Size dialog box, with the old file size in parentheses.

4 Make sure that Resample Image is selected, and choose an interpolation method.

5 If your image has layers with styles applied to them, select Scale Styles to scale the effects in the resized image. This

option is available only if you selected Constrain Proportions.

6 When you finish setting options, click OK.

For best results when you produce a smaller image, downsample and apply the Unsharp Mask filter. To produce a

larger image, rescan the image at a higher resolution.

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 application. You can further manipulate the scale of the printed image using the Print command; however, changes you make using the Print command affect only the printed image, not the document size of the image file.

If you turn on resampling for the image, you can change print dimensions and resolution independently (and change the total number of pixels in the image). If you turn off resampling, you can change either the dimensions or the resolution—Photoshop adjusts the other value automatically to preserve the total pixel count. For the highest print quality, it’s generally best to change the dimensions and resolution first, without resampling. Then resample only as necessary.

1 Choose Image > Image Size.

2 Change the print dimensions, image resolution, or both:

• To change only the print dimensions or only the resolution and adjust the total number of pixels in the image

proportionately, select Resample Image and then choose an interpolation method.

• To change the print dimensions and resolution without changing the total number of pixels in the image, deselect

Resample Image.

3 To maintain the current ratio of image width to image height, select Constrain Proportions. This option

automatically changes the width as you change the height, and vice versa.

file size of the image; document size also determines the base size at which an image is placed into another

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4 Under Document Size, enter new values for the height and width. If desired, choose a new unit of measurement.

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Note that for Width, the Columns option uses the width and gutter sizes specified in the Units & Rulers preferences.

5 For Resolution, enter a new value. If desired, choose a new unit of measurement.

To restore the initial values displayed in the Image Size dialog box, hold down Alt (Windows) or Option (Mac OS),

and click Reset.

More Help topics

“Position and scale images” on page 482

“Print images” on page 480

“Specify columns for an image” on page 37

“Selecting halftone screen attributes” on page 489

Determine a suggested resolution for an image

If you plan to print your image using a halftone screen, the range of suitable image resolutions depends on the screen frequency of your output device. Photoshop can determine a recommended image resolution based on the screen frequency of your output device.

Note: If your image resolution is more than 2.5 times the screen ruling, an alert message appears when you try to print the image. This means that the

image resolution is higher than necessary for the printer. Save a copy of the file, and then

reduce the resolution.

1 Choose Image > Image Size.

2 Click Auto.

3 For Screen, enter the screen frequency for the output device. If necessary, choose a different unit of measurement.

Note that the screen value is used only to calculate the image resolution, not to set the screen for printing.

Note: To specify the halftone screen ruling for printing, you must use the Halftone Screens dialog box, accessible through the Print command.

4 For Quality, select an option:

Draft Produces a resolution that is the same as the screen frequency (no lower than 72 pixels per inch).

Good Produces a resolution 1.5 times the screen frequency.

Best Produces a resolution 2 times the screen frequency.

View the print size on-screen

❖ Do one of the following:

• Choose View > Print Size.

• Select the Hand tool or Zoom tool, and click Print Size in the options bar.

The image is redisplayed in its approximate printed size, as specified in the Document Size area of the Image Size dialog box. The size and resolution of your monitor affect the on-screen print size.

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Opening and importing images

Acquiring images from cameras and scanners

Acquiring digital images from cameras

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® CS4 to download photos, and to organize, rename,

and apply metadata to them.

• If your camera or the card reader appears as a drive on your computer, copy images directly to your hard disk or

into Adobe Bridge.

• Use the software that came with your camera, Windows Image Acquisition (WIA), or Image Capture (Mac OS).

For more information on using Windows Image Acquisition or Image Capture, see your computer documentation.

Import images from a digital camera using WIA (Windows only)

Certain digital cameras import images using Windows Image Acquisition (WIA) support. When you use WIA, Photoshop works with Windows and your digital camera or scanner software to import images directly into Photoshop.

1 Choose File > Import > WIA Support.

2 Choose a destination in which to save your image files on your computer.

3 Make sure that Open Acquired Images in Photoshop is selected. If you are importing a large number of images, or

if you want to edit the images later, deselect Open Acquired Images.

4 To save the imported images directly into a folder whose name is the current date, select Unique Subfolder.

5 Click Start.

6 Select the digital camera from which to import images.

Note: If the name of your camera does not appear in the submenu, verify that the software and drivers were properly installed and that the camera is connected.

7 Choose the image or images you want to import:

• Click the image from the list of thumbnails to import the image.

• Hold down Shift and click multiple images to import them at the same time.

• Click Select All to import all available images.

8 Click Get Picture to import the image.

Importing scanned images

Make sure to install the software necessary for your scanner. Some scanner software lets you designate Photoshop as the external editor or viewer for an image after a scanning is completed. 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 and software.

You can also import scanned images directly from any scanner that has a Photoshop-compatible plug-in module. To import the scan using a plug-in module, choose the scanner name from the File documentation for instructions on installing the scanner plug-in. Or, use the scanner manufacturer’s software to scan your images, and save the images as TIFF, PICT, or BMP files. Then open the files in Photoshop.

> Import submenu. See your scanner

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Opening and importing images

Note: To import images from TWAIN-compatible scanners, see “Import an image using the TWAIN interface” on page 653.

More Help topics

“About plug-in modules” on page 44

“Determine scan resolution for printing” on page 493

Import images from a scanner using WIA Support (Windows only)

1 Choose File > Import > WIA Support.

2 Choose a destination on your computer for saving your image files.

3 Click Start.

4 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.

5 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.

6 Select the scanner that you want to use.

Note: If the name of your scanner does not appear in the submenu, verify that the software and drivers were properly installed and that the scanner is connected.

7 Choose the kind of image you want to scan:

Color Picture Uses the default settings for scanning color images.

Grayscale Picture Uses the default settings for scanning grayscale images.

Black And White Picture or Text Uses the default settings.

Adjust The Quality Of The Scanned Picture Uses custom settings.

8 Click preview to view the scan. If necessary, drag the handles of the bounding box to adjust the size of the crop.

9 Click Scan.

10 The scanned image is saved in BMP format.

Creating, opening, and importing images

Create an image

1 Choose File > New.

2 In the New dialog box, type a name for the image.

3 (Optional) Choose document size from the Preset menu.

Note: To create a document with the pixel dimensions set for a specific device, click the Device Central button.

4 Set the width and height by choosing a preset from the Size menu or entering values in the Width and Height text

boxes.

To match the width, height, resolution, color mode, and bit depth of the new image to that of any open image, choose

a filename from the bottom section of the Preset menu.

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5 Set the Resolution, Color Mode, and bit depth.

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Opening and importing images

If you’ve copied a selection to the clipboard, the image dimensions and resolution are automatically based on that image data.

6 Select a canvas color option:

White Fills the background layer with white, the default background color.

Background Color Fills the background layer with the current background color.

Transparent Makes the first layer transparent, with no color values. The resulting document has a single, transparent

layer as its contents.

7 (Optional) If necessary, click the Advanced button to display more options.

8 (Optional) Under Advanced, choose a color profile, or choose Don’t Color Manage This Document. For Pixel

Aspect Ratio, choose Square unless you’re using the image for video. In that case, choose another option to use nonsquare pixels.

When you finish, you can save the settings as a preset by clicking Save Preset, or you can click OK to open the new file.

More Help topics

“Color modes” on page 110

“About creating images for video” on page 538

“About foreground and background colors” on page 118

Open files

You can open files using the Open command and Open Recent command. You can also open files into Photoshop from Adobe Bridge or Adobe® Photoshop® Lightroom™.

When opening certain files, such as camera raw and PDF, you specify settings and options in a dialog box before the files completely open in Photoshop.

In addition to still images, Photoshop® CS4 Extended users can open and edit 3D files, video and image sequence files. For more information, see

Note: Photoshop uses plug-in modules to open and import many file formats. If a file format does not appear in the Open dialog box or in the File

Sometimes Photoshop may not be able to determine the correct format for a file. This can happen, for example, because the file has been transferred between two operating systems. Sometimes a transfer between Mac Windows can cause the file format to be mislabeled. In open the file.

You can retain (where possible) layers, masks, transparency, compound shapes, slices, image maps, and editable type

when bringing your Illustrator art into Photoshop. In Illustrator, export the art in the Photoshop (PSD) file format. If your Illustrator art contains elements that Photoshop doesn’t support, the appearance of the artwork is preserved, but the layers are merged and the artwork is rasterized.

“Importing video files and image sequences (Photoshop Extended)” on page 543.

> Import submenu, you may need to install the format’s plug-in module.

OS and

such cases, you must specify the correct format in which to

More Help topics

“About plug-in modules” on page 44

“Processing images with Camera Raw” on page 81

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Opening and importing images

Open a file using the Open command

1 Choose File > Open.

2 Select the name of the file you want to open. If the file does not appear, select the option for showing all files from

the Files Of Type (Windows) or Enable (Mac

3 Click Open. In some cases, a dialog box appears, letting you set format-specific options.

Note: If a color profile warning message appears, specify whether to use embedded profile as the working space, convert the document color to working space, or reverse the embedded profile. For more information, see

imported images” on page 136.

OS) pop-up menu.

“Color-managing

Open a recently used file

❖ Choose File > Open Recent, and select a file from the submenu.

Note: To specify the number of files listed in the Open Recent menu, change the Recent File List Contains option in the File Handling preferences. Choose Edit Handling (Mac

OS).

> Preferences > File Handling (Windows), or Photoshop > Preferences > File

Specify the file format in which to open a file

If a file was saved with an extension that doesn’t match its true format (for example, a PSD file saved with a .gif extension), or has no extension, Photoshop may not be able to open the file. Selecting the correct format will allow Photoshop to recognize and open the file.

