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Photoshop CS5 and Lightroom 3
A Photographer’s Handbook
Stephen Laskevitch

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Acknowledgements

The folks at Rocky Nook have been so supportive and have made this project
as pleasant as it could possibly be. Thanks for being the most gracious pub-
lishers and for having such sharp eyes. Jimi DeRouen, you’re a great human
to work with!
Hearty thanks go to my students. There have been many of you who’ve
shaped not only my teaching, but my humanity as well. You make it obvious
that I found the right career. I wrote this book to be a complement to the
time you spend in my classroom. I hope you and the educators who use this
book find it a means to great creative ends.
Many thanks as well to the supportive folks at Adobe, like Marc Madenwald
and Deborah Prewitt, who really look out for their training partners.
Craig Swanson, the welcome prod I need so often, your energy is terrify-
ing like a good carnival ride. Thanks for the many opportunities and the
reminders that they’re there.
To my fellow teachers, Jennifer, Navin, David, David, and David! (That
would be Mr. Johnson, Mr. Julian, and Mr. Moise.) You have each done
much to nourish, inspire, and encourage me.
Of course I must thank the other great teachers in my life, and of life.
Colin Fleming, not a day goes by that I don’t smile with a thought of you.
That’s a great gift: especially on those hard days.
To Anne and Don Fraga, for use of the “writing room”, and the rest of the
house, for a few months. Although I have to say your daughter is the greatest
gift of all!
And that leads to my wife, Carla Fraga. Since you’re the best and greater part
of all we do together, gratitude is not enough. At least many of your lovely
images grace these pages, fortunately for us all. Thank you and happy tenth
anniversary, just a little early.

Thanks to you, too, reader, for choosing this book.

Steve Laskevitch
Spring 2010
www.luminousworks.com
Table of Contents
Introduction 1
About the Photographer’s Handbook 2
Who Should Use This Book 2
Steps for Using This Book 2
Conventions 3
Photoshop Versions 3
Mac vs. Microsoft Windows Operating Systems 3

The Setup
1 Terms & Concepts 9
Some Background 10
What is a Digital Image? 10
Pixels 10
Dots & Sensors 10
Image Size 11
Resolution 11
Resampling/Interpolation 12
Native Resolution 13
Color and Tone 13
Bits and Bytes 13
Bit Depth 14
Channels/Color Models 15
Color Management 17
File Formats for Digital Imaging 22
DNG & RAW Files 22
Photoshop (*.PSD) 23
TIFF (*.TIFF, *.TIF) 23
JPEG (*.JPG, *.JPEG) 24
PDF Files 24
The Lightroom Catalog 24

2 System Configuration 27
Computer Requirements 28
Work Environment 28
Light 28
Colors 29
Application Preferences 29
Color Settings 34
viii Table of Contents

3 The Interface: A Tour 43

Finding Your Way in Photoshop 44
Panels & Workspaces 44
The Tools 48
Keyboard Shortcuts and Modifiers 49
Menu Customization 49
Vital Features 52
Finding Your Way in Bridge 60
What is Bridge? 60
Exploring Bridge—A Guided Tour 61
Metadata 62
Searches & Collections 63
Integration with Other Applications 63
Finding Your Way in Adobe Camera Raw 64
Tools 64
Image Adjustment Tabs 64
Finding Your Way In Lightroom 66
Panels & Modules 67
Grid vs. Loupe vs. Compare 68
Vital Keyboard Shortcuts 68

The Workflow
A Brief Overview 72
Capture & Image Import 72
Organize & Archive 73
Global Adjustments 73
Local Adjustments 74
Cleanup and Retouching 74
Creative Edits and Alternates 74
Output—Print, Web, and Presentation 74

4 Capture & Import 77

Capture 78
Shoot RAW 78
Lens Profile Creator 78
Standard Practices 79
For Panoramas 80
For High Dynamic Range Images 80
Passerby Removal 80
Import 81
Digital Negative 81
Table of Contents ix

Deferred Import 81
Configure Bridge 82
Adobe Photo Downloader 82
Automatic Import 84

5 Organizing and
Archiving Images 87
Rating Systems & Methods 88
Keywords and Metadata 91
Keywords 91
Copyright and Contact Data: Bridge Metadata Templates 92
Keywords in Bridge 92
Copyright and Contact Data: Lightroom Metadata Presets 93
Keywords in Lightroom 93
Labels: Workflow Landmarks 95
File Management 97
Folders vs. Collections 97
Metadata Challenges 98
Moving & Archiving Files 99
Multi-Computer Image Management: Two Examples 101

