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AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopLightroom4AdobePhotoshopCS6
LEARNBY VIDEOCORE TRAINING IN VISUAL COMMUNICATION
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Whas in he Bag? 1
Choosing Your ools . . . . . . . . . . . 2
Exposure 7
Undersanding Exposure Mah . . . . . 8
Variables o Exposure . . . . . . . . . . . 10
Meering Mehods . . . . . . . . . . . . . 15
Conrolling Exposure: Blending
Aperure and Shuter Speed . . . . . . . 16
Exposure Compensaion . . . . . . . . .22
ips & ricks 24
Adding Film Grain . . . . . . . . . . . . .25
Correcing Lens Errors . . . . . . . . . .27
Sof Edges or Vecor Masks . . . . . . .30
Ediing Selecions . . . . . . . . . . . . .32
Creaing Image Effecs wihGradien Maps . . . . . . . . . . . . . . .34
Saving and Exporing Images 36
Major Graphic File Formas . . . . . . . 37
Raser vs. Vecor . . . . . . . . . . . . . .38
Preparing and Saving Images
or he Web . . . . . . . . . . . . . . . . .40
ADOBE PHOOSHOP CS6: LEARN BY VIDEO
Supplemen Conens
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by Tim Grey
Whats in the Bag?
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One o he mos exciing and challenging
aspecs o phoography is ha i enables you o
employ such a wide variey o ools o creae
he final image. Tese include he cameras,
lenses, and accessories ha are used o capure
he iniial image, as well as compuers and sof-
ware ools ha help you manage and opimizehe image afer he capure.
O course, a phoographic image sars wih an
idea and a phoographic capure, so i makes
sense o hink abou your equipmen beore
you se ou o capure images. Ta includes
boh wha equipmen you will use and how you
will prepare ha equipmen.
Each phoographer has a paricular se o ools
a heir disposal or any given phoo shoo.
While you migh consider purchasing or rening
Choosing Your ools
When you capure a phoographic image, i migh seem like here are a virually
unlimied number o decisions o make. Wha lens will you use? Wha exposure
setings? Where will you posiion he camera? How will you rame he subjec?
Te lis goes on and on.
addiional iems beore a phoographic oppor-
uniy, ulimaely youre going o need o
decide which pieces o equipmen youll bring
wih you.
Camera Bodies
When i comes o he camera body, he deci-
sion ends o be relaively sraighorward. Mos
phoographers use one or wo camera bodies,
and in mos cases you will end o bring all o
he camera bodies you own. Afer all, i can
be very helpul o have a backup camera wih
you should anyhing go wrong. I is also useul
in cerain siuaions o have wo bodies, wiha differen lens on each, so you can quickly
swich cameras when you wan a differen lens,
raher han needing o swich lenses on a single
camera body.
2 WHAS IN HE BAG?
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I you have more camera bodies han youd like
o bring along on a given rip, and hose bodiesare differen models, youll wan o hink abou
he capabiliies o each camera body relaive o
he subjecs you expec o phoograph. Some o
he hings youll wan o hink abou are resolu-
ion, ocusing speed, and weigh.
Sensor and image resoluion in digial phoo-
graphy are generally expressed in megapixels;
each megapixel equals one million pixels.
Higher resoluions allow larger phoo prins ,because he number o pixels in any given area
is larger, meaning he raser is smaller. Only he
physical pixels o he camera sensor are
relevan o he qualiy o he prined image;
resoluions blown up arificially by digial
zooming or inerpolaion are meaningless.
LensesI you have a relaively small number o lenses
you migh consider bringing all o hem. Bu
in some siuaions you will need o make a
decision abou which paricular lenses o bring
along. Here i is criically imporan ha you
hink abou he subjecs you migh phoograph
realizing ha someimes i can be difficul o
anicipae wha opporuniies may arise.
Focal lengh is he obvious consideraion ha
probably eners your mind firs. How close will
you be geting o your subjecs? I you will be
ar away, do you need a long elephoo lens o
do he subjec jusice? How wide will be wide
enough i youll be capuring subjecs up close
bu sill wan o include surrounding conex?Will prime lenses be adequae, or do you need
he flexibiliy o a zoom lens?
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4 WHAS IN HE BAG?
My general approach o lens choice is o firs
jus pack my sandard walkabou lens , which
ends o be atached o my camera mos o he
ime on ypical phoography ouings. For me
ha is a 24-105mm lens atached o my Canon
EOS 7D, bu your equipmen and preerences
may vary. Nex I hink abou how much reach I
migh need and wha ocal lengh would be
adequae or ha purpose. Will a lens in he
range o abou 200mm maximum ocal lengh
do he rick, or do I need 400mm or beyond?
Wihin he range o possibiliies or longer lens-
es, i is imporan o hink abou overall weigh(i here are packing limiaions or i you migh
be shooing handheld), as well as he wides
possible aperure (i ocusing perormance or
deph o field are chie consideraions).
I hen conemplae he need or a wide-angle
lens. I don capure wih especially wide-angle
lenses all ha ofen, bu when I do I really enjoy
he experience. So i he subjec mater migh
lend isel o a wide perspecive, I ll hink abou
a lens wih a shor ocal lengh.
Accessories
Once you have your camera and lens choices
made, youll wan o hink abou addiional
accessories. I realize ha many phoographers
would reuse o admi hey ever capure images
wihou a ripod, bu i you end no o use aripod and need o ravel ligh, perhaps you
should jus leave he ripod a home. Wihou a
ripod you won be able o easily capure com-
posie panoramas, high dynamic range (HDR)
images, ime-lapse images, or long exposures.
And o course low-ligh phoography can be
a challenge wihou a sable plaorm. So give
careul hough o wheher or no you need o
bring along a ripod. And i you are bringing aripod, be sure you have appropriae plaes on
your cameras and longer lenses.
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Depending on he ype o phoography you
end o do, you may wan o hink abou acces-
sories such as flash unis, oher lighing, and
filers. I realize ha wih he adven o digial
ools many phoographers don eel he need
or filers anymore, bu hey can sill prove
remendously useul. I nohing else, you migh
consider a solid neural densiy filer o enable
long exposures.
