Part 1Learning the Ropes . . . . . . . . . . . . . . . . . . . . . . . . . .Pg. 2

Part 2Getting It All Together . . . . . . . . . . . . . . . . . . . . . . .Pg. 20

Part 3Basic Photo Fixing . . . . . . . . . . . . . . . . . . . . . . . . . .Pg. 44

Part 4Adding Titles and Text . . . . . . . . . . . . . . . . . . . . . . .Pg. 68

Part 5Creating Snazzy Effects . . . . . . . . . . . . . . . . . . . . . .Pg. 90

Part 6Painting and Drawing . . . . . . . . . . . . . . . . . . . . . .Pg. 110

Part 7Flattering Your Subjects . . . . . . . . . . . . . . . . . . . . .Pg. 122

Part 8Building Albums and Presentations . . . . . . . . . . . . .Pg. 138

Part 9Using Layers to Combine Photos and Artwork . . . . . .Pg. 152

Part 10Preparing to Publish . . . . . . . . . . . . . . . . . . . . . . .Pg. 164

Part 11Choosing Output File Types . . . . . . . . . . . . . . . . . .Pg. 180

Part 12Just for Fun . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pg. 190

Photoshop

ElementsGerald Everett Jones

Adobe

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ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . .xi

1 Learning the Ropes . . . . . . . . . . . . . . . .2Starting Photoshop Elements and Opening a Picture . . . . . .4

Viewing and Adjusting the Active Image Area . . . . . . . . . .5

Using the Shortcuts Bar and Browsing for a File . . . . . . . . .6

Selecting Tools from the Toolbox . . . . . . . . . . . . . . . . . . .8

Controlling How Tools Behave with the Options Bar . . . . .10

Using Palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Arranging and Controlling Palettes . . . . . . . . . . . . . . . .14

Using the Search Box and Following a Recipe . . . . . . . . .16

Taking a Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Setting Your Own Preferences . . . . . . . . . . . . . . . . . . . .18

Saving Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

2 Getting It All Together . . . . . . . . . . . . .20Getting Photos into Your Computer . . . . . . . . . . . . . . . . .22

Scanning Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Grabbing a Video Frame . . . . . . . . . . . . . . . . . . . . . .26

Capturing a Frame from a Video File . . . . . . . . . . . . . . .28

Taking an Image from the Clipboard . . . . . . . . . . . . . . .30

Copying a Picture from a Web Page . . . . . . . . . . . . . . .31

Scanning a Slide . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Making a Positive from a Negative . . . . . . . . . . . . . . . .35

Importing an Acrobat Image . . . . . . . . . . . . . . . . . . . . .36

Resizing and Printing an Image . . . . . . . . . . . . . . . . . . .37

Printing Contact Sheets . . . . . . . . . . . . . . . . . . . . . . . . .38

Changing Paper (Canvas) Size . . . . . . . . . . . . . . . . . . .40

Printing a Picture Package . . . . . . . . . . . . . . . . . . . . . .41

Saving Your Picture Archive on CD . . . . . . . . . . . . . . . .42

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3 Basic Photo Fixing . . . . . . . . . . . . . . .44Making a Quick Fix . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Making a Quick Fix with a Slider Adjustment . . . . . . . . .47

Undoing Your Mistakes . . . . . . . . . . . . . . . . . . . . . . . . .48

Cropping a Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Straightening a Crooked Picture . . . . . . . . . . . . . . . . . .50

Rotating an Image on Opening . . . . . . . . . . . . . . . . . . .51

Rotating an Image for Artistic Effect . . . . . . . . . . . . . . . .52

Resizing and Resampling an Image . . . . . . . . . . . . . . . .53

Transforming Image Perspective . . . . . . . . . . . . . . . . . . .54

Adding a White Border to Your Prints . . . . . . . . . . . . . . .56

Removing “Red Eye” in Flash Photos . . . . . . . . . . . . . . .58

Correcting a Color Cast . . . . . . . . . . . . . . . . . . . . . . . .59

Selecting Color Variations . . . . . . . . . . . . . . . . . . . . . . .60

Replacing a Specific Color . . . . . . . . . . . . . . . . . . . . . .61

Adjusting Brightness and Contrast . . . . . . . . . . . . . . . . .62

Changing a Color Photo to Black and White . . . . . . . . . .63

Sharpening Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Making Edges Softer . . . . . . . . . . . . . . . . . . . . . . . . . .65

Selecting and Coloring Shapes in the Shot . . . . . . . . . . .66

4 Adding Titles and Text . . . . . . . . . . . .68Adding and Printing Photo Captions . . . . . . . . . . . . . . .70

Adding Text to Prints in a Picture Package . . . . . . . . . . . .72

Overlaying Text on an Image . . . . . . . . . . . . . . . . . . . .74

Selecting and Editing Text . . . . . . . . . . . . . . . . . . . . . . .75

Changing Fonts and Text Properties . . . . . . . . . . . . . . . .76

Moving or Deleting Text . . . . . . . . . . . . . . . . . . . . . . . .77

Resizing Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Creating Vertical Text . . . . . . . . . . . . . . . . . . . . . . . . . .79

Rotating Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

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Transforming and Skewing Text . . . . . . . . . . . . . . . . . . .81

Warping Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82

Adding a Talk Bubble . . . . . . . . . . . . . . . . . . . . . . . . . .84

Applying a Text Effect . . . . . . . . . . . . . . . . . . . . . . . . . .86

Adding a Drop Shadow to Text . . . . . . . . . . . . . . . . . . .87

Creating “Hollow” Text . . . . . . . . . . . . . . . . . . . . . . . . .88

5 Creating Snazzy Effects . . . . . . . . . . . .90Adding a Decorative Border . . . . . . . . . . . . . . . . . . . . .92

Creating a Gradient Fill . . . . . . . . . . . . . . . . . . . . . . . .95

Mounting a Photo on a Fancy Background . . . . . . . . . . .96

Adding a Beautiful Sky . . . . . . . . . . . . . . . . . . . . . . . .100

Creating a High-Contrast Black-and-White Picture . . . . .102

Making a Photo Look Like an Oil Painting . . . . . . . . . . .104

Posterizing a Picture . . . . . . . . . . . . . . . . . . . . . . . . . .106

Making a Photo Look Like a Sketch . . . . . . . . . . . . . . .107

Applying the Pointillize Filter . . . . . . . . . . . . . . . . . . . .108

Using a Blur Filter . . . . . . . . . . . . . . . . . . . . . . . . . . .109

6 Painting and Drawing . . . . . . . . . . . .110Creating a Shape . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Adding a Bevel to a Shape . . . . . . . . . . . . . . . . . . . . .113

Filling a Shape with Color . . . . . . . . . . . . . . . . . . . . . .114

Using the Eyedropper to Pick a Color . . . . . . . . . . . . . .115

Using the Color Swatches Palette . . . . . . . . . . . . . . . . .116

Painting and Drawing with a Brush and Pencil . . . . . . . .117

Controlling How Brushes Behave . . . . . . . . . . . . . . . . .118

Painting with the Pattern Stamp . . . . . . . . . . . . . . . . . .119

Using the Erasers . . . . . . . . . . . . . . . . . . . . . . . . . . . .120

Softening Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

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7 Flattering Your Subjects . . . . . . . . . . .122Adding Eyelight for Personality . . . . . . . . . . . . . . . . . .124

Fixing Dark and Light Areas in a Photo . . . . . . . . . . . .125

Removing or Softening Facial Lines . . . . . . . . . . . . . . .126

Removing Facial Blemishes . . . . . . . . . . . . . . . . . . . . .127

Changing Hair Color . . . . . . . . . . . . . . . . . . . . . . . . .127

Flattering by Softening Focus . . . . . . . . . . . . . . . . . . . .130

Enhancing or Toning Down a Color . . . . . . . . . . . . . . .131

Adding a Vignette to a Portrait . . . . . . . . . . . . . . . . . .132

Adding a Soft Glow . . . . . . . . . . . . . . . . . . . . . . . . . .134

Trimming Contours on the Face or Body . . . . . . . . . . . .136

8 Building Albums and Presentations . .138Making a Web Photo Gallery . . . . . . . . . . . . . . . . . . .140

Loading Your Photos into Photoshop Album . . . . . . . . . .143

Building an Album with Photoshop Album . . . . . . . . . . .144

Creating a PowerPoint Photo Slideshow . . . . . . . . . . . .147

Creating a Screensaver Show with 3D-Album . . . . . . . .150

9 Using Layers to Combine Photos andArtwork . . . . . . . . . . . . . . . . . . . . .152Painting on a New Layer . . . . . . . . . . . . . . . . . . . . . .154

Copying an Object to a New Layer . . . . . . . . . . . . . . .155

Repositioning a Layer . . . . . . . . . . . . . . . . . . . . . . . . .156

Controlling Layers . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Creating a Fill Layer and Adjusting Layer Opacity . . . . .158

Flipping or Rotating a Layer . . . . . . . . . . . . . . . . . . . .160

Using an Adjustment Layer . . . . . . . . . . . . . . . . . . . . .161

Using Blending Modes on Layers . . . . . . . . . . . . . . . . .162

Copying and Pasting a Layer Style . . . . . . . . . . . . . . . .163

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10 Preparing to Publish . . . . . . . . . . . . .164Previewing a Halftone Image for Color Printing . . . . . . .166

Previewing a Halftone Image for B&W Printing . . . . . . .167

Using Color Management for Commercial Printing . . . . .168

Preparing a Still Image for Video . . . . . . . . . . . . . . . . .170

Sending a Picture via Email . . . . . . . . . . . . . . . . . . . . .172

Converting to Indexed Color for the Web . . . . . . . . . . .173

Optimizing a Picture for the Web . . . . . . . . . . . . . . . . .174

Saving As an Animated Picture for the Web . . . . . . . . .176

Downloading and Installing the JPEG 2000 Plug-In . . . .178

11 Choosing Output File Types . . . . . . .180Saving Best-Quality Photos for Printing . . . . . . . . . . . . .182

File Formats for Desktop Publishing . . . . . . . . . . . . . . .183

Renaming a Batch of Files . . . . . . . . . . . . . . . . . . . . . .184

Converting Files in a Batch . . . . . . . . . . . . . . . . . . . . .186

Applying a Copyright Notice . . . . . . . . . . . . . . . . . . . .189

12 Just for Fun . . . . . . . . . . . . . . . . . . .190Placing Artwork in an Image . . . . . . . . . . . . . . . . . . . .192

Creating Panoramic Views . . . . . . . . . . . . . . . . . . . . .194

Achieving a 3D Effect . . . . . . . . . . . . . . . . . . . . . . . . .196

Try Some “Trick” Photography . . . . . . . . . . . . . . . . . . .198

Getting an Antique Look . . . . . . . . . . . . . . . . . . . . . . .202

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00 1126 fm 2/24/04 2:13 PM Page vii

viiiPublisherPaul Boger

Associate PublisherGreg Wiegand

Acquisitions EditorMichelle Newcomb

Development EditorLaura Norman

Managing EditorCharlotte Clapp

Project EditorTricia Liebig

Production EditorSeth Kerney

Copy EditorGeneil Breeze

IndexerLarry Sweazy

ProofreaderTonya Simpson

Technical EditorKate Binder

Publishing CoordinatorSharry Lee Gregory

Interior DesignerAnne Jones

Cover DesignerAnne Jones

Page LayoutMichelle Mitchell

Copyright 2004 by Que PublishingAll rights reserved. No part of this book shall be reproduced, stored in a retrieval system, ortransmitted by any means, electronic, mechanical, photocopying, recording, or otherwise,without written permission from the publisher. No patent liability is assumed with respect to theuse of the information contained herein. Although every precaution has been taken in thepreparation of this book, the publisher and author assume no responsibility for errors or omis-sions. Nor is any liability assumed for damages resulting from the use of the information con-tained herein.

International Standard Book Number: 0-7897-3112-6

Library of Congress Catalog Card Number: 2004100879

Printed in the United States of America

First Printing: April 2004

07 06 05 04 4 3 2 1

TrademarksAll terms mentioned in this book that are known to be trademarks or service marks have beenappropriately capitalized. Que Publishing cannot attest to the accuracy of this information. Useof a term in this book should not be regarded as affecting the validity of any trademark orservice mark.

Adobe and Photoshop are registered trademarks of Adobe Systems, Inc.

Warning and DisclaimerEvery effort has been made to make this book as complete and as accurate as possible, but nowarranty or fitness is implied. The information provided is on an “as is” basis. The author andthe publisher shall have neither liability nor responsibility to any person or entity with respectto any loss or damages arising from the information contained in this book.

Bulk SalesQue Publishing offers excellent discounts on this book when ordered in quantity for bulk purchases or special sales. For more information, please contact

U.S. Corporate and Government Sales1-800-382-3419corpsales@pearsontechgroup.com

For sales outside of the U.S., please contact

International Sales1-317-428-3341international@pearsontechgroup.com

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ix

About the AuthorGerald Everett Jones is the author of more than 20 technical and business books, including Real World DigitalVideo, Excel for Windows Quick&Easy, and How to Lie with Charts. Besides writing technical books for nontechnicalreaders, he’s had experience developing computer graphics software, as well as writing and producing film andvideo projects. He lives in Santa Monica, California.

Gerald’s Web site is http://www.lapuerta.tv.

DedicationTo Georja, Marcello, and Zukie

AcknowledgmentsMy heartfelt appreciation to friends and family who kindly consented to let us reproduce photos of them (in order ofappearance): Georja Umano Jones, Eddie Ed O’Brien, Lance A. Schmidt, Ray Weber, Robert Puryear, Jason Teahan,Terry Warren, Billy Campbell, Ren Knerr, Paul Candice, Elizabeth Tsarng-Juen Wu, Donald E. and Kathleen M.Jones, David Illions, James W. Jones, Jessica Jones, Linda Jones, Jason Moment, Zachary E. Jones, Julie-Lynn M.Fries, and Dennis E. and Kathryn M. Fries.

Besides the author’s own snaps (of which there may be far too many), contributing photographers were GeorjaJones, Lance Schmidt (www.v-marketing.com), and Eileen Wu. And special thanks to James W. Jones for hiscoverage of the Chicago Marathon and Kenneth H. Goldman (www.walruscarpenter.com) for travel pictures,aeronautical photos, and original wood carvings.

In case you’re wondering, the Devil Dogs are Marcello Mastroianni Jones and Zucchero (Zukie) Jones (www.comedydogma.com). And, yes, they will work for low-fat, organic treats.

It takes a team to make a book. Congratulations for an exceptional job to development editor Laura Norman, projecteditor Tricia Liebig, technical editor Kate Binder, copy editor Geneil Breeze, and the other fine people at Que.Sincere personal thanks to my wife and marvelously versatile model Georja Umano Jones, my agent Matt Wagner,and acquisitions editor Michelle Newcomb.

—Gerald Everett Jones

We Want to Hear from You!As the reader of this book, you are our most important critic and commentator. We value your opinion and want toknow what we’re doing right, what we could do better, what areas you’d like to see us publish in, and any otherwords of wisdom you’re willing to pass our way.

As an associate publisher for Que Publishing, I welcome your comments. You can email or write me directly to let meknow what you did or didn’t like about this book—as well as what we can do to make our books better.

Please note that I cannot help you with technical problems related to the topic of this book. We do have a User Servicesgroup, however, where I will forward specific technical questions related to the book.

When you write, please be sure to include this book’s title and author as well as your name, email address, andphone number. I will carefully review your comments and share them with the author and editors who worked on thebook.

Email: feedback@quepublishing.com

Mail: Greg Wiegand, Associate Publisher Que Publishing800 East 96th StreetIndianapolis, IN 46240 USA

For more information about this book or another Que Publishing title, visit our Web site at www.quepublishing.com. Type the ISBN (excluding hyphens) or the title of a book in the Search field to find the page you’re looking for.

ix

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33

It’s as Easy as 1-2-3Each part of this book is made up of a series of short, instructional lessons, designed to help you understand basic information thatyou need to get the most out of your computer hardware and software.

How to Drag:Point to the startingplace or object. Hold down the mousebutton (right or left per instructions), move the mouse to the new location, then release the button.

Each task includes a series of quick, easy stepsdesigned to guide you through the procedure.

Items that you select or click inmenus, dialog boxes, tabs,and windows are shown inbold.

Each step is fully illustrated to show you how it looks onscreen.

Introductions explain what you will learn in each task,and Tips and Hints give you a heads-up for any extrainformation you may need while working through the task.

See next page:If you see this symbol, it means the task you’re workingon continues on the next page.

Click:Click the leftmouse buttononce.

Double-click:Click the leftmouse buttontwice in rapidsuccession.

Right-click:Click the rightmouse button once.

Pointer Arrow:Highlights an item onthe screen you need topoint to or focus on inthe step or task.

Selection:Highlights the area onscreen discussed in thestep or task.

Click & Type: Click once where indicatedand begin typing to enteryour text or data.

drop

drag

11

22

End

Seenextpage

End Task: Task is complete.

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IntroductionThis is a book for people who dislike computer books—even for people who mightnot be particularly fond of computers or adept at using them.

You may simply love your digital camera or just love the ease of sharing photos elec-tronically with a few special people on the planet who really care about what’sgoing on in your life.

And certainly you’ve got to love the ability to store thousands of pictures on yourcomputer’s hard drive, perhaps thousands more on CDs you burn. Gone are theshoeboxes full of curling, faded prints that are still waiting for the happy day whenyou will have so much time on your hands you’ll finally get around to sorting them,labeling them, and pasting them neatly into leather-covered albums.

What’s that you say? The shoeboxes are still there?

Don’t you own a scanner? Now those prints of yesteryear simply await the happyday when you’ll finally get around to sorting them, scanning them….

Let’s face it; one thing you don’t have is a lot of time.

And if you did find some time, you’d pick up a real book by Anne Tyler or John LeCarré, kick back, and enjoy yourself.

Who wants to read about computers?

Although I’ve written quite a few computer books, some of them highly technical, I’ma lot like you.

I love my digital camera. I look forward to sharing my pictures, but don’t want tospend hours “playing” with them. I spend enough time sitting at a computer when I’mworking. And most of my work doesn’t involve photography.

When the Que folks told me they wanted a book titled Easy Adobe PhotoshopElements 2, I admit I was less than enthusiastic. After all, I’m not a Photoshop expert.I’m not even a very skilled photographer. (Mostly, I leave my camera on Auto, and Ipoint, shoot, and hope for the best.)

I wondered what I could bring to this project that would make a book you or anyonewould want to buy.

Don’t get me wrong—I like the program a lot. I’d already used the first version forabout a year and found it worked as advertised. It’s truly a quick and easy set oftools for getting good results. Perhaps like you, I chose Photoshop Elements because

00 1126 fm 2/24/04 2:13 PM Page xi

it came with my camera (an Olympus Camedia C-700). And, I needed to convert allthe photos I took for my book Real World Digital Video from color to black and white,enhance their contrast, resize them, and save them in the format the publisherrequired.

At the same time, I’d heard so much about “Big Photoshop,” the product Adobe nowcalls Photoshop CS (version 8), which for years has been a standard tool of profes-sional photographers and graphic artists. I also knew the application is complicatedand technical enough that the local community college offers semester-long courses inits use.

Not for me, I thought.

I assumed, wrongly it turned out, that Photoshop Elements 2 would be a “lite” versionof Big Photoshop—a training-wheels program you toyed with until you were ready foran inevitable, expensive graduation to a big-kids’ bike. (You probably couldn’t doanything serious with it, I figured.)

But I didn’t say no to my friends at Que right away. I made a trip to the local bookemporium. And I found a whole bookcase full of impressively thick books on BigPhotoshop. No surprise there. (You could make a career learning it, much less writingabout it, I thought.)

