Adobe Photoshop 7.0 for Photographers
430
4 The Omni light source is like a round diffuse
light, which when positioned centered behind the
model adds an extra glow to the backdrop, al-
though this time with a softer edge. One can also
color the lights in Lighting Effects. If you double-
click the swatch to the right of the lighting con-
trols, one can choose a color from the picker,
which will in effect ‘gel’ the light. Lighting Effects is
a very powerful imaging tool. The combinations
of light sources, light coloring and texture map
facility offer many more lighting opportunities.
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Filters
431
1 Take an object and isolate it from the back-
ground layer by defining an outline selection and
making a Layer > New Layer > Via Copy. The 3D
Transform filter is then chosen from the filter
menu to affect this new layer only. The dialog
box displays a monochrome preview of the im-
age on the layer. Select one of the object draw-
ing tools to surround the selected area and match
its perspective. Next select the view angle tool
to twist the perspective.
2 When the 3D Transform has finished process-
ing the transformation, the before image may
show through from below. Here I went to the
background layer and deleted them, filling these
areas with white.

So is it real or is it Photoshopped? Where the integrity of an image matters, such as
in photojournalism, we would all prefer that photographers don’t mess around with
the subject matter. On a commercial shoot everything we do is all lies anyway, so
who is going to care? If Photoshop can do something quickly and effectively, it
makes sense to do it on the computer rather than waste time in the studio when you
could be more productive and creative attending to other important things. I hope
the tips and techniques demonstrated throughout have helped you understand more
about the power of Photoshop as a professional quality image editor. Don’t forget that
the CD-ROM features some of the tutorials as movies and that there is a website for the
book: <www.photoshopforphotographers.com>. This contains an FAQ section and
email support links to help people who are experiencing problems running the CD-
ROM movies. I hope that you find using Photoshop to be a fascinating and rewarding
experience. It literally changed my life and the way I work and opened up many new
avenues to explore!
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Appendix
433
Appendix
M
ost of the photographs you see in this book were taken by myself. Some
were from commissioned assignments, others are personal shots. I also asked
friends and colleagues to include work too, all of whom are professional
photographers. Here then is some biographical information on the other con-
tributors whose work has been featured.
Davis Cairns
A partnership specializing in fashion accessory still-life photography with clients
who include Red or Dead Ltd and Paul Smith. Davis Cairns are currently moving
into more portrait and fashion-based work with an emphasis in portraying creative
textiles. I have worked on all the Davis Cairns computer retouching work and a
number of these commissioned and personal images were used in this book.

G4 workstation.
Tel: 001 404 355 5948 Email:
Website: www.thomasfahey.com
Jon Gibson-Skinner
Jon is a young photographer who lives and works in central London. Jon discovered
the virtues of Adobe Photoshop 2.0 while studying for his degree at Farnham and has
since embraced digital photography as well. His work as a creative crosses all boundaries
from music to design and advertising. Jon is one of the founder members of LightZoo.
Tel: +44 (0)20 7402 4116 Email:
Website: www.lightzoo.com
Thomas Holm
Thomas Holm from Pixl is an advertising photographer, who also provides ad-
vanced tutoring in color management, Photoshop and digital photography. Pixl has
a remote custom ICC profile service available online at www.pixl.dk.
E-mail:
Website: www.pixl.dk
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Appendix
435
Peter Hince
Peter Hince is an advertising photographer specializing in people/lifestyle. He works
mainly on location throughout the world and is very experienced with big pro-
ductions and ‘round the globe’ projects. He also has a unique style of underwater
work and produces toned and textured black and white shots for his ‘Ocean Images’
collection. His work has won many advertising and photographic awards.
Tel: +44 (0)20 7386 0244 Email:
Ian McKinnell
One of the first Macintosh owners in the UK. Ian began incorporating computer
graphics for his illustration work back in the mid-eighties. He photographs mainly
for editorial and design clients like The Observer magazine. Ian uses Photoshop and

products to meet the requirements of retouchers and manipulators, which naturally
gave his clients an edge against their competitors. It allowed him to offer in-depth
training very early in the product lifecycle, and gain insights into the developers’
future direction.
Speaking the same language as photographers has enabled him to guide others past
the problems that might ensnare them when introducing them to the digital world. He
offers help from the basics of Mac housekeeping, its interface, and fault diagnostics,
through to the far more enjoyable aspects of teaching techniques for the productive
and creative use of Photoshop as a montaging and retouching tool. His help has been
valued and respected amongst his peers in the digital arena.
SOLUTIONS Photographic is now in its sixteenth year. His work is rarely credited, but
lies behind many images for book jackets, report and accounts brochures, advertisements
and packaging designs. His clients tend to have completely individual understandings
of his services, and so he relies on most of his work by personal recommendation;
the consultancy offered varies from the ad hoc to the retained, and he is particularly
pleased with his ‘flying doctor’ service over the telephone, as this allows him to
utilize time which might otherwise have been a tedious waste, spent inhaling ex-
haust fumes on the M1 or M25 car parks! His training sessions are careful to avoid
‘information overload’ in these increasingly technical times, but if the student can
take the pace, he will continue to provide answers! Rod is much sought after for his
grasp of the digital technology pitfalls. In this vein, he can be found contributing to
internet lists, such as ProDIG. Also, increasingly photographers who are happier to
keep shooting than retouching, find it handy to bring him into the studio to do any
manipulating alongside the art director.
SOLUTIONS Photographic can be contacted by the following means:
Mobile: 07836-248126
Tel: +44 (0)1582-725065 Email:
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Appendix
437