6 Global Adjustments 103

General Approach 104
Nondestructive Editing 104
Cropping and Straightening 105
Adjusting Color & Tone—Things to Know 107
White Balance 107
Histograms 108
Tone Curves 109
Hue, Saturation, and Luminance 110
Split Toning 110
Applying Adjustments to Color & Tone 111
Basic Adjustments 111
HSL & Grayscale 125
Split Toning 133
More Photoshop Adjustments: Simple and Complex 136
Photo Filters 136
Shadows/Highlights Adjustment 136
HDR Toning 138
Per Channel Contrast Adjustment 138
Controlling Photoshop’s Auto Color 140
x Table of Contents

Reference Color 141

Color Correction by the Numbers 142
Noise Reduction and Sharpening 145
Noise Reduction 145
Sharpening 146
Lens Corrections 149
Barrel and Pincushion Distortions 149
Convergence 149
Vignetting 149
Chromatic Aberration 149
Lens Correction Tools 150
Lens Correction Filter 151
Saving and Using Develop Settings 152
Presets 152
Copying Color Corrections 155

7 Local Adjustments 157

Graduated Filters 158
A Graduated Adjustment 160
Graduated Photoshop Filters 162
Painting Adjustments 164
Understanding Photoshop’s Painting Tools 166
Painting Adjustments Example: Dodging & Burning 169
Precise Area Adjustments: Photoshop Only 172
A To-Do List 173
Selection Tools & Methods 174
Choose Your Adjustment 186
Refining the Mask 186
Reducing Local Color Casts (e.g., Teeth Whitening) 188

8 Cleanup and Retouching 191

Removing Dust & Blemishes 192
Cloning 192
Healing 192
Filling 192
Spot Removal Tool 193
Clone Stamp Tool 197
Healing Brush 199
Spot Healing Brush 200
Save the Clean Image 200
Table of Contents xi

Very Large Defects 201

Patch Tool 201
Content-Aware Fill 203
Transformations 204
Free Transform 204
Liquify Filter 205
Content Aware Scaling (Seam Carving) 206

9 Creative Edits & Alternates 209

Combining Images 210
Compositing Two or More Images 210
Blending 216
Opacity 216
Blending Modes 219
Merging Images 221
HDR: High Dynamic Range Images 221
Panoramic Images 224
Depth of Field Merge 226
Passerby (and Noise) Removal 227
Smoothing Motion 228
Photographic Effects 229
Lens Blur 229
Film Grain 231
Virtual Copies 233

10 Output—Print, Web,
and Presentation 235
Print Output 236
Components of a Good Print 236
The Final Print 239
Test Prints 246
1 Collect Your Images 249
2 Choose a Template 249
3 Layout Settings 250
4 Print Job Panel 253
5 Printer Driver Settings 254
6 Print 254
Web 255
A Note on Web Images 255
A Fully Manual Approach 255
Save for Web & Devices 257
xii Table of Contents

1 Collect the Images 259

2 Choose a Template and/or Engine 259
3 Fine-Tune Layout and Output Settings 259
4 Configure Upload Settings 261
5 Preview in Browser 261
6 Upload or Export 261
Slideshows 262
Overview 262
Create a Collection 262
Slide Layout 263
Playback 263
Exporting Slideshows 263
Impromptu Slideshow 264
Slideshow with Options 264
Have Fun! 264

Index 267
Introduction
In some ways, digital technology has fundamentally changed
photography and printing. Photographers have almost
unlimited options to achieve the precise image that they
intend. Printing has become infinitely more flexible and
pushed closer to the control of the image creator—you. The
level of control at our disposal now exceeds even some of the
most powerful darkroom techniques used in the past. This
power and flexibility is dazzling, even confusing, to many.
The Adobe Photoshop products are some of the most
complex programs many of us will ever use. There is a reason
“Photoshop” has become a verb! Despite that, my goal is
to present them in a reasonably accessible way. Although
we are provided with thousands of complex techniques for
editing images, most users (and most images) don’t need
all of that complexity. In fact, only a few steps are needed
to get the vast majority of images to shine. In this book, I’ll
introduce you to the processes that I and my students have
found most valuable: from organizing a large image library,
through editing density, contrast, and color, to more detailed
processing like converting images from color to black & white
and the sharpening of images, and basic retouching. The
workflow discussed is complete, but I will not discuss the more
bizarre techniques common to the Photoshop marketplace.
In this book’s two sections, you’ll find both the
foundational concepts and vocabulary you’ll need to
use the software discussed, and the pieces you’ll need
to build your full photographic workflow from capture
through print or online output. Let’s get working!