But my heart sank when I found five—would you believe it?—five basic picture-drivenbooks like the one Que was asking me to do.

And I found out later—there are quite a few more! Some of them are no doubt stillon the shelf, next to this one.

So, you may be wondering, as I did, does the world really need another book onPhotoshop Elements?

Now I can answer confidently, “It sure does!”

Because the next thing I did, I took all those books home. And I bought (yes, shelledout dough for) an official shrink-wrapped package of Photoshop Elements 2, installedit, and dug out the manual.

And I set about teaching myself this “lite” program, using these other supposedlyeasy books, Adobe’s own manual, and the built-in Help system, to guide me.

To my delight, I discovered two key things:

• Photoshop Elements is a fully functional, professional-quality, incredibly power-ful program. I now realize that Adobe, in its corporate wisdom, decided totake Big Photoshop to the next logical step—blissful ease of use! And theypriced it inexpensively—not because it’s so much less sophisticated but so thatPhotoshop Elements can become the tool absolutely everyone, professional orconsumer, thinks of first when it comes to digital photography.

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• None of the books I bought captured the essence of Photoshop Elements’supreme accomplishment—invisible technology. Many of the authors seemedmore concerned with looking like experts to other professional photographers.And some others were obviously terribly worried about covering absolutelyevery wrinkle and option in the application—even if the average person mightnever need them.

I knew then and there that I could—and I vowed I would—write the…

most basic

simplest

easiest

plainest

clearest

handiest

quickest

how-to book on Photoshop Elements humanly possible.

You hold it in your hands…

…the result of teaching Photoshop Elements 2 to myself, from scratch, step-by-step.

My sincere hope is that this easy, picture-driven book contains not one more task, notone more step, not one more tip or hint than you need to get the job done and geton with life.

If I’d found it in the store that day, I’d have just bought it, saved my money on theothers, told Que to give it up, and wouldn’t have to be explaining to my family andfriends why I needed all those snapshots.

May you enjoy this book, thrill as I did at the tricks you can do with PhotoshopElements, and not spend a minute more than you need to with either of them.

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Learning the RopesBack when ships needed favorable winds to get anywhere, new recruits had to learnwhich ropes to pull to carry out the captain’s orders and set sail. This first part of thebook is for novice sailors—people who feel more comfortable if they can begin atthe beginning—while their ship is still safely docked. Just turn the page to sign on fora brief orientation session: You’ll quickly learn the commands, controls, and featuresof the Photoshop Elements work area. For example, you’ll find out what a tool is andhow to select one from the toolbox. After you’ve got your bearings, we can short-hand the steps in later parts and just say, “Click the Crop tool,” and move on.

If you’re feeling adventurous, don’t worry about sailing ahead to another part of thebook. You can do most of the tasks in any order, and you can always come back tothis part if somehow you get turned around.

Welcome aboard, and fear not: You have nothing to lose but your old film camerasand the tiresome wait for your prints to come back from the lab.

PA

RT 1

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The Photoshop Elements WorkArea

Menu barShortcuts bar\rOptions bar

Toolbox

Title bar Search (for Help) field

Palette well

Palettes

Active image area

01 1126 ch01 2/24/04 1:16 PM Page 3

Start

Double-click the Adobe Photoshop Elements 2.0 icon on the Windows Desktopto start the program.

Click the Browse for File button.

Drag the scrollbar until you see the thumbnail (small picture) of the picture you wantto edit.

4PA

RT 1

Starting Photoshop Elements and Openinga Picture

22

33

44

11

INTR

OD

UCT

ION

TIP

HIN

T

EndDouble-click the thumbnail. The picture will open in the active image area.

33

44

11

Welcome BackClick to clear the Show thisscreen at startup check boxin the lower-left corner, thenselect Exit WelcomeScreen, and you won’t see itagain. If you ever want it back,select Window, Welcomefrom the menu bar.

None of this needs to be compli-cated. In fact, most kinds of touch-ups are sooooo easy, they takejust a click or two. PhotoshopElements has lots of built-insmarts, and you rarely need toknow much more than a few simple steps to get great-lookingresults.

Hide and SeekDon’t see your shots? You eitherdidn’t load them from yourcamera or scanner yet, or youstored them in a different folder.You might need to navigate thefilesystem on your hard drive orCD to find the images youwant.

Double-Click

Click

drag

Double-Click

22

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Start

5Viewing and Adjusting the Active ImageArea

To clear the work area, click the close box (×) of an open palette.

Close any other open palette.

From the menu bar, select View, Fit on Screen or press Ctrl+0 (zero). The viewof the active image area enlarges to fill the work area.

You can move the active image area around by dragging its title bar.

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Open WindowsYou can have several picturesopen at the same time. Selectone of them for editing (make itactive) by clicking its title bar. (Ifyou can’t see all the title bars,select Window, Images,Cascade to see them all.)

When you have a picture file open for editing, you’ll usually want tomake it as large as possible on the screen. This will give you the clearestoverall view, regardless of the actual image size. Then, you can use theZoom tool (or the View, Zoom In command) to magnify small areas if youneed to work in even finer detail.

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To look for a file in folders on the disk, click the Browse shortcut.

In the directory of folders, click the Maximize button (the + sign to the left of thefolder name) to see the folders inside.

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Using the Shortcuts Bar and Browsing fora File

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pointer over a button in theshortcuts bar, a ToolTipappears indicating what itdoes.

The shortcuts bar is a row of but-tons just beneath the menu bar.These buttons represent the mostcommonly used commands. Forexample, you can click the Browseshortcut to look through the fold-ers on a disk for the file you want.

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T Exploring FilesThe directory of file folders inthe top-left corner of the FileBrowser window works just likeWindows Explorer.

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To navigate upward through the directory of folders, click the Up button.

Click the folder name that contains the picture files you want.

Drag the scrollbar to browse the picture files in the folder.

Double-click the thumbnail view of the file you want. It will open in the activeimage area, ready for editing. End66

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Hover and pause the pointer over the Zoom tool. Its name will appear in a ToolTip,along with the letter of its shortcut key.

Click the Zoom tool or press Z. The pointer changes to a magnifying-glass symbol,and settings that affect the tool appear in the options bar.Move the pointer to the center of the area you want enlarged, and click. A magnifiedview appears in the active image area.

Click again and again to enlarge the view in progressive steps. The magnificationpercentage will appear in the title bar.

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Selecting Tools from the Toolbox

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Zoom InZooming doesn’t make anychanges to the picture itself, justto your view of it in PhotoshopElements so you can work onfine details.

Tools in the toolbox help you workon portions of a picture in a vari-ety of ways. An example is theZoom tool, which enlarges yourview of a picture. You can selectthe Zoom tool by clicking it in thetoolbox or by pressing Z on thekeyboard.

ShortcutWhen using the Zoom tool,right-click anywhere within theactive image area and selectFit on Screen to quickly viewthe entire image.

Hoverand

Pause

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Best-Quality ImageAfter you’ve made changes to aJPEG file, for best quality, usethe File, Save As commandto convert it to TIFF (.TIF) for-mat, or save as a Photoshop(.PSD) file.

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Right-click the Brush Tool.

Click the Impressionist Brush tool. The pointer changes to the brush tip, and set-tings for the tool appear in the options bar.

Move the pointer to the area of the picture where you want to use the brush; clickand drag it around, as if painting, to apply the effect.

Because you made a change to the picture, click the Save shortcut in the shortcutsbar to save your work.

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First ImpressionsYou can vary the effect of theImpressionist Brush by changingsettings in the options bar—Brush Size, Blending Mode,and Opacity—to name a few.To admire the overall result ofyour brushwork select View,Fit on Screen.

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T It’s All a BlurFor other ways to get softenedor blurred effects, try theSmudge or Blur tools, or one ofvarious Blur commands fromthe Filter menu.

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In the toolbox, click the Horizontal Type tool or press T. Settings for the toolappear in the options bar.

Use the Font Style drop-down menu in the options bar to apply a style such asBold to your text.

Use the Font drop-down menu to select a new font for your text, such as Georgia.

Using the Font Size drop-down menu, make the text larger or smaller, say, 72 pt.Click the Text Color box. The Color Picker window opens.

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Controlling How Tools Behave with theOptions Bar

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toolbox, you can change settingsin the options bar that control itseffect. Try it with the HorizontalType tool.

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T Settings RetainedSettings you make in theoptions bar will remain in effectfor a particular tool until youchange them again, even if you quit and then restart theprogram.

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In the Color Picker dialog box, click the top-left corner of the color space to selectwhite.

Click OK.

Type some text, such as Holiday Greetings.

Click the Save shortcut to save your work. End

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Click and drag the bottom-left corner of the Hints palette to make it larger.

Click the tool icon or palette tab with which you need help, such as the Crop tool.Related topics for that feature appear in the Hints palette.

Click the topic you want to explore. A separate Help window opens.

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Using Palettes

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Get the HintIf the Hints palette isn’t alreadyopen, select Window, ResetPalette Locations from themenu bar.

Palettes, floating windows thatcontain commands and helpgrouped by category, are a trulyhandy feature. For example, theHints palette explains how otherprogram features work.

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More HintsAfter step 1, if you hover thepointer over any tool in thetoolbar or palette tab in thepalette well, information aboutthe tool appears in the Hintswindow.

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Click the Maximize button in the Help window to view it full-screen.

Drag the scrollbar as you read down the page.

When you have the information you need, close the Help window.

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Viewing PalettesTo use the palette well effectively, set your Windows screen resolu-tion to at least 1024×768. If you work at 640×480 or 800×600,the tabs are small, in which case it might be easier to selectpalettes individually from the Windows menu.

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Dock any open palette (remove it from the work area) by dragging its tab and drop-ping it into the palette well.

Undock a palette from the well (open it) by dragging its tab and dropping it backinto the work area.

Move a palette around in the work area by dragging its title bar.

Resize a palette by dragging its size box (or the bottom-left corner or one of itssides).

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Arranging and Controlling Palettes

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Hidden TabsIf other palette tabs are cover-ing the one you want, hover thepointer inside the well as youdrag from side to side, and thedifferent tabs will pop up. Youcan right-click to change theirorder in the stack.

Having too many palettes open atthe same time can clutter yourwork area. Here’s how to tidy upyour screen but still have thepalettes handy.

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T Getting MoreThe selections in the More menuare different for each palette.When you click the More button in step 7, a menu willpop up.

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Group palettes into a single window by dragging the tab of one onto the tab ofanother.

Ungroup a palette by dragging its tab away from the grouped window.

To select options available for an open palette, click its More button.

To keep an open palette from being stored in the palette well the next time you closeit, uncheck Close Palette to Palette Well. End

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Layer InfoEspecially as you begin to combine images or create artwork fromthem, get in the habit of leaving the Layers palette open. As you addtext, graphics, painting, or images, you’ll quickly see why keepingtrack of layers is important.

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Click inside the search box.

Type a phrase that describes what you want to do, such as fix color.

Click the Search button, or press Enter. If the program finds a match, a list ofrecipes opens.

Click the topic that best fits your request. The How To palette opens, showing step-by-step instructions.

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Using the Search Box and Following aRecipe

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Follow the RecipeBefore you can follow therecipe’s steps, you must have apicture open in the activeimage area. Otherwise, you’llknow what to do, but lose thebenefit of being able to applythe advice immediately.

Photoshop Elements has lots ofways to give you suggestionswhen you can’t remember thesteps you need to take—or evenwhere to begin. Here’s one of theeasiest: Just type your request andpick a precooked solution.

AutomationWhen the How To palette opensafter step 4, for some tasks youcan simply click Do This Stepfor Me and PhotoshopElements will do the rest.

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Choose from the IndexIf you don’t see a lesson on thetopic you want, look in therecipes in the How To palette,or select Help, PhotoshopElements Help. Then, clickIndex and select a topic fromthe alphabetized list.

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Photoshop Elements has onlinelessons for popular tasks thattake more than a few steps. Trythis built-in advice on using theQuick Fix shortcut, fixingscanned imagery, using layerseffectively, animating with lay-ers, creating a panorama, mak-ing a greeting card, and more.

Taking a Tutorial

From the menu bar, select Help, Photoshop Elements Tutorials.

In the Help window, click the title of the lesson you want.

Drag the scrollbar to read through the lesson.

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From the menu bar, select Edit, Preferences, and choose one of the commandsfrom the submenu.

Set the options you want to change. For example, select cm in the Rulers drop-down menu to change the unit of measure from inches to centimeters

Click OK.

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Setting Your Own Preferences

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Default SettingsExperiment with the settings asyou get more comfortable withthe software. You might findyou can improve your efficiencyby changing a preference ifyou are always having tochange a setting manually.

Follow these steps if you want tocustomize how PhotoshopElements shows things to you inthe work area, how it saves files,and other options. As just one ofmany options, these steps explainhow to change the unit of meas-ure in the work area from inchesto centimeters.

Restore DefaultsTo restore default settings,restart the program and whenit’s finished loading, pressAlt+Ctrl+Shift and selectYes. Defaults will be restoredthe next time you start the program.

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19Saving Your Work

To save a file to a different drive or folder or with a different name, select File,Save As from the menu bar, or press Shift+Ctrl+S.

Type a name for the new file, such as Cruising north. (No need to type the extension, such as .JPG.)

Optionally, make a selection from the Format drop-down menu to change the filetype.

Use the Save In drop-down menu to store the file in a different folder or on a different drive. Click Save.

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TFile TypesYou can keep digital snapshotsin the format the cameramakes, usually JPEG (.JPG)files. But if you want more flexi-bility in editing them later, andbest image quality, it’s better tosave them as Photoshop (.PSD)files.

All the work you do on a picturein Photoshop Elements will be lostunless you save the file to disk.Usually, if you are saving a file forthe first time, you can simply clickthe Save button on the shortcutsbar or press Ctrl+S on the key-board. If you need to save a file toanother location or under a newname, these steps show you how.

Digital NegativesIf your computer can burn CDs,save your unedited cameraoriginals to discs. These areyour digital “negatives.” Thatway, if you make changes tothe images on your hard drive,you still have a copy of theuntouched original.

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Getting It All TogetherIn this part, you’ll learn how to bring pictures into your computer so you can workwith them in Photoshop Elements.

First off, you can’t do much of anything with your pictures until they exist as digitalfiles on your computer’s hard drive. Photos you take with your digital camera, DVcamcorder, or camera phone are already stored as files, but you’ll need to transferthem from the camera’s internal storage to a disk in the computer.

You can also work with film shots—prints, negatives, and slides—but you’ll have todigitize them first. That’s what a scanner does. It scans a print with a beam of light,breaking the image into a collection of individual colored dots, or pixels (picture ele-ments). All digital images are composed of pixels, and the main thing PhotoshopElements does is help you change the colors of thousands or even millions of pixelsat once, in interesting and useful ways.

You can also grab pictures from other computer documents and from Web pages onthe Internet.

Whether you use the other tasks in this book to work with your shots a little or a lot,you’ll also learn how to create finished images as prints, contact sheets, and digitalphoto archives.

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The Ins and Outs of DigitalPhotography

Digital camera

DV Camcorder

Camera phone

Printer

Film negatives

Prints

PrintsPhotoarchiveCDs

Contactsheets

Computer

Slides

Scanner

OtherPictureFiles

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Connect the smaller end of the data cable to the camera, and the larger end to theUSB port of your PC.

Turn the camera power on. Windows should detect the camera, and an Explorer window opens showing its contents.

From the Explorer menu bar, select View, Thumbnails.

Navigate by double-clicking the folder (and possibly other folders within it) to find thecamera’s image files.

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Getting Photos into Your Computer

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TRename a FileTo rename files before you copythem, click the filename inExplorer, type a new name,and click outside the filename-entry box. Don’t change theextension, though.

Most digital cameras and cameraphones come with their own soft-ware for browsing image files anduploading them to your computer.However, you can use the stepsdescribed here to transfer filesfrom most digital picture devicesusing the built-in functions ofWindows.

Show ExtensionsFile extensions might be hiddenin Windows. To fix this, in MyComputer, select Tools,Folder Options. Click theView tab, and then clear theHide File Extensions for Known File Typescheck box.

Connect cable

Power on

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Multiple ChoiceIn step 5, if necessary, click anddrag the scrollbar to browsethrough the other images asyou select each withCtrl+click. To get all the files,select Edit, Select All (orpress Ctrl+A).

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Hold down the Ctrl key as you click on each file you want.

From the menu bar, select Edit, Copy to Folder. The Copy Items dialog boxopens.

Navigate the filesystem to select the drive and folder where you want to store thefiles, such as My Pictures.

Click Copy. End

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Reorient YourselfYou can quickly change the ori-entation of shots from land-scape to portrait before youselect them in step 5: Right-clickthe thumbnail and selectRotate Clockwise orRotate CounterClockwise.

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With the item to be scanned on the scanner glass and the lid closed, open PhotoshopElements and choose File, Import, WIA Support.

Click Start.

If you have more than one camera or scanner attached to your computer, click thescanning device you want to use, and click OK.

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Scanning Images

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Scanning and storing your oldsnapshots in your computer is notonly a wonderful way to reduceclutter and organize those shoe-boxes full of prints—but alsoPhotoshop Elements has lots ofways to bring back faded color,touch up complexions, and evenerase uninvited guests.

Final DestinationThese steps create a file auto-matically. Specify the disk loca-tion in the Destination Folderfield of the WIA Support dialogbox. Be sure to resave the file ifyou edit the image.

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Not My TypeThe WIA (Windows ImageAcquisition) Support featurescans a photo as a Windowsbitmap (.bmp extension) bydefault. To change the file type,select File, Save As andchange the Format after theimage has been imported.

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Select the type of picture, such as Color picture.

Click Scan. The scanned print appears in the active image area, ready for editing.

If you edit the picture, click the Save button to save your work.

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T Scanning SecretsThe dialog box in step 5 might look different, depending on yourscanner model. When adjusting quality, you can select Grayscaleinstead of Black and white to capture shading. Use Color instead ofGrayscale if a monochrome picture is sepia. For photos you mightwant to print later, set the resolution to 300 dpi.

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Connect the smaller end of the data cable to the camcorder, and the larger end tothe FireWire port of your PC.

Switch the camcorder to Playback (or VCR) mode.

From the Photoshop Elements menu bar, select File, Import, WIA <cameraname>. Press Play on the camcorder to roll the tape.

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Grabbing a Video Frame

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still photos from uploaded DV files(.mov extension), but you can fol-low these steps to capture one ormore stills as the camcorder playsback a tape, which achieves thesame result.

Switch toPlayback Connect

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T Video CaptureTo capture video files youalready have on disk that are ina format other than .mov, turnthe page and follow the steps in“Capturing a Frame from aVideo File.”

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Video plays in the screen on the left. When you see the frame you want, clickCapture. (Repeat if you want multiple frames.)

Press Ctrl while you click each thumbnail you want (or click Select All to get all ofthem).

Click Get Pictures. The video stills open for editing in separate windows in thework area.

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Other OptionsFor these steps to work with your camcorder, it must be a WIA device.If you have an older DV camcorder, upload the clips as .mov files, usea video editor such as Pinnacle Studio to save as a Windows movie(.wmv), and then select the File, Import, Frame from Videocommand instead.

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From the menu bar, select File, Import, Frame From Video.

Click Browse to locate the video file to use.

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Capturing a Frame from a Video File

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frames from multimedia filesstored on disk as .avi, .mpg, or.mpeg types. To grab videoframes from a DV tape (whichbecome .mov files whenuploaded), refer to the precedingtask, “Grabbing a Video Frame.”

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The video clip opens in the preview pane. Click the Play button to start it playing.

When you see the frame you want, click Grab Frame or press the Spacebar.(Repeat if you want multiple frames.)

Click Done. The frames you selected will open in the work area for editing.

