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Photoshop CS4 A–Z
Before
After
Vivid Light blending
mode
Menu: –
Shortcut: – See also: Blend modes
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Vivid Light blending mode is one of
the group of Overlay modes that base their
effects on the differences between the two
pictures.
This option combines the effects of both
Color Burn and Color Dodge modes in
the one feature. The effect is created by
increasing or decreasing the contrast
depending on the brightness of the top
layer. If the tones are lighter than 50% then
the picture is lightened by decreasing the
contrast. If the top layer tones are darker
than 50% then the picture is darkened by
increasing the contrast.
The overall result is more contrasty and
there is no effect if the top layer is 50%
gray.
VIEW – SHOW THUMBNAILS ONLY
View – Show
Thumbnails Only
Menu: Bridge: View > Show Thumbnails Only
Shortcut: Ctrl/ Cmd T See also: View As Details
Version: CS3, CS4
The View > Show Thumbnails Only option
in Bridge displays image thumbnails in
the Content panel without any fi le names,
ratings, labels or other fi le information
(1).
Show Thumbnails Only is one of several
view options for the panel. Selecting View
> As Details displays the thumbnails plus
rating, label, metadata information and
fi le or folder names and choosing the
View > As Thumbnails option displays the
thumbnails plus fi le or folder name.
1
Vignette Removal
Menu:
File > Automate > Photomerge
Bridge: Tools > Photoshop > Photomerge
Shortcut: – See also:
Photomerge, Fisheye
lenses, Geometric
Distortion Correction
Version:
CS4
The Vignette Removal option (1) is one
of the new features in the upgrade to the
version of Photomerge that ships with
CS4. Designed to remove any darkening
or lightening of the edges of source photos
when stitching, the feature provides a
smoother result across the fi nal panorama
(2).
You can select the Vignette Removal option
at the bottom of the Photomerge dialog.
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After
Before
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Warp
Menu: Edit > Transform > Warp
Shortcut: – See also: Transform again
Version: CS2, CS3, CS4
The Warp feature is an image
transformation option that was fi rst
introduced in CS2. Using this feature it is
possible to distort an image layer in ways
similar to how the Warp Text option
manipulates text layers.
Select the layer to warp and then choose
the Warp type from the preset entries in
the drop-down menu in the tool’s options
bar (1). Alternatively you can select the
Custom option and then interactively push
and pull the warp grid (2) to manipulate
the picture yourself.
Warp Text command
Menu: –
Shortcut: T See also: Type, Unwarp type
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
One of the special features of the Photoshop
type system is the ‘Warping’ option.
This tool forces text to distort to one of a
range of shapes. An individual word, or
even whole sentences, can be made to
curve, bulge or even simulate the effect of
a fi sh-eye lens.
The button (1) for the option is found on the
options bar of the Type tool. The feature’s
dialog contains a drop-down menu list of
styles (2) and a choice between vertical
and horizontal warping (3). The strength
and style of the effect can be controlled by
manipulating the bend, horizontal and
vertical distortion sliders (4).
This feature is particularly useful when
creating graphic headings for posters or
web pages.
WARP
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After
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Warp tool, Liquify fi lter
Menu: Filter > Distort > Liquify
Shortcut: W (in Liquify) See also: Liquify fi lter
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Warp tool is one of the specialized tools
in the Liquify fi lter. The Warp tool is used to
push pixels as you move the cursor.
After selecting the tool from the top left of
the dialog carefully drag the cursor over
the canvas surface. Use the Reconstruct
tool to repair areas where the warping
effect is too great.
The example shows how easily an existing
photo can be drastically changed by
warping specifi c picture parts.
The area that is pushed is determined by
the brush size on the right of the dialog. To
make gradual rather than abrupt changes
use a lower brush pressure. To warp along
a straight edge click to start the line and
then Shift-click to mark the end.
Watercolor fi lter
Menu: Filter > Artistic > Watercolor
Shortcut: – See also: Filters
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Watercolor fi lter, as one of the group
of Artistic fi lters, adds both texture and
brush stroke effects to the photo.
The dialog contains three controls that
adjust the painting and texture effects. The
top slider, Brush Detail (1), alters the look
of the painted areas. The Shadow Intensity
slider (2) controls how much of the picture
is converted to darker tones. High values
mean more of the picture is shadowed.
The fi nal setting, the Texture slider (3),
determines how detailed the painted areas
of the picture will be.
Water Paper fi lter
Menu: Filter > Sketch > Water Paper
Shortcut: – See also: Filters
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Water Paper fi lter, as one of the group
of Sketch fi lters, simulates the look of the
photo being painted on a very wet textured
watercolor paper. The edges of the picture
are very soft and with some details lost
altogether. The colors and shapes blend
into each other and, in contrast to these
parts, occasionally the sharp texture of
the paper shows through.