Abbaye de Saint Maurice, Brittany, France

© Carla Fraga, used with permission
2 Introduction

About the Photographer’s Handbook

Who Should Use This Book

This book is for those who want to learn the basic tools and image edit-
ing steps within Photoshop and Lightroom to create professional looking
images. This, of course, includes photographers and graphics designers, but
also a wide range of technicians and office workers who simply want to do
more effective image editing. This book provides insight into the creation of
good images, but doesn’t showcase wow-factor Photoshop techniques. I also
don’t pull any punches. I include all the key techniques necessary for good
image editing: using layers and layer blending, color correction, printer pro-
files, and more.
Most readers should have a good grasp of working with computers so
they will have no problem navigating the computer menus, dialog boxes,
or dragging a mouse. I do not demand that the reader have any experience
with Photoshop, although many readers with a good, basic understanding
by having played with Photoshop will find that this book deepens their
understanding.

Steps for Using This Book

This book has two key sections. The first includes three chapters: Terms &
Concepts, System Configuration, and The Interface: A Tour. The first chap-
ter familiarizes the reader with the key concepts behind color and digital
images, as well as some thoughts on how cameras convert light to data. The
brief second chapter will help you decide how to configure your hardware
and software settings, including certain application preference settings
you’ll want to configure correctly early in your use of them for the kinds of
images you work with. The third chapter, the most likely to earn dog ears
on its pages, covers the layout and general use of the software applications
we’ll be using.
The second section focuses on the key steps in a complete photo-
graphic workflow. Each chapter highlights those steps: Capture & Import;
Organizing and Archiving Images; Global Adjustments; Local Adjustments;
Cleanup and Retouching; Creative Edits & Alternates; and Output—Print,
Web, and Presentation.
This book is of greatest benefit when read cover to cover. However, those
looking for a reference on Photoshop can flip through the pages to find the
specific tasks of interest.
About the Photographer’s Handbook 3

Conventions Look for text and icons like these:

Some helpful conventions are used throughout the book. Important terms Photoshop
are in bold type, making it easier to skim through for specific information.
Conventional notation for choosing items from a menu is used through- For processes that involve Photoshop
out: e.g., File>Browse to select the Browse command from the File menu. or Photoshop Extended.

The icons and vocabulary used in the application are used in this book
Adobe Camera Raw
for identifying different types of information. Application logos (including
one invented for Adobe Camera Raw) will appear on pages which feature For “developing” images in
discussion of that software. Processes that are specific to Bridge, Camera Adobe Camera Raw.
Raw, Photoshop, or Lightroom will begin with headers colored like that
application’s logo. Bridge
Note: The red “Note” text identifies text in a chapter that summarizes or For information regarding organizing
emphasizes a key point. images in Adobe Bridge

Lightroom
Photoshop Versions
For Lightroom’s methods of achieving
At the heart of modern photographic workflows are the Adobe® Photoshop® the processes discussed.
family of products. From the online and very simple Photoshop Express,
to the capable but still entry-level Photoshop Elements, to the fully capable
Photoshop and Photoshop Extended, which includes tools for scientific
analysis, 3-D, and video. There is also the photography workflow tool,
Adobe Photoshop Lightroom. In this book, I’ll outline my workflow steps
in Photoshop CS5 Extended (released April 30, 2010) and its companions
Bridge and Adobe Camera Raw 6, as well as Lightroom 3 so you can decide
which is most appropriate to the work you do.
For the most part, the workflows and techniques described in this book
still work well with the previous versions of these products.

Mac vs. Microsoft Windows Operating Systems

Although most of the screen shots in the book are taken from a computer
running Mac OS 10.6.2, Photoshop is completely platform indifferent. The
interface is almost identical on both Windows and Mac. In fact, Photoshop
happens to be one of the best cross-platform programs ever developed. With
very few exceptions, every step on the Mac is identical to the same com-
mand on Windows. The differences that exist are identified in the text.
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