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Grab ItFor more accuracy in grabbingthe exact frame you want instep 6, click the Pause buttonto freeze playback. You canpress the Right and LeftArrow keys to move forwardor backward a frame at a time.

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From the application’s menu bar, select Edit, Copy or press Ctrl+C.

Start Photoshop Elements (or click its button on the Windows taskbar if it’s already open).

From the Photoshop Elements menu bar, select File, New from Clipboard. Acopy of the picture opens in the active image window for editing.

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Taking an Image from the Clipboard

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In another Windows application, such as Microsoft Word, click the image you want.

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The Windows Clipboard is areserved area of your computer’smemory designed specifically forexchanging data—such as pho-tos, drawings, or text—amongapplications. For example, youcan open a document in MicrosoftWord, select one of the pictures init, and copy the image intoPhotoshop Elements.

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31Copying a Picture from a Web Page

While viewing a Web page in Internet Explorer (or other browser), right-click the pic-ture you want.

From the pop-up menu, select Save Picture As (or the equivalent command in yourbrowser).

If necessary, navigate to the folder where you want to store the file.

Click Save. You’re ready to open the file in Photoshop Elements for editing.

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Know Your RightsPhotos and artwork on the Webare subject to copyright. Obtainpermission from the rightsholder before incorporatingthem in your Web sites, slideshows, or newsletters.

Think of the Internet as a globalphoto library at your fingertips.For example, if you need a photoof the Brooklyn Bridge to illustratea report, surf towww.google.com, click theImages tab, and you’re sure tofind several choices. Then use thesteps here to load the image intoPhotoshop Elements.

A New NameYou can type a new name forthe file in the File Name boxbefore you select Save. Don’ttype the extension part or try tochange it.

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Insert the slide in the scanner, emulsion (dull) side up. (If your scanner has a backlittransparency attachment, use it.)

From the Shortcuts bar, select the Import icon.

Select the name of your scanner from the drop-down menu.

Click OK.

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Scanning a Slide

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Clean GlassStart by cleaning the scannerglass. Take color slides out oftheir paper or plastic mounts sothey lie flat. For tips on scan-ning negatives, look at the nexttask, “Making a Positive from aNegative.”

You can scan your old slides muchas you do prints. Many scannershave special transparencyadapters you can buy, which pro-vide backlight for a brighter,sharper picture. However, you canget good results with these steps,even if you don’t have one ofthese attachments.

Another RouteYou can also do the stepsdescribed here with the menucommands File, Import,WIA Support or File,Import, WIA-<scannername>.

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Click Adjust the quality of the scanned picture (or its equivalent; the dialogwindow for your scanner might look different).

Increase the values of Brightness and Contrast, especially if you don’t have atransparency attachment.

Increase the Resolution to at least 300 dpi or more.

In the Picture type drop-down menu, select Grayscale picture for black-and-white originals with shading, or Color, and click OK.

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T It’s Not All Black andWhiteIn step 8, avoid the Black andWhite setting. The only timeyou’d use it would be for scan-ning line art, drawings, andtext that have no shading.

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Setting the DPIIn step 7, the smaller the trans-parency, the higher the dpi set-ting should be. For 35mm colorslides, set Resolution as highas it will go—1200 dpi onthis scanner.

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Click Preview (repeat steps 6–8 and adjust until the preview image looks right).

Click Scan. The scanned picture appears in the active image window.

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Outside HelpIf you have a lot of slides, youmight consider having yourlocal photo lab convert them allto a photo CD. It’ll save you thetime and hassle of scanningthem individually, and you’llhave high-quality digital files.

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35Making a Positive from a Negative

After you’ve scanned the negative, select Image, Adjustments, Invert from themenu bar (or press Ctrl+I).

Click Save on the shortcuts bar to save your work.

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It’s usually easier to scan photo-graphic prints, but PhotoshopElements can handle negatives, aswell. Grayscale images work best.Scanning color negatives won’twork very well unless your scan-ner has settings for eliminatingtheir orange background.

Color NegativesIf you have a color print, scanthat instead. If you don’t have acolor print and don’t want toincur the expense to get onemade, consult your scanner’smanual to see whether it hassettings for color negatives.

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From the Photoshop Elements menu bar, select File, Import, PDF Image.

Select the file that contains the image you want. (If necessary, navigate the filesystemto open the folder that holds the file.) Click Open.

In the PDF Image Import window, click and drag the scrollbar to browse through theimages in the file.

When you see the image you want, click OK. It will open for editing in a new active image window.

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Importing an Acrobat Image

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Adobe’s Acrobat Portable Document Format (.pdf extension) makes itpossible to distribute printed brochures and manuals in electronic form.Adobe provides Acrobat Reader software free, and PDF files havebecome very popular on the Web. Photoshop Elements offers this built-inmethod for extracting pictures easily from downloaded PDF files.

Well IllustratedYou can also follow these stepsto import images from AdobeIllustrator (.ai) documents.Other Adobe graphics applica-tions can read and writeIllustrator files, includingInDesign, PageMaker, andFrameMaker.

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37Resizing and Printing an Image

Select the Print Preview button in the shortcuts bar.

Check the Scale to Fit Media box.

Click Print.

Click OK.

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Photoshop Elements reports thecurrent print size of the imagein the lower-left corner of thework area. With these fewsteps, you can resize the imageto fit exactly on the printedpage. This method uses thedefault paper size currently setfor the printer.

Glossy PrintsFor the best-quality prints on acolor inkjet printer, use glossyphoto paper. Remove the plainpaper and feed just one sheetat a time, because the glossysurface can stick to other sheetsand cause jams.

Switch OrientationsThe default printer orientation isPortrait (long side vertical). Toswitch to Landscape (long sidehorizontal), after step 2, clickthe Page Setup button, selectLandscape and OK, then goto step 3.

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From the menu bar, select File, Print Layouts, Contact Sheet.

Click Browse.

Navigate the filesystem to select the folder that contains the images to be printed onthe sheet, and click OK.

In the Contact Sheet dialog box, click OK.

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Printing Contact Sheets

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Get the ContactPrint and store contact sheetswith each of your photo archiveCDs. It’s a handy way ofbrowsing the images whenthey’re no longer on your harddrive.

Professional photographers rou-tinely make contact sheets byprinting negatives laid directly onphotosensitive paper. Their clientsreview the sheets and mark theshots for which they want to orderprints. Photoshop Elements willgenerate contact sheets that showthumbnails with labels of all filesin a specified folder.

Grayscale ModeTo conserve color ink whendoing reference-quality contactsheets, change the Mode set-ting to Grayscale before youselect OK in step 4.

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Load your printer with photo paper. From the Shortcuts bar, click Print.

Click OK.

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From the menu bar, select Image, Resize, Canvas Size.

Click in the Width box. Type the paper width, using decimals for fractions of aninch.

Repeat step 2 for Height.

Click OK.

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Changing Paper (Canvas) Size

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Background FixBefore you do step 1, if thebackground color isn’t set towhite, press D to restore defaultforeground and backgroundcolors.

If you don’t want the image tocompletely fill the printed page,you can size the page (or canvas)independently. Normally, the sizeof the canvas should match thepaper size you have in the printer.You might resize the canvas whenyou’re printing greeting cards andpostcards individually on smallsheets.

Resize and ResampleTo change the image size withinthe printed page, selectImage, Resize, ImageSize from the menu bar. If theresolution falls below 150 pix-els/inch, check ResampleImage and type a value of150 or greater.

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41Printing a Picture Package

With a picture in the active image area, select File, Print Layouts, PicturePackage.

Select a layout of sizes to fill the printed page, such as (1)5×7 (2)2.5×3.5(4)2×2.5.

Click OK. The program will generate a page full of different-sized prints.

Print the page.

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Professional photographers whoshoot annual school photos, wed-dings, and social events offer theirsubjects picture packages, printsranging from wallet size to 8×10sfor framing. Photoshop Elementswill print a variety of assortedsizes for you on a sheet of photopaper. It’s sure to please your“customers.”

Just Like a ProHave your subjects pick theshots they want from a contactsheet, then make up their pic-ture packages. Use bright-white, glossy photo paper, andfeed one sheet at a time toavoid printer jams.

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Insert a blank CD into your CD-ROM burner and click OK to confirm the defaultchoice (Open writable CD folder using Windows Explorer).

Locate and click the folder that contains the images you want to copy.

In the Picture Tasks menu, select Copy to CD.

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Saving Your Picture Archive on CD

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TJust Hold ItThe capacity of a typical CD is700MB, or enough to store1,400 average-sized JPEG files.If you have a DVD burner, youcan put 4GB (about 8,000shots) on a single DVD-R datadisc (but don’t put all your pre-cious photos on one disc).

After you’ve edited your photosand printed them, archive themon CD and delete them from yourhard drive. Experienced photog-raphers make a CD right aftereach shooting session. (You’llneed a CD or DVD drive that canwrite as well as read discs.)

Write It AgainYou can add files to CD-R discsuntil they are full, if your burnersupports multi-session capabil-ity. You can both add and over-write files on CD-RW discs (afew times, not indefinitely).

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In Windows Explorer, navigate the filesystem to reopen the CD directory.

In the CD Writing Tasks menu, select Write these files to CD.

Click the text box and type a label for the CD, such as Spain Vacation.

Click Next. The disc will eject when copying is complete.

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T Out of the WindowInstead of using the built-incopying functions of WindowsXP, you could use a CD-burningapplication such as Roxio EasyCD Creator or VeritasRecordNow.

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Get It TogetherIf your photos aren’t all in a single folder, copy them all to a singletemporary folder first. Alternatively, select a collection of them inExplorer by pressing Ctrl+click, and then select Edit, Copy, navi-gate to the CD drive, and select Edit, Paste.

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Basic Photo FixingThink of this part of the book as a comfy family restaurant where you could go foryour daily bread and never be bored with the same meal twice. It’s just not slick, orcomplicated, or arty. (Oh, we’ll go there, too, eventually.) You’d be well served toreturn here again and again—but these steps are so quick and easy that to do themonce is to know them cold.

Up to this point, you’ve opened files and printed them out, but you haven’t changedhow they look very much. If you need to fix a photo, come here first. Your quest willprobably end here, and you’ll be more than satisfied. The shot that looked too darkwill perk right up, crooked will become straight, and that unflattering pallor on herface will become a rosy glow.

A particularly handy new feature of Photoshop Elements 2 is the Quick Fix shortcutbutton, which gives you single-click access to a variety of commonly neededrepairs—with automatic corrections. The first task in this part demonstrates its use.

So, if you have time to do only a few of the tasks in this book, choose some of these.You’ll be hooked, and you’ll recover a lot of shots you thought were duds.

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Applying Quick and Easy Fixes

Before After

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With the picture you want to fix in the active image area, click the Quick Fix short-cut (or choose Enhance, Quick Fix).

Select an adjustment category, such as Color Correction (or accept Brightness, thedefault).

Click Apply.

Click OK.

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Making a Quick Fix

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Auto and Semi-AutoFixesAny of the Auto adjustmentsrequire just a single click of theApply button, as do Focus/Blurand any of the Rotate or Flipcommands. All other commandsrequire some type of slideradjustment (see the next task).

You can use the Quick Fix dialogbox as one-stop-shopping for allthe other commands in theEnhance menu, and some others.This multipurpose dialog has com-mands for adjusting levels (inten-sity), contrast, overall colorcorrection, lighting, color compo-nents, and brightness/contrast, aswell as focus and rotation.

Don’t Like After?If you don’t like the result in theAfter window, click Undo andstart over. Your changes arecumulative, so you can undoone and then do another untilthe After image is just right.

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47Making a Quick Fix with a SliderAdjustment

In the Quick Fix dialog box, select an adjustment category, such as Brightness.

Depending on the adjustment category you selected, you’ll see related adjustmentoptions. Choose an adjustment, such as Fill Flash.

If you choose an adjustment that isn’t automatic, sliders appear in the third section ofthe dialog. Adjust them as needed to get the desired result.

When you like the result in the After window, click OK.

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Some commands in the QuickFix dialog box, such as AutoContrast, are fully automatic. Others, such as theBrightness/Fill Flash command,require some adjustment. Learnto use the slider controls forthese commands so you can getjust the effect you want.

Applying BacklightingThe command Brightness/ApplyBacklighting does the oppositeof Fill Flash—it brightens abackground that’s much darkerthan the subject (a bad featureof flash photos).

Blown-Out WhitesApplying Fill Flash will proba-bly cause bright backgroundareas such as windows to blowout, becoming pure white. Justremember you can’t get thedetail in blown-out areas backunless you save a copy of theoriginal.

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Immediately after making any change to the picture in the active image area, chooseEdit, Undo, or press Alt+Ctrl+Z.

To undo the next-most-recent change, click the Step Backward shortcut (or chooseEdit, Step Backward, or press Ctrl+Z).

To reapply the last change you undid, choose Edit, Redo, or press Alt+Ctrl+Zbefore you do anything else.

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Undoing Your Mistakes

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Other Ways to UndoAs alternatives, you can use theStep Backward and StepForward shortcuts, or open theUndo History palette. Right-click the step you want to undo,and select Delete (subsequentsteps are deleted, too).

Don’t think of any photo-fixingdecisions you make as mistakes,for two good reasons: You canalways undo them, and experi-menting is the only way to learnwhat works and what doesn’t. So,click away—you have nothing tolose but playtime!

Canceling All ChangesTo undo all your changes dur-ing a session—before yousave—choose File, Revert.The last saved version of the fileappears in the active imagearea.

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49Cropping a Picture

Select the Crop tool from the toolbox, or press C.

Within the active image area, drag and drop the corner of a selection box to indi-cate the new framing.

Click the Commit button in the options bar, or press Enter.

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Adjusting Width andHeightAfter step 1, type a Width andHeight in the options bar tomatch the proportions (type 5for Width and 7 for Height fora 5×7 print). Or, pressing Shiftwhile dragging forces a per-fectly square selection.

One hallmark of a skilled photog-rapher is pleasing composition, orarrangement of the things you’reshooting within the picture frame.You can’t always take the time toget the composition just right.Cropping used to be one of themost common fixes made in thedarkroom—now you can do itwith the lights on.

Canceling the CropIn step 3, to cancel the crop-ping operation, click theCancel button (just left of theCommit button) in the optionsbar, or press Esc.

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With the picture in the active image area, choose Image, Rotate, StraightenImage. The program aligns the image.

Crop the photo as desired.

Click the Save shortcut to save your changes.

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Straightening a Crooked Picture

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Severely Off-Angle?If the subject is severely offangle, use one of the Image,Rotate or Image,Transform commandsinstead.

This type of automatic straighten-ing works best when the subject isjust slightly out of alignment—atower that appears to be leaning,for example. The program finds astrong vertical or horizontal line inthe image and aligns it on thenearest 90° angle.

Straighten and CropAs an alternative, the programcan both straighten and cropautomatically (choose Image,Rotate, Straighten andCrop Image). But you’ll behappier with the results if youcrop it yourself.

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51Rotating an Image on Opening

In the File Browser, right-click the thumbnail of the picture you want to rotate.

Select a rotation angle, such as Rotate 90° Right. (If you see a message screen,click OK.)

Double-click the thumbnail to open the file for editing.

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Quick and Easy RotationThis method of rotating a picture has the same effect as selecting oneof the Image, Rotate commands from the menu bar. But you’ll findit’s more convenient for quickly rotating all your portrait shots.

If you Ctrl+click multiple thumbnails before you do step 1, you canapply the same rotation to multiple shots with a single command. Butyou must then open the files individually.

Like film cameras, digital camerastake all pictures in landscape ori-entation—with the long side of theframe horizontal. To take a por-trait, you must physically rotatethe camera. The most commonreason to rotate an image inPhotoshop Elements is so that youcan view it correctly for editingand printing.

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With the picture in the active image area, choose Image, Rotate, Custom.

In the Angle box, type a rotation angle in degrees (clockwise from 12 o’clock; or,click Left for counterclockwise rotation).

Click OK.

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Rotating an Image for Artistic Effect

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Auto-Adjust Canvas SizePhotoshop Elements automati-cally increases the canvas sizeto create a frame large enoughto hold the rotated picture with-out reducing the image size.The area outside the picture isthe current background color.

Graphic artists call this type ofrotation a Dutch angle. Perhapsthe most familiar example is thenightclub poster with rotatedglamour portraits of the perform-ers. It’s a great technique foradding flair to greeting cards andfamily Web pages.

Continuous RotationAs an alternative, you canchoose Image, Rotate, FreeRotate Layer and drag acorner to rotate the image con-tinuously. However, this waydoes not increase the canvassize, and some cropping of thepicture corners occurs.

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53Resizing and Resampling an Image

With a picture in the active image area, choose Image, Resize, Image Size.

Click Resample Image.

Type a new Width in the box, in decimal units (such as inches).

Select the Resolution box and type a new numeric value, such as 300 pixels/inch.Click OK.

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TEnter Width or HeightIn step 3, enter Width orHeight, but not both. If youenter one, the program calcu-lates the other so that the imageisn’t distorted. The Resolutionvalue should be 72 for email orthe Web, 150–300 for makingprints with a color inkjet.

Digital photos are composed of afinite number of pixels. Resizingand resampling often go hand inhand: If you increase the size ofan image, the result can lookcoarse unless you resample it toincrease the resolution. If youreduce the image size, itdecreases the resolution, resultingin a smaller file size.

Bicubic Is BestFor all but the slowest comput-ers or very large images, leavethe Resample Image option setto Bicubic, which gives thehighest-quality result. Bilinear,which takes less processingtime, is the next-best choice.

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With a picture in the active image area, choose Image, Transform,Perspective.

Click OK on the warning dialog box.

The layer is automatically named Layer 0. Click OK.

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Transforming Image Perspective

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Severe Distortion?Severe distortion on subjectssuch as tall buildings results notonly from perspective but alsofrom an effect of optical lensescalled barrel distortion—whichadds curvature.

The Image, Transform submenuactually has three other com-mands besides Perspective: FreeTransform, Skew, and Distort. Butyou apply them all the sameway—by dragging picture cor-ners. Try each of them usingthese steps to see how their effectsdiffer.

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T Watch for KeystoningKeystoning, another type of dis-tortion, results from aiming thecamera either up or down at asevere angle. To compensatefor keystoning, drag the cornerin step 5 that’s nearest thepinched end of the subject out-ward.

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Click the Maximize button to enlarge the active image area.

Click and drag a corner to adjust the perspective.

Save the transformed image.

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T Don’t Squish Your FolksBe careful that in removing dis-tortion from one part of a pic-ture, such as the slope of abuilding, you don’t add distor-tion in another part—squishingcars or, worse, the faces of yourloved ones.

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With a picture in the active image area, choose Image, Resize, Image Size.

Type the new image Width as a decimal, such as 9.5 inches.

Click OK.

Choose Image, Resize, Canvas Size.

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Adding a White Border to Your Prints

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When to ResampleIn step 2, check ResampleImage and increase the reso-lution if the number in theResolution field is less than150. To avoid distorting theimage, let the program calcu-late the height.

A good way to add a white bor-der to your prints involves resizingthe image to be smaller than thecanvas (paper) size by theamount of the margin you want,and centering the image on thecanvas.

Yet Another WayTo add a white border withoutresizing the canvas, chooseFile, Print Preview. Checkthe Show More Optionscheck box; then click theBorder button. You can spec-ify the width of the border ininches, millimeters, or points.

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T Note the Printable AreaThe border becomes part of the image file, so you shouldn’t have toadjust print margins as long as the printable area of your papermatches the canvas size. Use these steps to add borders to the pic-tures you print with the File, Print Layouts, Picture Package command,which uses standard print sizes.

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In the Width box, type the width of the print paper—larger than the image width—such as 10 inches.

In the Height box, type the height of the paper, such as 8 inches.

Click OK.