Cerain accessoriesi hopeully goes wihou
sayingshould always be in your ki or even
he shores phoo ouing. Tese include, a a
minimum, spare bateries and digial media
cards. For longer rips youll also wan o
include batery chargers, a digial media card
reader, and perhaps a lapop or oher device or
downloading your phoos, including an exernalhard drive i necessary.
Tere are many oher possibiliies you migh
consider. For example, i you requenly capure
composie panoramic images, you migh wan
o bring along a bubble level ha fis in he ho
shoe moun on your camera (unless your
camera has a buil-in level eaure). I you plan
o capure longer exposures or ime-lapse
images, you may wan o bring a cable release.
I you like o assign GPS coordinaes o your
images, you may wan o bring along a GPS
racking device. And o course, based on your
pas experience, expecaions or your phoo-
graphy ouing, and available equipmen, you
migh wan o consider oher ools o bring
along.
Te poin is o hink abou wha subjecs you
migh phoograph and wha equipmen you
need. I can even be helpul o develop check-
liss or differen ypes o phoography, o helpmake sure you remember everyhing you need
Tis can be especially helpul or hose iems
ha you end no o use all ha ofen and her
ore migh orge o bring wih you.
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Exposure
by im Gre
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8 EXPOSURE
Admitedly, mos o his mah happens behind
he scenes, and heres no a remendous need
o undersand he pariculars. For example, is
here really a significan benefi o ully compre-
hending how pixel values are being adjused as
you increase he sauraion o a phoo? Cerain-ly he more you undersand whas going on,
he beter equipped youll be o make he mos
o your digial phoos, bu heres no quesion
ha some o he mah you could undersand
wouldn provide much benefi oher han he
comor o acually knowing.
Tere is one calculaion, however, ha affecshe qualiy o every phoograph you ake:
exposure.
Undersanding Exposure Mah
Mos phoographers aren exacly big ans o mah. Quie ofen heir eyes sar o
glaze over as soon as he subjec is raised. And ye, phoography in many respecs
is all abou mah. From calculaions relaed o ocal lengh and deph o field, o
exposure, o adjusmens applied using sofware ools afer he capure, here is a
remendous amoun o mah going on.
Te Value o Exposure Mah
Considering ha he momen o exposure ruly
defines he amoun and qualiy o inormaion
conained wihin he phoographic image, i
sands o reason ha exposure is criical. While
odays digial cameras do a remarkable jobo calculaing proper exposure under a wide
variey o lighing condiions, he phoographer
mus ge direcly involved in evaluaing, and
when necessary overruling, hose calculaions
in order o produce he very bes image.
Te Sop
Te mah relaed o calculaing exposure
revolves around he noion o he sop, which
is ofen misundersood. We alk abou sops
o ligh, and ye a sop isn exacly a uni o
measure ha defines a specific quaniy o ligh.
o be sure, a sop is used o measure ligh, bu
no in a direc sense.
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I is mos cerainly possible o measure ligh
in erms o quaniy, which would largely be
a mater o measuring he amoun o energy
being emited by a par icular ligh source. For
example, he lumen is a measure o he quaniyo ligh, and i has a fixed value.
A sop, however, doesn have a fixed value in
erms o quaniy o ligh; i is a relaive value.
When we say were adding a sop o ligh, wha
were acually saying is ha were doubling
he amoun o ligh. wo sops would be our
imes as much ligh, because weve doubled
he amoun o ligh wice. Subracing one sop
means were cuting he amoun o ligh in hal.
So, here is obviously some mah involved
when i comes o sops, bu ha mah is relaiv
o a reerence poin. Ta reerence poin can
generally be hough o as a proper exposure o
he curren lighing condiions, bu he sop as uni o measure is relaive o a given reerence
value, no a measure o a specific quaniy.
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10 EXPOSURE
And o course, once all ha work is compleed,
here is sill much more work or he camera,
including measuring sensor values or each
pixel, applying noise reducion i applicable,
calculaing he values ha will be sored in he
resuling file, wriing ha file o a digial media
card, and a variey o oher asks.
A he mos basic level, wih a camera se o
ully auomaic mode, he phoographer simply
poins he camera a a subjec and presses he
shuter release, leting he camera do he res
o he work. However, he phoographer can
always choose o ge more involved, and o
influence he final phoographic image in he
process. Fundamenal o his noion is he ac
ha a phoographer doesn adjus exposure
by simply urning a dial up or down o affec
overall brighness, bu raher by adjusing
several individual conrols. Tose conrols
are he aperure, he shuter speed, and he
ISO seting.
Variables o Exposure
A digial camera is incredibly busy when capuring an image. Consider all he work
ha has o be done or a ypical exposure. Te key subjec in he rame mus be
idenified and he disance o ha subjec mus be deermined. Te exposure mus
be calculaed based on he ambien ligh, he curren meering mode, and oher
camera setings. Te mirror mus be moved up ou o he way o he image sensor,
he aperure mus be closed down o he seting esablished wih he curren camera
setings, and he shuter mus be opened or he proper duraion.
Te Aperure
A phoographic exposure is creaed by projec-
ing ligh ono an image sensor (or film, or hose
phoographers sill inclined o capure on film).
Ta ligh passes hrough an aperure, which
you can hink o as a gae or a hole; a series o
blades allow you o adjus he size o ha hole.
Te size o he aperure is measured as a raio
relaive o he lenss ocal lengh. Te ocal
lengh o he lens is divided by he diameer ohe curren aperure opening, and he resul
provides he -number ha is used o describe
he aperure seting. Tis relaionship is a com-
mon source o conusion among phoographers,
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because as he aperure becomes smaller, he
number used o describe i grows larger.
Te reason or his apparen dispariy is acually
quie simple when you consider he mah. For
example, i we assume a ocal lengh o 100mm
and an aperure diameer o 4.5mm, he aperu-re value would be abou /22 (100/4.5 = 22.2).
A larger aperure ha measures 18mm in dia-
meer would yield an aperure value o /5.6
(100/18 = 5.55).