❖ Do one of the following:

• (Windows) Choose File > Open As, and select the file you want to open. Then choose the desired format from the

Open As pop-up menu, and click Open.

• (Mac OS) Choose File > Open, and choose All Documents from the Show pop-up menu. Then select the file you

want to open, choose the desired file format from the Format pop-up menu, and click Open.

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 Acrobat.

Some PDF files contain a single image, and others contain multiple pages and images. When you open a PDF file in Photoshop, you can choose which pages or images to open and specify rasterization options.

You can also import PDF data using the Place command, the Paste command, and the drag-and-drop feature. The page or image is placed on a separate layer as a Smart Object.

Note: The following procedure is only for opening generic PDF files in Photoshop. You don’t need to specify options in the Import PDF dialog box, when opening Photoshop PDF files.

1 Do one of the following:

• (Photoshop) Choose File > Open.

• (Bridge) Select the PDF file and choose File > Open With > Adobe Photoshop CS4. Skip to step 3.

2 In the Open dialog box, select the name of the file, and click Open.

3 Under Select in the Import PDF dialog box, select Pages or Images, depending on what elements of the PDF

document you want to import.

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4 Click the thumbnails to select the pages or images you want to open. Shift-click to select more than one page or

image. The number of selected items appears under the preview window. If you’re importing images, skip to step

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Opening and importing images

Note: Use the Thumbnail Size menu to adjust the thumbnail view in the preview window. The Fit Page option fits one thumbnail in the preview window. A scroll bar appears if there are multiple items.

5 To give the new document a name, type it in the Name text box. If you’re importing more than one page or image,

multiple documents open with the base name followed by a number.

6 Under Page Options, choose from the Crop To menu to specify what part of the PDF document to include:

Bounding Box Crops to the smallest rectangular region that includes all the text and graphics of the page. This option

eliminates extraneous white space and any document elements outside the Trim Box.

Note: Bounding Box will not crop white space that is part of a background created by the source application.

Media Box Crops to the original size of the page.

Crop Box Crops to the clipping region (crop margins) of the PDF file.

Bleed Box Crops to the region specified in the PDF file for accommodating limitations inherent in production

processes such as cutting, folding, and trimming.

Trim Box Crops to the region specified for the intended finished size of the page.

Art Box Crops to the region specified in the PDF file for placing the PDF data into another application.

7 Under Image Size, enter values (if necessary) for Width and Height:

• To preserve the aspect ratio of the pages as they’re scaled to fit within the rectangle defined by the Width and Height

values, select Constrain Proportions.

• To scale the pages exactly to the Width and Height values, deselect Constrain Proportions. Some distortion might

occur when the pages are scaled.

When more than one page is selected, the Width and Height text boxes display the maximum width and height values of the selected pages. All pages are rendered at their original size if Constrain Proportions is selected and you don’t change the Width and Height values. Changing the values will scale all pages proportionately as they're rasterized.

8 Specify the following options under Image Size:

Resolution Sets the resolution for the new document. See also “About pixel dimensions and printed image resolution”

on page 56.

Mode Sets the color mode for the new document. See also “Color modes” on page 110.

Bit Depth Sets the bit depth for the new document. See also “Bit depth” on page 55.

The Width and Height values plus the Resolution determine the final pixel dimension of resulting document.

9 To suppress color profile warnings, select Suppress Warning.

10 Click OK.

More Help topics

“PDF” on page 467

“About Smart Objects” on page 315

“Placing files” on page 69

“Copy between applications” on page 268

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Open an EPS file

Encapsulated PostScript (EPS) can represent both vector and bitmap data and is supported by virtually all graphic, illustration, and page-layout programs. The Adobe application that primarily produces PostScript artwork is Adobe Illustrator. When curves of the vector artwork are converted into the pixels or bits of a bitmap image.

You can also bring PostScript artwork into Photoshop using the Place command, the Paste command, and the dragand-drop feature.

1 Choose File > Open.

2 Select the file you want to open, and click Open.

3 Indicate the desired dimensions, resolution, and mode. To maintain the same height-to-width ratio, select

Constrain Proportions.

4 To minimize jagged lines at the edges of artwork, select Anti-aliased.

More Help topics

“Placing files” on page 69

“Copy between applications” on page 268

you open an EPS file containing vector art, it is rasterized—the mathematically defined lines and

Adobe Version Cue

Adobe Version Cue® CS4 is an asset management system that lets designers work collaboratively on a set of common files without having to change their workflow significantly. Designers can easily track and manipulate multiple versions of files.

Version Cue handles the following tasks:

• Creating versions of your files

• Enabling workgroup collaboration (file sharing, version control, the ability to check files in and out)

• Organizing files into private or shared projects

• Providing thumbnails so you can browse and view files

• Organizing data so you can view and search on file information, version comments, and file status

• Creating and managing user access, projects, and PDF reviews by way of Version Cue Server Administration

Version Cue consists of two pieces: the Adobe Version Cue Server and Adobe Drive.

Adobe Version Cue Server The Version Cue Server can be installed locally or on a dedicated computer. It hosts

Cue projects and PDF reviews.

Version

Adobe Drive Adobe Drive connects to Version Cue CS4 servers. The connected server appears like a hard drive or

mapped network drive in Windows Explorer, Mac OS Finder, and dialog boxes such as Open and Save As.

Note: The “Use Adobe Dialog” option that appears in CS3 applications does not appear in CS4 applications. This option is no longer necessary. Connecting to the Version Cue Server using Adobe Drive lets you view project files from any application.

Version Cue is included with Adobe Creative Suite 4 Design Premium and Standard, Adobe Creative Suite 4 Web Premium and Standard, Adobe Creative Suite 4 Production Premium, and Adobe Creative Suite 4 Master Collection.

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Version Cue enables versioning and asset management in all applications, but it includes enhanced features for the following products: Adobe Flash®, Adobe Illustrator®, Adobe InDesign®, Adobe InCopy®, Adobe Photoshop®, and Adobe Bridge. When you use any of these applications to open a file stored on a Version Cue server, the file is checked out automatically. For all other applications, use the context menu to check in and check out files manually.

For a video overview on Version Cue, see www.adobe.com/go/lrvid4037_vc.

USING PHOTOSHOP CS4

Opening and importing images

Placing files

The Place command adds a photo, art, or any Photoshop-supported file as a Smart Object to your document. Smart Objects can be scaled, positioned, skewed, rotated, or warped without degrading the image.

Place a file in Photoshop

1 Open the Photoshop document that is the destination for the placed art or photo.

2 Do one of the following:

• (Photoshop) Choose File > Place, select the file you want to place, and click Place.

• (Bridge) Select the file and choose File > Place > In Photoshop.

3 If you are placing a PDF or Illustrator (AI) file, the Place PDF dialog box appears. Select the page or image you want

to place, set the Crop options, and click

PDF or Illustrator files in Photoshop” on page 70.

The placed artwork appears inside a bounding box at the center of the Photoshop image. The artwork maintains its original aspect ratio; however, if the artwork is larger than the Photoshop image, it is resized to fit.

OK. For more information on the Place PDF dialog box options, see “Place

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

4 (Optional) Reposition or transform the placed artwork by doing any of the following:

“Paste Adobe Illustrator art into Photoshop” on page 70.

• To reposition the placed art, position the pointer inside the bounding box of the placed artwork and drag, or in the

options bar, enter a value for X to specify the distance between the center point of the placed artwork and the left edge of the image. Enter a value for Y to specify the distance between the center point of the placed artwork and the top edge of the image.

• To scale the placed art, drag one of the corner handles of the bounding box or enter values for W and H in the

options bar. When dragging, hold down the Shift key to constrain proportions.

• To rotate the placed art, position the pointer outside the bounding box (the pointer turns into a curved arrow) and

drag, or enter a value (in degrees) for the Rotation option center point of the placed artwork. To adjust the center point, drag it to a new location, or click a handle on the Center Point icon

•

To skew the placed art, hold down Ctrl (Windows) or Command (Mac OS) and drag a side handle of the bounding box.

in the options bar.

in the options bar. The artwork rotates around the

• To warp the placed art, choose Edit > Transform > Warp and then choose a warp from the Warp Style pop-up

menu in the options bar.

If you choose Custom from the Warp Style pop-up menu, drag the control points, a segment of the bounding box or mesh, or an area within the mesh to warp the image.

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5 If you’re placing a PDF, EPS, or Adobe Illustrator file, set the Anti-alias option in the options bar as desired. To

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Opening and importing images

blend edge pixels during rasterization, select the Anti-alias option. To produce a hard-edged transition between edge pixels during rasterization, deselect the Anti-alias option.

6 Do one of the following:

• Click Commit in the options bar or press Enter (Windows) or Return (Mac OS) to commit the placed artwork

to a new layer.

• Click Cancel in the options bar, or press Esc to cancel the placement.

More Help topics

“Scale, rotate, skew, distort, apply perspective, or warp” on page 220

“Warp an item” on page 223

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.

1 With the destination Photoshop document open, place a PDF or Adobe Illustrator file.

2 Under Select in the Place PDF dialog box, select Page or Image, depending on what elements of the PDF document

you want to import. If the PDF file has multiple pages or images, click the thumbnail of the page or file you want to place.

Note: Use the Thumbnail Size menu to adjust the thumbnail view in the preview window. The Fit Page option fits one thumbnail in the preview window. A scroll bar appears if there are multiple items.

3 Under Options, choose from the Crop To menu to specify what part of the PDF or Illustrator (AI) document to

include:

Bounding Box Crops to the smallest rectangular region that includes all the text and graphics of the page. This option

eliminates extraneous white space.