Load the printer with photo paper and click Print. End

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T What’s the Anchor Point?The anchor point indicates theposition of the image relative tothe canvas edges. The default iscentered. Also remember thatmost printers can’t make bor-derless prints, so you’ll have toallow for the printer’s built-inmargins.

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With the photo that needs fixing in the active image area, select the Red EyeBrush tool, or press Y.

In the options bar, open the Brushes drop-down menu. (Select a brush size slightlylarger than the red area in the eye.)

Click the red area in the photo to select the color you want to remove.

Click and drag over the red area, as if using tiny strokes with an eraser.

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Removing “Red Eye” in Flash Photos

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T Zooming Will HelpThis task is much easier if youzoom your view of the eye sothat you can see the detailbefore you apply the brush. Ifthe effect is tiny, you may beable to wash it out with a singleclick—no scrubbing.

The telltale red-eye effect happenswhen the flash is mounted on orbuilt into the camera and the sub-ject is looking directly into thelens. The retina of the eyebounces the light right back. Takethese steps to dispel those smol-dering looks.

Multicolored Reflections?Remember that this commandonly replaces a single color.Red-eye reflections may actuallybe multicolored. Repeat thesesteps for each individual coloryou need to remove.

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59Correcting a Color Cast

With a picture in the active image area, choose Enhance, Adjust Color, ColorCast.

Click an area of the image that should be white.

Click OK.

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If a photo has an undesirable overall tint, the camera’s automaticwhite balance function didn’t do its job well. Daylight has a blue cast,light bulbs indoors make everything orange, and fluorescents canmake faces a sickly green. This command compensates by rebalanc-ing all the colors in the picture in relation to pure white.

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T Pick Pure WhiteIn step 2, pick an area such asteeth, white of the eye, or awhite tablecloth or shirt collar.Any blown-out (overexposed)area usually gives the bestresult. If there’s no white any-where in the picture, click aneutral area (gray or black).

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With a picture in the active image area, click the Color Variations button.

Click a thumbnail, such as Decrease Green, to change color or brightness in theshot.

Repeat the same selection to increase its effect, or make any other selection, such asLighten, for a combined effect.

When the After image looks right, click OK.

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Selecting Color Variations

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Adjust Midtones FirstOf the selections Midtones, Shadows, Highlights, and Saturation,Midtones (values ranging between shadows and highlights) usuallygive you the most noticeable results. To change the magnitude of aneffect, drag the Adjust Color Intensity slider before you apply it.

Perhaps it’s not that the colors inthe picture are wrong, you’d justlike to see them different. Forexample, an interior decoratormight want to view a room in adifferent light or with the decor adifferent shade. Experiment withcolor variations, which can bemore dramatic than just correctingthe overall cast.

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61Replacing a Specific Color

With a picture in the active image area, choose Enhance, Adjust Color,Replace Color.

Click within an area in the picture; then click and drag the Transform sliders untilyou see the color you want in the Sample box.

Click and drag the Fuzziness slider to recolor all similar shades in the selection.

Click OK.

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TAdd or SubtractClick the Add to Sample orSubtract from Sample eye-droppers (marked with + and –)and click the area in the pictureto add or remove it. Then,dragging the Transform slidersapplies the color change to theentire selection.

Don’t like the color of that dress?Does the sofa clash with thedrapes? Want to make the skypink or the river run green? Youcan make it so at no extracharge—with your choices limitedonly by your fashion sense.

What Changes?These steps change all instancesof the same color anywhere inthe image, not just on the areayou select in step 2.

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With a picture in the active image area, choose Enhance, AdjustBrightness/Contrast, Brightness/Contrast.

Click and drag one or both sliders, Brightness and/or Contrast, until the picturelooks right.

Click OK.

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Adjusting Brightness and Contrast

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Overall Change Changing brightness and con-trast affects the entire imageunless you select a particulararea first. Selection tools areRectangular Marquee (for rec-tangular areas), Lasso (forirregular areas), and MagicWand (for intricate shapes).

Sometimes a Quick Fix like AutoContrast just doesn’t do the trick—especially if the image has brighthighlights, deep shadows, orboth. These steps give you morecontrol so that you can make con-tinuous adjustments while pre-viewing the result.

Subject in the Dark?If your subject is too dark over-all (underexposed), try the FillFlash fix first. It boosts bright-ness only in the darker areas,leaving the lighter areas—usu-ally, the background—alone.

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63Changing a Color Photo to Black and White

With a color picture in the active image area, choose Image, Mode, Grayscale.

Click OK.

Choose Enhance, Auto Contrast.

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Sepia (a brownish mono-chrome) is actually a coloreffect. After converting to B&Wand adjusting contrast, repeatthe Image, Mode commandand select RGB Color; thenapply one or more ColorVariations.

You’ll occasionally need black-and-white pictures for newslettersthat will be printed one-color—orperhaps when you’re in a vin-tage-movie kind of mood. You caneasily convert your color shots toB&W, but remember to finish byadjusting the contrast to makethem suitably snappy.

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With a picture in the active image area, choose Filter, Sharpen, Sharpen More.

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Sharpening Focus

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Focus ManuallyThe Sharpen command canimprove the look of a blurredshot somewhat, but it’s no sub-stitute for proper manual focus-ing. That’s particularly truewhen you’re doing closeups—with the subject less than fourfeet away.

Digital cameras have an auto-focus feature, which attempts tomake the edges of the subject inthe center of the frame as sharpas possible. It doesn’t alwayswork. For more consistent results,learn how to focus manually. Butyou can always try this simplestep to sharpen shots that areslightly blurred.

Don’t Overdo ItThis task uses Sharpen Morebecause you might not seemuch of a difference from theoriginal when you use theSharpen submenu command.And Sharpen Edges can overdo it.

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65Making Edges Softer

With a picture in the active image area, choose Filter, Blur, Blur More.

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An Artful BlurThis task uses Blur Morebecause the result of the Blurcommand in the submenu canbe hard to see. The other Blurcommands in the submenu arefor when you’re feeling arty.

There are at least two good rea-sons to soften focus: It can make aportrait look more flattering,blending out lines, pores, andsmall blemishes; and it can save ashot that’s only slightly out offocus—making the softness lookmore deliberate.

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With a picture in the active image area, select the Lasso tool.

Click and drag in the image to trace the outline of the area you want to change.

Choose Enhance, Adjust Color, Hue/Saturation.

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Selecting and Coloring Shapes in the Shot

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T Practice Your SelectionsUsing the selection tools to capture just the pixels you want to changeand no others is a mark of skill with Photoshop Elements. Remember,you can use the selection tools in any sequence for a combined result,to add or subtract from the current selection.

By using one of the selection toolsfirst, you can apply any of thecolor, brightness, and level com-mands to specific areas within animage. In this example, a portionof the background didn’t contrastwell with the subject, so it wasrecolored.

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T Colorizing Gets GarishChecking the Colorize box inthe Hue/Saturation windowgives you a wider range ofcolors, many of them garish. Bydecreasing Saturation, you canalso experiment with theColorize option to create duo-tone (two-color) pictures.

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Click and drag one or more sliders, such as Hue, to adjust the color of the selectedarea.

Click OK.

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T Using the EyedroppersIn step 4, the eyedroppersbecome available when youselect something other thanMaster in the Edit drop-downbox. Do this to adjust primarycolors separately in the image,or to recolor specific areas yousample with the eyedropper.

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Adding Titles and TextBeing able to print text on your photos can turn your digital snaps into greetingcards, invitations, postcards, or posters.

An interesting photo with a caption can be a news item for a community newsletteror family Web site.

And even if you don’t aspire to craft your own greetings or write your own news,including captions in your picture files is a much better way of identifying anddescribing your photos than writing on the back of the prints with a ballpoint pen.

As you gain skill working with text, you’ll want the flexibility of keeping differentpieces of text on separate layers, which work like clear sheets of acetate you candraw on. Layers permit you to add text and artwork without making any permanentchanges to the underlying image. So be sure to take a look at the tasks in Part 9,“Using Layers to Combine Photos and Artwork.”

And don’t worry. None of this is complicated. Photoshop Element’s built-in featureshelp you create professional-looking output, whether it be for a Web site or picturepostcard, without having to sweat the technical details.

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Say It with Pictures and Words

Adding a caption can give a photo “news value.”

Why not think of your life as a movie—and you’re thestar!

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With the picture in the active image area, choose File, File Info.

Type a descriptive caption in the Caption text box.

Click OK.

From the shortcuts bar, click the Print Preview button (or choose File, PrintPreview).

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Adding and Printing Photo Captions

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TDear Diary…In step 2, the Caption text boxcan hold about 25 double-spaced pages. That’s enough topaste a whole text documentfrom the Clipboard. You coulduse it to hold your journalentries from a trip, for example.

This method of adding a captionto a photo stores the text informa-tion with the image file. Whenyou check the Caption check boxin the Print Preview dialog box,your photo prints with the captionoutside the image area, centeredbeneath it.

Title and Author BoxesYou can also type entries intothe Title and Author boxes seenon the File Info dialog.However, only the Caption boxis printed by this procedure.

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T Caption PositionThe position of the caption as itwill appear relative to theimage on the printed pageappears beneath the thumbnailin the Print Preview dialog box.

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Check the Show More Options check box.

Check the Caption check box.

Click Print.

Click OK in the Print dialog box.End

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T Scale to Fit MediaIf you haven’t sized the imageto fit the canvas and the canvasto the paper size, check Scaleto Fit Media in the PrintPreview dialog box, andPhotoshop Elements will fit tothe paper size currently selectedfor the printer.

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With a picture in the active image area, choose File, Print Layouts, PicturePackage.

Select Custom Text from the Content drop-down menu.

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Adding Text to Prints in a Picture Package

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The Caption OptionSelecting Caption instead ofCustom Text in step 2 causesthe text to be printed outsidethe image area. But if you dothat, you can’t enter text here.You must use the File Info pro-cedure described in the preced-ing task.

Entering Custom Text as describedhere causes captions to overlaythe picture—to be printed insidethe image area—when it’s printedby the Picture Package command.

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Best Text ColorTo make sure that text is visibleover any photo, select Customin the Color drop-down boxand choose yellow-orange ororange, which contrasts wellwith almost any backgroundcolor.

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Select the Custom Text box.

Type your description of the picture (100 characters or less).

Click OK. Text appears superimposed on the shots when you print the package.

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Best Text PositionLeaving the Position at thedefault, Centered, places thetext in the middle of the picture,right over your subject. A betterall-purpose position is BottomLeft.

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Start

With a picture in the active image area, select the Horizontal Type tool.

Click the position in the image where the text will begin.

Type a line of text. To start a second line, press Enter, and keep typing.

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Overlaying Text on an Image

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T Alignment OptionsThe starting point for the textline in step 2 depends on thecurrent Alignment setting in theOptions bar (Left Align,Centered, or Right Align).

Here’s the direct approach—justtype over an image anywhere youwant. You can press Enterbetween typing multiple lines inthe same block of text, or you canclick Commit and then repeatthese steps to create a separateblock that you can move andwork with independently. (To movetext, see the next task in this part.)

New Text LayerThese steps create a new textlayer automatically. Think of alayer as a clear sheet you canwrite or draw on withoutchanging the image under-neath.

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75Selecting and Editing Text

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A handy way to remember howto edit text is “swipe and type”because you must first highlightthe letters you want to replace.

Select the Horizontal Type tool.

Click and drag over the characters you want to replace.

Type the replacement characters.

Click the Commit button in the options bar.

Keep Text EditableYou can’t edit text after the textlayers have been merged withthe image (as in a JPEG file, forexample). To keep text editable,save your work as a nativePhotoshop file.

Inserting CharactersTo insert one or more charac-ters rather than replace some,just click at the insertion pointin step 2 and then type.

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Select the Horizontal Type tool.

Click and drag over the characters you want to change.

Select new text properties from the drop-down boxes in the options bar, such as FontSize.

Click the Commit button in the options bar.

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Changing Fonts and Text Properties

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Lines and Blocks of TextCreate the text in a single textblock rather than individualones when you want PhotoshopElements to take care of align-ment and spacing betweenlines.

Words or even individual charac-ters can have different properties,such as color or font, than adja-cent characters in the same block.

Text PropertiesSettings for all text propertiesbecome available in the optionsbar when a text object isselected in the active imagearea.

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77Moving or Deleting Text

Select the Move tool, or press V.

Click and drag the text object to a new position.

Or, to delete the entire text layer, choose Layer, Delete Layer.

Click Yes to confirm the deletion.

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Avoid DistortionTo avoid distorting the text,select the center of the objectbefore you drag it around.Press Shift while you drag toforce horizontal or verticalalignment, or Alt to make it diagonal.

You move a block of text the sameway you’d move any othergraphic object you create. Forexample, you should move a lineof text out of a cluttered area ofthe background, to make it morereadable.

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Select the Move tool, or press V.

Click the text object you want to resize.

Click and drag any handle on the selection box until the box is at the desired size.

Click the Commit button in the options bar.

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Resizing Text

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TBest Resizing ResultsTo enlarge and distort text sothat its edges stay smooth,change the Font Size first inthe options bar and then adjustslightly by dragging object han-dles. Or, distort with theImage, Transform, FreeTransform command instead.

Auto Select LayerFor step 2 to work, the AutoSelect Layer box must bechecked in the options bar (theusual setting). If it’s notchecked, you must switch to thecorresponding text layer usingthe Layers palette.

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This procedure works just like amove, but you drag a handle(corner) rather than the center ofthe object. It works best for con-densing or extending, shrinking orenlarging text by small amounts.

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79Creating Vertical Text

Right-click the Type tool.

Select Vertical Type Tool from the submenu.

Click the starting point in the image and type some text.

Click the Commit button in the options bar.

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Adding More Text LinesPress Enter after step 3 to addmore vertical lines of text to thesame block. But for some oddreason, the lines read fromright to left. (Enter the secondline first if you want them toread from left to right.)

Vertical text can be difficult toread, but there are times when it’sthe best fit in a tight space. Textcreated this way reads from thetop downward.

Vertical AlignmentOptionsSelections for vertical alignmentof text in the options bar areTop Align, Center, and BottomAlign. But in all cases, textreads from the top downward.

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Select the Move tool, or press V.

Click the text object you want to rotate.

Choose Image, Rotate, Free Rotate Layer.

Click and drag a handle on the selection box.

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Rotating Text

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Flipping TextFlipping (creating a mirror-image of) text can be done bychoosing Image, Rotate,Flip Layer Horizontal orFlip Layer Vertical.(Submenu commands that don’tinclude “Layer” affect the entireimage.)

You might want to rotate text toachieve a smarter design or to fitit to an object in the image. Justremember that it might becomedifficult to read if the angle is toosevere.

Auto Select LayerFor step 2 to work, the AutoSelect Layer box must bechecked in the options bar (theusual setting). If it’s notchecked, you must switch to thecorresponding text layer usingthe Layers palette.

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81Transforming and Skewing Text

Select the Move tool, or press V.

Click the text object you want to transform.

Choose Image, Transform, Skew, or press Ctrl+T.

Click and drag a handle of the selection box to resize and/or distort the text.

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TGrow or Distort TextYou can grow or distort textusing the same procedure,except choose Image,Transform, FreeTransform (or press Ctrl+T)in step 3. Try it and notice howthis type of transformation dif-fers from Skew.

Skewing text can give it either anitalic or backslanted effect, ormake it appear to run up- ordownhill. You can also distort it inthe process if you want. FreeTransform is a similar command,by which you can stretch andsquish text in any direction.

Auto Select LayerFor step 2 to work, the AutoSelect Layer box must bechecked in the options bar (theusual setting). If it’s notchecked, you must switch to thecorresponding text layer usingthe Layers palette.

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Select the Horizontal Type tool.

Click the text you want to warp.

In the options bar, click the Create Warped Text button.

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Warping Text

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You can apply all kinds of fancyeffects to text by this method,which is great for adding dra-matic or comic touches to titles ofalbums and slideshows.

Auto Select LayerFor step 2 to work, the AutoSelect Layer box must bechecked in the options bar (theusual setting). If it’s notchecked, you must switch to thecorresponding text layer usingthe Layers palette.

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Select a style from the drop-down menu, such as Inflate.

Click and drag one or more sliders to adjust the degree of the effect.

Click OK.

Click the Commit button in the options bar.

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Another Way to WarpHere’s an alternative method forwarping your words: Right-clickthe text and select Warp Textfrom the pop-up menu.

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Right-click the Rectangle tool.

Select Custom Shape Tool.

Click and drag to size the shape in the image area.

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Adding a Talk Bubble

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Hearts and FlowersThe talk bubble—or speech bal-loon—is just one of an assort-ment of custom shapes. To pickone, after selecting the CustomShape tool, select the Shapedrop-down menu in the options bar.

Oh, those wacky relatives and thewild things they say! A talk bub-ble can add a whimsical touch toyour greeting cards andWebmail. It’s actually just one ofmany shapes that PhotoshopElements can draw so that youdon’t have to create them free-hand.

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Select the Horizontal Type tool.

Click the start of a text line inside the talk bubble.

Type some text.

Click the Commit button in the options bar.

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Don’t See a Talk Bubble?The toolbar shows the CustomShape tool you used last. If theTalk Bubble isn’t there, selectthe Custom Shape tool andchoose the shape you wantfrom the Shape box in theoptions bar.

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Select the Move tool, or press V.

Click the text that needs the effect (Auto Select Layer must be checked).

Choose Window, Effects.

Select the effect you want, such as Bold Outline, and click Apply.

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Applying a Text Effect

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TEffects Palette Open?To clear your work area, youmay want to close or dock theEffects palette when you’re fin-ished. If it’s not in the palettewell, you can always get itback by choosing Window,Effects.

Thumbnails in the Effects palettemarked ABC are text effects,which you can apply to selectedtext with a click. If PhotoshopElements didn’t include these“canned” effects, you’d have tobe a skilled graphic artist, and itwould take a lot more work toreproduce them.

Applying Text EffectsUse only effects marked ABC.The others will affect the entireimage, not just text. You canalso apply text effects by drag-ging an effect from the paletteand dropping it on the text.

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87Adding a Drop Shadow to Text

Select the Move tool, or press V.

Click the text to which the drop shadow will be added (Auto Select Layer must bechecked). Choose Window, Layer Styles.

From the Style Libraries drop-down menu, select Drop Shadows.

Select a drop-shadow effect, such as Hard Edge.

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TAuto Select LayerFor step 2 to work, the AutoSelect Layer box must bechecked in the Options bar (theusual setting). If it’s notchecked, you must switch to thecorresponding text layer usingthe Layers palette.

Place a drop shadow behind textto make it appear to “pop” outfrom the background so that it’smore readable. This is particularlyhandy when the background hasboth light and dark areas and youcan’t find a solid area to serve asa background for the text thatgives enough contrast.

Make Your Own?You can experiment with creat-ing your own drop shadoweffects if you know this: A dropshadow is actually a duplicateof the text object, in a contrast-ing color, positioned behind itand offset slightly.

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Right-click the Type tool.

Select Horizontal Type Mask Tool.

Click the starting point of the text in the image. Type some text.

Click the Commit button in the Options bar.

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Creating “Hollow” Text

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Use Fat LettersA type mask works best withbig, fat letters. Use it on titlesfor a decorative effect. If youapply it to smaller text or to ablock of words, the result prob-ably won’t be readable.

A type mask makes a text objectappear to be hollow so that thebackground (or the next layer)shows through. It’s not an effectyou’ll use every day, but it couldadd just the right touch to yournew CD album cover—whether it’sthe school choir or a garageband!

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T Use a VariegatedBackgroundThis effect works best on varie-gated backgrounds, cutting andpasting from a lighter to adarker area, or vice versa. Ifthe background is too uniform,the effect won’t be obvious.