Tis relaionship beween lens ocal lengh and
aperure diameer is he reason he aperure
value is generally writen as a racion, such as
/2.8 or /8. Tink o he as lens ocal lengh
and he relaionship becomes quie clear, as
long as youre able o hink a bi in erms o he
mah involved.
When you adjus he aperure or he lens,
you are adjusing he amoun o ligh ha will
be projeced or he final exposure. While he
aperure numbers available o you migh seem
somewha arbirary, hey are in ac based
on he concep o he sop, which also helpsexplain why aperure setings are reerred o
as /sops.
Te /number or a given aperure seting
relaes o he ocal lengh o he lens and he
acual diameer o he aperure opening. Te
differen aperure setings available relae o a
doubling or halving o he amoun o ligh bein
projeced. Les assume /8 as our saring poin
I we waned o double he amoun o ligh, we
would need o open he aperure even urher,
specifically o an aperure o /5.6. I, on he
oher hand, we waned o cu he amoun o
ligh in hal, we would need o close he aper-
ure somewha, o a seting o /11.
Te move rom /8 o /5.6 is a change o one
sop o ligh, because an aperure o /5.6 will
allow wice as much ligh o pass hrough he
lens compared o /8. Te move rom /8 o /1
will allow hal as much ligh, and so ha oo is
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12 EXPOSURE
change o one sop o ligh. When reducing he
amoun o ligh (moving o a larger /number)
we say ha we are sopping down he lens.
When increasing he amoun o ligh we end o
say we are opening up he lens aperure.
Shuter Speed
An image is capured by recording he ligh ha
passes hrough he aperure and srikes he
image sensor. In order o conrol he amoun
o ligh acually recorded, and hus ensure a
proper exposure, he exposure mus be imed.
Tis is he job o he shuter mechanism, and
he amoun o ime or which he shuter allows
he ligh o srike he image sensor is he shuter
speed. Tis is a simple measure o he duraion
o ime expressed in seconds. For example, a
as shuter speed migh be around 1/500h o
a second, while a slow shuter speed migh be
several seconds.
Tere is a direchough inverserelaionshipbeween aperure and shuter speed. Te larger
he aperure opening, he less ime he shuter
mus remain open o ensure a proper exposure.
Te smaller he aperure opening, he longer
he shuter mus remain open.
Measuring he shuter speed and undersanding
ha measuremen are o course simpler han
he conceps behind he aperure. However,
like he aperure seting, shuter speeds are
measured based on sops o ligh. We adjus
shuter speeds in incremens ha relae o
doubling or halving he amoun o ligh being
recorded.
For example, les assume a base shuter speed
o 1/60h o a second, wih he assumpion ha
a he curren aperure seting his will yield
a proper exposure. I we wan o double heamoun o ligh we need o leave he shuter
open wice as long. So insead o 1/60h o a
second, we could use 1/30h o a second. Tis
is double he duraion, and hus double he
amoun o ligh, and ha means he resul is
one sop more ligh, or a one-sop brigher
exposure.
By conras, i we waned o reduce he amoun
o ligh, we would need o leave he shuteropen or a shorer duraion. So o reduce he
amoun o ligh by hal, or one sop, we would
open he shuter or hal as much ime. In he
case o a 1/60h-second exposure, ha means
using a shuter speed o 1/120h o a second.
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(Mos cameras, or reasons o expediency
relaed o oher shuter speed values, use
1/125h o a second or his value.)
Te ISO Seting
Te aperure and shuter speed need o be
adjused in concer wih each oher o produce
a proper exposure. Bu wha abou siuaions
where you can achieve a good combina-
ion based on your phoographic needs? For
example, i you wan o sop he lens down o
increase deph o field (he range o deail ha
is in ocus in he rame), bu he available ligh
won le you use a as enough shuter speed
o render a sharp image while you are hand-
holding he camera, wha are you o do?
Te answer is o adjus he ISO seting. A com-
mon misconcepion is ha by increasing he
ISO seting or your camera you are increasing
he sensiiviy o he image sensor. Tis acuall
isn he case. Based on is physical properies,
an image sensor has a given sensiiviy o ligh
you can change ha. Bu you can apply am-
plificaion o he signal recorded by he image
sensor, which produces a resul ha is similar
an increased sensiiviy.
Because increasing he ISO seting acually
applies amplificaion, however, here is also
a side effec ha can be quie problemaic a
imes: noise. When you ampliy he signal,
you aren somehow magically increasing heamoun o inormaion in he scene. In ac, by
using a higher ISO seting youre acually inen
ionally underexposing he image (capuring
less ligh han you would or a proper exposure
and hen applying amplificaion o he signal in
order o brighen up he scene. Youre effecive
ly rying o fill in inormaion where inormaio
wasn capured. Te resul is random variaion
in onal and color values or he pixels, which iwha we reer o as noise in he image.
O course, in cerain cases youll need o make
a compromise, risking noise in order o achiev
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14 EXPOSURE
an adequaely as shuter speed based on
he aperure you eel is necessary o produce
adequae deph o field. When you do adjus
he ISO seting, youre also making adjusmens
based on sops o ligh.
Te base ISO seting or mos digial camerasis 100. Wih film here were lower ISO values
available (and some digial cameras do offer
ISO setings below 100), bu a 100 ISO value
has become somehing o a baseline sandard
or digial exposure. Tis is he seting you use
when you wan o capure an image based
on he naural sensiiviy o ligh o he image
sensor.
I you wan o apply amplificaion in order
o achieve a aser shuter speed (creaing he
illusion o recording more ligh, effecively),
you can increase he ISO seting o 200. Obvi-
ously he number 200 is double 100, and in
his case ha is no coincidence. A change rom
100 ISO o 200 ISO applies amplificaion ha is
equivalen o one sop o ligh. In oher words,increasing rom a seting o 100 ISO o 200 ISO
is producing a resul ha will look (wih he
excepion o he addiional noise) as hough you
had recorded wice as much ligh.
Going rom 200 o 400 ISO is anoher doubling
o he exposure. And, o course, reducing ISO
rom 200 o 100 produces a resul ha looks as
hough you had capured hal as much ligh.