Media Box Crops to the original size of the page.

Crop Box Crops to the clipping region (crop margins) of the PDF file.

Bleed Box Crops to the region specified in the PDF file for accommodating limitations inherent in production

processes such as cutting, folding, and trimming.

Trim Box Crops to the region specified for the intended finished size of the page.

Art Box Crops to the region specified in the PDF file for placing the PDF data into another application.

4 Click OK to close the Place PDF dialog box.

5 If necessary, set any positioning, scaling, skewing, rotating, warping, or anti-aliasing options in the options bar.

6 Click Commit to place the artwork as a Smart Object on a new layer of the destination document.

Paste Adobe Illustrator art into Photoshop

You can copy art from Adobe Illustrator and paste it into a Photoshop document.

1 In Adobe Illustrator, specify preferences for the copy-and-paste behavior:

• To automatically rasterize the art when pasting it into a Photoshop document, turn off the PDF and the AICB (No

Transparency Support) options in the File Handling & Clipboard preferences.

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• To paste the art as a Smart Object, rasterized image, path, or shape layer, turn on the PDF and the AICB (No

Transparency Support) options in the File Handling & Clipboard preferences.

2 Open a file in Adobe Illustrator, select the art you want to copy, and choose Edit > Copy.

3 In Photoshop, open the document that you want to paste the Adobe Illustrator art into and then choose Edit >

Paste.

Note: If the PDF and the AICB (No Transparency Support) options are turned off in the File Handling & Clipboard preferences of Adobe Illustrator, the art is automatically rasterized as it’s pasted into the Photoshop document. You can skip the rest of the steps in this procedure.

4 In the Paste dialog box, select how you want to paste the Adobe Illustrator art and then click OK:

Smart Object Pastes the art as a Vector Smart Object that can be scaled, transformed, or moved without degrading the

image. As the art is placed, its file data is embedded in the Photoshop document on a separate layer.

Pixels Pastes the art as pixels that can be scaled, transformed, or moved before it is rasterized and placed on its own

layer in the Photoshop document.

Path Pastes the art as a path that can be edited with the pen tools, Path Selection tool, or Direct Selection tool. The

path is pasted into the layer that’s selected in the Layers panel.

Shape Layer Pastes the art as a new shape layer (a layer containing a path filled with the foreground color).

5 If you selected Smart Object or Pixels in the Paste dialog box, make any transformations you wish, and then click

Enter or Return to place the art.

More Help topics

“Placing files” on page 69

“About Smart Objects” on page 315

“Path segments, components, and points” on page 377

“Create a shape on a shape layer” on page 365

High dynamic range images

About high dynamic range images

The dynamic range (ratio between dark and bright regions) in the visible world far exceeds the range of human vision and of images that are displayed on a monitor or printed. But whereas human eyes can adapt to very different brightness levels, most cameras and computer monitors can reproduce only a fixed dynamic range. Photographers, motion picture artists, and others working with digital images must be selective about what’s important in a scene because they are working with a limited dynamic range.

High dynamic range (HDR) images open up a world of possibilities because they can represent the entire dynamic range of the visible world. Because all the luminance values in a real-world scene are represented proportionately and stored in an HDR image, adjusting the exposure of an HDR image is like adjusting the exposure when photographing a scene in the real world. This capability lets you create blurs and other real-world lighting effects that look realistic. Currently, HDR images are used mostly in motion pictures, special effects, 3D work, and some high-end photography.

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Merging images of different exposures to create an HDR image A. Image with shadow detail but highlights clipped B. Image with highlight detail but shadows clipped C. HDR image containing the dynamic range of the scene

In Photoshop, the luminance values of an HDR image are stored using a floating-point numeric representation that’s 32 bits long (32-bits-per-channel). The luminance values in an HDR image are directly related to the amount of light in a scene. This is not so with (non-floating point) 16-bits-per-channel (bpc) and 8-bpc image files, which can store luminance values only from black to paper white; this represents an extremely small segment of the dynamic range in the real world.

Photoshop offers layers support for 32-bpc images, and many tools, filters, and commands can be used with 32-bpc images. (For more information, see below.) In addition, you can specify new images as 32 bpc in the New dialog box.

You can also paint on 32-bpc images in Photoshop. The Adobe Color Picker lets you specify colors that have a brightness intensity that exceeds 1.0 (the equivalent of the 255 level in an 8-bit RGB document). See also

“About the

HDR Color Picker (Photoshop Extended)” on page 77.

You can create an HDR image using multiple photographs, each captured at a different exposure. In Photoshop, the Merge To HDR command lets you create HDR images from multiple photographs. Because an HDR image contains brightness levels that far exceed the display capabilities of a standard 24-bit monitor or the range of tones in a printed image, Photoshop lets you adjust the preview of the HDR image so it can be viewed on a computer monitor. If you need to print the image or use Photoshop tools and filters that don’t work with HDR images, you can convert the HDR image to an 8- or 16-bpc image.

For a video on editing and merging images from Lightroom, see www.adobe.com/go/lrvid4121_ps.

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Photoshop support for 32-bpc HDR images

Use the following tools, adjustments, and filters with 32-bpc HDR images:

Adjustments Levels, Exposure, Hue/Saturation, Channel Mixer, Photo Filter.

Note: Although the Exposure command can be used with 8- and 16-bpc images, it is designed for making exposure adjustments to 32-bpc HDR images.

Blend Modes Normal, Dissolve, Darken, Multiply, Lighten, Color Darken, Linear Dodge (Add), Color Lighter,

Difference, Hue, Saturation, Color, and Luminosity.

Create new 32-bpc documents In the New dialog box, 32 bit is an option in the bit depth pop-up menu to the right of

the Color Mode pop-up menu.

Edit menu commands All commands including Fill, Stroke, Free Transform, and Transform.

File Formats Photoshop (PSD, PSB), Radiance (HDR), Portable Bit Map (PBM), OpenEXR, and TIFF.

Note: Although Photoshop cannot save an HDR image in the LogLuv TIFF file format, it can open and read a LogLuv TIFF file.

Filters Average, Box Blur, Gaussian Blur, Motion Blur, Radial Blur, Shape Blur, Surface Blur, Add Noise, Differences

Clouds, Lens Flare, Smart Sharpen, Unsharp Mask, Emboss, De-Interlace, NTSC Colors, High Pass, Maximum, Minimum, and Offset.

Image commands Duplicate, Image Size, Canvas Size, Image Rotation, Calculation, Variable, and Trim.

View Pixel Aspect Ratio (Custom Pixel Aspect Ratio, Delete Pixel Aspect Ratio, Reset Pixel Aspect Ratio, etc.)

Layers New layers, duplicate layers, adjustment layers (Levels, Vibrance, Hue/Saturation, Channel Mixer, Photo

Filter, and Exposure), fill layers, layer masks, layer styles, supported blending modes, and Smart Objects.

Modes RGB Color, Grayscale, conversion to 8 Bits/Channel or 16 Bits/Channel.

Pixel Aspect Ratio Support for square and non-square documents.

Selections Invert, Modify Border, Transform Selection, Save Selection and Load Selection.

Tools All tools in the toolbox except: Magnetic Lasso, Magic Wand, Spot Healing Brush, Healing Brush, Red Eye,

Color Replacement, Art History Brush, Magic Eraser, Background Eraser, Paint Bucket, Dodge, Burn, and Sponge. Some tools work with supported blend modes only.

To work with certain Photoshop features, you can convert a 32-bpc image to a 16-bpc or an 8-bpc image. Do a Save As and convert a copy of the image file to preserve the original.

Take photos for HDR images

Keep the following tips in mind when you take photos to be combined with the Merge To HDR command:

• Secure the camera to a tripod.

• Take enough photos to cover the full dynamic range of the scene. You can try taking at least five to seven photos,

but you might need to take more exposures depending on the dynamic range of the scene. The minimum number of photos should be three.

• 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.

• In general, don’t use your camera’s auto-bracket feature, because the exposure changes are usually too small.

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• The exposure differences between the photos should be one or two EV (exposure value) steps apart (equivalent to

about one or two f-stops apart).

• Don’t vary the lighting; for instance, don’t use a flash in one exposure but not the next.

• Make sure that nothing is moving in the scene. Exposure Merge works only with differently exposed images of the

identical scene.

Merge images to HDR

Use the Merge To HDR command to combine multiple images (with different exposures) of the same image or scene, capturing the dynamic range of a scene in a single HDR image. You can choose to save the merged image as a 32-bpc HDR image.

Note: It’s also possible to use the Merge To HDR command to save the merged image as an 8- or 16-bpc image. However, only a 32-bpc image can store all the HDR image data; 8- and 16-bpc images will be clipped.

HDR merging works best when photos have been optimized for the process. For more information, see “Take photos

for HDR images” on page 73.

1 Do one of the following:

• (Photoshop) Choose File > Automate > Merge To HDR.

• (Bridge) Select the images you want to use and choose Tools > Photoshop > Merge To HDR. Skip to step 3.

2 In the Merge To HDR dialog box, click Browse, browse to select the images, and click Open.

To remove an item, select it in the Merge To HDR dialog box and click Remove.

Note: If you want to add a folder of images or images that are open in Photoshop, choose Folder or Open Files from the Use menu.

3 (Optional) Select the Attempt To Automatically Align Source Images option if you held the camera in your hands

when you photographed the multiple images.

4 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.

5 If necessary, do one of the following to set the view options for the merged result preview:

• Click the Minus or Plus buttons below the preview image to zoom out or zoom in.

• Choose a view percentage or mode from the pop-up menu below the preview image.