Editor folder. Place curly brackets ({}) around an application to jump to from
Photoshop and straight brackets ([]) around an application to jump to from ImageReady.
In ImageReady you can choose either File > Jump to > Graphics Editor or File >
Jump to > HTML Editor. The auto-updating of documents between the separate
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Adobe Photoshop 7.0 for Photographers
438
applications now automatically happens in the background. This means that the
jump tos between ImageReady and Photoshop are now therefore that much smoother
and faster. The image is displayed in each program in its own document window and
the window preview will be dimmed in the application which is inactive.
ImageReady layers
You can add layers in ImageReady just as you do in Photoshop. The layer features
are shared between the two programs, so when you transfer a Photoshop image into
ImageReady, all the layers, layer masks and layer effects will be preserved. The new
Photoshop layer management and extended layer limit means that you can add as
many layers as you want and organize them better using layer sets. While adjustment
layers can only be edited in Photoshop, the adjustment will be previewed in ImageReady.
Gradient map and fill layers can be edited though (see Styles, below). Using layers
Figure A1 The ImageReady™ 7.0 Tools palette, showing the keyboard shortcuts. The Tools palette
fly-outs can be torn off and converted into stand-alone palettes.
Move tool (V)
Magic wand (W)
Eyedropper (I)
Zoom tool (Z)
Eraser/magic eraser (E)
Clone stamp (S)
Blur/sharpen/smudge (R)
Dodge/burn/sponge (O)
Paint bucket (G)

The effects controls are located in the
Layer Options palette, including the
new Gradient/Pattern effect, which
comes with over 50 pre-installed
patterns. You can add your own cus-
tomized designs. These can then be
located inside the Adobe Photoshop
7\Presets\Patterns folder.
Styles
ImageReady supports all the layer effects in Photoshop and also all the vector-based
features like Shape layers and vector masks. For more information on Photoshop
layer effects, refer to Chapter Fifteen. To add a layer style in ImageReady, click on
the effects button (
) at the bottom of the Layers palette and click on one or more of
the options in the effects menu. The layer style options are displayed in the Layer
Options palette. Here you will find the same controls as found in the main Photoshop
program.
Single or combined layer effects can be saved as a Style, which is also a feature of
Photoshop, ImageReady Styles are ideal for generating contoured 3D buttons for a
website and these can be repeatedly applied to all buttons, to maintain continuity
throughout the site. Preset styles are contained in the Styles palette and these can be
further controlled via the Edit > Preset Manager. The examples in Figure A3 were
created by making Shape layers with a type layer added above and different preset
style was applied to each layer. The shape tools include a rectangle, rounded rectangle
and ellipse. As with Photoshop, these tools will create a filled layer clipped by a
vector mask. The shape tool Options bar allows you to modify the roundness of the
rounded rectangle corners or create a fixed size shape. To apply a style, highlight a
layer and double-click a style in the Styles palette, or drag the style thumbnail from
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Adobe Photoshop 7.0 for Photographers

generate rollover and animation effects, which are discussed further on in this section.
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Appendix
441
Image resizing
The image size dialog in ImageReady enables you to resize an image to specific
pixel dimensions or as a percentage of the original size. Normally you will want to
keep the Constrain Proportions option checked. The constrain options include: Width,
which will constrain the proportions to the new width setting; Height, which will
constrain the proportions to the new height setting; and Either, which will constrain
the new size using one or other of the pixel dimensions entered. ‘Either’ is useful
when establishing a batch action in which you wish all the images to fit within the
envelope of a specific pixel size. There are two interpolation options: Jagged, which
is the same as Nearest Neighbor in Photoshop and Smooth (Bicubic) interpolation.
Cropping
The crop tool is similar to the Photoshop crop tool. Use Hide (in the Options bar)
when working on animations where you wish to preserve elements on other layers
which move in and out of the live image area. Use the Image > Trim command to
make a crop removing an outer border based on transparent pixels for instance.
Color management
When you are designing a web page you have to be conscious of the fact that visitors
will be seeing your graphics under a wide variety of monitor viewing conditions.
Photoshop 5.0+ handles color differently compared to previous versions of the pro-
gram (see color management – Chapter Four). In particular, the RGB color you edit
within Photoshop can be in one of a number of spaces. So long as an ICC profile
remains attached to the file, the colors you see in Photoshop can be interpreted correctly
by other ICC savvy programs. Under the View menu, choose Preview > Photoshop
Figure A4 An example of the Flaming Text action.
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