When you adjus he ISO seting on your digial
camera, he idea is generally no so much odouble (or halve) he amoun o ligh, bu raher
o achieve a aser shuter speed. Bu has
exacly when he noion o s ops relaed o ISO
setings becomes so valuable. I you increase
he ISO by one sop (or example, rom 100 ISO
o 200 ISO), you can hen increase he shuter
speed by one sop (or example, rom 1/30h
o a second o 1/60h o a second). In siuaions
where a aser shuter speed is criical (such aswhen you wan o reeze moion or o capure
handheld in a low-lighing siuaion), increas-
ing he ISO is a relaively easy way o make he
mos o he curren limiaions.
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Marix/Muli-Zone Meering
With matrix- or multi-zone metering, you can
achieve really precise results. In this metering
method, the camera calculates an average
exposure value for several small measure-
ment fields distributed over the picture area
(their number and shape can vary depending
on your camera). As a rule of thumb, the
more measurement fields there are , the
more exact the global result will be.
Some advanced metering systems also
compare the measurement results from
the individual fields with a built-in image
database to improve the exposure.
Cener-Weighed Average Meering
This method gives the center of the image
more weight in the calculationagain, the
exact algorithm will vary depending on the
camera model. On average, the center part
of the image will determine 60-80% of the
final metering result. In some situations,
especially for portrait shots or if your
main subject is in the dead center of yourframe, center-weighted metering can be
the method of choice.
Meering Mehods
Te meering mehod ha your camera uses deermines how i calculaes exposure
Mos cameras offer several meering mehods ha you can choose rom depending
on he shooing siuaion; he mos common are marix or muli-zone meering,
cener-weighed average meering, and spo meering.
Spo Meering
Te spo meering mehod is he mos selec-
ive o all meering mehods, and i can yield
very precise resuls i used properly, especially
or images eauring mainly he midone range
Spo meering measures only abou 15% o h
image area. Some cameras use a fixed mea-suremen area in he image cener, while oher
cameras use he acive ocus poin or measure
men. Te advanage o spo meering is ha
he measuremen won be influenced by brigh
or dark areas ouside o he small measuremen
field, allowing you o ge very precise exposure
values or a cerain image area.
:A gray card can be very helpul or spo
meering. Place he card in your image rame
and poin he measuremen spo a i. As soon
as you have your reading, you can use he
exposure values deermined by he camera or
you can modiy hem by adjusing shuter spee
and -sop values. Tis way, you will obain a
very precisely exposed phoo o your subjec.
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16 EXPOSURE
Boh he aperure and he shuter speed change
he amoun o ligh recorded or a given ex-
posure. I is imporan ha you have conrol
over boh acors, raher han a single exposure
adjusmen dial, because adjusing he aper-
ure and shuter speed enable you o exerciseconsiderable creaive conrol over he phoo-
graphic image.
By adjusing he size o he lens aperure, you
are also adjusing he deph o field. A very
large aperure (small /number) will resul in a
very narrow deph o field, while a very small
aperure (large /number) will resul in a verylarge deph o field. O course, he poenial
deph o field depends on a variey o acors ,
including he disance o he subjec and he
ocal lengh o he lens. Te poin is ha varying
he aperure will vary he deph o field. I is
Conrolling Exposure: Blending
Aperure and Shuter Speed
An undersanding o he variables ha relae o phoographic exposure wih a digial
camera can be incredibly helpul, boh in erms o your phoographic knowledge andin erms o your abiliy o calculae he exposure setings ha will produce he bes
resuls in a wide variey o siuaions.
also imporan o keep in mind ha any given
lens has minimum and maximum aperure sizes,
which in urn affec your flexibiliy in erms o
boh deph o field and exposure adjusmen.
By adjusing he shuter speed, you deermine
how moving subjecs (or camera moion) will
affec he final image. Wih a very as shuter
speed you can reeze moion, which can be
useul or a wide variey o siuaions. Ta can
mean boh reezing he moion o a subjec ha
is acually moving and also reezing he moion
o he camera when you are hand-holding
he camera raher han using a ripod or oher
suppor.
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17 EXPOSURE
Te key o adjusing exposure is o keep he
aperure and shuter speed in balance wih
each oher. As you increase he amoun o ligh
passing hrough he lens by opening up he
aperure, youll need o reduce he lengh oime he shuter remains open. Conversely,
i you wan o sop down he lens in order o
reduce he amoun o ligh passing hrough he
aperure, youll need o use a longer shuter
speed in order o allow an adequae amoun o
ligh o reach he image sensor.
Boh aperure and shuter speed setings use
incremens based on sops o ligh, which
makes i relaively easy o deermine how o
adjus one or he oher o ensure a proper
exposure. For example, les posulae a siua-
ion where a proper exposure will be achieved
a an aperure o /8 and a shuter speed o
1/250h o a second. I you decide you wan o
open he aperure up a bi more in order o
reduce he deph o field, you migh choose a
seting o /5.6, which allows one sop more
ligh (double he amoun o ligh) compared
o /8.
Ta means you also need o adjus he shuter
speed, in his case reducing he exposure ime
by hal o 1/500h o a second. Te aperure is
allowing wice as much ligh o come hrough,
bu he shuter speed is leting hal as muchligh reach he image sensor. So i you increase
he amoun o ligh by one sop using he aper-
ure and reduce he amoun o ligh by one sop
using he shuter speed, he wo remain in
balance and you sill have a proper exposure.
In his way, you could cycle hrough a series o
aperure and shuter speed combinaions, all
o which would achieve he same exposure,
bu wih differen dephs o field. I he larges
aperure opening or a given lens is /2.8, and i
you can achieve a proper exposure or he cur-
ren lighing condiions by opening he shuter
or 1/500h o a second, ha means you could
also achieve a proper exposure by using /4 and
1/250h o a second, or /5.6 and 1/125h o a
second, or /8 and 1/60h o a second, or /11
and 1/30h o a second, or /16 and 1/15h o
a second. From he sandpoin o phoographic
exposure, all o hese combinaions will
produce he same resul.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 1
O course, rom a more complee phoographic
perspecive here may be some very significan
differences among hese exposures. For a ypi-
cal lens he difference in deph o field beween
/2.8 and /16 is raher significan. A /2.8 a verysmall range o he scene will be in ocus. A /16
mos o he scene may be rendered in sharp
ocus. As a phoographer you can make an aes-
heic decision based on he subjec mater and
your own preerences.
