Mastering
Photoshop
®
CS3
for Print Design and Production
Ted LoCascio
Wiley Publishing, Inc.
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Mastering
Photoshop
®
CS3
for Print Design and Production
Ted LoCascio
Wiley Publishing, Inc.
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Acquisitions Editor: Pete Gaughan
Development Editor: Doug Nelson
Technical Editor: Walt Dietrich
Production Editor: Sarah Groff-Palermo
Copy Editor: Sharon Wilkey
Production Manager: Tim Tate
Vice President and Executive Group Publisher: Richard Swadley
Vice President and Executive Publisher: Joseph B. Wikert
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Media Quality Assurance: Kit Malone
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TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc.
and/or its affiliates, in the United States and other countries, and may not be used without written permission. Photoshop is a regis-
tered trademark of Adobe Systems Incorporated. All other trademarks are the property of their respective owners. Wiley Publishing,
Inc., is not associated with any product or vendor mentioned in this book.
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Dear Reader
Thank you for choosing Mastering Photoshop CS3 for Print Design and Production. This book is part
of a family of premium quality Sybex graphics books, all written by outstanding authors who
combine practical experience with a gift for teaching.
Sybex was founded in 1976. More than thirty years later, we’re still committed to producing
consistently exceptional books. With each of our graphics titles we’re working hard to set a new
standard for the industry. From the paper we print on, to the writers and artists we work with, our
goal is to bring you the best graphics books available.
I hope you see all that reflected in these pages. I’d be very interested to hear your comments
and get your feedback on how we’re doing. Feel free to let me know what you think about this or
any other Sybex book by sending me an e-mail at

, or if you think you’ve found an
error in this book, please visit

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Best regards,
Neil Edde
Vice President and Publisher
Sybex, an Imprint of Wiley
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For my son, Enzo, whom I can never take enough

outs and designs for many successful software training books, videos, and magazines.
Ted is the author of InDesign CS2 at Your Fingertips, The InDesign Effects Book, and Combining
Images with Photoshop Elements. He has contributed articles to Photoshop User magazine, InDesign
Magazine, and Creativepro.com, and has taught at Photoshop World. Ted is also the video author
of InDesign CS2 Essential Training, Font Management, Illustrator CS2 Creative Techniques, Creative
Suite 2 Integration: Print Project Workflow, Getting Started with Quark Interactive Designer, and Bridge
and Version Cue CS3 Essential Training—all available at Lynda.com. And he teaches a digital graph-
ics course at St. Petersburg College in Seminole, Florida.
A graphic designer for more than 10 years, Ted’s designs and illustrations have been featured
in several national newsstand and trade magazines, such as Photoshop User, Mac Design Magazine,
Nikon’s Capture User, Great Output, AAA Going Places, and Florida Trend. As a professional
designer, he has used Adobe software to create layouts for magazines, books, and various adver-
tising and marketing materials, including brochures, product packaging, posters and signs, and
interactive PDFs.
A Chicago native (born a hopeless Cubs fan) and Columbia College alumnus, Ted relocated to
the Tampa Bay area in 1994. He currently resides in Tarpon Springs, Florida, with his wife, Jill, and
their son, Enzo.
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Contents at a Glance
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv
Chapter 1 • Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Chapter 2 • Making Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Chapter 3 • Working with Brushes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Chapter 4 • Working with Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
Chapter 5 • Tonal and Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Chapter 6 • Enhancing and Retouching for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Chapter 7 • Combining Image Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Chapter 8 • Layer Styles and Filter Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .299
Chapter 9 • Reducing Noise and Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .335
Chapter 10 • Editing in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381

Saving a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Using Screen Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Customizing Menus and Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Editing Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Editing Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Color Management: What Color Settings Should I Use? . . . . . . . . . . . . . . . . . . . . . . . . . . .31
What’s an ICC Color Profile? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Monitor Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Synchronized Color Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Understanding Resolution for Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Pixel Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
What’s My Resolution? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
The Bottom Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Chapter 2 • Making Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
Defining Good Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
The Selection Border . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
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