Foreword | p. x |
Introduction | p. xii |
Downloading the Images | p. x |
Part I Workspace & Workflow |
1 Equipment, Input, and Raw Processing | p. 3 |
Workspace and Equipment Essentials | p. 4 |
Environment and Lighting | p. 4 |
Furniture | p. 4 |
Computer Equipment | p. 6 |
Input Workflow | p. 8 |
Prioritize Your Time and Effort | p. 9 |
Scanning Resolution vs. Print Resolution | p. 10 |
Eradicating Mold, Mildew, and Fungus | p. 12 |
Removing Fungus and Mold | p. 12 |
Handling Wet or Damaged Photos | p. 12 |
Input Options | p. 14 |
Raw Processing | p. 23 |
Processing Scanner Files | p. 24 |
Processing Digital Camera Files | p. 29 |
Backup Strategy | p. 49 |
Closing Thoughts | p. 50 |
2 Photoshop and Photoshop Elements Essentials | p. 51 |
Preferences and Color Settings | p. 52 |
Preferences | p. 52 |
Color Settings | p. 54 |
Workspaces and Navigation | p. 55 |
Customizing Menu Commands | p. 59 |
Customizing Your Toolbar/Tools panel | p. 60 |
Efficient Image Navigation | p. 61 |
Tools, Quick Keys, and Brushes | p. 64 |
Quick Keys | p. 66 |
Brushes | p. 66 |
Brush and Tool Context Controls | p. 67 |
Layers, Masks, and Blending Modes | p. 69 |
Layer Naming and Navigation | p. 73 |
Working with Layer Groups | p. 74 |
Flattening and Discarding Layers | p. 75 |
Working with Photoshop Elements | p. 75 |
Photoshop Elements Background | p. 75 |
Photoshop Elements Walkthrough | p. 75 |
Comparing Photoshop Elements and Photoshop | p. 79 |
Closing Thoughts | p. 84 |
Part II Tone, Exposure & Color |
3 Exposure Correction | p. 87 |
Evaluating Image Tone and Previsualizing the Final Image | p. 88 |
Assessing Tone with the Measuring Tools | p. 88 |
Tracking Tonal Changes with Color Samplers | p. 90 |
The Histogram Panel | p. 91 |
The Importance of Adjustment Layers | p. 94 |
Mastering Tonality with Levels | p. 96 |
Working with the Black and White Point Sliders | p. 97 |
Working with the Midtone Slider | p. 99 |
Working with Levels Eyedroppers | p. 101 |
Curves and Contrast | p. 102 |
Improving Contrast with Curves | p. 105 |
Working with Blending Modes | p. 109 |
Apply Local Corrections | p. 114 |
Transitioning a Tonal Correction | p. 114 |
Basing Tonal Corrections on Selections | p. 115 |
Nondestructive Dodge and Burn | p. 116 |
Other Techniques | p. 118 |
Double Processing | p. 118 |
Shadows/Highlights to the Rescue | p. 120 |
Camera Raw Filter | p. 121 |
Closing Thoughts | p. 122 |
4 Working with Color | p. 123 |
Color Essentials | p. 124 |
Color Spaces | p. 125 |
Identifying and Correcting a Color Cast | p. 125 |
Consider the Light Source | p. 126 |
Finding Neutral | p. 128 |
Memory Colors | p. 128 |
Info Panel | p. 128 |
Channels and Practice | p. 129 |
Global Color Correction | p. 129 |
The Auto Corrections | p. 129 |
Automatic Color Corrections with Levels or Curves | p. 130 |
Improving Automatic Color Correction | p. 130 |
Targeting Automatic Color Correction | p. 131 |
Use Adjustment Layers to Alleviate Color Problems | p. 132 |
Correcting Color Temperature with the Photo Filter | p. 132 |
Levels, Curves, and the Gray Eyedropper | p. 135 |
Adjusting Channels in Levels | p. 135 |
Adjusting Channels in Curves | p. 137 |
Divide and Conquer | p. 139 |
Color Balance | p. 140 |
Hue/Saturation | p. 141 |
Camera Raw Filter | p. 143 |
Selective Color Correction | p. 144 |
Correcting Multiple Color Issues | p. 144 |
Matching, Changing, and Replacing Colors | p. 146 |
Matching Colors Across Images | p. 146 |
Replacing Colors | p. 147 |
Changing Color in Lab Color Mode | p. 151 |
Transferring Color Corrections | p. 151 |
Colorizing Images | p. 153 |
Closing Thoughts | p. 159 |
Part III Restore, Repair & Rebuild |
5 Dust, Mold, and Texture Removal | p. 163 |
Taking in the Big Picture | p. 164 |
Working Nondestructively | p. 165 |
Duplicate Layers | p. 166 |
Working on an Empty Layer | p. 166 |
Working with Adobe Camera Raw | p. 166 |
Dust on Digital Camera Files | p. 167 |
Dust Removal with ACR | p. 167 |
Fixing Multiple Images in ACR | p. 168 |
Less Work, More Results | p. 170 |
The Crop Tool as Restoration Tool | p. 170 |
Restoration with Content-Aware Scale | p. 171 |