Te shuter speed may play less o a role in he
final resul, depending on he subjec. I you arephoographing a landscape wihou any moving
subjecs, and he camera is firmly mouned on
a ripod, you may no see any difference relaed
o he shuter speed a all. However, i you are
phoographing handheld or here are moving
subjecs in he scene, he shuter speed can pla
an imporan role.
As a general rule, when shooing handheld
you should aim o use a shuter speed wih a
reciprocal ha maches he lens ocal lengh.
For example, i you are using a 100mm lens, yoshould use a shuter speed o a leas 1/100h o
a second, so wih mos cameras you would op
or a shuter speed o 1/125h o a second or
aser. Wih a 500mm lens, i you were shoo-
ing handheld (which calls or srong arms in
addiion o a seady hand), you would wan o
use a shuter speed o 1/500h o a second or
aser. Te reason a longer ocal lengh lens
requires a aser shuter speed, by he way, isha he smaller field o view o a longer lens
will effecively magniy any moion. A aser
shuter speed is necessary o compensae or
ha magnified moion.
When shooing wih he camera mouned on
a ripod, he quesion o shuter speed relaive
o ocal lengh is no longer relevan. However,
shuter speed can sill be very much an issue
when a subjec in he rame is moving, and her
again you are able o exercise creaive conrol.
A ypical example would be a phoograph ha
includes moving waer. Based on he ambien
lighing condiions and he range o aperures
suppored by he lens youre using, youll have
a range o shuter speeds o choose rom. A as
shuter speed would be able o reeze he
moion o he waer, showing a very briemomen in ime. A slow shuter speed would
resul in an image where he waer is a silky blu
in he rame. Boh can be very impacul im-
ages, and i is up o you o decide which
approach is more appropriae based on he
scene and your inen.
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19 EXPOSURE
O course, you need o ake ino consideraion
he balance beween he effecs o shuter
speed and aperure size. I youre rying o
achieve a deep deph o field in conjuncion
wih a as shuter speed, you may have a chal-
lenge on your hands. For example, les consid-
er a siuaion where a proper exposure would
be achieved a an aperure o /8 and a shuter
speed o 1/125h o a second. o achieve he
desired deph o field, les assume you need o
sop down by wo sops o /16. However, ha
also means you need o use a slower shuter
speedslower by wo sopsin order o bal-
ance he exposure. Ta would require a shuter
speed o 1/30h o a second in his example.
Bu i you are including a relaively as-moving
sream in he scene, you migh need a much
aser shuter speed in order o reeze he mo-
ion. For example, you migh need a shuter
speed o 1/500h o a second in his case.
o achieve a 1/500h o a second shuter speed
while mainaining he /16 aperure, youll need
o increase he ISO seting. In his example,
going rom a shuter speed o 1/30h o a
second o 1/500h o a second means you need
o adjus he shuter speed by a oal o our
sops. In effec, ha means he exposure would
be underexposed by our s ops, using an aper-
ure o /16 and a shuter speed o 1/500h o a
second, when ha aperure under he curren
lighing condiions would normally call or a
1/30h o a second shuter speed.
I is hereore possible o balance he exposureusing an aperure o /16 and a shuter speed
o 1/500h o a second by increasing he ISO
seting by our sops. Ta means going rom
an ISO seting o 100 o an ISO seting o 1600
(rom ISO 100 o 200 is one sop, rom 200 o
400 is one sop, rom 400 o 800 is one sop,
and rom 800 o 1600 is one sop).
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 2
As a resul, you would have reduced he avail-
able ligh by our sops by changing he shuter
speed, bu hen compensaed by applying am-
plificaion equivalen o our sops by increasing
he ISO value.
In any given phoographic siuaion, you areprobably ocused primarily on eiher deph o
field or shuter speed as your prioriy. In oher
words, youre hinking primarily abou eiher
a deep or narrow deph o field or managing
shuter speed o deal wih a moving subjec (or
handheld camera). However, someimes boh
o hose acors will be high on your prioriy lis,
and you may need o employ a differen ISO
seting o achieve your goals.
Hal Sop vs. One-Tird Sop
Tus ar he discussion o sops has been limied
o ull sops, i.e., eiher doubling or halving
he amoun o ligh using he aperure, shuter
speed, and ISO setings. However, mos camer-
as allow you o exer a higher degree o conrol
han is possible wih one-sop incremens.
In general, mos digial cameras allow you o
adjus exposure in hal-sop incremens. For
example, changing he aperure rom /5.6 o /8
means sopping down one sop, which will cu
he amoun o ligh in hal. However, by working
in hal-sop incremens you could also adjus
he aperure o /6.7. Assuming a scene would
be properly exposed wih an aperure o /5.6
and a shuter speed o 1/125h o a second, you
could sop down by one-hal sop o /6.7 and
hen increase he shuter duraion by one-hal
sop o 1/180h o a second. Anoher hal-sop
would ake you o /8, wih a shuter speed o
1/250h o a second.
Mos digial cameras will also enable you o
adjus exposure in one-hird-sop incremens.Tis provides a higher degree o precision in
erms o exposure conrol, which can be helpu
in cerain siuaions. When adjusing he expo-
sure setings using one-hird-sop incremens,
insead o moving wo seps or each sop (or
example, rom /5.6 o /6.7 and hen o /8),
you would ake hree seps (or example, rom
/5.6 o /5.3 o /7.1 and hen o /8).
For mos phoographers, adjusing exposurein hal-sop incremens provides more han
enough conrol. Working in hal-sop incre-
mens also provides he advanage o working
wih aperure setings ha are more amiliar.