The dialog contains three controls that
adjust the tone and texture effects. The
top slider, Fiber Length (1), alters the
sharpness and clarity of the painted image.
Low values create a sharper picture with
more of the original details preserved. The
Brightness slider (2) works like a standard
brightness control. High values produce a
brighter picture, low values a darker one.
The fi nal setting, the Contrast slider (3),
determines the overall contrast of the fi nal
result.
WARP TOOL, LIQUIFY FILTER
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Watermarks
Menu: Filter > Digimarc > Read Watermark
Shortcut: – See also: –
Version: 6.0, 7.0, CS, CS2, CS3, CS4
Digital watermarks are slight, almost
imperceptible, changes that are made to
pictures to store copyright and author’s
details within the image.
Photoshop has the ability to embed
(very basic versions), detect and read the
digimarc.com style of watermarks. These
are created and added to images either by
the stand-alone software provided by the
company or via fi lter plug-ins in programs
like Photoshop or Photoshop Elements.
To check to see if a picture you are editing
is watermarked, select Filter > Digimarc >
Read Watermark (1). Marked pictures will
then display a pop-up dialog with author’s
details and a linked website where further
details of use can be obtained (2).
To embed a simple watermark select Filter
> Digimarc > Embed Watermark and then
select the options to include (3).
Note: The example pop-up dialog shown
here is in Demo mode. Registered users
of the Digimarc system can mark their
pictures with more extensive information
including name, address, e-mail and URL
personal details.
Wave fi lter
Menu: Filter > Distort > Wave
Shortcut: – See also: Filters
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Wave fi lter, as one of the group of
Distort fi lters, breaks up the picture by
pushing and pulling the pixels in the form
of a series of vertical and horizontal waves.
The end results can be subtle or extreme
depending on the settings used.
The dialog contains several controls that
are used to adjust the wave-like pattern
created on the picture surface. These
include wavelength, amplitude, scale and
number of wave generators (1). The effects
of different settings for these controls
can be previewed in the accompanying
thumbnail (2).
Web Photo Gallery
Menu: File > Automate > Web Photo Gallery
Bridge: Tools > Photoshop > Web Photo Gallery
Shortcut: – See also: Automate
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Web Photo Gallery Wizard is an
automated feature that takes a group of
pictures that have been multi-selected in
Bridge and transforms them into a fully
functioning website in a matter of a few
minutes.
Folders of pictures or images currently
open in the Photoshop workspace are used
as the source photos when the feature is
selected from within Photoshop.
Photoshop ships with a variety of gallery
templates which can be selected and
previewed from inside the dialog.
The text included in the gallery, along
with picture size and quality, and site
colors and security options are set via the
controls included in the tabbed section of
the dialog.
Most templates produce a gallery site that
includes thumbnail and feature-sized
photos. Many contain a main or index
page, a series of thumbnails (1) and a page
for each image containing a larger gallery
or feature picture (2).
WATERMARKS
2
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Web Safe Colors
Menu: Window > Color Swatches
Shortcut: – See also: GIF format
Version: 6.0, 7.0, CS, CS2, CS3, CS4
The Web Safe set of colors is a group of 216
colors that can be accurately displayed by
both Macintosh and Windows systems.
Constructing your image of, or converting
existing hues to, these colors will guarantee
that they display predictably as part of a
website on any computer system.
The Swatches palette (1) will display all
the Web Safe Colors when the option is
selected from the pop-up menu that is
displayed when the side-arrow button (2)
is pressed.
When choosing colors with the Color
Picker a Small Cube icon indicates the
selected hue is not a web safe color. Click
the cube to get Photoshop to fi nd a web safe
color that is nearest your choice (3).
When converting photos to the GIF format
using the Save for Web & Devices feature
you can elect to use the Web Safe palette
(Restrictive option) for the conversion
(4).
Welcome Screen
Menu: Help > Welcome Screen
Shortcut: – See also: –
Version: 6.0, 7.0, CS, CS2
When Photoshop is fi rst opened, the
user is presented with a Welcome Screen
containing several options.
The selections are broken into two different
sections – one detailing what is new in this
version of the program and the second
listing available tutorials.
To stop the screen displaying each time the
program is opened deselect the Show this
dialog at startup setting in the bottom left
of the screen. The feature can be displayed
at any time by selecting Help > Welcome
Screen.
Below is a list of the Welcome Screen
options for version CS2 of the program:
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Wet edges
Menu: Window > Brushes
Shortcut: – See also: Brushes palette
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
Wet Edges is one of the brush characteristics
that can be customized in Photoshop. The
effect simulates the look of accumulated
paint (and therefore density of color and
tone) that builds up at the edges of a wet
pool of water color paint (4).