6 Choose a bit depth for the merged image from the Bit Depth menu.

Be sure to choose 32 Bits/Channel if you want the merged image to store the entire dynamic range data of the HDR image. 8-bits and (non-floating point) 16-bpc images files cannot store the entire range of luminance values in an HDR image.

7 Move the slider below the histogram to preview the merged image.

Moving the slider adjusts the image preview only. All the HDR image data remains intact in the merged image file. If you’re saving the merged image as 32-bpc, the preview adjustment is stored in the HDR image file and applied whenever the file is opened in Photoshop. The preview adjustment is always accessible and adjustable by choosing

> 32-Bit Preview Options.

View

8 Click OK to create the merged image.

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If you chose to save the merged image as an 8-bits or 16-bpc image, the HDR Conversion dialog box opens. Make the exposure and contrast corrections to produce an image with the dynamic range (tonal range) you want. For more information, see

“Convert from 32 bits to 8 or 16 bpc” on page 75.

Adjust dynamic range view for HDR images

The dynamic range of HDR images exceeds the display capabilities of standard computer monitors. When you open an HDR image in Photoshop, it can look very dark or washed out. Photoshop lets you adjust the preview so that the monitor displays an HDR image whose highlights and shadows aren’t washed out or too dark. The preview settings are stored in the HDR image file (PSD, PSB, and TIFF only) and are applied whenever the file is opened in Photoshop. Preview adjustments don’t edit the HDR image file, all the HDR image information remains intact. Use the Exposure adjustment (Image

To view 32-bit readouts in the Info panel, click the Eyedropper icon in the Info panel and choose 32-Bit from the

pop-up menu.

1 Open a 32-bpc HDR image in Photoshop, and choose View > 32-Bit Preview Options.

2 In the 32-bit Preview Options dialog box, choose an option from the Method menu:

Exposure And Gamma Adjusts the brightness and contrast.

Highlight Compression Compresses the highlight values in the HDR image so they fall within the luminance values

range of the 8- or 16-bpc image file.

> Adjustments > Exposure) to make exposure edits to the 32-bpc HDR image.

3 If you chose Exposure And Gamma, move the Exposure and Gamma sliders to adjust the brightness and contrast

of the image preview.

4 Click OK.

You can also adjust the preview of an HDR image open in Photoshop by clicking the triangle in the status bar of the

document window and choosing 32-Bit Exposure from the pop-up menu. Move the slider to set the white point for viewing the HDR image. Double-click the slider to return to the default exposure setting. Since the adjustment is made per view, you can have the same HDR image open in multiple windows, each with a different preview adjustment. Preview adjustments made with this method are not stored in the HDR image file.

More Help topics

“Adjust Exposure for HDR images” on page 178

Convert from 32 bits to 8 or 16 bpc

HDR images contain luminance levels that far exceed the luminance data that can be stored in 8- or 16-bpc image files. You can make exposure and contrast corrections when converting a 32-bpc HDR image to 8 or 16 bpc to produce an image with the dynamic range (tonal range) you want.

1 Open a 32-bpc image and choose Image > Mode > 16 Bits/Channel or 8 Bits/Channel.

2 In the HDR Conversion dialog box, choose a method for adjusting the brightness and contrast in the image:

Exposure and Gamma Lets you manually adjust the brightness and contrast of the HDR image.

Highlight Compression Compresses the highlight values in the HDR image so they fall within the luminance values

range of the 8- or 16-bpc image file. No further adjustments are necessary; this method is automatic. Click convert the 32-bpc image.

OK to

Equalize Histogram Compresses the dynamic range of the HDR image while trying to preserve some contrast. No

further adjustments are necessary; this method is automatic. Click

OK to convert the 32-bpc image.

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Local Adaptation Adjusts the tonality in the HDR image by calculating the amount of correction necessary for local

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brightness regions throughout the image.

3 (Optional) Click the arrow to display the toning curve and histogram. The histogram shows the luminance values

in the original HDR image. The red tick marks along the horizontal axis are in 1 EV (approximately 1 f-stop) increments. The toning curve is active only for the Local Adaptation method.

4 Do any of the following:

• If you chose Exposure and Gamma, move the Exposure slider to adjust the gain and move the Gamma slider to

adjust the contrast.

• If you chose Local Adaptation, move the Radius slider to specify the size of the local brightness regions. Move the

Threshold slider to specify how far apart two pixels’ tonal values must be before they’re no longer part of the same brightness region. You can also use the Toning Curve and Histogram to make adjustments.

Note: The Toning Curve and Histogram usually lets you make limited changes from point to point and attempts to equalize your changes across the points. If you select the Corner option after inserting a point on the curve, the limit is removed and no equalization is performed when you insert and move a second point. You’ll notice that the curve becomes angular at a point with the Corner option applied.

A B

Toning Curve and Histogram adjustment using the Corner option A. Inserting a point and selecting the Corner option. B. Adjusting new point makes the curve angular at the point where the Corner option is used.

5 (Optional) To save your 32-bit toning options as a file, click Save. Type a name for the file in the Save dialog box

and click Save.

You can reuse the saved 32-bit toning option file. Click Load to convert another 32-bpc image to an 8- or 16-bpc image.

6 Click OK to convert the 32-bpc image.

More Help topics

“Curves overview” on page 168

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About the HDR Color Picker (Photoshop Extended)

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 with. A Preview area lets you view swatches of a selected color to see how it will display at different exposures and intensities.

HDR Color Picker A. Preview area B. Adjusted color C. Original color D. 32-bit floating point values E. Intensity slider F. Picked color G. Color slider H. Color values

More Help topics

“Adobe Color Picker overview” on page 120

“Adjust dynamic range view for HDR images” on page 75

Display the HDR Color Picker

❖ With a 32-bpc image open, do one of the following:

• In the toolbox, click the foreground or background color selection box.

• In the Color panel, click the Set Foreground Color or Set Background Color selection box.

The Color Picker is also available when features let you choose a color. For example, by clicking the color swatch in the options bar for some tools, or the eyedroppers in some color adjustment dialog boxes.

Choose colors for HDR images

The lower part of the HDR Color Picker functions like the regular Color Picker does with 8- or 16-bit images. Click in the color field to select a color and move the color slider to change hues, or use the HSB or RGB fields to enter numeric values for a particular color. In the color field, brightness increases as you move from bottom to top, and saturation increases as you move from left to right.

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Use the Intensity slider to adjust the brightness of the color. The color value plus the intensity value are converted to 32-bit floating point number values in your HDR document.

1 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.

2 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.

The Intensity Stops correspond inversely to exposure setting stops. If you boost the Exposure setting of the HDR image two stops, reducing the Intensity stops by two will maintain the same color appearance as if the HDR image exposure and the color intensity were both set to 0.

If you know the exact 32-bit RGB values for the color you want, you can enter them directly in the 32-bit value RGB fields.

3 (Optional) Adjust settings for the Preview area.

Preview Stop Size Sets the stop increments for each preview swatch. For example, a setting of 3 results in swatches of

-9, -6, -3, +3, +6, +9. These swatches let you preview the appearance of your selected color at different exposure settings.

Relative to Document Select to adjust the preview swatches to reflect the current exposure setting for the image. For

example, if the document exposure is set higher, the new preview swatch will be lighter than the color selected in the Color Picker’s color field, to show the effect of the higher exposure on the selected color. If the current exposure is set to 0 (the default), checking or unchecking this option will not change the new swatch.

4 (Optional) Click Add to Swatches to add the selected color to the Swatches panel.

5 Click OK.

Paint on HDR images (Photoshop Extended)

You can edit and add effects to HDR/32-bpc images using any of the following Photoshop tools: Brush, Pencil, Pen, Shape, Clone Stamp, Pattern Stamp, Eraser, Gradient, Blur, Sharpen, Smudge, and History Brush. You can also use the Text tool to add 32-bpc text layers to an HDR image.

When editing or painting on HDR images, you can preview your work at different exposure settings using either the 32-Bit Exposure slider in the document info area or the 32-Bit Preview Options dialog box (View Options). The HDR Color Picker also lets you preview your selected foreground color at different intensity settings, to match different exposure settings in an HDR image.

1 Open an HDR image.

2 (Optional) Set the exposure for the image. See “Adjust dynamic range view for HDR images” on page 75.

3 For the Brush or Pencil tools, click the foreground color to open the HDR Color Picker and select a color. For the

Text tool, click the color chip in the Text tool options bar to set the text color.

The Preview area of the HDR Color Picker helps you select and adjust a foreground color in relation to different exposure settings in the HDR image. See

“About the HDR Color Picker (Photoshop Extended)” on page 77.

To view the effects of painting at different HDR exposures, use the Window > Arrange > New Window command to

open simultaneous views of the same HDR image, then set each window to a different exposure using the Exposure slider in the document status bar area.

> 32-Bit Preview

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Chapter 4: Camera Raw

Introduction to Camera Raw

About camera raw files

A camera raw file contains unprocessed, uncompressed grayscale picture data from a digital camera’s image sensor, along with information about how the image was captured (metadata). Photoshop Camera Raw software interprets the camera raw file, using information about the camera and the image’s metadata to construct and process a color image.

Think of a camera raw file as your photo negative. You can reprocess the file at any time, achieving the results that you want by making adjustments for white balance, tonal range, contrast, color saturation, and sharpening. When you adjust a camera raw image, the original camera raw data is preserved. Adjustments are stored as metadata in an accompanying sidecar file, in a database, or in the file itself (in the case of DNG format).