Mos phoographers who have been working
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21 EXPOSURE
wih a digial SLR or any period o ime (or who
have ever aken a phoography class or read an
insrucional phoography book) are probably
amiliar wih he common aperure setings
such as /5.6, /6.7, /8, /9.5, /11, and so on.
When working wih one-hird-sop incremens
he numbers beween he primary aper ure
setings are differen, which can someimes
prove conusing.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 2
In general, you would apply exposure compen-
saion when you eel (or know) he cameras
ligh meer isn providing you wih he mos
accurae inormaion or he scene. For exam-
ple, when you phoograph a scene ha is
dominaed by a brigh subjec, he camerasmeer assumes ha he overall scene needs o
be darkened down. In effec, he camera is
rying o make brigh whie areas appear as
middle gray. In ha case you would wan o
apply exposure compensaion o brighen
he scene beyond wha he camera hinks is
appropriae. For example, when phoograph-
ing a snow-filled scene, you will likely need o
increase he amoun o ligh capured by he
camera by abou one sop o compensae or
how he cameras meer hinks he scene
should be rendered.
When working in one o he auomaic exposure
modes, such as aperure prioriy (Av, or Aper-
ure value) or shuter prioriy (v, or ime
value), exposure compensaion is a way o
aking advanage o he cameras abiliy o
calculae exposure and adjus he shuter speedor aperure auomaically while leaving he
value youve se or he aperure (in Av mode)
or shuter speed (in v mode) unchanged.
When working in manual mode, exposure
compensaion is applied by simply adjusing
he exposure as desired, using he cameras
exposure meer as a reerence, and using
setings ha shif he exposure o be darker
or ligher relaive o wha he exposure meer
is showing you.
In eiher case, exposure compensaion allows
you o deal wih siuaions where he camera
migh no undersand exacly wha youre ryin
o accomplish as a phoographer.
Exposure Compensaion
Anoher ool available o he phoographer when calculaing and adjusing exposure
is exposure compensaion. Here again, he uni o measure is he sop. You can
compensae exposure up or down (brigher or darker) using sops o ligh, and
depending on how youve configured your camera, by hal-sop or one-hird-sop
incremens as well.
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23 EXPOSURE
Conclusion
Teres a lo o mah being done inside your
camera beore, during, and afer he process o
capuring a phoographic exposure. While much
o ha mah migh be beter lef a mysery in
order o avoid overloading your brain, heresno quesion ha having an undersanding o
how exposure is measured and calculaed can
help you work more quickly and inelligenly as
a phoographer.
Some o he mah migh involve menal gym-
nasics, bu in general he basic conceps are
relaively sraighorward. I you pay atenion
o your camera setings and how hey are being
adjused while capuring a variey o images,
he conceps relaed o exposure calculaion
will become easier o undersand, and youll ge
much beter a achieving he exac exposure
you wan in your phoographs.
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Tips & Tricks
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25 IPS & RICKS
Opening JPEG and IFFImages in Camera Raw
In addiion o handling RAW image files, you
can also open and manipulae JPEG and IFF
images in Camera Raw by ollowing hese seps:
1. Go o he Camera Raw preerences (Phoo-
shop/Edi > Preerences > Camera Raw) and
make sure Auomaically open JPEGs/IFFs
wih setings is seleced in boh drop-down
menus in he JPEG and IFF Handling secion
a he botom.
2. Selec he JPEG or IFF image in Adobe
Bridge.
3. Righ-click or Crl-click and choose Open
in Camera Raw rom he conex menu (oralernaively, you can press Crl/Command+R
on your keyboard).
Your file will be opened in he Camera Raw
plug-in and you can use is ools or your
correcions and image ediing.
Adding Film Grain
From he CS5 version on, Camera Raw has eaured an Effecs ab, allowing you
o give your digial image he look and eel o an analog film exposure, o age i
arificially, and so on. In he pas i may have been difficul o add realisic film grain
o an exising image, bu now his has become very easy.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 2
Using he Effecs ab
High-qualiy digial phoographs end o have
a polished, smooh appearance ha migh no
be beneficial or every subjec. Many phoogra-
phers miss he graininess o classic film, which
can add a special ouch o images.
o add graininess o your digial images, look
a he upper par o he Effecs ab. You can use
he Amoun, Size, and Roughness sliders o add
a vinage film grain effec o your image. Noe
ha you can save your setings wih he panel
menu and reload hem a a laer ime o apply
he same effecs o an enire se o images.
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27 IPS & RICKS
Exploring he Lens Correcion Filer
Te Lens Correcion filer (Filer > Lens Correc-
ion) conains wo abs, Auo Correcion andCusom.
Swich o he Auo Correcion ab o perorm
an auomaic lens correcion using a pre-
defined lens profile. Phooshop comes wih a
preinsalled selecion o profiles or common
lenses. I he lens profile or your image isn
auomaically recognized or you can find i
in he lis, you can swich o Cusom mode
or ry o creae your own profiles using hecomplimenary Lens Profile Creaor uiliy.
:Te Lens Profile Creaor uiliy is available
or download a htp://labs.adobe.com/
downloads/lensprofile_creaor.hml. Prin ou
he checkerboard emplae provided wih he
program and ake phoographs o i using he
lens you wan o profile rom predefined posi-
ions using even lighing. Save hese shos using
he DNG orma and load hem ino he LensProfile Creaor o generae he profile.
In he Cusom ab you can apply cusom lens
correcion setings.
Correcing Lens Errors
In addiion o is many oher image-opimizaion eaures, Phooshop also offers
advanced opions or correcing he mos common lens-relaed errors. ypical
examples would be he collapsing lines in archiecural phoos o all buildings, or
barrel or pincushion disorions ha resul in he images edges being ben ouward
or inward. Oher common lens errors include vigneting (where he images corners
are darker han he cener) and chromaic aberraion (where color ringes appear on
he objecs edges).
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 2
Manually Correcing Lens Disorions
When you phoograph a all building, i ofen
seems o il backward in he image. Tis is due
o he lower par o he building being much
closer o he camera and hereore appearing
much larger han he upper par. Te LensCorrecion filer allows you o fix his problem
very easily. Jus drag he slider in he ransorm
par o he dialog box o adjus he perspecive.