The dominance of the effect is determined
by the hardness setting of the current
brush tip. Low hardness settings such
as 30% (1) produce a more pronounced
result than those brush tips that are 100%
hard (2).
The effect is activated by selecting the Wet
Edges option in the Brushes palette (3).
WEB SAFE COLORS
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Photoshop CS4 A–Z
Fluorescent
Tungsten
Daylight
Custom
Cloudy
Auto
As Shot
1
WIA support
Menu: –
Shortcut: – See also: Import command
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The process of downloading pictures
from your digital camera to the computer
requires the installation of camera drivers
before the transfer can begin.
Installing the software that came bundled
with your camera usually also takes care
of installing the drivers. Many cameras
use a WIA (Windows Image Acquisition)
driver to connect to software that resides
on the computer.
Both Photoshop and Windows XP make
use of WIA drivers to communicate with
a range of installed devices.
This feature has largely replaced the older
TWAIN import option found in earlier
versions of Photoshop.
White Balance, Raw
Menu: –
Shortcut: – See also: Camera Raw 4.0
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
One of the real advantages of recording
your photos in the Raw format is the ability
to edit the white balance settings used for
the pictures later on at the desktop. Though
the setting used to capture the image
is recorded as part of the EXIF data you
can elect to fi ne-tune this setting or even
disregard it altogether selecting a different
setting to associate with the picture.
The White Balance option in the Camera
Raw dialog (1) provides a series of preset
options designed to match specifi c light
sources. As well as these set options the
Temperature and Tint sliders allow users
to customize their white balance settings
for a given image.
Controlling the white balance setting is
one way to remove color casts in your
photographs. Alternatively, intentionally
choosing the wrong setting can be used
to create dramatically different versions
of your pictures as well.
WHITE BALANCE, RAW
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Wind fi lter
Menu: Filter > Stylize > Wind
Shortcut: – See also: Filters
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
The Wind fi lter, as one of the group of Stylize
fi lters, simulates the look of wind blasting
across the canvas surface by adding
trailing lines from the edge details.
The dialog contains two controls, Method
of type of wind (1) and Direction (2). A
preview window is also supplied to help
you judge the correct combination of
settings for your photo.
Window – Options
Menu: Window > Options
Shortcut: – See also: View
Version: CS3, CS4
Photoshop CS3/CS4 include an Options
entry in the Window menu.
Selecting or deselecting this option will
either display or hide the options bar which
sites just below the menu bar at the top of
the Photoshop workspace.
Window – Tools
Menu: Window > Tools
Shortcut: – See also: View
Version: CS3, CS4
The Tools entry in the Window menu was
fi rst introduced in Photoshop CS3.
Selecting this option will display the
toolbox (this is default setting of the entry).
Unchecking the Tools entry will hide the
toolbox.
WIND FILTER
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Workgroup
Menu: –
Shortcut: – See also: Version Cue
Version: CS, CS2, CS3, CS4
As part of the process of creating a new
project in Version Cue you have the option
of allowing the project, and its associated
media assets, to be shared with others
in your network (1). Typically the group
of users who collaboratively work on a
common project is called a Workgroup.
Determining who has access and at what
level this access is granted is managed via
the Version Cue administration utility.
Here the administrator of the project
can add new users and alter their access
settings (2).
Version Cue is only available to
Creative Suite users.
Working spaces, ICC
profi le
Menu: –
Shortcut: – See also: Color Settings
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
Unlike print, monitor, camera or scanner
profi les, a working profi le or space is
not linked to specifi c input or output
characteristics. Instead a working space
acts as an intermediate profi le that provides
a base for editing and enhancing picture
colors and tones and also establishes a
known reference point for these tones and
colors when converting to other output
specifi c spaces.
The ICC profi le that you choose to use
as your working space should refl ect
the requirements of the area that you
work in the most. For instance, many
photographers whose work is destined
for the printed page choose to use the
AdobeRGB profi le as their working space
feeling that this space best suits their work
environment. In contrast web designers
often prefer to use sRGB as their working
space as it refl ects the characteristics of
screen-based display more easily than
other choices.
The options in the Edit > Color Settings
dialog allows you to set the working spaces
that will be used in Photoshop for RGB,
CMYK, Gray and Spot (color) pictures.
Also in this dialog are controls (Color
Management Policies) that govern how
Photoshop handles opening pictures that
are not tagged or tagged with a profi le that
is different to the one nominated for the
working space.
Work Paths, converting
selections to
Menu: –
Shortcut: – See also: Paths, Selections
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
Many imaging workers steer away from
creating paths because they feel that the
tools needed to create and edit them (Pen
and Direct Selection tools) are diffi cult and
confusing to use. These same workers on
the other hand often have no problem with
using the various selection tools to create
very sophisticated selections.