When you shoot JPEG files with your camera, the camera automatically processes the JPEG file to enhance and compress the image. You generally have little control over how this processing occurs. Shooting camera raw images with your camera gives you greater control than shooting JPEG images, because camera raw does not lock you into processing done by your camera. You can still edit JPEG and TIFF images in Camera Raw, but you will be editing pixels that were already processed by the camera. Camera raw files always contain the original, unprocessed pixels from the camera.

To shoot camera raw images, you must set your camera to save files in its own camera raw file format.

Note: The Photoshop Raw format (.raw) is a file format for transferring images between applications and computer platforms. Don’t confuse Photoshop raw with camera raw file formats. File extensions for camera raw files vary depending on the camera manufacturer.

Digital cameras capture and store camera raw data with a linear tone response curve (gamma 1.0). Both film and the human eye have a nonlinear, logarithmic response to light (gamma greater than viewed as a grayscale image would seem very dark, because what appears twice as bright to the photosensor and computer seems less than twice as bright to the human eye.

For a list of supported cameras and for more information about Camera Raw, see

www.adobe.com/go/learn_ps_cameraraw.

For a list of supported cameras that require Camera Raw 5.0 or higher, see www.adobe.com/go/kb407104.

2). An unprocessed camera raw image

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. You can also use Camera Raw to work with JPEG and TIFF files.

Note: Camera Raw supports images up to 65,000 pixels long or wide and up to 512 megapixels. Camera Raw converts CMYK images to RGB upon opening. For a list of supported cameras, see

You must have Photoshop or After Effects installed to open files in the Camera Raw dialog box from Adobe Bridge. However, if Photoshop or After Effects is not installed, you can still preview the images and see their metadata in Adobe Bridge. If another application is associated with the image file type, it’s possible to open the file in that application from Adobe Bridge.

www.adobe.com/go/learn_ps_cameraraw.

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Using Adobe Bridge, you can apply, copy, and clear image settings, and you can see previews and metadata for camera raw files without opening them in the Camera Raw dialog box. The preview in Adobe Bridge is a JPEG image generated using the current image settings; the preview is not the raw camera data itself, which would appear as a very dark grayscale image.

Note: A caution icon appears in the thumbnails and preview image in the Camera Raw dialog box while the preview is generated from the camera raw image.

You can modify the default settings that Camera Raw uses for a particular model of camera. For each camera model, you can also modify the defaults for a particular ISO setting or a particular camera (by serial number). You can modify and save image settings as presets for use with other images.

When you use Camera Raw to make adjustments (including straightening and cropping) to a camera raw image, the image’s original camera raw data is preserved. The adjustments are stored in either the Camera Raw database, as metadata embedded in the image file, or in a sidecar XMP file (a metadata file that accompanies a camera raw file). For more information, see

“Specify where Camera Raw settings are stored” on page 104.

After you process and edit a camera raw file using the Camera Raw plug-in, an icon appears in the image thumbnail in Adobe Bridge.

If you open a camera raw file in Photoshop, you can save the image in other image formats, such as PSD, JPEG, Large Document Format (PSB), TIFF, Cineon, Photoshop Raw, PNG, or PBM. From the Camera Raw dialog box in Photoshop, you can save the processed files in Digital Negative (DNG), JPEG, TIFF, or Photoshop (PSD) formats. Although Photoshop Camera Raw software can open and edit a camera raw image file, it cannot save an image in a camera raw format.

As new versions of Camera Raw become available, you can update this software by installing a new version of the plugin. You can check for updates to Adobe software by choosing Help

> Updates.

Different camera models save camera raw images in many different formats, and the data must be interpreted differently for these formats. Camera Raw includes support for many camera models, and it can interpret many camera raw formats.

About the Digital Negative (DNG) format

The Digital Negative (DNG) format is a non-proprietary, publicly documented, and widely supported format for storing raw camera data. Hardware and software developers use DNG because it results in a flexible workflow for processing and archiving camera raw data. You may also use DNG as an intermediate format for storing images that were originally captured using a proprietary camera raw format.

Because DNG metadata is publicly documented, software readers such as Camera Raw do not need camera-specific knowledge to decode and process files created by a camera that supports DNG. If support for a proprietary format is discontinued, users may not be able to access images stored in that format, and the images may be lost forever. Because DNG is publicly documented, it is far more likely that raw images stored as DNG files will be readable by software in the distant future, making DNG a safer choice for archival storage.

Metadata for adjustments made to images stored as DNG files can be embedded in the DNG file itself instead of in a sidecar 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

DNG ReadMe.

www.adobe.com/go/learn_ps_dng and the

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Processing images with Camera Raw

1. Copy camera raw files to your hard disk, organize them, and (optionally) convert them to DNG.

Before you do any work on the images that your camera raw files represent, transfer them from the camera’s memory card, organize them, give them useful names, and otherwise prepare them for use. Use the Get Photos From Camera command in Adobe Bridge to accomplish these tasks automatically.

2. Open the image files in Camera Raw.

You can open camera raw files in Camera Raw from Adobe Bridge, After Effects, or Photoshop. You can also open JPEG and TIFF files in Camera Raw from Adobe Bridge. (See

To see a video tutorial on importing raw images from a digital camera into Adobe Bridge using

Photo Downloader, go to Download photos from a camera into Bridge (Lynda.com).

Adobe

3. Adjust color.

Color adjustments include white balance, tone, and saturation. You can make most adjustments on the Basic tab, and then use controls on the other tabs to fine-tune the results. If you want Camera Raw to analyze your image and apply approximate tonal adjustments, click Auto on the Basic tab.

To apply the settings used for the previous image, or to apply the default settings for the camera model, camera, or ISO settings, choose the appropriate command from the Camera Raw Settings menu

settings” on page 105.)

“Open images in Camera Raw” on page 86.)

. (See “Apply saved Camera Raw

To see a video tutorial on making basic nondestructive color adjustments to photos in Camera Raw, go to

www.adobe.com/go/lrvid4287_ps.

4. Make other adjustments and image corrections.

Use other tools and controls in the Camera Raw dialog box to perform such tasks as sharpening the image, reducing noise, correcting for lens defects, and retouching.

5. (Optional) Save image settings as a preset or as default image settings.

To apply the same adjustments to other images later, save the settings as a preset. To save the adjustments as the defaults to be applied to all images from a specific camera model, a specific camera, or a specific ISO setting, save the image settings as the new Camera Raw defaults. (See

6. Set workflow options for Photoshop.

“Save, reset, and load Camera Raw settings” on page 103.)

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. Save the image, or open it in Photoshop or After Effects.

When you finish adjusting the image in Camera Raw, you can apply the adjustments to the camera raw file, open the adjusted image in Photoshop or After Effects, save the adjusted image to another format, or cancel and discard adjustments. If you open the Camera Raw dialog box from After Effects, the Save Image and Done buttons are unavailable.

Save Image Applies the Camera Raw settings to the images and saves copies of them in JPEG, PSD, TIFF, or DNG

format. Press Alt (Windows) or Option (Mac files using the last set of save options. (See

OS) to suppress the Camera Raw Save Options dialog box and save the

“Save a camera raw image in another format” on page 86.)

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Open Image or OK Opens copies of the camera raw image files (with the Camera Raw settings applied) in Photoshop

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or After Effects. The original camera raw image file remains unaltered. Press Shift while clicking Open Image to open the raw file in Photoshop as a Smart Object. At any time, you can double-click the Smart Object layer that contains the raw file to adjust the Camera Raw settings.

Done Closes the Camera Raw dialog box and stores file settings either in the camera raw database file, in the sidecar

XMP file, or in the DNG file.

Cancel Cancels the adjustments specified in the Camera Raw dialog box.

More Help topics

“Work with Camera Raw and Lightroom 2” on page 84

Camera Raw dialog box overview

A F GDCB E

H JI K

Camera Raw dialog box

A. Filmstrip B. Toggle Filmstrip C. Camera name or file format 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 Adobe Bridge or Photoshop are not available when you open the Camera Raw dialog box from After Effects.

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Camera Raw Settings menu

To open the Camera Raw Settings menu, click the button in the upper-right corner of any of the image adjustment tabs. Several of the commands in this menu are also available from the Edit > Develop Settings menu in Adobe Bridge.

Camera Raw view controls

Zoom tool Sets the preview zoom to the next higher preset value when you click the preview image. Alt-click

(Windows) or Option-click (Mac zoom in on a selected area. To return to 100%, double-click the Zoom tool.

Hand tool Moves the image in the preview window if the preview image is set at a zoom level higher than 100%.

Hold down the spacebar to temporarily activate the Hand tool while using another tool. Double-click the Hand tool to fit the preview image to the window.

Select Zoom Level Choose a magnification setting from the menu or click the Select Zoom Level buttons.

Preview Displays a preview of the image adjustments made in the current tab, combined with the settings in the other

tabs. Deselect to show the image with the original settings of the current tab combined with the settings in the other tabs.

RGB Shows the red, green, and blue values of the pixel under the pointer in the preview image.

Shadows and Highlights Displays shadow and highlight clipping using the buttons at the top of the Histogram.

Clipped shadows appear in blue, and clipped highlights appear in red. Highlight clipping is shown if any one of the three RGB channels is clipped (fully saturated with no detail). Shadow clipping is shown if all three RGB channels are clipped (black with no detail).

OS) to use the next lower zoom value. Drag the Zoom tool in the preview image to

Image adjustment tabs

Basic Adjust white balance, color saturation, and tonality.

Tone Curve Fine-tune tonality using a Parametric curve and a Point curve.

Detail Sharpen images or reduce noise.

HSL / Grayscale Fine-tune colors using Hue, Saturation, and Luminance adjustments.

Split Toning Color monochrome images or create special effects with color images.

Lens Corrections Compensate for chromatic aberration and vignetting caused by the camera lens.