:Make sure you don overdo his effec
and make he building appear wider in is upper
par. Tis would resul in an exremely unreal-
isic appearance. Addiionally, exremely high
buildings like skyscrapers phoographed rom
heir base shouldn be correced, as our eyes
are used o his perspecive.
Manually Correcing ChromaicAberraion Errors
Chromaic aberraion becomes eviden in a
phoograph when rays o ligh wih differen
wavelenghs (or colors) are reraced differenly
by a lens, and hereore can say bundled and
do no hi he same poin on he camera sensor.
Tese errors can be obser ved as colored ringes
and uzziness , especially along conrasing
edges.
o manually correc chromaic aberraion, drag
he appropriae Fringe slider unil he ariacs
have disappeared.
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29 IPS & RICKS
Manually Correcing Vigneting Errors
Using he sliders a he botom o he Lens
Correcion filer, you can also correc anoher
ypical lens error: lens vigneting.
Vigneting occurs when he images corners
appear darker han he res o he image. Tis
error occurs requenly when you shoo images
using wide-angle lenses. o manually correc
vigneting, drag he Amoun slider lef or righ
and adjus he Midpoin slider.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 3
Creaing a Shape Layer
o creae a shape layer:
1. Deermine he desired oreground color (his
will firs be used o fill he orm) or choose
a syle rom he Opions bar. Te color and
syle will be applied o all elemens creaedin he shape layer.
2. Selec one o he drawing ools, such as he
Recangle or Cusom Shape ool.
3. Click he Shape Layers buton in he Opions
bar or he seleced ool.
4. Now you can creae he desired shape wih
he seleced drawing ool. Noe ha a new
layer is creaed in he Layers panel.
5. I you wish, you can add more shapes o he
layer by drawing more elemens or edi he
pah o he exising shape.
Sof Edges or Vecor Masks
One advanage o shape layers is ha your objecs always remain ediable using
anchor poins and Bzier curves. In addiion, hey are resoluion independen, so
you can scale hem up wihou losing qualiy. Shape layers also pose a comorable
alernaive o pixel layers or asks requiring mainly geomeric shapes.
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31 IPS & RICKS
Applying Sof Edges
In mos applicaions, vecor masks always have
hard edges. In Phooshop CS6 you can also
apply sof edges o shape layers.
1. o do so, simply acivae he shape layer and
drag he Feaher slider in he Masks panel o
he righ. In his panel, you can also reduce
he densiy o he mask: Te lower he value,
he ainer he mask will become, allowing
he color o spread ino he remaining image
areas in a semiransparen ashion.
2. In his panel, you can also reduce he Densiy
o he mask: Te lower he value, he ainer
he mask will become, allowing he color o
spread ino he remaining image areas in a
semiransparen ashion.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 3
You can find he Refine Edge command in he
Opions bar or any selecion ool. In Phooshop
CS6 his eaure has improved edge deecion
echnology and auomaic color deconamina-
ion. Creaing precise image selecions and
masks o even complex subjecs like hair or
ur has never been so easy.
Te Selec menu conains addiional useul
eaures or working wih selecions.
Choose he Modiy > Border menu command
o creae a rame-shaped selecion wih a
widh ha you define in he dialog box.
Use he Modiy > Expand or Modiy > Con-
rac menu commands o enlarge or shrink
your selecion by he pixel value specified in
he dialog box.
For he Selec > Grow command, heres no
dialog box; i simply selecs adjacen areas
o similar color. Which areas will be added
o your selecion depends on how he Magic
Wand ool opions have been se.
Ediing Selecions
Even pros someimes sruggle o ge a perec selecion. Luckily, here are easy-o-
use ools ha can help you improve exising selecions.
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33 IPS & RICKS
Te Selec > Similar command also selecs
areas o similar color. However, in his case
he areas don need o be adjacen o each
oher; all areas o similar color hroughou
he image will be added o he selecion.
Te Selec > ransorm Selecion commandallows you o modiy he shape o your
selecion rame wihou affecing he selec-
ed pixels. For example, i you have rouble
creaing a circular or ellipical selecion a
exacly he righ posiion, creae your ellipi-
cal selecion in any shape and posiion, hen
use Selec > ransorm o scale and posiion
he selecion. Press he Reurn/Ener key o
confirm.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 3
o apply a gradien map,
1. Choose Layer > New Adjusmen Layer >
Gradien Map.
2. Click he color bar in he Properies panel
and choose he desired gradien. Te colors
on he lef side o he bar will be assigned o
he dark onal values o your images, and he
colors on he righ correspond o he brigheronal values.
:Tis dialog box conains all he
gradiens available or he Gradien ool.
3. When you are saisfied wih your gradien
composiion, click OK.
4. I needed, you can sill inver your gradien
by acivaing he Inver checkbox.
5. Confirm wih OK o apply he Gradien Mapo your image.
:More ways o achieve grea colorizaion
effecs are shown in he able below.
Effec Procedure
Inver image colors Choose Layer > New Adjusmen Layer > Inver.
Reduce he colorsin your image o asmall number oeye-caching colors
Choose Layer > New Adjusmen Layer > Poserize. Use he slider or he inpu field o speciyhow many colors he images colors should be reduced o.
Conver dark oneso black and brighones o whie
Choose Layer > New Adjusmen Layer > Treshold and speciy he onal disribuion wihhe slider.
Creaing Image Effecs wih Gradien Maps
Te Gradien Map is a powerul image colorizaion eaure, allowing you o apply a
gradien o he onal range o your image. Gradien Maps yield he bes effecs or
images wih disinc edges and prominen subjecs o high visual ineres.
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Saving and Exporting Images
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37 SAVING AND EXPORING IMAGES
Major Graphic File Formas
Commercial Prining Web Video and Visual Effecs Phoos Word/PowerPoin
PSD JPG arga/GA PSD PNG
IFF GIF Cineon IFF BMP
PDF PNG OpenEXR JPG
EPS PSD PDF
DCS DICOM (Medical Devices)
DNG
Camera Raw
PSB (Large DocumenForma)
Exporing rom Phooshop
Phooshop offers several commands or exporing files in he File > Expor menu.