Work Smart Not Hard | p. 173 |
Despeckle Filter | p. 174 |
Median Filter | p. 174 |
Dust & Scratches Filter | p. 174 |
Channel Extraction | p. 176 |
Selecting the Cleanest Channel | p. 176 |
Extracting the Cleanest Channel | p. 177 |
Returning the Ambience | p. 178 |
Removing Spots, Fungus, and Mold | p. 179 |
Using the Clone Stamp Tool | p. 179 |
The Clone Source Panel | p. 181 |
Using the Healing Tools | p. 182 |
Managing Glare, Texture, Moiré, and Color Artifacts | p. 186 |
Reducing Problems Before Restoration | p. 186 |
Reducing Digital Camera Noise | p. 193 |
Returning Image Texture | p. 194 |
Closing Thoughts | p. 196 |
6 Damage Control and Repair | p. 197 |
Damage Assessment | p. 198 |
Problem Solving | p. 199 |
Eliminating Cracks, Rips, and Tears | p. 200 |
Filling In Missing Parts | p. 204 |
Cloning, Healing, and Recycling | p. 208 |
Patch Tool | p. 213 |
Content-Aware Move Tool | p. 215 |
Perspective Healing with Vanishing Point Filter | p. 218 |
Content-Aware Fill | p. 222 |
Putting It All Together | p. 226 |
Document Repair | p. 226 |
Faded Text on a Document | p. 226 |
Damaged Documents | p. 228 |
Reversing Lens Anomalies | p. 233 |
Correcting Lens Distortion | p. 233 |
Removing Curvature | p. 236 |
Upright Command | p. 241 |
Closing Thoughts | p. 242 |
7 Rebuilding and Re-Creating Images | p. 243 |
Changing Backgrounds | p. 244 |
Combining Images | p. 244 |
Re-Creating Backgrounds | p. 247 |
Film Grain and Digital Noise | p. 257 |
Reconstruction from Other Images | p. 261 |
Removing and Adding People | p. 264 |
Filling the Void | p. 264 |
Adding People to Images | p. 270 |
Reducing Reflections and Light Leaks | p. 282 |
Reducing Reflections | p. 282 |
Correcting Lens Flare | p. 285 |
Finishing Touches: Vignetting | p. 290 |
Closing Thoughts | p. 296 |
Part IV Professional Retouching |
8 Portrait Retouching | p. 299 |
Stages of Retouching | p. 300 |
Level 1 | p. 300 |
Level 2 | p. 300 |
Level 3 | p. 302 |
Level 4 | p. 302 |
Developing a Portrait-Retouching Strategy | p. 302 |
Working in Layers | p. 304 |
Dennis's Retouch Workflow | p. 304 |
Layers Workflow in Action | p. 305 |
Removing Distractions | p. 310 |
The Beauty of Blank Plates | p. 310 |
Flattering Contours | p. 314 |
Flattering the Couple | p. 314 |
The Importance of Skin | p. 320 |
The Teenage Years | p. 321 |
Mature Skin | p. 324 |
Color Correcting Skintone | p. 326 |
Enhancing Facial Features | p. 332 |
The Digital Surgeon | p. 339 |
Adding Creative Interpretation | p. 341 |
Step 1 Adding a Glow | p. 341 |
Step 2 Adding a Split-Tone Color Treatment | p. 343 |
Retouching Portraits in Lightroom | p. 344 |
Third-Party Plug-ins and Applications | p. 347 |
Digital Anarchy Beauty Box | p. 347 |
Imagenomic Portraiture | p. 348 |
On1 Perfect Portrait | p. 348 |
Anthropics Technology Portrait Pro | p. 349 |
Closing Thoughts | p. 349 |
9 Beauty Retouching | p. 351 |
Types of Beauty Retouching | p. 352 |
Devising a Working Strategy | p. 353 |
Working with the Client | p. 353 |
Markups | p. 353 |
Deadlines, Approvals, and Revisions | p. 353 |
Image Rights | p. 354 |
The Beauty-Retouching Workflow | p. 354 |
The Big Picture | p. 354 |
The Details | p. 354 |
The Workflow | p. 355 |
Matching Tone, Color, and Contrast | p. 355 |
Perfect Skin | p. 358 |
Frequency Separation | p. 366 |
Creating the Frequency Separation Layers | p. 367 |
Working with the Frequency Separation Layers | p. 369 |
Working on Skin with Frequency Separation | p. 369 |
Smoothing Wrinkles with Frequency Separation | p. 371 |
Enhancing the Lighting | p. 375 |
Adding Light to the Hair | p. 378 |
Adding Contrast to Shadows | p. 378 |
Closing Thoughts | p. 379 |
10 Product, Food, and Architectural Retouching | p. 381 |
Product Retouching | p. 382 |
Placing the Bottle on a New Background | p. 383 |
Replacing the Label | p. 384 |
Replacing the Bottle Cap | p. 386 |
Adding New Labels | p. 386 |
Adjusting the Lighting | p. 388 |
Food Retouching | p. 391 |
Architectural Retouching | p. 395 |
Real Estate Shots: Losing the For Sale Sign | p. 395 |
Interior Shots: Combining Exposures | p. 402 |
Closing Thoughts | p. 406 |
Appendix | p. 407 |
Index | p. 409 |