Camera Calibration Apply camera profiles to raw images to correct color casts and adjust non-neutral colors to

compensate for the behavior of a camera’s image sensor.

Presets Save and apply sets of image adjustments as presets.

Snapshots Create versions of a photo that record its state at any point during the editing process.

Work with the Camera Raw cache in Adobe Bridge

When you view camera raw files in Adobe Bridge, the thumbnails and previews use either the default settings or your adjusted settings. The Adobe Bridge cache stores data for the file thumbnails, metadata, and file information. Caching this data shortens the loading time when you return to a previously viewed folder in Adobe Bridge. The Camera Raw cache speeds the opening of images in Camera Raw and rebuilds of previews in Adobe Bridge when image settings change in Camera Raw.

Because caches can become very large, you may want to purge the Camera Raw cache or limit its size. You can also purge and regenerate the cache if you suspect that it is corrupted or old.

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Note: The Camera Raw cache holds data for about 200 images for each gigabyte of disk storage allocated to it. By default, the Camera Raw cache is set to a maximum size of 1

1 In Adobe Bridge, choose Edit > Camera Raw Preferences (Windows) or Bridge > Camera Raw Preferences

OS). Or, with the Camera Raw dialog box open, click the Open Preferences Dialog button .

(Mac

2 Do any of the following:

GB. You can increase its limit in the Camera Raw preferences.

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• To change the cache size, enter a Maximum Size value.

• To purge the camera raw cache, click the Purge Cache button.

• To change the location of the camera raw cache, click Select Location.

Work with Camera Raw and Lightroom 2

Camera Raw and Lightroom share the same image-processing technology to ensure consistent and compatible results across applications. By default, however, Lightroom metadata is saved to the catalog file. For Camera Raw to view image adjustments made in the Develop module of Lightroom, metadata changes must be saved to XMP in Lightroom. When you save metadata to a raw file, the changes are stored in an XMP sidecar file. With other file types, the metadata is stored in the file itself.

Adjustments made in Camera Raw are also displayed in the Adobe Bridge Content and Preview panels.

To view Lightroom changes in Camera Raw, and to ensure that Camera Raw adjustments can be viewed in Lightroom and Adobe

1 In Adobe Bridge, choose Edit > Camera Raw Preferences (Windows) or Bridge > Camera Raw Preferences

2 Choose Save Image Settings In > Sidecar “.XMP” Files, and deselect Ignore Sidecar “.XMP” Files.

3 After applying adjustments to a photo in Camera Raw, save them by clicking Done or Open Image.

Note: Camera Raw reads only the current settings for the primary image in the Lightroom catalog. Adjustments made to virtual copies are not displayed or available in Camera Raw.

Bridge, do the following:

OS). Or, with the Camera Raw dialog box open, click the Open Preferences Dialog button .

(Mac

More Help topics

“Specify where Camera Raw settings are stored” on page 104

“Processing images with Camera Raw” on page 81

Navigating, opening, and saving images in Camera Raw

Process, compare, and rate multiple images in Camera Raw

The most convenient way to work with multiple camera raw images is to use the Filmstrip view in Camera Raw. Filmstrip view opens by default when you open multiple images in Camera Raw from Adobe Bridge.

Note: The Filmstrip view is not available when importing multiple images into After Effects.

Images can have three states in Filmstrip view: deselected, selected (but not active), and active (also selected). In general, adjustments are applied to all selected images.

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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 fine-tune the individual shots later, after you’ve determined which you’ll use for your final output. You can synchronize both global and local adjustment settings.

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• To select an image, click its thumbnail. To select a range of images, Shift-click two thumbnails. To add an image to

a selection, Ctrl-click (Windows) or Command-click (Mac

OS) its thumbnail.

• To change which image is active without changing which images are selected, click a navigation arrow at the

bottom of the preview pane.

• To apply settings from the active image to all selected images, click the Synchronize button at the top of the

Filmstrip pane and choose which settings to synchronize.

• To apply a star rating, click a rating under the image thumbnail.

• To mark selected images for deletion, click Mark For Deletion .

A red cross appears in the thumbnail of an image marked for deletion. The file is sent to the Recycle Bin (Windows) or Trash (Mac select it in the Thumbnail pane and click Mark For Deletion again, before you close the Camera Raw dialog box.)

OS) when you close the Camera Raw dialog box. (If you decide to keep an image that you marked for deletion,

Automating image processing with Camera Raw

You can create an action to automate the processing of image files with Camera Raw. You can automate the editing process, and the process of saving the files in formats such as PSD, DNG, JPEG, Large Document Format (PSB), TIFF, and PDF. In Photoshop, you can also use the Batch command, the Image Processor, or the Create Droplet command to process one or more image files. The Image Processor is especially useful for saving image files in different file formats during the same processing session.

Here are some tips for automating the processing of camera raw image files:

• When you record an action, first select Image Settings from the Camera Raw Settings menu in the Camera Raw

dialog box. In this way, the settings particular to each image (from the Camera Raw database or sidecar XMP files) are used to play back the action.

• If you plan to use the action with the Batch command, you may want to use the Save As command and choose the

file format when saving the camera raw image.

• When you use an action to open a camera raw file, the Camera Raw dialog box reflects the settings that were in

effect when the action was recorded. You may want to create different actions for opening camera raw image files with different settings.

• When using the Batch command, select Override Action “Open” Commands. Any Open commands in the action

will then operate on the batched files rather than the files specified by name in the action. Deselect Override Action “Open” Commands only if you want the action to operate on open files or if the action uses the Open command to retrieve needed information.

• When using the Batch command, select Suppress File Open Options Dialogs to prevent the display of the Camera

Raw dialog box as each camera raw image is processed.

• When using the Batch command, select Override Action “Save As” Commands if you want to use the Save As

instructions from the Batch command instead of the Save As instructions in the action. If you select this option, the action must contain a Save As command, because the Batch command does not automatically save the source files. Deselect Override Action “Save As” Commands to save the files processed by the Batch command in the location specified in the Batch dialog box.

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• When creating a droplet, select Suppress File Open Options Dialogs in the Play area of the Create Droplet dialog

box. This prevents the display of the Camera Raw dialog box as each camera raw image is processed.

Open images in Camera Raw

• To process raw images in Camera Raw, select one or more camera raw files in Adobe Bridge, and then choose File >

Open In Camera Raw or press Ctrl+R (Windows) or Command+R (Mac adjustments in the Camera Raw dialog box, click Done to accept changes and close the dialog box. You can also click Open Image to open a copy of the adjusted image in Photoshop.

• To process JPEG or TIFF images in Camera Raw, select one or more JPEG or TIFF files in Adobe Bridge, and then

choose File making adjustments in the Camera Raw dialog box, click Done to accept changes and close the dialog box. You can specify whether JPEG or TIFF images with Camera Raw settings are automatically opened in Camera Raw in the JPEG and TIFF Handling section of the Camera Raw preferences.

> Open In Camera Raw or press Ctrl+R (Windows) or Command+R (Mac OS). When you finish

• To import camera raw images in Photoshop, select one or more camera raw files in Adobe Bridge, and then choose

> Open With > Adobe Photoshop CS4. (You can also choose the File > Open command in Photoshop, and

File browse to select camera raw files.) When you finish making adjustments in the Camera Raw dialog box, click Open Image to accept changes and open the adjusted image in Photoshop. Press Alt (Windows) or Option (Mac open a copy of the adjusted image and not save the adjustments to the original image’s metadata. Press Shift while clicking Open Image to open the image as a Smart Object in Photoshop. At any time, you can double-click the Smart Object layer that contains the raw file to adjust the Camera Raw settings.

Shift-double-click a thumbnail in Adobe Bridge to open a camera raw image in Photoshop without opening the

Camera Raw dialog box. Hold down Shift while choosing File > Open to open multiple selected images.

OS). When you finish making

OS) to

• To import camera raw images in After Effects using Adobe Bridge, select one or more camera raw files in

Bridge, and then choose File > Open With > Adobe After Effects CS4. (You can also choose a File > Import

Adobe command in After Camera Raw dialog box, click OK to accept changes.

•

To import TIFF and JPEG files into After Effects using Camera Raw, select the File > Import command in After Effects, and then select All Files from the Enable menu (Mac File dialog box. Select the file to import, select Camera Raw from the Format menu, and click Open.

Effects and browse to select camera raw files.) When you finish making adjustments in the

OS) or Files Of Type menu (Windows) in the After Effects Import

• To import Camera Raw images into After Effects as a sequence, choose File > Import in After Effects. Select the

images, check the Camera Raw Sequence box, and click Open. Camera Raw settings applied to the first camera raw file upon import are applied to the remaining files in the sequence unless an XMP sidecar file is present for any subsequent file in the sequence. In that case, the settings in the XMP file or in the DNG file are applied to that specific frame in the sequence. All other frames use the settings that the first file in the sequence specifies.

Save a camera raw image in another format

You can save camera raw files from the Camera Raw dialog box in PSD, TIFF, JPEG, or DNG format.

When you use the Save command in the Camera Raw dialog box, files are placed in a queue to be processed and saved. This is useful if you are processing several files in the Camera Raw dialog box and saving them in the same format.

1 In the Camera Raw dialog box, click the Save Image button in the lower-left corner of the dialog box.

Alt-click (Windows) or Option-click (Mac OS) Save to suppress the Camera Raw Save Options dialog box when

saving a file.

2 In the Save Options dialog box, specify the following options:

Destination Specifies where to save the file. If necessary, click the Select Folder button and navigate to the location.

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File Naming Specifies the filename using a naming convention that includes elements such as date and camera serial

number. Using informative filenames based on a naming convention helps you keep image files organized.