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Choose Edit, Copy, or press Ctrl+C.

Choose Edit, Paste, or press Ctrl+V.

Select the Move tool, or press V.

Click and drag the copy of the masked text to reposition it in the image. The back-ground from the original position shows through the hollow text.

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Creating Snazzy EffectsWith the invention of the electronic calculator, schoolchildren are the only ones whofret over doing arithmetic by hand. Similarly, you might be surprised at how manycommercial artists don’t draw from scratch anymore. Many of them earn their dailybread using computer graphics software like Photoshop Elements to make photos looklike fine art.

When you’ve worked through the tasks in this part, you’ll know many of their secrets.You can make greeting cards and party invitations look as if they were hand-drawnby a skilled sketch artist, create photo-realistic illustrations for flyers and newsletters,and add expensive-looking graphics that will give a professional touch to your per-sonal Web site.

Photoshop Elements helps you achieve artistic effects by way of filters that can trans-form an image with a click, but in complex ways. The program comes with a widevariety of filters, and you can download even more of them (called plug-ins) fromwww.adobe.com and other vendors’ Web sites. There are far too many filters tocover them all here, but you’ll see enough to show you how easy they are to apply—and to start you thinking about all the creative possibilities.

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How Did You Do That?

Before It helps to start with a photo that has aninteresting composition, and some bright colorsand contrasts.

After Here’s some “fine art” that took less than aminute to make. It’s the result of adding both thePalette Knife artistic filter and a Sandstone texture,finally adjusting Hue for brighter greenery.

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With a picture in the active image area, choose Image, Resize, Canvas Size.

Type a Width the same as the print size and about 2 inches wider than the currentimage size. Do the same for Height.

Click OK.

Right-click the Shape tool in the toolbar and select Custom Shape Tool.

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Adding a Decorative Border

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A frame is just one example of thewide variety of custom, prebuiltshapes available in PhotoshopElements. To make the frame evenfancier, this example applies aCraquelure filter to give the framea rich, dimensional look.

Know the Image SizeIn this example, the image sizeof the photo is about 5×7inches. Placing it on an 8×10canvas adds just the rightamount of border for the deco-rative frame.

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In the Options bar, open the Shape drop-down menu.

Double-click any Frame shape.

Click and drag in the image to surround the photo with the frame.

Click the Simplify button. Seenextpage

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Want More CustomShapes?To pick from a variety of frameshapes, when the Shape drop-down menu is open in steps 5and 6, click the circular arrowbutton and select AllElements Shapes from thepop-up menu.

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Choose Filter, Texture, Craquelure.

Click OK.

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Craquelure Not YourStyle?Instead of applying theCraquelure filter in step 9, tryany other effect or combinationof effects from the Filter menu.

The frame used here is just one ofmany Custom Shapes, which areready-made so you don’t have todo any freehand drawing.Categories include Animals,Arrows, Banners and Awards,Characters, Default, Frames, Fruit,Music, Nature, Objects,Ornaments, Shapes, Signs,Symbols, Talk Bubbles, and Tiles.

Don’t See the Preview?For the preview of the wholeframe to be visible in theCraquelure dialog box in step10, click the – button severaltimes to reduce the view percentage from 100 to 14percent.

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95Creating a Gradient Fill

With the picture in the active image area, select the Magic Wand tool, or press W.

Click to select the area in the image to which the effect will be applied.

Select the Gradient tool, or press G.

Click and drag across the area to be filled in the direction you want the color grada-tion to take. (Press Ctrl+D to release the selection.)

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Making Your SelectionUse any combination of selec-tion tools in step 1 (Move,Magic Wand, Lassos, orMarquees). Press Shift as youselect with a tool to add anarea to the current selection,Alt to subtract.

A gradient fill is a blended transi-tion—usually between twocolors—within a selected area. Inthis example, the gradient isapplied to the entire background,but it could also be used to fill anyobject you select, even hollowtext.

Mix Your Own GradientsAfter selecting the Gradienttool, clicking the Edit button inthe Options bar opens theGradient Editor, which containsoptions for creating custom gra-dients.

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With the photo open in the active image window, select the RectangularMarquee tool, or press M.

Click and drag to frame the image.

Choose Edit, Copy, or press Ctrl+C.

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Mounting a Photo on a Fancy Background

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Putting a cherished family photoin an expensive frame is a fineidea, but the price of a custommatte is a needless expense.Create your own fancy back-ground, and it won’t cost you anymore than a little extra printer ink.And yours will probably be pret-tier than any you can buy.

Crop, While You’re at ItYou don’t need to crop yourphoto first, because selectingthe area to copy has the sameresult. But if the selection is toosmall in relation to the fancybackground image, resamplethe image first to increase reso-lution.

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Choose File, New, or press Ctrl+N.

Click OK.

Select the Paint Bucket tool, or press K.

Click in the new image area to fill it with color.

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You’re Not StuckIn step 6, for a different look,after selecting the PaintBucket tool, choose Patternin the Fill box in the Optionsbar, select a pattern, and clickinside the image area to fill thebackground with the pattern.

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What Color Do YouPrefer?The Paint Bucket tool depositsthe currently selected fore-ground color. To make a differ-ent choice, click the topmostcolor patch at the bottom of thetoolbar, and make a new selec-tion from the Color Picker.

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Choose Filter, Texture, Grain.

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By adding a frame usingPhotoshop Elements, you canbegin to think of every photo youshoot as just the starting point fora piece of attractive, personalizedartwork. Traditionally, film photog-raphers didn’t get involved in suchartistic cutting and pasting, but intoday’s digital realm, it’s just soeasy.

Varying TexturesLike the Craquelure filter shownpreviously, you can vary Grainby adjusting sliders after step 8.Other available textures areMosaic Tiles, Patchwork,Stained Glass, and Texturizer(for surface effects such asCanvas and Burlap).

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T Metal or Paper?Applying a gradient effect tothe background instead of thegrainy texture can give theimpression of a metallic pictureframe.

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Choose Edit, Paste from the menu bar, or press Ctrl+V.

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Didn’t Work asAdvertised?The size of the pasted photo inthe new window depends onthe relative image sizes of thetwo pictures. If the photo sizeneeds adjustment, select theMove tool after step 9 andreposition/resize it.

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Start with two images open: a pretty sky and a scene with sky you want to replace.Select the Rectangular Marquee tool.

Click and drag in the pretty sky window to select a large rectangular piece.

Choose Edit, Copy, or press Ctrl+C.

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Adding a Beautiful Sky

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Be Sure to Grab It AllIn step 2, use any combinationof selection tools. The Lasso toolis particularly handy for irregu-lar areas, followed by severalShift-clicks with Magic Wandto get the rest.

Replacing the sky is a particularlyneat trick, permitting you to scoffat overcast days, not to mentiongetting rid of power lines andintrusive foliage. Add a gorgeoussunset and forget it was rainingthat day.

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Select the Magic Wand tool, or press W.

In the scene window, click to select the sky that needs replacing. (Shift+click to addother areas to the selection.)

Choose Edit, Paste Into, or press Shift+Ctrl+V.

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Release and Let’s GoWhen you’re finished with thistask, to release the selectionand continue working, chooseSelect, Deselect, or pressCtrl+D.

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With a picture in the active image area, choose Image, Mode, Grayscale.

Click OK.

Choose Enhance, Adjust Brightness/Contrast, Brightness/Contrast.

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Creating a High-Contrast Black-and-WhitePicture

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Back in the ancient days of film,high-contrast (hi-con) transparen-cies were called Kodaliths, thename of a Kodak product formastering printing plates. You cancreate some dramatic artisticeffects doing the same thing digitally—by converting a phototo black-and-white, with no shading.

Don’t Do This to YourBossHi-con doesn’t make flatteringportraits. Clean-shaven menwith five o’clock shadow endup with real stubble trouble,and wispy laugh lines becomedeep trenches.

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T Adjust BrightnessIn step 4, after increasingContrast, it may also be neces-sary to adjust the Brightnessslider a bit, as done here.

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Adjust the Contrast slider to 100.

Click OK.

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With a photo in the active image area, choose Filter, Brush Strokes, AngledStrokes.

Optionally, adjust the Direction Balance, Stroke Length, and Sharpnesssliders.

When you see the desired effect in the Preview window, click OK.

Choose Filter, Texture, Texturizer.

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Making a Photo Look Like an Oil Painting

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No one’s proposing you startcranking out fake Rembrandts, butthere’s something about brush-strokes on canvas that says highclass. Try this with the family por-trait and pretend you sat for aDutch master.

Tuning Your StrokesThe slider options in step 2 con-trol the magnitude of the effect.You want to balance makingthe brushstrokes obviousenough to be seen, yet not somuch as to obliterate fine detailin the picture.

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T How Rough Is YourCanvas?As with brushstrokes, you canadjust Texturizer options to con-trol roughness and lighting onthe canvas: Scaling, Relief, andLight Direction. The Invertoption reverses light and darkeffects.

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In the Texture box, select Canvas.

Click OK.

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No RulesThere are no rules for applying artistic effects. Be guided by your owntaste. For example, instead of a Canvas texture, try Burlap orSandstone. And remember, results vary depending on the sourcematerial.

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With a picture in the active image area, choose Filter, Artistic, Poster Edges.

Optionally, adjust sliders for Edge Thickness, Edge Intensity, andPosterization.

Click OK.

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Posterizing a Picture

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Posterization became popular inthe psychedelic movement of the1960s as a way of makingimages seem more intense.Photoshop Elements includes a fil-ter called Poster Edges to createthis effect.

Ideas for Greeting Cards?Applying the Poster Edgeseffect to a photo can make itlook like a fine watercolor andink drawing, or an elaborateillustration in a children’s book.

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107Making a Photo Look Like a Sketch

With a photo in the active image area, choose Filter, Sketch, Chalk &Charcoal.

Optionally, adjust sliders for Charcoal Area, Chalk Area, and StrokePressure.

Click OK.

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Whether your drawings look like stick figures or you’re just in too biga hurry to sit down with your sketchpad, Photoshop Elements canmake any photo look hand-drawn. For example, take a photo of thecurbside view of your home, convert it to a sketch, and use it to illus-trate personalized party invitations or stationery.

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T Make It SnappyAlthough level correction isn’t arequired step, it’s applied to thisexample to darken the lines sothat the result reproduces betterin print.

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With a photo in the active image area, choose Filter, Pixelate, Pointillize.

Optionally, adjust the Cell Size slider to get the look you want.

Click OK.

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Applying the Pointillize Filter

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How Big Is a Cell?Cell size in step 2 controls thesize of the picture dots and themagnitude of the effect. Youwant it large enough to makethe effect visible, small enoughto preserve important picturedetails.

Pointillism is a technique pioneered by French Impressionist painter GeorgesSeurat more than a century ago. His paintings are composed of thousandsof tiny dots of bright colors—and the overall effect was apparent only whenviewing the work from a distance. In a sense, he invented pixels, which arethe building blocks of today’s computerized, digital images.

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109Using a Blur Filter

With a photo in the active image area, click a selection tool, such as EllipticalMarquee.

Click and drag to select the area in the image to which you want the blurring effectapplied.

Choose Filter, Blur, Radial Blur.

Click OK. (To keep working on the photo, press Ctrl+D to release your selection.)

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Blur or Zoom—and HowFast?Options in the Radial Blur win-dow include Amount (magni-tude of the effect), Blur Method(Spin or Zoom), and Quality(Draft, Good, or Best). You candrag the Blur Center to repo-sition it.

Many of the artistic filters inPhotoshop Elements might well beapplied to the whole picture.Blurring is an example of a filteryou’d normally apply only to aselected portion of an image, suchas the propeller of this aircraftreplica.

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Painting and DrawingMany people think of Photoshop Elements mainly as a digital photo lab, but it’s alsoan art studio. So, welcome to your all-electronic work-and-play room—where younever have to wear a smock, clean a brush, or deal with that nasty turpentine.

Those of you who start with a photo as a background may have a more practicalpurpose in mind—such as making ads and brochures.

And along with adding text, combining your photos with your original artwork givesa wonderfully personal touch. Recipients of your greeting cards, party invitations,photo email, and newsletters will appreciate the care you took—even though none ofthis is nearly as hard as they might imagine!

Getting a bit more serious, you can also illustrate business presentations, schoolreports, and instructional materials with professional-looking diagrams and drawings.No more crude pencil sketches, and good-bye forever to stick figures!

But don’t stop there. Set aside a rainy Saturday afternoon to discover the joy of digi-tal painting and drawing. Vincent Van Gogh never had such a rich and varied set oftools!

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Look What I Made!

Or just paint and draw from scratch forthe pure joy of it!

Paint and draw over a photo to create yourown custom graphics for postcards.

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Click to select a foreground color.

Right-click the Shape tool and select the shape tool you want, such as Polygon Tool.

Click and drag in the image area to adjust the size and proportions of the shape.

To make the pixels of the shape editable, click the Simplify button.

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Creating a Shape

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Shift to Get RegularHold down the Shift key whileyou draw to make Rectanglessquare, Ellipses circular. Linesfollow the closest 45-degreeangle.

Photoshop Elements generates avariety of geometric shapes foryou. Here we show drawing overan image. You can also start bychoosing File, New to draw on ablank canvas.

Moving and ResizingTo move or resize a shapebefore it’s simplified, use theShape Selection tool. Whensimplified, use the Move toolinstead. For best-qualityshapes, always try to resizebefore you simplify.

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113Adding a Bevel to a Shape

Having created or selected a shape, choose Window, Layer Styles.

In the Layer Styles palette, select Bevels in the Style Libraries drop-down menu.

Double-click the bevel style you want to apply.

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Close It Quick!If the palette is open butdocked, as shown, click any-where outside the palette toclose it after step 3.

New shapes can look plain andflat. Adding a bevel gives theshape a dimensional quality thatcan also make it stand out fromthe background. PhotoshopElements provides a nice selectionof bevel styles that can give yourobject a bold, dimensional look.Just click the one you like, and it’sapplied automatically.

Selecting ShapesIf the shape you want isn’t themost recent one you created,select it with the Move toolbefore you do step 1 (AutoSelect Layer must be checked).If the shape is one of many ona layer, use the ShapeSelection tool instead.

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Having chosen the foreground color, select the Move tool, or press V. (Auto SelectLayer must be checked.)

Select the shape.

Select the Paint Bucket tool, or press K.

Click inside the shape to apply the color.

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Filling a Shape with Color

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Change the Fill ColorBefore you do step 1, click theForeground color swatch at thebottom of the toolbar and makea selection from the ColorPicker.

If you’ve worked through the tasksto this point, this won’t be the firsttime you’ve used the Paint Buckettool. But notice how quickly andeasily you can recolor a shape.Always remember that the PaintBucket—and other paintingtools—use whatever you’veselected as the current foregroundcolor.

Fill with a PatternIf you prefer a pattern ratherthan a color, before doing step2, select Pattern from the Filldrop-down menu in the Optionsbar; then make a selection fromthe Pattern menu.

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115Using the Eyedropper to Pick a Color

Select the Eyedropper tool, or press I.

Click a color you want to match in the image area. The foreground color changes tothe color of your sample, and you can now use any tool that applies color.

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TChanging Sample SizeBefore step 2, you can choose3 x 3 Average or 5 x 5Average to set the number ofpixels in the area theEyedropper will sample.(Remember, it’s an average, sothe resulting color may be ablend of the sampled pixels.)

Want to pick a color for a newshape or brush stroke that exactlymatches some color in the image?The Eyedropper tool sucks up thecolor you click and loads it as thecurrent foreground color.Whatever painting or drawingtool you use next applies thatcolor.

Whenever You See ItPhotoshop Elements uses theEyedropper pointer in otherplaces, such as the ColorSwatches palette, and it alwaysworks as a color selector.

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Choose Window, Color Swatches.

Click the color you want to use next. The foreground color changes to the color ofyour sample, and you are ready to use any tool that applies color.

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Using the Color Swatches Palette

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Swatches for DifferentPurposesThe drop-down menu in theSwatches palette has sets ofcolors for both creative andpractical purposes. For exam-ple, choose Web SafeColors when creating graphicsfor use on the Internet.

If you’ve ever browsed throughcolor swatches at the paint store,you know how handy it can be tosee a coordinated selection ofchoices. It’s generally quicker andeasier to make a choice from pre-set Color Swatches than to use theColor Picker (which, for mostfolks, has way too many).

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117Painting and Drawing with a Brush andPencil

Select the Brush tool.

Set brush properties in the options bar, such as Size.

Click and drag in the image area to apply each brush stroke.

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Brush Stroke TechniqueKeep holding down the mousebutton and paint with a scrub-bing motion to apply a single,continuous brush stroke. Or,click and release the mousebutton frequently as you paintto apply dabs of color.

Use the Brush tool to do freehandpainting (or Impressionist Brush topaint over and blur). The Penciltool right beside it in the toolbarworks much the same, except pen-cil lines don’t have soft edges.

A Tip on Brush TipsSelect the tip size and brushstroke properties in the optionsbar before you do step 2. Pickone of the preset brushes oradjust the other options to cre-ate your own.

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Select the Brush tool.

Click More Options in the options bar.

Adjust how the brush works by dragging a slider or typing a new percentage for oneor more options.

Click and drag in the image area to apply each brush stroke.

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There are more than a dozencategories of preset brushes inthe options bar, and you havethe choice of fine-tuning any ofthem by making adjustmentsusing the More Options drop-down menu.

If you really want to get arty withbrush tips, you can make all kindsof adjustments in the options bar,before you start painting. Alsolocated there is the Airbrush but-ton, which generates a spray ofpixels at the brush tip. (Access thefull range of options from theMore Options drop-down menu.)

Still More OptionsIn the options bar, Mode con-trols effects for artistic purposes,as well as for doing fine photoretouching. Opacity, in effect, ispaint thickness—lower numbersare more like watercolor.

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119Painting with the Pattern Stamp

Right-click the Stamp tool and select the Pattern Stamp tool.

Double-click to select a pattern from the Pattern drop-down menu.

Click and drag in the image area to paint, just as you would with the Brush tool.

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TThe Other Stamp ToolThe Pattern Stamp’s roommatein the toolbar, the Clone Stamp,isn’t so much for painting as itis a tool for removing unwanteddetails, such as facial blem-ishes, from photos.

Painting with a pattern is lots offun—and something you can’t donearly as easily with physicalpaint and paper. The result ismore like making cutouts of wall-paper or fabric and pasting themdown—much like art techniquescollage and mixed media.

Options, OptionsNotice that there are all kindsof choices in the options bar.Make your selections beforedoing step 2, just as you wouldwith a brush.

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Open the Pattern menu in the options bar.

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Select the Eraser tool, or press E.

If you want, change the tool properties in the options bar.

Click and drag over the pixels you want to erase.

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Using the Erasers

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Undo Instead?Use the Eraser tool for partialerasures of shapes. To simplyget rid of painting mistakes,Edit, Undo or Edit, StepBackward may be faster andcleaner.

The Eraser tool works just like abrush—but removes pixels in itspath rather than depositing them.It only affects shapes on the layercurrently selected, so you maywant to open the Layers palettefirst to get your bearings.

Other Eraser ToolsRight-click in step 1 to selectBackground Eraser, whichdeletes a single color sampledfrom the center of a brush, orMagic Eraser, which deletesareas of similar-colored pixelswith a click (like Magic Wanddoes for selections).

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121Softening Edges

With the edge you want to soften zoomed in the image area, select the Smudgetool, or press F.

If you want, change the tool properties in the options bar.

Click and drag along the edge to soften it.

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TFinger Paint, Oh Boy!If you’re tempted to make acreative mess the clean, elec-tronic way, check the FingerPaint box in the options barbefore you do step 2.