If you fall into this category and need
to create a path quickly and easily then
the best approach is to start by making
a selection (1) . Next, display the Paths
palette and then click on the Make Work
Path from Selection button (3) at the
bottom of the palette.
This automatically converts the selection
to a path and places a thumbnail version
of the path in the palette (2).
WORK PATHS, CONVERTING SELECTIONS TO
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NEW for CS2
File Navigator workspace
Lightbox workspace
Filmstrip Focus workspace
NEW for CS2
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Metadata Focus workspace
2
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Workspace, Photoshop
Menu: Window > Workspace
Shortcut: – See also: Workspace customize,
Workspace Bridge
Version: CS2, CS3,
CS4
Photoshop ships with a range of preinstalled
workspaces (1) which can be located
listed under the Window > Workspace
menu. Each of these settings controls the
appearance and position of palettes, the
allocation of keyboard shortcuts as well
as the appearance of menu items.
Also listed in this menu are entries for
resetting the workspace and saving
customized workspace settings that suit
your individual way of working.
Customized spaces are created by adjusting
the settings in the Keyboard Shortcuts &
Menus dialog (2) and arranging palettes
before saving the setup via the Window >
Workspace > Save Workspace option.
The newly created workspace then
becomes a separated entry at the bottom
of the Workspace menu.
Workspace, Bridge
Menu: Bridge: Window > Workspace
Shortcut: Ctrl/Cmd F1 – F6 See also: Workspace customize,
Workspace Photoshop
Version: CS2, CS3, CS4
The way that your photos are displayed
in Bridge can be altered via the options
listed under the Window > Workspace
menu (1). Here you can choose from fi ve
set workspace settings plus a reset setting
or choose to save the current workspace
as a custom setting.
Workspace, customize
Menu: Window > Workspace > Save Workspace
Bridge: Window > Workspace > Save Workspace
Shortcut: – See also: Workspace Bridge, Workspace
Photoshop
Version: CS2, CS3,
CS4
Both Photoshop and Bridge contain
options to customize and save specifi c
workspace setups. When a workspace is
saved the custom setting is added to the list
of available workspaces that is displayed in
the Window> Workspace menu (1).
To create your own custom space in
Photoshop or Bridge start by adjusting the
size and position of interface components
such as palettes and panels. Next, select the
Save Workspace option from the Window
> Workspace menu and then enter the
name and select the options to save in the
Save Workspace dialog (2).
Photoshop CS2, CS3 and CS4 have the
additional benefi t of being able to customize
the keyboard shortcuts associated with the
space and the appearance and contents
of menus as well. This is achieved via the
Keyboard Shortcuts & Menus dialog.
WORKSPACE, BRIDGE
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XMP
Menu: –
Shortcut: – See also: XMP sidecar fi les
Version: 6.0, 7.0, CS, CS2,
CS3, CS4
XMP is short for Extensible Metadata
Platform which is a metadata standard
that Adobe built to house the information
that relates to your picture fi les.
Information such as author, camera,
resolution, color space and keywords are all
stored in this format and for the most part
the details are saved within the picture fi le
itself, but when this is not possible the data
is included in a separated sidecar fi le.
The presence of this information makes
searching, sorting and managing of
your pictures much easier as XMP is a
key technology used in many features in
Bridge and other applications in Adobe’s
Creative Suites.
The XMP detail that is linked to your
fi les can be viewed in Photoshop via the
File > File Info dialog (1) or by displaying
the Metadata panel (2) in Bridge (View >
Metadata Panel).
XMP is not the only metadata that can be
stored with your fi les. Details may also be
attached in EXIF, GPS and IPTC formats.
When this occurs Adobe applications such
as Photoshop and Bridge synchronize and
describe this metadata in XMP in order to
ensure better integration with applications
features.
XMP
XMP sidecar fi les
Menu: –
Shortcut: – See also: XMP
Version: 6.0, 7.0, CS, CS2, CS3, CS4
In some situations a portion of the XMP-
based metadata that is stored with a
picture is not saved in the fi le itself. Instead
the information is stored in an XMP fi le
that is saved with the original photograph
(1). This extra fi le is called an XMP sidecar
fi l e ( 2 ) .
One example of the use of sidecar fi les is the
settings changes made when processing a
fi le in the Camera Raw feature. The user
can elect to save these changes settings in
the original fi le or with the fi le in a sidecar
format.
Where the detail is stored can be set in the
preferences for the feature, which can be
selected via the Preferences entry in the
pop-up menu displayed by pressing the
side-arrow next to the Settings menu in
the Camera Raw dialog.
The Edit > Camera Raw Preferences dialog
in Bridge 2.0 provides a clearer choice for
setting up sidecar fi les. The ‘Save image
settings in’ menu provides the options of
using the Camera Raw database or Sidecar
fi les for storing the development settings
(3).
3
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