3 Choose a file format from the Format menu.

Digital Negative Saves a copy of the camera raw file in the DNG file format.

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• Compatibility Specifies the versions of Camera Raw and Lightroom that can read the file. Use the tool tips to help

you choose.

If you choose Custom, specify whether you want compatibility with DNG 1.1 or DNG 1.3. By default, the conversion uses lossless compression, which means no information is lost while reducing file size. Choosing Linear (Demosaiced) stores the image data in an interpolated format. That means other software can read the file even if that software does not have a profile for the digital camera that captured the image.

• JPEG Preview Embeds a JPEG preview in the DNG file. If you decide to embed a JPEG preview, you can choose the

preview size. If you embed JPEG previews, other applications can view the contents of the DNG file without parsing the camera raw data.

• Embed Original Raw File Stores all of the original camera raw image data in the DNG file.

JPEG Saves copies of the camera raw files in JPEG (Joint Photographic Experts Group) format. To specify the amount

of compression, enter a value from 0 to 12 or choose from the menu. Entering a higher value, or choosing High or Maximum, applies less compression and increases file size and image quality. JPEG format is commonly used to display photographs and other continuous-tone images in web photo galleries, slide shows, presentations, and other online services.

TIFF Saves copies of the camera raw files as TIFF (Tagged-Image File Format) files. Specify whether to apply no

compression, or LZW or ZIP file compression. TIFF is a flexible bitmap image format supported by virtually all paint, image-editing, and page-layout applications. TIFF provides greater compression and compatibility with other applications than does PSD format.

Photoshop Saves copies of the camera raw files in the PSD file format. You can specify whether to preserve cropped

pixel data in the PSD file.

4 Click Save.

Making color and tonal adjustments in Camera Raw

Histogram and RGB levels in Camera Raw

A histogram is a representation of the number of pixels at each luminance value in an image. A histogram that has nonzero values for each luminance value indicates an image that takes advantage of the full tonal scale. A histogram that doesn’t use the full tonal range corresponds to a dull image that lacks contrast. A histogram with a spike at the left side indicates shadow clipping; a histogram with a spike on the right side indicates highlight clipping.

Select Shadows or Highlights to see, in the preview image, which pixels are being clipped. For more information, see

“Preview highlight and shadow clipping in Camera Raw” on page 88.

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.

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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; yellow, magenta, and cyan appear when two of the RGB channels overlap (yellow equals the red + green channels, magenta equals the red + blue channels, and cyan equals the green + blue channels).

The histogram changes automatically as you adjust the settings in the Camera Raw dialog box.

The RGB values of the pixel under the pointer (in the preview image) appear below the histogram.

Note: You can also use the Color Sampler tool to place up to nine color samplers in the preview image. The RGB values appear above the preview image. To remove a color sampler, Alt-click (Windows) or Option-click (Mac OS) it. To clear the color samplers, click Clear Samplers.

The Camera Raw dialog box displays the RGB values of the pixel under the pointer.

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Preview highlight and shadow clipping in Camera Raw

Clipping occurs when the color values of a pixel are higher than the highest value or lower than the lowest value that can be represented in the image. Overbright values are clipped to output white, and overdark values are clipped to output black. The result is a loss of image detail.

• To see which pixels are being clipped with the rest of the preview image, select Shadows or Highlights options at

the top of the histogram. Or press U to see shadow clipping, O to see highlight clipping.

• To see only the pixels that are being clipped, press Alt (Windows) or Option (Mac OS) while dragging the

Exposure, Recovery, or Blacks sliders.

For the Exposure and Recovery sliders, the image turns black, and clipped areas appear white. For the Blacks slider, the image turns white and clipped areas appear black. Colored areas indicate clipping in one color channel (red, green, blue) or two color channels (cyan, magenta, yellow).

Note: In some cases, clipping occurs because the color space that you are working in has a gamut that is too small. If your colors are being clipped, consider working in a color space with a large gamut, such as ProPhoto RGB.

White balance controls in Camera Raw

In simple terms, adjusting the white balance is a matter of identifying what objects in the image should be neutralcolored (white or gray) and then adjusting the colors in the image to make those objects neutral-colored. A white or gray object in a scene takes on the color cast by the ambient light or flash used to shoot the picture. When you use the White Balance tool light in which the scene was shot and then adjust for scene lighting automatically.

to specify an object that should be white or gray, Camera Raw can determine the color of the

Color temperature (in Kelvins) is used as a measure of scene lighting because natural and incandescent light sources give off light in a predictable distribution according to their temperature.

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. You can adjust the white balance if it is not right.

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Note: Not all color casts are a result of incorrect white balance. Use the DNG Profile Editor to correct a color cast that remains after the white balance is adjusted. See

“Adjust color rendering for your camera in Camera Raw” on page 93.

The Basic tab in the Camera Raw dialog box has three controls for correcting a color cast in an image:

White Balance Camera Raw applies the white balance setting and changes the Temperature and Tint properties in the

Basic tab accordingly. Use these controls to fine-tune the color balance.

• As Shot Uses the camera’s white balance settings, if they are available.

• Auto Calculates the white balance based on the image data.

Camera raw and DNG files also have the following white balance settings: Daylight, Cloudy, Shade, Tungsten, Fluorescent, and Flash.

Note: If Camera Raw doesn’t recognize the white balance setting of a camera, choosing As Shot is the same as choosing Auto.

Temperature Sets the white balance to a custom color temperature. Decrease Temperature to correct a photo taken

with a lower color temperature of light; the Camera Raw plug-in makes the image colors bluer to compensate for the lower color temperature (yellowish) of the ambient light. Conversely, increase Temperature to correct a photo taken with a higher color temperature of light; the image colors become warmer (yellowish) to compensate for the higher color temperature (bluish) of the ambient light.

Note: The range and units for the Temperature and Tint controls are different when you are adjusting a non-camera raw image, such as a TIFF or JPEG image. For example, Camera Raw provides a true-temperature adjustment slider for raw files from 2,000 Kelvin to 50,000 Kelvin. For JPEG or TIFF files, Camera Raw attempts to approximate a different color temperature or white balance, but because the original value was already used to alter the pixel data in the file, Camera Raw does not provide the true Kelvin temperature scale. In these instances, an approximate scale of -100 to 100 is used in place of the temperature scale.

Correcting the white balance A. Moving the Temperature slider to the right corrects a photo taken with a higher color temperature of light B. Moving the Temperature slider to the left corrects a photo taken with a lower color temperature of light C. Photo after color temperature adjustment

Tint Sets the white balance to compensate for a green or magenta tint. Decrease Tint to add green to the image;

increase Tint to add magenta.

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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. The Temperature and Tint properties adjust to make the selected color exactly neutral (if possible). If you’re clicking whites, choose a highlight area that contains significant white detail rather than a specular highlight. You can double-click the White Balance tool to reset White Balance to As Shot.

Adjust tone in Camera Raw

You adjust the image tonal scale using the tone controls in the Basic tab.

When you click Auto at the top of the tone controls section of the Basic tab, Camera Raw analyzes the camera raw image and makes automatic adjustments to the tone controls (Exposure, Recovery, Fill Light, Blacks, Brightness, and Contrast).

You can also apply automatic settings separately for individual tone controls. To apply an automatic adjustment to an individual tone control, such as Exposure or Recovery, press Shift and double-click the slider. To return an individual tone control to its original value, double-click its slider.

When you adjust tone automatically, Camera Raw ignores any adjustments previously made in other tabs (such as finetuning of tone in the Tone Curves tab). For this reason, you should usually apply automatic tone adjustments first—if at all—to get an initial approximation of the best settings for your image. If you are careful during shooting and have deliberately shot with different exposures, you probably don’t want to undo that work by applying automatic tone adjustments. On the other hand, you can always try clicking Auto and then undo the adjustments if you don’t like them.

Previews in Adobe Bridge use the default image settings. If you want the default image settings to include automatic tone adjustments, select Apply Auto Tone Adjustments in the Default Image Settings section of the Camera Raw preferences.

Note: If you are comparing images based on their previews in Adobe Bridge, you may want to leave the Apply Auto Tone Adjustments preference deselected, which is the default. Otherwise, you’ll be comparing images that have already been adjusted.

As you make adjustments, keep an eye on the end points of the histogram, or use the shadow and highlight clipping previews.

While moving the Exposure, Recovery, or Blacks slider, hold down Alt (Windows) or Option (Mac OS) to preview

where highlights or shadows are clipped. Move the slider until clipping begins, and then reverse the adjustment slightly. (For more information, see

“Preview highlight and shadow clipping in Camera Raw” on page 88.)

• To manually adjust a tone control, drag the slider, type a number in the box, or select the value in the box and press

the Up or Down Arrow key.

• To reset a value to its default, double-click the slider control.

Exposure Adjusts the overall image brightness, with a greater effect in the highlights. Decrease Exposure to darken the

image; increase Exposure to brighten the image. The values are in increments equivalent to f-stops. An adjustment of +1.50 is like widening the aperture 1-1/2 stops. Similarly, an adjustment of -1.50 is like reducing the aperture 1-1/2 stops. (Use Recovery to bring highlight values down.)

Recovery Attempts to recover details from highlights. Camera Raw can reconstruct some details from areas in which

one or two color channels are clipped to white.

Fill Light Attempts to recover details from shadows, without brightening blacks. Camera Raw can reconstruct some

details from areas in which one or two color channels are clipped to black. Using Fill Light is like using the shadows portion of the Photoshop Shadow/Highlight filter or the After Effects Shadow/Highlight effect.

Blacks Specifies which input levels are mapped to black in the final image. Increasing Blacks expands the areas that

are mapped to black. This sometimes creates the impression of increased contrast in the image. The greatest change is

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in the shadows, with much less change in the midtones and highlights. Using the Blacks slider is like using the black point slider for input levels when using the Photoshop Levels command or the After Effects Levels effect.