Some of the painting tools can beused either for painting or forretouching details in photos, andthe Smudge tool is one of these.Artists who’ve worked with pastelswill be familiar with the techniqueof rubbing chalk edges to softenthem.

Impressionist BrushInstead?The effect of the Smudge toolmay be too subtle for yourtaste. For more pronouncedblurring, use the ImpressionistBrush tool in one of the smallerbrush sizes. Also try effects inthe Filter, Blur submenu.

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Flattering Your SubjectsOkay, in other parts of this book we’ve talked about Photoshop Elements being yourphoto lab and your art studio—but why not also think of it as a one-stop health andbeauty spa? Digital retouching, if not overdone, can perk up your friends and lovedones, making them appear to shed pounds, revitalizing their complexions, and put-ting that old sparkle in their eyes—all without risky fad diets, treatments, or pills!

But let’s emphasize—don’t overdo it. As a good rule of thumb, try to soften ratherthan erase. Leave some lines, freckles, and whatever other imperfections give yourbeloved her unique character and winning charm. Go too far, and you’ll have a slickbeauty shot of a lifeless mannequin.

Many of the techniques described in this part were applied to the photo on the fac-ing page. Retouching included correcting a color cast, desaturating the backgroundwith the Sponge tool, softening facial lines with the Smudge tool, removing a brastrap and tan line with the Clone Stamp tool, adding eyelight with a brush tool,emphasizing eyebrows with Sharpen, adding a Gaussian blur to soften skin overall,and increasing hair-color highlights with the Sponge tool set to Saturate.

The transformation took about 10 minutes. But, go figure, she still wants a trip to the spa.

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You Look Simply Marvelous,Darling!

Before After

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With white as the current foreground color, select the Brush tool.

In the options bar, select a brush tip smaller than the iris of the eye.

Click inside the eye lens, at the edge of the iris. (Repeat to match position in theother eye.)

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T Get It RightBesides indicating the directionof the light source, the positionsof the eyelights in each eyeshould match exactly. If not,your star could look eithercross- or wall-eyed.

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Eyelight Is a ReflectionInstead of being centered in theeye, the position of the eyelightshould match the direction ofthe main light source (calledkey light). If the key is high andto the left, put the white dot inthe top-left center of the eye.

Eyelight is a trick of Hollywoodcinematographers, who aim asmall spotlight directly at the star’seyes to add sparkle. They don’tgive movie villains eyelight, andsomehow you instinctively knowthey are shiftless, not to betrusted.

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125Fixing Dark and Light Areas in a Photo

With the photo in the active image area, select the Dodge tool, or press O.

Click and drag to paint an area to recover detail from its shadows.

Select the Burn tool, or press J.

Click and drag to paint an area that needs detail recovered from its highlights.

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Crushed or Blown Out?Dark areas that are totallyblack are said to be crushed,and totally white areas areblown out. Neither has anydetail you can recover by usingthese steps. Try to light the shotbetter next time before you take it.

Dodge and Burn are toning toolswith names carried over from tra-ditional darkroom techniques forincreasing or decreasing exposurein areas of shadow or highlightwhen printing film negatives. TheDodge tool lightens dark areas(overexposed), and the Burn tooldarkens light areas (underex-posed).

Dodge/Burn OptionsBesides a selection of brushtips, the options bar containssettings for Mode (Shadows,Midtones, or Highlights) andStrength (similar to print lightintensity in the darkroom).

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With a zoomed photo in the active image area, select the Smudge tool, or press F.

In the options bar, select Lighten from the Mode drop-down menu.

Click and drag over a facial line to blend it away.

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Removing or Softening Facial Lines

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Mode OptionsThe Smudge tool can be versa-tile, depending on this setting.Besides Normal, Darken, andLighten (used here), the effectcan be confined to Hue,Saturation, Color, or Luminosity.

This one’s sure to please—thewrinkle remover. Remember, thelines in the face convey expres-siveness, so don’t paint them allout. Ask yourself: Are these crow’sfeet or laugh lines? (To work ineven finer detail, you can use theBlur tool much the same way.)

To Be Precise About ItFor best results, pick a SoftRound brush tip in the optionsbar with a Size just slightlylarger than the facial linesyou’re retouching—and tracealong the line as you paint.

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127Removing Facial Blemishes

With a zoomed photo in the active image area, select the Clone Stamp tool, orpress S.

Press Alt as you click a clear area of skin near the blemish.

Click and drag over the blemish to replace it with the sampled texture.

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Practice, PracticeThe distance of the sample fromyour pointer stays the same asyou paint—unless you Alt+clickagain. Try to pick a sample thatsteers clear of unwanted tex-tures, such as a string of beadswhen you’re cloning skin on aneckline.

That’s right—the Clone Stamp toolis a painless zit zapper. But itsmarvels don’t stop there. Use it topaint over any part of a picturewith a texture you’ve sampledfrom another part. So take a clearpatch of skin and graft it over anage spot, tan line, or even paintout a tattoo.

Aligned OptionIf Align is unchecked in theoptions bar, you can apply mul-tiple copies of the selection withseveral strokes; if checked, youget one stroke and one copy.

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Select the Lasso tool, or press L.

Click and drag to trace the outline of the hair.

Choose Layer, New Adjustment Layer, Hue/Saturation.

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Being able to digitally recolor hairopens up all kinds of possibilities.Try on new looks and print themout to show the colorist at yourhair salon. Change your Webphoto because an ardent admirerhas a thing for redheaded dudes.Or—go blue, pink, or green with-out fear of social stigma.

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Want Subtler Color?To soften the effect of theHue/Saturation layer on theunderlying hair color, decreasethe value of Opacity for thenew layer in the Layers palette.

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Click OK.

Adjust sliders to change the hair color.

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Keep Those LayersTo keep a version of the imagethat contains editable layers,save your file as a Photoshop(.psd) file.

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With the edge you want to work on zoomed in the active image window, select theBlur tool, or press R.

Click and drag over an edge to blur and soften it.

Select the Sharpen tool, or press P.

Click and drag over an edge to sharpen and accentuate it.

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Flattering by Softening Focus

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Blur or Smudge?Use Blur for fine detail work,especially when you’re zoomedin close. For a bolder effect, trythe Smudge tool with theMode set to Lighten orDarken.

In a sharp photo, you can selec-tively soften the focus on anydetail by using the Blur tool.However, the Sharpen tool can’tactually fix an out-of-focus photo.But you can use Sharpen toheighten contrast at edges, whichcan help emphasize some details,such as the eyeliner on an eyelid.

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131Enhancing or Toning Down a Color

With a photo in the active image area, select the Sponge tool, or press Q.

To enhance color, select Saturate from the Mode drop-down menu in the options bar.

Click and drag over an area to heighten its color.

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TSponge OptionsAs with many other tools, theoptions bar offers a selection ofbrush tip sizes. The Flow settingcontrols the rate at which pixelsbecome saturated or desatu-rated as you paint over them.

The Sponge tool doesn’t actuallychange the color of a selection, itjust intensifies (saturates) orreduces (desaturates) it. It cancome in handy for brightening upa wardrobe, such as neckscarves, or for toning down a too-colorful background that’s compet-ing with your subject.

Dishwater Results?If you overuse the Sponge inDesaturate mode, you’ll removeall color from the area. That’sfine if you’re going for a selec-tive monochrome look—or tomake skin look downrightghostly.

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Select the Lasso tool.

Click and drag to trace around the subject of the portrait.

Choose Select, Feather, or press Alt+Ctrl+D.

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Adding a Vignette to a Portrait

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Professional portraitists call afeathered photo a vignette, andit’s been around ever sinceMatthew Brady aimed his cameraat Civil War soldiers in the 1860s.Although you can use featheringto soften the edges of any selectedarea, its usual purpose is to con-vey sentimental feeling for thesubject.

Noticeable FeatherRadiusIn step 4, the higher the resolu-tion of the picture, the greaterthe Feather Radius should be.You might need to increase thesetting to make the featherededge large enough to beobvious.

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Type a large Feather Radius (such as 30 pixels for a 5-inch 300 pixel/inchimage). Click OK.

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T When to Use?Vignette portraits can be partic-ularly attractive when youframe them in oval or circularmattes and/or frames. And ifyou’re going for an antiquelook, such as a sepia print, avignette is the right finishingtouch.

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Choose Select, Inverse, or press Shift+Ctrl+I.

Choose Edit, Clear, or Press Del.

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T Selection ShapeUsing the Rectangular Marqueeor Elliptical Marquee tools givesmore regular results than theLasso and so might be a betterchoice if you’re trying to fityour vignette image neatlyinside a frame.

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With a portrait in the active image area, choose Layer, Duplicate Layer.

Click OK.

Choose Filter, Blur, Gaussian Blur.

Adjust the Radius of the blur for the amount of softening you want. Click OK.

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Adding a Soft Glow

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TGaussian Blur RadiusThe Gaussian Blur option con-trols the extent of blurring. Theimage changes as you adjustthe slider. Make it blurredenough to lose unwanted detail,but sharp enough so the viewercan’t immediately tell it’s out offocus.

Ever notice the glow around star-lets in black-and-white movies ofthe 20s and 30s? This halationeffect was actually a flaw of earlyfilm, but audiences equated it withglamour. Soft focus is still a won-derful way to soften skin and hidepores.

Preserving LayersTo preserve editable layers soyou can return to the originalimage, save your work as aPhotoshop (.psd) file. TIFF (.tif)files also have an option forsaving layers.

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T Clarify Important DetailsIf you sharpen facial features—such as eyes, nose, andmouth—viewers won’t necessar-ily notice the rest is out of focus.Don’t forget to sharpen impor-tant details, such as the neck-lace, in this case.

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Select the Eraser tool, or press E.

Adjust Opacity to 50%.

Click and drag in the image to paint over and reveal facial details you want toremain sharp.

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Do This LastIf you’re doing a thoroughretouching job on a portrait,use the other techniquesdescribed in this part first toreduce lines, and so on; thenadd the Gaussian blur last.

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Select the Lasso tool.

Click and drag around the contour to be reduced, including the area on either sideof the edge.

Choose Layer, New, Layer via Copy.

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Trimming Contours on the Face or Body

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Rather than carving off love han-dles or slimming hips with theresult of embarrassing a dear rel-ative, the author chose to lop offhis own jowl. The surgery wasquick and painless, and it took afew years off!

Surgical TechniqueThe trick here is to cut an areathat includes either side of anedge, such as a jaw or waist-line, and then move it inward—toward the center of the face orbody.

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Select the Move tool, or press V.

Move the selection closer to the face (or body) to reposition the edge.

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T Tidy UpFor a seamless transplant, youmay need to use other retouch-ing tools, such as Smudge orClone Stamp, to clean up theedges.

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Move By Itty BitsTo move the selection by small,more controllable increments,use the Arrow keys on yourkeyboard instead of clickingand dragging in step 5. This iscalled nudging.

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Building Albums andPresentations

For some of us, it’s all about getting published. It’s all very well to learn how toretouch those family photos and tart them up with cute drawings, but if you don’tshow them to anybody—what’s the point?

Photoshop Elements 2 has a feature called Web Photo Gallery that generates per-sonal photo Web sites with very little effort. To publish your work to the Web, you’llneed to get a Web hosting account. Many Internet service providers (ISPs) offerspace for personal Web pages as part of their basic service, so if you have anaccount with an ISP, you might already have this available to you.

To venture further into the realm of multimedia and Internet publishing, you need toload your finished digital images into some other applications. Microsoft PowerPointfor slideshows and Microsoft Word for printed documents (and Web pages) come tomind right away because so many people rely on them.

You can get a variety of even more impressive outputs from Adobe Photoshop Album2, a companion product that publishes catalogs of images on paper and onscreen,as well as 3D-Album, which makes dazzling screensavers and self-running shows.

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Thanks for the Memories

Web Photo Gallery 3D-Album Screensaver

Photoshop Album Greeting Card

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Start

Choose File, Create Web Photo Gallery.

From the Styles drop-down menu, select a Gallery Style, such as HorizontalDark.Type your email address if you want it displayed on your Web pages. (Some of thestyles don’t show it.)

Click Browse.

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Making a Web Photo Gallery

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TFolder Your PhotosFor quickest results, start byputting the photos you want touse in a separate folder. Theorder of the pictures on thepages will be alphabetical byfilename.

Filenames as LabelsFilenames of your pictures arepicked up as photo labels onthe Web page, so rename eachwith some descriptive textbefore you create the gallery.

Photoshop Elements 2 has pre-designed photo Web pages andcan insert your photos anddescriptive text with just a fewclicks. It then generates completedpages ready for uploading toyour Web hosting service or ISP.

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Navigate to select the folder that contains the photos you want to appear in yourgallery, and click OK.

Click the Destination button.

Navigate to select an empty folder to hold your Web pages. (Or click Make NewFolder to create one.)

Click OK. Seenextpage

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Want Mail?Entering an email address instep 3 isn’t mandatory, so justleave it blank if you don’t wantsite visitors to contact you. If theE-mail text box is grayed, thestyle you selected can’t displayan address.

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Type entries for Site Name, Photographer, Contact Info, and Date. (Omitinformation you don’t want displayed.)

Click OK. The program generates the photos as Web pages and places them in thedestination folder you chose in step 7.

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Table Background ImageIn the Folders section of theWeb Photo Gallery dialog box,the Background button is avail-able only for the Table style.Click it to select an image file(must be JPEG) for the table’sbackground.

Follow instructions of your Webhosting service for uploading—publishing—your files. The usualmethod is via file transfer protocol(FTP). A handy and inexpensiveprogram for doing this isGlobalSCAPE CuteFTP.

Other OptionsBesides Banner, other cate-gories you can select from theOptions drop-down menu areLarge Images andThumbnails (dimensions,labels, and quality), CustomColors, and Security.

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143Loading Your Photos into Photoshop Album

From the Photoshop Album menu bar, choose File, Get Photos, From Files orFolders, or press Ctrl+Shift+G.

Navigate to the folder that contains your pictures, and click its thumbnail (or file-name).

Click the Get Photos button.

Click OK. The photos in the selected folder are loaded into a new catalog. You cannow create an album or presentation.

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With Adobe Photoshop Album 2,you can create albums,slideshows, greeting cards, Webgalleries, video CDs, e-cards, cal-endars, photo books, and 3D gal-leries. But to do any of this, youmust first load your pictures intothe application to create acatalog.

Get OrganizedPhotoshop Album also providesways of organizing your grow-ing photo collection. But theeasiest way to create an albumor show is to put all the photosin a folder on your hard drive(or other media) first, as sug-gested here.

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In Photoshop Album, after loading pictures to create a catalog as described in theprevious task, choose Creations, Album.

Click to select an Album Style, such as Classic.

Click Next.

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Building an Album with Photoshop Album

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A traditional-style printed photoalbum is just one of PhotoshopAlbum’s Creations choices. Theother selections that have muchthe same steps as Album areSlideshow, Video CD, GreetingCard, eCard, Calendar, andPhoto Book.

Web PresentationsThe Creations, Web PhotoGallery menu option producesmuch the same result as theFile, Create Web Photo Galleryin Photoshop Elements—a set ofWeb pages ready for upload-ing to the Internet.

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Remember that you can’t do much at all in Photoshop Album until youbuild a catalog of photos within the application. See the preceding taskfor the easiest way to do this—by creating a folder that contains only thephotos you want to be in your album or presentation. However, the File,Catalog command can be a powerful tool for organizing your entiredigital photo collection.

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Type a title for your album.

Click Next.

If your collection of pictures is complete, click Next. (Otherwise, click Add Photosto select some more.)

Optionally, to vary page layouts within your album, click the Next Page button.

Selecting PhotosIf you start with all the photosyou need in the same folder,you won’t need to make anychanges in step 6. However,you have the option to add,duplicate, or delete photos fromthe catalog by using the buttonsabove the images.

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Select the number of photos per page in the Layout drop-down menu. (Repeat steps7 and 8 to lay out the other pages.)

Click Next.

Click Print.

Load your printer with photo paper; then click Print.

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Output OptionsIn step 10, regardless of thetype of presentation you’ve cre-ated, you also have the optionsof saving in Adobe Reader(.pdf) format, sending as anemail attachment, burning aCD, or ordering professionalphoto prints online.

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147Creating a PowerPoint Photo Slideshow

In Microsoft PowerPoint, choose File, New, or press Ctrl+N.

In the New Presentation task pane, select From design template.

Click a design template in a style you like.

Choose Format, Slide Layout.

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Adobe offers Photoshop Album, aseparate application, for creatingelectronic slideshows. But manyfolks already have PowerPoint(part of the Office suite), so here’show to make a series of photoslides with titles in just a few steps.

PowerPoint’s GraphicsPowerPoint has its own graph-ics tools for adding text anddrawings to your slides. If youwant to modify the image itself,use Photoshop Elements. Forobjects that surround it on theslide, use the PowerPoint tools.

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Click a Content Layout in the Slide Layout task pane, such as Title with Content.

In the slide area, click Insert Picture.

Navigate to the folder that contains the picture, and double-click its filename. The pic-ture is inserted into the slide.

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Insert in Any SlideAny of the content layouts arebest for making slides that con-tain photos, but you can add apicture from an external file toany slide by choosing Insert,Picture, From File.

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Select the default title text field and then type a title for the slide.

Choose Insert, New Slide, or press Ctrl+M. (Repeat these steps for every slide inthe presentation; then save your work.)

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T Emailing Your ShowTo create a show that’s view-able on most PCs that don’thave the PowerPoint softwareon them, choose File, SaveAs and select thePowerPoint Show (.pps) filetype.

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This task was done usingPowerPoint 2003. Even thoughtheir screens look different, ear-lier versions of PowerPoint (97and 2000) work much the sameway. As an alternative,Photoshop Album 2 can alsogenerate slideshows.

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Running Your ShowAfter you’re finished, save yourwork. Then choose View,Slide Show (or press F5) todisplay the show on your com-puter screen. Press Spacebaror PageDown to advance tothe next slide. Press Esc to exitthe show.

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In 3D-Album, click the Album Folder drop-down menu.

Select the folder that contains the photos you want to use.

Click Okay.

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Creating a Screensaver Show with 3D-Album

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Micro Research Institute 3D-Album can generate self-run-ning slideshows, screensavers,Web pages, and email attach-ments. You’ll find a version of 3D-Album on the companion CD. Itsanimated screensavers are partic-ularly cool.

Adobe’s 3D ShowsPhotoshop Album’s outputoptions include Atmosphere 3DGallery, which generates ananimated virtual walkthrough, atour of imaginary rooms as aseries of Web pages. But itdoesn’t make screensavers orself-running shows.

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Finishing UpAfter the screensaver has beenbuilt, you see a message dialogbox. Click Okay and close3D-Album. Your new screen-saver is now the current settingfor the Windows Desktop.

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Select a Presentation Style, such as Exhibition, Exhibit Island. Click Build.

Select Create presentation as a screensaver.

Type an identifying name for the screensaver selection.

Click Build.End

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Screensaver SettingsTo change your screensaver,right-click an empty space onthe Windows Desktop, selectProperties, click the ScreenSaver tab, make a new selec-tion in the Screen Saverdrop-down menu, and click OK.

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Using Layers to CombinePhotos and Artwork

If you know how animated movies were made in the days before computer genera-tion, you’re already familiar with the concept of layers. Animation artists traditionallyused a process called ink-and-paint to draw cartoon characters on transparent sheetsof celluloid, or cels. One new cel had to be created for each time a charactermoved. Cels were then placed over elaborate painted backgrounds, such as witches’castles or the decks of pirate ships. Painting on separate layers—the animated char-acter on the cel and the background beneath—made it possible to reuse the samebackground throughout a long scene.

Layers in Photoshop Elements work much the same way. The image you begin with isthe Background layer. Every layer you add starts out as transparent until you changeits color, change its adjustment properties, or add objects to it.