Command Descripion
Pahs o Illusraor Wih his command you can expor all pahs or seleced pahs in he documen as a newIllusraor file.
Render Video Expors an animaion creaed in Phooshop as video.
Zoomiy Tis command helps you creae high-resoluion screen presena ions or he Inerne hausers can zoom ino. In addiion o he required image file you will also ge he associaedHML code.
:Beore exporing documens conaining ex or use in video clips, make sure he ex is con-
ained wihin he ile sae area. ile sae reers o he area where all visual elemens conaining
essenial inormaion or he viewer should be placed o ensure ha i remains visible on all screens
and in all viewing ormas. On older ube elevisions, or example, he edges o he video will ofen
be closer in, cuting off elemens placed oo close o he edge. On modern flascreen elevisions, ile
sae issues are rare, bu i s sill bes o make sure he maerial can be easily viewed on all screens.
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ADOBE PHOOSHOP CS6: LEARN BY VIDEO 3
Raser Images
Raser images, ofen called bimap images, are
made up o pixels and are commonly used or
coninuous-one images such as phoographs or
digial ar. Te pixels are arranged in a recan-
gular grid; you can acually see he rows and
columns o pixels i you zoom in close enough.
Te word pixel is shor or picure elemen,which is he smalles uni o inormaion in a
raser image. Pixels are he building blocks o an
image, and one raser image conains many o
hem. Te more pixels an image is made up o,
he more deail he image conains. Te image
shown here is one inch wide and one inch all,
and i has a resoluion o 72 pixels per inch
(ppi). So you can lierally coun 72 pixels in each
direcion.
Low Resoluion
Tis rose image has a resoluion o 72 ppi and i
is currenly displayed a 100%. When you view
an image a 100%, youre viewing he acual
pixels. Because raser images are resoluion-
dependen, his rose canno be enlarged wih-
ou a loss o qualiy.
Raser vs. Vecor
Tere are wo differen ypes o compuer graphics ha Phooshop can manage
raser and vecorand is imporan or you o undersand wha hey are and how
hey uncion differenly.
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39 SAVING AND EXPORING IMAGES
High Resoluion
Te nex rose image has a resoluion o 300 ppi.
Tere are many more pixels han in he 72 ppi
version, so he pixels need o be much smaller
o fi. Tis increases he image qualiy and you
can zoom in much closer now beore losingqualiy.
Vecor Graphics
Vecor graphics like his Adobe Illusraor file
are made up o poins, lines, and mahemai-
cally defined curves. Tey are resoluion-
independen, so you can scale hem wihou
he edges ever becoming jagged.
Is also very easy o edi vecor graphics. Wih
he Direc Selecion ool you can access he
individual poins ha make up he objec s
pah. ry i yoursel by clicking and dragging he
handles. Vecor graphics are ideal or logos and
illusraions ha need o be oupu in differen
sizes.
:Te File > Expor > Pahs o Illusraor
command allows you o save Phooshop pahs
as Illusraor files (.ai). In he process, he
posiioning o he pah relaive o he image
will remain unouched; Illusraor displays he
ormer image boundaries as crop marks. You
can also use he copy-and-pase echnique
(Edi > Copy/Pase) o copy maerial beween
Phooshop and Illusraor. Alernaively, you can
selec he Pen ool in Phooshop and hold down
he Al and Crl/Command keys while click-
ing he desired pah (hus selecing all anchor
poins) and dragging i ino an open Illusraor
window. Tis mehod is also reerred o as he
drag-and-drop mehod.
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General Rules or File Size and Formas
When creaing images or he web, here are
a number o rules ha you need o observe.
Web images mus be small in boh pixel size (so
hey fi on he screen) and file size (so hey load
quickly). Te documen size or he acual prin
size o he image is irrelevan. Te color space
mus be sRGB and any layers mus be flatened.
Only hree file ormas are permited: JPEG, GIF,
and PNG. Each o hese file ormas is designed
o reduce he size o he image so ha i can be
quickly loaded on a web page.
Te Save or Web Command
Te Save or Web Command ound in he File
menu akes care o hese requiremens. Tis
command always saves a copy o he image,
leaving he original inac. By properly combin-ing he setings in his huge dialog, you can per-
ecly opimize an image or he web. Choose
he 2-up view rom he regisers above and lef.
Tis way you have he original PSD file on he
lef, and on he r igh side a copy o he file as i
will look as an opimized GIF.
Preparing and Saving Images or he Web
In his secion, you will learn how o save an image or he web. Well cover some
general rules or web images, he Save or Web command, and file ormas.
ADOBE PHOOSHOP CS6: LEARN BY VIDEO 4
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41 SAVING AND EXPORING IMAGES
Using he GIF Forma
Sar a he op by choosing he GIF orma.
GIF is commonly used o display graphics ha
have large areas o solid color, such as logos, an
illusraions, or ex. Te GIF orma suppors a
maximum o 256 colors including ransparency.Te bes way o reduce he file size o a GIF is
o reduce he number o colors in i; however,
evenually you will sar seeing diher paterns.
Anoher way o reduce he file size is o reduce
he diher amoun.
Using he PNG Forma
PNG was developed as an alernaive o GIF and
is paen-ree. In mos cases, when saving non-
coninuous-one graphics, he PNG orma is
your bes choice, offering a smaller file size han
GIF wih he same qualiy setings.
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Using he JPG Forma
JPEG is bes or coninuous-one images such as
phoographs. When you save a JPEG file, here
is always a radeoff beween file size and
qualiy, so he key is o find he swee spo.
Selec he 4-up opion o compare our differ-en versions o he same image, each one wih
differen opimizaion setings. Te main way
o reduce he file size is o vary he Qualiy
seting. You can also ry slighly increasing he
blur seting o improve compression. Reducing
he pixel size will significanly reduce file size.
For he bes qualiy, choose one o he bicubic
mehods and don go oo small.