| Introduction |
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xi | |
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1 | (64) |
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3 | (12) |
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The Importance of Workflow |
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4 | (2) |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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6 | (5) |
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7 | (1) |
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8 | (2) |
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10 | (1) |
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11 | (2) |
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12 | (1) |
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12 | (1) |
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13 | (2) |
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15 | (28) |
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16 | (10) |
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17 | (1) |
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Using Third-Party Software |
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18 | (6) |
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24 | (1) |
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Confirming a Successful Copy |
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24 | (1) |
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Reformatting Digital Media |
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25 | (1) |
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26 | (8) |
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26 | (1) |
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27 | (1) |
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28 | (3) |
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31 | (2) |
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33 | (1) |
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Reviewing Images for Evaluation |
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34 | (5) |
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35 | (1) |
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36 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (2) |
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41 | (2) |
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43 | (22) |
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44 | (2) |
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44 | (1) |
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45 | (1) |
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46 | (1) |
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Converting with Camera Raw |
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46 | (16) |
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47 | (1) |
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48 | (1) |
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49 | (3) |
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52 | (3) |
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55 | (5) |
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60 | (1) |
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61 | (1) |
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Batch Conversion in Camera RAW |
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62 | (1) |
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63 | (2) |
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Part II Basic Adjustments |
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65 | (70) |
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67 | (22) |
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68 | (1) |
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69 | (13) |
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Cropping from a Selection |
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71 | (2) |
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73 | (9) |
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82 | (5) |
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Rotating with the Crop Tool |
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83 | (2) |
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Rotating with the Measure Tool |
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85 | (2) |
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87 | (2) |
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89 | (26) |
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Interface Tools for Evaluation |
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90 | (5) |
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91 | (1) |
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92 | (3) |
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95 | (1) |
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95 | (13) |
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95 | (5) |
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100 | (8) |
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108 | (5) |
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108 | (4) |
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112 | (1) |
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113 | (2) |
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115 | (20) |
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116 | (1) |
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117 | (9) |
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117 | (4) |
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121 | (4) |
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125 | (1) |
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126 | (3) |
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126 | (1) |
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127 | (1) |
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128 | (1) |
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129 | (2) |
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131 | (2) |
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133 | (2) |
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Part III Advanced Adjustments |
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135 | (106) |
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Advanced Tonal Adjustments |
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137 | (22) |
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138 | (5) |
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143 | (8) |
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145 | (5) |
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150 | (1) |
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151 | (6) |
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152 | (2) |
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154 | (1) |
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155 | (2) |
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157 | (2) |
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Advanced Color Adjustments |
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159 | (20) |
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160 | (4) |
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Using Preset Color Ranges |
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160 | (1) |
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161 | (2) |
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163 | (1) |
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164 | (3) |
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166 | (1) |
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167 | (2) |
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169 | (4) |
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169 | (2) |
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171 | (2) |
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173 | (3) |
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Targeted Saturation Painting |
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176 | (1) |
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177 | (2) |
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179 | (30) |
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Understanding the Selection Tools |
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180 | (16) |
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180 | (5) |
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185 | (1) |
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186 | (2) |
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188 | (2) |
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190 | (1) |
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191 | (3) |
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194 | (2) |
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Making Advanced Selections |
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196 | (6) |
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196 | (2) |
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198 | (1) |
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199 | (3) |
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202 | (3) |
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202 | (1) |
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203 | (2) |
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Saving and Loading Selections |
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205 | (2) |
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Putting Selections to Use |
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207 | (2) |
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209 | (18) |
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210 | (7) |
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Creating Composite Images |
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211 | (4) |
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215 | (2) |
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217 | (5) |
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217 | (1) |
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218 | (4) |
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222 | (3) |
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Creating Adjustment Versions |
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222 | (1) |
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Masking Multiple Adjustments |
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223 | (1) |
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224 | (1) |
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225 | (2) |
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227 | (14) |
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228 | (1) |
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228 | (3) |
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231 | (4) |
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231 | (1) |
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232 | (3) |
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235 | (1) |
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236 | (3) |
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237 | (1) |
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238 | (1) |
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239 | (2) |
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Part IV Finishing the Workflow |
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241 | (36) |
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243 | (10) |
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244 | (2) |
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Filenames, Locations, and Formats |
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246 | (5) |
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248 | (1) |
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248 | (2) |
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Choosing between PSD and TIFF |
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250 | (1) |
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251 | (2) |
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253 | (14) |
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254 | (6) |
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254 | (3) |
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257 | (2) |
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259 | (1) |
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260 | (4) |
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260 | (1) |
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260 | (2) |
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262 | (1) |
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263 | (1) |
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263 | (1) |
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264 | (1) |
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265 | (2) |
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267 | (10) |
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268 | (1) |
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Preserve the Master Image |
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269 | (1) |
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270 | (5) |
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270 | (1) |
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270 | (1) |
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271 | (2) |
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273 | (2) |
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275 | (1) |
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275 | (1) |
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276 | (1) |
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Appendix Sample Workflow Checklist |
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277 | (2) |
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277 | (1) |
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Initial Image Preparation |
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278 | (1) |
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278 | (1) |
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278 | (1) |
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278 | (1) |
| Index |
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279 | |