If you’ve done any of the tasks in other parts involving shapes or text, you wereworking with layers, whether you realized it or not. Understand, building more com-plex layered images isn’t for beginners. But you should learn some of this if you wantto graduate to more ambitious tasks.

The postcard on the facing page is actually built from 10 layers, including the back-ground. Photoshop Elements permits you as many as 8,000 layers—provided youdon’t run out of computer memory first!

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A Ten-Layered Image

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Open or undock the Layers palette (or choose Window, Layers).

Click the Create a New Layer button (or choose Layer, New, Layer).

Select a tool, such as Brush.

Paint on the layer.

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Painting on a New Layer

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Simplify and MergeSimplifying changes vector shapes and text (based on geometry) topixels—editable as dots, not as shapes. Merging both simplifies theactive (selected) layer and combines it with the layer beneath.

You can’t manipulate text and shapes as objects after merging. If yousee a warning that the layer must be simplified before proceedingwith a tool, choose Cancel and create a new layer using these steps;then reselect the tool and paint or draw.

You should create a new layer forpainting, drawing, or adding newshapes to your photo. However, anew layer is created automaticallywhenever you use the Shape orType tools—also, whenever youpaste (choose Edit, Paste) orselect certain other commands onthe Layers menu.

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155Copying an Object to a New Layer

Click a selection tool, such as Lasso.

Select the object to be copied to a new layer.

Choose Layer, New, Layer via Copy.

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Cutting a SelectionThe command Layer, New,Layer via Cut works just thesame way, but it also deletesthe selection from the originallayer. Especially if the originallayer is the Background, useLayer via Copy instead.

Selecting an object on the back-ground layer, making changes,and then saving your work,changes the original image for-ever. Instead, use these steps tocopy a selected object to a newlayer, leaving the backgroundlayer unchanged.

Deleting or HidingAs long as the original layer isintact, you can always hide ordelete the copied layer (Layer,Delete Layer) to cancel all itschanges with a click.

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Select the name of the layer in the Layers palette.

Select the Move tool.

Click and drag the layer to reposition it in relation to the image area (or nudge withArrow keys, or Click+Shift to constrain as you drag).

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Repositioning a Layer

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If Auto Select Layer is checkedin the Move tool’s options bar,the layer selection (the activelayer) changes automaticallywhen you click an object thatresides on it. Remember thatdoing so actually moves theentire layer, not just the object.

More ButtonClicking More in the top-rightcorner of the Layers palettebrings up a menu of commandsthat affect layers (handy alter-native to the Layers menu).

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When you moved text and shapesin previous tasks, you might nothave realized you were actuallyrepositioning an entire layer,including not only the selectionbut also the transparent pixels sur-rounding it. In this image, theplane and the sky are on separatelayers, and the task moves theentire layer higher in the sky.

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157Controlling Layers

Open or undock the Layers palette (or choose Window, Layers).

To change the order of layers, click and drag the layer name to a new position,higher or lower on the list.

To hide any layer, causing it not to display or print, click the Eye icon. (To restore itsvisibility, click the Eye icon again.)

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Linking LayersLink any layer to the active oneby clicking the column to theleft of the layer name in theLayers palette. A Link iconappears there. Some com-mands and operations, such asthe Move tool, affect all linkedlayers at once.

The icons in the columns to the leftof the layers in the palette controlvarious layer behaviors such aslocking a layer (preventingchanges), creating and deleting alayer, hiding/unhiding a layer,new fill/adjustment layers, andlinking layers.

Grouping LayersThe purpose of grouping layersis to control visibility of theirobjects according to a baselayer. To group a layer with theone below, choose Layer,Group with Previous.

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Select the layer in the Layers palette above which the new layer will be inserted.

Choose Layer, New Fill Layer, Solid Color.

Click and drag the Opacity slider to change how transparent the new layer is.

Click OK.

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Creating a Fill Layer and Adjusting LayerOpacity

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One way to change how layerslook is to adjust the opacity of afill layer above them. Think of asemitransparent fill layer (less than100 percent opacity) as a coloredphotographic filter—tinting anddimming the layers beneath it.(The more opaque, the less trans-parent, and vice versa.)

Well AdjustedContinuing to add other adjust-ment and fill layers, each withits own properties, will have acombined effect. Rememberthat an adjustment layer onlyaffects the appearance of thelayers beneath it; all affect thebackground.

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Click to select a fill color.

Click OK.

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Special EffectsBy using either the Gradient orPattern submenu commandsinstead of Solid Color, you cancreate variegated effects:Gradient could cause the filtra-tion effect to fade across thebackground; Pattern could giveit a texture, like a dust storm.

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Select the layer name in the Layers palette to make it the active, or current, layer.

Click the Link icon in the Layers palette to link any other layers that must be includedin the operation.

Choose Image, Rotate and choose from the submenu commands.

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Selections or Layers?To flip or rotate an individualselection—such as a shape ortext—within a layer, but not thewhole layer, use the set of com-mands in the top half of theImage, Rotate submenu.

The purpose of flipping or rotatinga layer can be either to changethe position of the objects on thelayer or to vary the effect of agradient or pattern layer. TheImage, Rotate command has asubmenu section for such opera-tions performed on entire layers.

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161Using an Adjustment Layer

Having selected the layer you want to control, choose Layer, New AdjustmentLayer and select from the submenu commands.

Click OK.

Make adjustments using the options in the dialog box and see the effect on yourimage in the background.

When you are satisfied with the effect, click OK.

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An adjustment layer has no colorof its own but lets you controlcolor, brightness/contrast, andother factors on layers beneathwithout making changes directlyto them. The adjustment layer hasno effect on layers above it unlessyou link or group them to thelayer or layers below it.

Blending ModeAs described in the next task,the effect of any fill or adjust-ment layer can also be con-trolled by selecting a BlendingMode from the More menu inthe Layers palette (or Modemenu in the New Layer dialogbox).

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Select the layer name in the Layers palette to make it the active layer.

Select a blending mode, such as Dissolve.

Adjust the Opacity setting to control the extent of blending.

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Using Blending Modes on Layers

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Try ‘Em OnAfter making a selection fromthe blending mode list in step2, press the Up or Downarrow keys to step through theother modes and preview theireffects on the image.

Blending mode controls how pixelvalues within a layer are blendedwith those of the layers beneath.The default is Normal. Othermodes include Dissolve, severalDodge or Burn effects, quality oflight (such as Soft or Hard),adding (Exclusion) or subtracting(Difference) pixel values, or indi-vidual elements of color.

Controlling BlendingModeTo turn off a blending mode,change the setting back toNormal for that layer in thedrop-down box in the top-leftcorner of the Layers palette.

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163Copying and Pasting a Layer Style

Select the name in the Layers palette of a layer that contains a layer style, such asDrop Shadow.

Choose Layer, Layer Style, Copy Layer Style.

Select the name of a layer to which the style will be applied.

Choose Layer, Layer Style, Paste Layer Style.

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Fine-Tuning StylesTo fine-tune a layer style on theactive layer, such as Bevel orDrop Shadow, choose Layer,Layer Style, StyleSettings. Make adjustmentsby clicking and dragging thesliders; and then click OK.

Copying layer styles is particularlyconvenient when you’ve madeseveral style changes on one layerand want to apply them with aclick to all objects on anotherlayer—also if you’ve taken painsto fine-tune a style, such asadjusted the angle of a drop-shadow.

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Preparing to PublishWith Photoshop Elements, a digital camera, a computer, and an inexpensive colorinkjet printer, you can be your own one-stop shop for most of your photographyneeds. But there’s a whole wide world out there—including a giant color printingindustry—ready to serve you.

Need custom-printed tee shirts? Color posters? Banners? A thousand color postcards?These days, most commercial printers accept—and actually prefer—your Photoshopimage files as source artwork for these kinds of printing jobs. You can even submityour orders online at sites such as www.vistaprint.com, www.inkchaser.com,and www.kinkos.com.

Admittedly, preparing files for commercial printing is a major reason why some seri-ous graphic artists consider upgrading to “big Photoshop” (Adobe Photoshop CS).Specifically, that application has extensive color management capabilities thatPhotoshop Elements lacks.

But there’s still a lot you can do in Photoshop Elements to improve the quality of theresults when you decide to “send it out”—whether you’re publishing on paper or viaelectronic media.

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How Do I Get from Here toThere?

PhotoshopImage

File

E-Mail

Computer Graphics

World Wide Web

Video/DVD Authoring

Commercial Printers

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Start

With a color picture in the active image area, choose Filter, Pixelate, ColorHalftone.

If a Simplify warning appears, click OK.

Type a number between 4–127 for Max. Radius to control the size of the halftonedots.

Click OK.

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Resolution and RadiusThe lower the resolution of yourimage, the lower the MaxRadius setting must be. A set-ting of 4 is about right for a300 dpi image.

Halftone screens break imagesinto collections of tiny dots forconventional printing. PhotoshopElements lacks the features to con-vert imagery to true halftones butcan show you how images wouldlook if reproduced by this method.The printing service to which yousubmit your files can convertthem.

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167Previewing a Halftone Image for B&WPrinting

With a grayscale picture in the active image area, choose Filter, Sketch,Halftone Pattern.

Adjust the sliders to control dot Size and Contrast.

Click OK.

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As with color halftones, thisSketch filter is simply a way ofpreviewing how a grayscaleimage would look in print. Somedesigners also use it as an artisticeffect. The main thing to remem-ber about a halftone image isthat, although it appears to havegrayscale shading, every dot inthe image is pure black.

Other Pattern TypesMost conventional printingprocesses use the Dot pattern.Alternatives are Circle and Line.

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With a picture in the active image area, choose Edit, Color Settings, or pressShift+Ctrl+K.

Click Full Color Management.

Click OK.

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Paper or Screen?In step 2, select LimitedColor Management if youwill be publishing on the Webinstead of in print.

An important part of submittingyour digital files for color printingis to be able to match color accu-rately. Apply color managementto any file you send out to a com-mercial printer. To adjust CMYKcolor and to generate PrepressPDF files, you’ll have to upgradeto Photoshop CS.

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Choose File, Save As, or press Shift+Ctrl+S.

Check the ICC Profile box.

Click Save.

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What’s Your Profile?Profiles are standardized colortables used by the printingindustry. Adobe has been anindustry leader in making itpossible to match digital outputswith conventional printingmethods.

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Start

Start with an image that’s 720×540 pixels open in the active image area. ChooseImage, Resize, Image Size.

Uncheck Constrain Proportions.

Check Resample Image.

Keeping the Width at 720, change Height to 480 pixels and click OK.

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What’s Your System?Digital video (DV) editing iscoming to a PC near you.Windows Movie Maker, AppleiMovie, and Pinnacle Studio areexamples of the many applica-tions available for assemblingyour home movie footage increative ways.

A curious problem arises from thefact that computer images havesquare pixels, but in digital videothey’re rectangular. You mightthink this an odd technicality, butif you make video titles or DVDmenus in Photoshop Elements anddon’t follow these steps, theimages will look squished whenyou convert them to video.

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Choose Filter, Video, NTSC Colors.

If you see a Simplify warning, click OK.

Click Save.

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DVD MenusOne challenge of creating aDVD is to build the menu sys-tem by which users can makeprogram selections. Many DVDauthoring programs can usestill imagery you create asPhotoshop files for menus.

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Start

With a JPEG picture in the active image area, choose File, Attach to E-mail.

If you see this warning, click Auto Convert.

Type the recipient’s email address in the To field. (Or click To: to select from yourAddress Book.) Also type a Subject and Message.

Click Send.

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Sender Beware!Certain types of computerviruses can hide out in imagefiles, so install virus protectionsuch as Norton Antivirus orMcAfee VirusScan and set it tocheck all outgoing email attach-ments automatically.

The secret to sending pictures viaemail is to make the files compactwithout sacrificing too much qual-ity. Even though any file convertedfor the Web will also do nicely foremail, Photoshop Elements 2 hasthis handy built-in feature thatboth automatically resizes thephoto and attaches it to an outgo-ing email message.

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173Converting to Indexed Color for the Web

Choose Image, Mode, Indexed Color.

If this warning appears, click OK to flatten all layers.

Set Palette to Web.

Click OK.

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Palette TypesAs long as you are creating forthe Web (the main reason forusing indexed color), the otherpalette types needn’t concernyou. If you’re making graphicsfor use in a Windows program,select System.

Desktop computers of various vin-tages differ in the number ofvideo colors they can show. Toensure that Web imagery can beviewed on most of them,Photoshop Elements has this fea-ture for converting and restrictingan image to the 256 colors mostcomputers can display.

Index Color OptionsSelecting the Diffusion optionfor Dithering should make thebest Web pictures. Ditheringgroups dots of two or moreindexed colors together to simu-late subtler colors.

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With your finished picture in the active image area, choose File, Save for Web.

In the Settings box, select a picture format and quality, such as JPEG Medium.

Optionally, check the Progressive box.

Click OK.

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Preparing an image for the Webinvolves converting its file type toJPEG, GIF, or PNG; restricting itscolors to 256; reducing its size toa few inches wide; and limiting itsresolution to 72 pixels/inch.

Control File SizeYou can use the Image, Resize,Image Size command to sizethe image to the computerscreen (typically, 2–4 incheswide), with resolution of 72 pixels/inch.

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Click Save.

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Progressive ModeSelecting Progressive modefor a JPEG file causes it to bedisplayed in stages as it down-loads, resulting in a morepleasing experience for userswith relatively slow (dial-up)connections.

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Start

With a multilayered image in the active image area, choose File, Save for Web.

In the Settings section, select GIF as the picture type.

Check the Animate box.

In the Animation section, check the Loop box (for continuous playback).

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Easy AnimationYou can control the animatedsequence by reordering the lay-ers of your image in the Layerspalette before you convert to GIF.

These conversion steps take anylayered file and convert it to aseries of GIF frames (animated.gif file). Displayed on a Webpage in rapid succession, a sim-ple but effective animationsequence can be created. Forexample, text on successive layersappears to pop onto a back-ground image.

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Step through to preview the animation by clicking the Next Frame button.

Click OK.

Click Save.

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Start

Start with no image files open. Choose File, Online Services.

Select Download Windows JPEG2000 Plug-in.

Click Next.

Click Download.

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Download plug-in support forJPEG 2000 files to stay currentwith emerging Web photo stan-dards. You’ll need it if youbecome involved in creating andediting Web sites. When installed,the new JPX and JP2 file types willbe available as options when youchoose File, Save As or File,Open As.

Other FormatsIn addition to opening and sav-ing JPX and JP2 files, you’llalso be able to open (but notsave) JPC and J2K files andthen save them as any othersupported format.

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Click Finish. Close Photoshop Elements and install the plug-in; then restart the appli-cation.

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After You Choose FinishIn Windows Explorer, unzipJPEG2000.zip and extract thedownloaded file JPEG2000.8BI.Copy the file to C:\ProgramFiles\Adobe\PhotoshopElements 2\Plug-Ins\FileFormats.

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Choosing Output FileTypes

As long as you’re working for Me-Myself-and-I Productions—taking pictures, manipu-lating them, and printing them—stick with the Adobe Photoshop format, and you’lllive happily ever after.

But the minute you want to share your stuff with the rest of the world, you face a bun-dle of challenges. For example, as some of the tasks in Part 10 show, if you want topost your pictures on the Web or send them via email, you need to convert the filesto a compressed format such as JPEG.

For other purposes, such as creating artwork for publication, the choices can makeyour head swim. In those situations, tasks in this part can help you cut through thetechno-babble and pick the right horse to run the course.

Many of these choices have to do with file compression. Here’s what you need toknow about that: The smaller (more compressed) the file, the faster it will be to sendor receive on the Net, but the more likely the compression will be lossy, or sacrificingpicture quality. Some compression schemes, such as LZW and ZIP for TIFF files, arelossless, or nearly so, but they produce bigger files.

As every racing fan knows, there are horses for courses.

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Different File Types forDifferent Purposes

PSD

EDIT LATER

PSD FILE

SAVE

AS

PUBLISH TOWEB

PUBLISH PHOTOIN PRINT

PUBLISH ARTWORKIN PRINT

JPEG GIF PNG

TIFF PCX

PDF EPS

BMP

SHARE WITHWINDOWS USERS

PICT

SHARE WITHMAC USERS

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Start

With an image open in the active image area, choose File, Save As, or pressShift+Ctrl+S.

In the Format drop-down menu, select TIFF.

Click Save.

Click OK.

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Compression OptionsImage Compression: LZW or ZIP are preferable to JPEG. LZW is thesafest choice. ZIP can create smaller files, but some users won’t beable to open them. Layer Compression: Select Discard Layers andSave a Copy unless the recipient needs to edit them.

Of all the file formats, TaggedImage File Format (TIFF) is proba-bly the best for saving a high-quality photograph that youintend to submit to a printer orpublisher. The result is a file witha .tif extension.

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183File Formats for Desktop Publishing

With an image open in the active image area, choose File, Save As, or pressShift+Ctrl+S.

In the Format drop-down menu, select Photoshop PDF.

Click Save.

Click OK.

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Adobe’s Portable DocumentFormat, or PDF, is the best choicefor sharing finished-qualityimages and artwork with anyoneanywhere, regardless of the com-puter make or model they happento be using. When in doubt aboutwhich type of file your recipientcan handle, this one is a safe bet.

PSD and Prepress PDFAlthough you can convert fromother files types when saving,starting with a Photoshop fileusually gives the best results. Tosave as Prepress PDF, whichcontains print job informationas well as image data, upgradeto Photoshop CS.

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Start

With all files closed, choose File, Batch Processing.

Click Source.

Navigate to select the folder that contains the files, and click OK.

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Extension CautionThis renaming procedure won’tchange file extensions—andthat’s something you shouldn’tbe doing anyway. Changing anextension indicates to the com-puter a different file type. Toconvert a batch of files to thesame type, see the next task.

The names digital cameras assignto your shots look like so muchalphabet soup. Here’s a handyway to rename all files in a givenfolder—using a common prefixyou type, or combination of date,serial numbers, and/or serial letters.

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Check Rename Files.

Make selections in the Naming Rules drop-down menus.

Click Destination, navigate to select a folder to hold the new files, and click OK.The path to your selected folder appears in the Batch dialog box.

Click OK.

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Naming Rule OptionIf you select None, you cantype an explicit name in the textfield. Then specify some incre-ment, such as a serial numberto append in the second textfield.

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With all files closed, choose File, Batch Processing.

Click Source.

Navigate to select the folder that contains the files to be converted, and click OK.

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There are many ways to use thisfeature, but one you’ll probablyuse a lot is converting a set of full-resolution photos into smallerJPEG thumbnails for posting on aWeb site or sending via email.

All Created EqualRegardless of the source filetypes, which can be different,all the output files are convertedto the same file type—the oneyou specify in step 4.

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Set Convert file type to the type of file you want as output, such as JPEG LowQuality for Web pictures and thumbnails.

Optionally, check Convert Image Size (handy for making thumbnails).

Set the Resolution, such as 72 dpi (for images that will be viewed on computer orTV screens).

Click Destination.

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Need Thumbnails?To make postage-stamp–sizedimages, type in a Width andHeight (in pixels) in the ImageSize section. At 72 dpi, a widthof 2.5 inches is 72×2.5, or 180pixels.

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Navigate to select a folder to hold the output files, and click OK.

Click OK in the Batch dialog box.

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189Applying a Copyright Notice

With the picture in the active image area, choose File, File Info.

Choose Copyrighted Work in the Copyright Status drop-down.

Type information in Title, Author, Caption, Copyright Notice, and OwnerURL fields.

Click OK. A copyright notice is included in the file information, and the symbolappears in the image title bar.