Brightness Adjusts the brightness or darkness of the image, much as the Exposure property does. However, instead of

clipping the image in the highlights or shadows, Brightness compresses the highlights and expands the shadows when you move the slider to the right. Often, the best way to use this control is to set the overall tonal scale by first setting Exposure, Recovery, and Blacks; then set Brightness. Large Brightness adjustments can affect shadow or highlight clipping, so you may want to readjust the Exposure, Recovery, or Blacks property after adjusting Brightness.

Contrast Increases or decreases image contrast, mainly affecting midtones. When you increase contrast, the middle-

to-dark image areas become darker, and the middle-to-light image areas become lighter. Generally, you use the Contrast property to adjust the contrast of the midtones after setting the Exposure, Blacks, and Brightness values.

Fine-tune tone curves in Camera Raw

Use the controls in the Tone Curve tab to fine-tune images after you’ve made tone adjustments in the Basic tab. The tone curves represent changes made to the tonal scale of an image. The horizontal axis represents the original tone values of the image (input values), with black on the left and progressively lighter values toward the right. The vertical axis represents the changed tone values (output values), with black on the bottom and progressing to white at the top.

If a point on the curve moves up, the output is a lighter tone; if it moves down, the output is a darker tone. A straight, 45-degree line indicates no changes to the tone response curve: the original input values exactly match the output values.

Use the tone curve in the nested Parametric tab to adjust the values in specific tonal ranges in the image. The areas of the curve affected by the region properties (Highlights, Lights, Darks, or Shadows) depend on where you set the split controls at the bottom of the graph. The middle region properties (Darks and Lights) mostly affect the middle region of the curve. The Highlight and Shadows properties mostly affect the ends of the tonal range.

❖ To adjust tone curves, do any of the following:

• Drag the Highlights, Lights, Darks, or Shadows slider in the nested Parametric tab. You can expand or contract the

curve regions that the sliders affect by dragging the region divider controls along the horizontal axis of the graph.

• Drag a point on the curve in the nested Point tab. As you drag the point, the Input and Output tonal values are

displayed beneath the tone curve.

• Choose an option from the Curve menu in the nested Point tab. The setting you choose is reflected in the Point tab,

but not in the settings in the Parametric tab. Medium Contrast is the default setting.

• Select the Parametric Curve Targeted Adjustment tool in the toolbar and drag in the image. The Parametric

Curve Targeted Adjustment tool adjusts the Highlights, Lights, Darks, or Shadows curve region based on the values in the image where you click.

Note: The Targeted Adjustment tool does not affect point curves.

More Help topics

“Adjust color or tone using the Targeted Adjustment tool in Camera Raw” on page 92

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Clarity, Vibrance, and Saturation 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.)

Clarity Adds depth to an image by increasing local contrast, with greatest effect on the midtones. This setting is like a

large-radius unsharp mask. When using this setting, it is best to zoom in to 100% or greater. To maximize the effect, increase the setting until you see halos near the edge details of the image and then reduce the setting slightly.

Vibrance Adjusts the saturation so that clipping is minimized as colors approach full saturation. This setting changes

the saturation of all lower-saturated colors with less effect on the higher-saturated colors. Vibrance also prevents skin tones from becoming oversaturated.

Saturation Adjusts the saturation of all image colors equally from -100 (monochrome) to +100 (double the

saturation).

HSL / Grayscale controls in Camera Raw

You can use the controls in the HSL / Grayscale tab to adjust individual color ranges. For example, if a red object looks too vivid and distracting, you can decrease the Reds values in the nested Saturation tab.

The following nested tabs contain controls for adjusting a color component for a specific color range:

Hue Changes the color. For example, you can change a blue sky (and all other blue objects) from cyan to purple.

Saturation Changes the color vividness or purity of the color. For example, you can change a blue sky from gray to

highly saturated blue.

Luminance Changes the brightness of the color range.

If you select Convert To Grayscale, you see only one nested tab:

Grayscale Mix Use controls in this tab to specify the contribution of each color range to the grayscale version of the

image.

Adjust color or tone using the Targeted Adjustment tool in Camera Raw

The Targeted Adjustment tool allows you to make tonal and color corrections by dragging directly on a photo, rather than by using sliders in the image adjustment tabs. For some people, dragging on the image is a more intuitive way to work. Using the Targeted Adjustment tool, you can drag down on a blue sky to desaturate it, for example, or drag up on a red jacket to intensify its hue.

1 To make color adjustments with the Targeted Adjustment tool , click it in the toolbar and choose the type of

correction you want to make: Hue, Saturation, Luminance, or Grayscale Mix. Then, drag in the image.

Dragging up or right increases values; dragging down or left decreases values. Sliders for more than one color may be affected when you drag with the Targeted Adjustment tool. Selecting the Grayscale Mix Targeted Adjustment tool converts the image to grayscale.

2 To make tone curve adjustments using the Targeted Adjustment tool , click it in the toolbar and choose

Parametric Curve. Then, drag in the image.

The Parametric Curve Targeted Adjustment tool adjusts the Highlights, Lights, Darks, or Shadows curve region based on the values in the image where you click.

The keyboard shortcut T toggles the last Targeted Adjustment tool you used.

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More Help topics

“HSL / Grayscale controls in Camera Raw” on page 92

“Fine-tune tone curves in Camera Raw” on page 91

Tone a grayscale image in Camera Raw

Use the controls in the Split Toning tab to color a grayscale image. You can add one color throughout the tonal range, such as a sepia appearance, or create a split tone result, in which a different color is applied to the shadows and the highlights. The extreme shadows and highlights remain black and white.

You can also apply special treatments, such as a cross-processed look, to a color image.

1 Select a grayscale image. (It can be an image that you converted to grayscale by selecting Convert To Grayscale in

the HSL / Grayscale tab.)

2 In the Split Toning tab, adjust the Hue and Saturation properties for the highlights and shadows. Hue sets the color

of the tone; Saturation sets the magnitude of the result.

3 Adjust the Balance control to balance the influence between the Highlight and Shadow controls. Positive values

increase the influence of the Shadow controls; negative values increase the influence of the Highlight controls.

Adjust color rendering for your camera in Camera Raw

For each camera model it supports, Camera Raw uses color profiles to process raw images. These profiles are produced by photographing color targets under standardized lighting conditions and are not ICC color profiles.

ACR [version] These profiles are compatible with older versions of Camera Raw and Lightroom. The version

corresponds to the version of Camera Raw in which the profile first appeared. ACR profiles offer consistent behavior with legacy photos.

Adobe Standard These profiles significantly improve color rendering, especially in warm tones such as reds, yellows,

and oranges, from earlier Adobe camera profiles.

Camera Matching These profiles attempt to match the camera manufacturer’s color appearance under specific

settings. Use Camera Matching profiles if you prefer the color rendering offered by your camera manufacturer’s software.

Both Adobe Standard and Camera Matching camera profiles are intended to serve as a starting point for further image adjustments. Therefore, use the profiles in conjunction with the color and tone controls in the Basic, Tone Curve,

/ Grayscale, and other image adjustment tabs.

HSL

To manually install camera profiles, place them in the following locations:

Windows XP C:\Documents and Settings\All Users\Application Data\Adobe\CameraRaw\CameraProfiles

Windows Vista C:\Users\All Users\AppData\Local\Adobe\CameraRaw\CameraProfiles

Mac OS /Library/Application Support/Adobe/CameraRaw/CameraProfiles

Apply a camera profile

❖ To apply a camera profile, select it from the Camera Profile pop-up menu in the Camera Calibration tab of the

Camera Raw dialog box.

The Adobe Standard profile for a camera is named Adobe Standard. Camera Matching profiles include the prefix Camera in the profile name. The Camera Profile pop-up menu displays only profiles for your camera.

Adobe Photoshop CS4 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Resources

Activation and registration

Help with installation

License activation

Register

Adobe Product Improvement Program

ReadMe

Help and support

Community Help

Product Help

Printed resources

Support resources

Services, downloads, and extras

Adobe creative on-line services

Adobe Exchange

Adobe downloads

Adobe Labs

Adobe TV

Extras

What’s new in Photoshop CS4

Chapter 2: Workspace

Workspace basics

Workspace overview

Hide or show all panels

Display panel options

(Illustrator) Adjust panel brightness

Reconfigure the Tools panel

Manage windows and panels

Manage Document windows

Dock and undock panels

Move panels

Add and remove panels

Manipulate panel groups

Stack floating panels

Resize panels

Manipulate panels collapsed to icons

Restore the default workspace

Save and switch workspaces

Save a custom workspace

Display or switch workspaces

Delete a custom workspace

(Photoshop) Start with the last or default panel locations

Display or hide tool tips

Adobe Bridge

Panels and menus

Enter values in panels, dialog boxes, and the options bar

About pop-up sliders

About scrubby sliders

Working with pop-up panels

Rename or delete an item in a pop-up panel

Customize the list of items in a pop-up panel

Change the display of items in a pop-up panel

Display context menus

Define a set of menus

Delete a set of menus

Temporarily show hidden menu items

Turn menu colors on or off

Tools

About tools

Selection tools gallery

Crop and slice tools gallery

Retouching tools gallery

Painting tools gallery

Drawing and type tools gallery

Notes, measuring and navigation tools gallery

3D tools (Photoshop Extended)

Use a tool

Cycle through hidden tools

Change tool pointers

Resize or change hardness of painting cursors by dragging

Using the options bar

Create and use tool presets

Create a tool preset

Change the list of tool presets

Viewing images