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TGetting PermissionIf a file you downloaded ismarked as copyrighted, the Goto URL button in the File Infodialog box takes you to theauthor’s Web site, where youshould find licensing and con-tact information.

For copyright purposes, a photog-rapher is considered the author ofthe image and can hold intellec-tual property rights (IPR) to it—including licensing its use byothers. This task shows you how toappend a copyright notice to yourimages in the form of text dataattached to the file.

Proprietary WatermarksCopyrighted images you down-load from the Web may alsocontain ownership informationas digital watermarks in theimage itself. To inspect a file fora watermark, choose Filter,Digimarc, ReadWatermark.

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Just for FunIt’s only after you’ve mastered a set of tools that you can begin to take real joy inusing them. Then, you can let the logical, step-by-step calculating part of your braintake a back seat and let your imagination do the driving.

If you’ve worked through most, if not all, of the preceding tasks, you’re ready—andyou’ve earned the right—to have some fun. Tasks in this part are all about foolingaround, experimenting, and exploring ways of manipulating electronic images likecollage artists use paper cutouts and a set of paints.

There isn’t space in this little book to take you through all the things you can do withPhotoshop Elements. (If, with so many possible choices and combinations, it’s evenpossible.) But with the basic skills you’ve picked up here, the more your work withthis incredibly rich and flexible computer application will seem like play. As you con-tinue to explore, you’ll sweat the technical details less and less, and you’ll find a mar-velous new outlet for your personal expression.

And if, perchance, some of your fantasies seem, er, just a bit bizarre—add a talkbubble or a clever caption and turn them into personalized greeting cards!

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Not Quite the Story of My Life

Do I deserve this?

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Start

With a background or background image in the active image area, choose File,Place.

Locate and double-click the file that contains the artwork (or select it and clickPlace).

If the file contains multiple pages, select the page you want to insert.

Click OK. The artwork or page is inserted into a new layer in the active image.

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Missing FontsIf you see this warning windowafter step 3, choose Continue,and some other fonts that areavailable in your computer willbe substituted.

Commands you may already haveused for combining imagery areFile, New From Clipboard; File,Import; and the pair Edit, Copyand Edit, Paste. Here’s a handyalternative, a quicker way toinsert artwork from an externalfile that’s in one of the otherAdobe formats (.ai, .eps, .pdf, or.pdp extensions).

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T PDF Pages and ImagesThe File, Place commandinserts entire pages from a PDFas new layers. Use File,Import, PDF Image insteadto get its images separately.White or background areas inthe original become trans-parent.

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Optionally, drag a handle to move or resize the artwork to fit your canvas.

Click the Commit button, or press Enter.

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T Vectors Get RasterizedVector graphics in the sourcefile get simplified, or rasterized(converted to pixels), when youchoose Commit. The objectstake on the same resolution asthe target image.

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With all files closed, choose File, Create Photomerge.

Click Browse.

Ctrl+click two or more images to combine.

Click Open.

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It’s truly amazing how sensitivedigital cameras are, even in neardarkness. These photos weretaken in a moonless night, lit onlyby the glow of city lights.Photoshop Elements has thesmarts to blend the edges of sev-eral scenic photos seamlessly intoone gorgeous panorama.

Pan Your SnapsShots must be adjacent so theiredges align: Mount the cameraon a tripod. Take your sourcephotos all at the same verticalangle, panning from left toright, so that the edges overlapthe scene.

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Click OK.

Optionally, check Advanced Blending to create seamless edges.

Click OK. The composite picture appears in the active image window.

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T Crop to FinishFinish off by cropping theimage, because no matter howcareful you are, the horizontaledge of the composite imageprobably won’t be smooth.

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Photomerge OptionsPerspective can heighten thepanoramic effect. Available incombination with this option,Cylindrical Mapping empha-sizes curvature. AdvancedBlending (recommended) notonly aligns edges but alsomakes exposures match.

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With the object you want to transform selected, choose Filter, Render, 3DTransform.

Select a transformation shape, such as Cylinder (or press C).

Click and drag to size the shape in the 3D Transform preview window.

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Three-dimensional transformationopens up all kinds of creative pos-sibilities. Think of the image youstart with as being printed on arubber sheet that you can wraparound a cube, a sphere, or acylinder.

Repositioning VerticesChoose a selection tool; thenclick and drag any vertex (mov-able point on the shape) tochange the outline of the cylinder—to make it look like avase, for example.

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Click the Trackball tool (or press R). (You can also use the Pan Camera tool, orpress E.)

Click and drag to adjust the effect in the preview window.

Click OK. The transformed object appears in the active image window.

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Anchor PointsThe anchor point is a vertex onthe shape to which the imagecan attach. For the Cylindershape only, the Convert AnchorPoint, Add Anchor Point, andDelete Anchor Point toolsbecome available.

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Start with three images open—a background and two other images. Click a selectiontool, such as Rectangular Marquee, or press M.

Select an object in the first image.

Choose Edit, Copy, or press Ctrl+C.

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Managing the ElementsAs you combine images,Photoshop Elements inserts themas separate layers. To keeptrack of layers and control theirstacking order, chooseWindow, Layers to open theLayers palette.

Trick photography takes manyforms, but most involve combiningand reworking real images to cre-ate an unrealistic or improbablescene. This example creates a col-lage from three separate picturesand then adds some artwork tofinish the job.

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Select the background image by clicking its title bar.

Choose Edit, Paste, or press Ctrl+V. Repeat steps 2–5 to add more objects orimages.

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Merry MergingAfter choosing Edit, Copy, aquick way to combine imagery,as shown in some previoustasks, is to use the Edit, PasteInto command. But remember,when you do this, the insertiondoes not create a separatelayer.

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Select the Move tool, or press V.

Click and drag object handles to move or resize the objects and compose the picture.

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Shape SelectionIn step 6, if the inserted picturecontains multiple shapes, youcan use the Shape Selectiontool to select and manipulatethem individually, as long asyou haven’t yet simplified ormerged the layer.

The ability to combine images inimprobable ways apparentlybrings out the humor in somepeople. If you use email at all,you’ve no doubt received picturesof pets doing superhuman feats,celebrities and politicians in com-promising positions, or ordinarypeople with extraordinary physi-cal characteristics!

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Select a Brush tool (or a shape tool).

Click and drag to draw on the image. Repeat steps 8 and 9 to add more lines andshapes to your drawing.

End

TIP

Special EffectsAfter you’ve created a collageof images, you can go wildtransforming them with any ofthe commands from theImage, Transform, orFilter menus.

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Start

With a photo in the active image window, choose Enhance, Adjust Color,Hue/Saturation.

Decrease the Saturation and increase the Lightness sliders.

Click OK.

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Fading and SepiaDecreasing Saturation can cre-ate a monochrome picture, butone that still contains colorinformation. You can then applyColor Variations to get a sepiaeffect. By contrast, choosingImage, Mode, Grayscalediscards all color.

Of course, “antique” is relative toyour age—or the ages of the rela-tives you want to transform. In thiscase, decreasing the saturationsetting creates a look of old,faded Kodachrome. Adding FilmGrain enhances the realism, andthe Feather effect on the borderadds to the impression of a fadedsnapshot.

Remove Color CommandAn alternative conversion tograyscale that still preservescolor information is the com-mand Enhance, AdjustColor, Remove Color,which makes red, green, andblue values equal and reducesSaturation to zero.

Click

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T Film GrainThis same type of filter can beapplied in the Adobe AfterEffects application to make yourDV movies look like film.

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Choose Filter, Artistic, Film Grain.

Adjust the sliders for effect, such as increasing the Grain size.

Click OK.

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Clickanddrag

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Select the Rectangular Marquee tool, or press M.

Click and drag to size a border around the picture.

Choose Select, Feather.

Click OK.

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Feather RadiusIn step 10, remember that thesize of the Feather effect is pro-portional to Image Size in pix-els. For example, you may haveto increase the Radius value tomake the effect more obvious.

Digital technology has evolved to the point where people are beginning tothink its results are too clean and pure to be aesthetically pleasing. Forexample, it’s becoming common practice in music studios to add low levelsof audio noise to digital recordings to make them more natural-sounding.As you can see, Photoshop Elements has many ways to make your digitalphotos funkier and crummier!

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T Experiment!This kind of experimentationwith Photoshop Elements canbring into play any and all ofthe techniques you’ve learnedin this book. Have fun!

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Choose Select, Inverse, or press Shift+Ctrl+I.

Choose Edit, Clear, or press Delete.

Choose Select, Deselect, or press Ctrl+D.

End

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Glo

ssary A

active image area Applicationwindow that displays the image con-tained in the currently open file.

active layer Virtual drawing plane,or cel, currently selected in an openimage.

adjustment layer In a multilayeredimage, a layer inserted to affect theoverall appearance of all layersbeneath it; in effect, a digital photo-graphic filter.

anchor point Point to which agraphic object will be attached.

auto select Procedure wherebyselecting a shape or text object auto-matically causes its layer to be selected,as well.

autofocus Automatic focusing capability of digital cameras.

automatic white balance Digitalcamera function that sets color renditionon the assumption that the lightest areain the frame is pure white.

Bbacklight Photographic light sourceemanating from behind the subject.

base layer When layers aregrouped, the bottommost layer that setsthe boundaries of the upper ones, deter-mined by the boundaries of a shape onthat layer.

bitmap Digital image composed ofpixels; raster image; pixel array; inPhotoshop, a black-and-white image.

blending mode In a multilayeredimage, a layer option that determineshow colors on different layers combine;an option for various tools and filters.Examples: Normal, Dissolve, Hard,Soft.

blow out To totally overexpose anarea of an image so that it is purewhite and contains no picture detail.

brush dynamics Options for thesize, shape, and behavior of the Brushtool that control the quality of its brushstroke.

brush tip Size and shape of the tipof the Brush tool, set in the Options barafter the tool is selected.

burn In traditional darkroom tech-nique, to underexpose masked areas ofa film negative prior to making a print.

Ccanvas size Paper or media sizeassociated with an image file.

caption Printable text that describesthe content of a picture.

capture To upload image data froma camera, camcorder, or scanner into acomputer.

catalog In Adobe Photoshop Album,a collection of image files from which apresentation can be created.

cel Movie animation artist’s transpar-ent sheet of celluloid, analogous to aPhotoshop layer.

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207discard layers

Clipboard Scratchpad memory areain Windows through which data, includ-ing graphics and images, can beexchanged between open applications.

Close box X button in the top-rightcorner of any Windows window bywhich it may be closed, or turned off.

collage Art term for a compositionmade from cut-out images pasted onto aboard.

color cast Overall tint of a photo-graph, particularly noticeable and inneed of correction when it createsunflattering flesh tones in the subjects.

color components Separate chan-nels, or primary colors, within a colormodel; Red, Green, and Blue in theRGB color model; Hue, Saturation, andLightness in the HSL model.

color management Coordinationof color reproduction devices, such ascameras, computer screens, and print-ers, so that colors rendered on all ofthem appear to match.

color matching Fine-tuning the out-put of two or more color reproductiondevices, such as a screen and a printer,so that colors appear the same on both.

color space The range of all colorsavailable in a color model.

composite Combination or mergingof two or more images.

composition Artistic arrangement ofsubjects within the picture frame.

compression Mathematical transfor-mation of a digital file so as to describeits contents in fewer bits, thereby creat-ing a smaller file, and degrading itsquality or accuracy as little as possible.

constrain To limit the repositioningor resizing of a shape or text to perpen-dicular angles; to prevent distortion; tomaintain proportions (aspect ratio).

contact sheet Film photographer’sreference print created in the darkroomby exposing filmstrips in direct contactwith a sheet of print paper.

contrast Range of brightnessbetween the highlights and shadows ina photograph.

crop To reframe an image, moving itsedges to exclude unwanted areas.

crushed blacks Underexposedareas of a picture that are totally blackand contain no picture detail.

Ddefault Preselected program optionsettings.

digital watermark Invisible copy-right or proprietary notice within theimage area of a photograph that canbe read by Photoshop Elements or spe-cial reader software; Digimarc.

digitize To convert a film print oranalog video clip to a stream of pixelvalues; to scan a photo.

discard layers To merge and sim-plify all layers in an image at once, ren-dering text and artwork uneditable asobjects; see also flatten.

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208G

loss

ary dither To render a subtle color by

juxtaposing dots of two or more primarycolors.

dock To close a palette to the palettewell.

dodge In traditional darkroom tech-nique, to overexpose unmasked areasof a film negative prior to making aprint.

dpi Unit of resolution of a digitalprinter; dots per inch; equivalent to pixels/inch.

duotone Two-color image.

DV Abbreviation of the Digital Videorecording standard.

DVD Abbreviation for Digital VersatileDisc, optical recording medium forvideos and movies.

DVD menu Onscreen selections ofDVD chapters, each indicated by a user-selection button.

Eexposure Length of time light is per-mitted to strike a camera’s film or sen-sors (called CCD chips in a digitalcamera).

extension In a computer filename,characters to the right of the rightmostperiod, indicating the file type.Examples: .psd, .jpg, .doc, .mpeg.

eyelight Small photographic lightsource aimed directly into subject’s eyesto make them sparkle.

Ffeather Blurred edges of a shape;vignette.

file type Indicated by the extensionin the filename, a description contentdata type (such as native Photoshop file)and the associated application requiredto open it.

fill Solid area or pattern within ashape, text, or image area.

fill flash Bright photographic lightsource used to supplement key light andfill in the area surrounding the subject.In Photoshop Elements, the ability tolighten the darkest (usually foreground)areas of a photo, leaving the bright(usually background) areas unchanged.

filter In Photoshop Elements, a pre-built artistic effect that can be applied toan image; in conventional photography,a glass covering for a lens that changesthe quality of light.

FireWire Apple trademark for theconnection between a camcorder orother device and a computer, desig-nated IEEE 1394; equivalent to Sony’siLINK.

flatten To merge and simplify all layers in an image at once; see alsodiscard layers.

flip To create a mirror image of ashape, text, or image.

focus In Photoshop Elements, tosharpen or blur the edges of a selection;in conventional photography, to adjustthe camera lens to achieve the sameeffect.

dither

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209

folder In a computer file system, anamed directory that contains files.

font In typography, a typeface in aparticular point size; in computer appli-cations, a typeface.

f-stop Camera setting that controlshow much light is admitted during anexposure.

FTP Abbreviation of File TransferProtocol, a method of uploading files tothe Internet.

GGaussian blur Named for mathe-matician Carl Friedrich Gauss, a filterthat enables finer control over how animage is blurred than does Blur or BlurMore.

gradient Blended color used to fill ashape or background.

grain Noise filter applied to a digitalimage to simulate the grain of photo-graphic film.

grayed out Referring to menu com-mands or dialog box options that areunavailable based on current settings;dimmed.

grayscale Monochrome picture thatcontains shades of black and white.

group Combination of palettes orgraphic objects so they can be manipu-lated as a single palette or object.

Hhalation effect Artifact of early filmthat created a beatific glow aroundcloseups of movie stars.

halftone screen Dot pattern used incommercial printing to render shadedimages using tiny, solid dots of black(B&W) or four primary colors (CMYK).

handle Corner on a selection thatcan be dragged to resize or repositionthe object.

hard Quality of light that producessharp edges and dark shadows.

hidden tool Any tool in the toolbarthat can be selected by right-clicking arelated tool.

HSL Color model and mixing schemebased on components Hue (primarycolor), Saturation (tint), and Lightness(light-dark value).

I-JICC Abbreviation of InternationalColor Consortium, which promotescolor standards for the printing industry.

Impressionist brush Tool used tolay down blurred brush strokes, afterthe technique of painters who rebelledagainst doing pictures in painstakingdetail.

indexed color Restricted colortables for specific uses, such as Web orWindows system display.

indexed color

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210G

loss

ary ink-and-paint Conventional movie

animator’s technique of drawing a car-toon character’s outline in ink on a clearsheet of celluloid and then filling in solidshapes with acrylic paint.

intellectual property rights (IPR)Copyrights, patents, and trademarks;copyright applies to photographs, towhich the photographer is author andrights holder.

Kkey light Main photographic lightsource aimed to highlight the subject.

keystoning Photographic distortionproduced by aiming the camera at asteep angle, high or low, in relation tothe subject.

Llandscape Rectangular image orprinter orientation with the long dimen-sion horizontal.

layer Separate drawing, painting,text, or image plane among multipleplanes, or layers, in a Photoshopimage; analogous to movie animator’s cel.

layer style Options, such as bevelsor drop shadows, that affect all objectson a given layer.

level Value of Red, Green, or Blue,or Black input or output channel to pro-duce brightness and contrast.

linking layers Marking and associ-ating layers so that they can be manipu-lated together.

lossless File compression that resultsin no perceptible loss of quality or accu-racy.

lossy File compression that doesresult in a loss of quality or accuracy.

LZW File compression scheme basedon a transformation named for mathe-maticians Lempel, Ziv, and Welch.

Mmapping Transformation that bendsand spreads an image or texture overthe surface of an object.

menu bar Main pull-down programselections in an application such asPhotoshop Elements, near the top of theprogram window, beginning with theFile menu on the left and proceeding tothe Help menu on the right.

merge To both simplify and combinelayers in a single operation.

midtone Pixel values in the middlerange between highlights and shadows.

mixed media Art term for worksthat may combine assemblage, collage,and painting or drawing.

mode Image rendering as eithergrayscale or color.

monochrome Single-color image,but not necessarily black and white.

multisession Describing a CD orDVD to which files can be written, orappended, at different times.

ink-and-paint

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211

N–Onavigate Procedure for finding filesand folders by exploring the file system,based on a hierarchy of files withinfolders (possibly within folders) on adevice (such as a disk).

negative Reverse image from pro-cessing camera film, resulting inshadow areas rendered as highlights,highlights as shadows, and color pri-maries as their opposites (red as green,blue as orange, and so on).

nudge To move a selection by smallincrements with the Arrow keys.

opacity Degree to which light isblocked by an object or layer; inverseof transparency.

options bar Settings for a tool, suchas Brush, that become availablebeneath the menu bar after the tool hasbeen selected.

orientation Rotation angle of animage or printout; portrait or land-scape.

P-Qpalette Floating window containingeffects, commands, and help groupedby category.

palette tab Handle by which apalette can be selected, docked, orundocked from the palette well.

palette well Storage location in thework area for frequently used palettes.

pan Rotating a camera, typicallymounted on a tripod, from left to rightor from right to left in the same horizon-tal plane.

panorama Scenic, wide-angle land-scape; Photomerge output.

picture package Commercial pho-tographer’s offered assortment of printsin various sizes, from wallet-sized tolarger sizes suitable for framing.

pixel Picture element; colored dot ina bitmap image.

pixels/inch Resolution of a bitmapimage; equivalent to printer dots perinch (dpi).

place To insert artwork from an exter-nal file into an open image.

plug-in Add-on software module thatextends the capability of an applica-tion; example: JPEG 2000 filter forPhotoshop Elements.

point size Size of type in a selectedfont.

Pointillize filter Limiting brushstrokes to tiny dots of primary color;technique pioneered by Impressionistpainter Georges Seurat.

port Input/output channel and con-nection in a computer.

portrait Rectangular image orprinter orientation with the long dimen-sion vertical; headshot.

posterization Garish color effectproduced by the command Image,Adjustments, Posterize.

posterization

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212G

loss

ary preferences User option settings that

override default values.

printable area Rectangular area ofa printout that excludes margins bywhich the printer grips the paper, andtherefore where it can’t print an image.

profile Stored color table used forcolor management.

progressive mode JPEG file settingthat causes a downloaded image to bebuilt up in visible stages, intended toimprove the viewing experience overslow connections.

publish Upload files to the WorldWide Web.

Rrasterize To convert a vector shapeor type object to pixels; to simplify.

recipe Sequential instructions deliv-ered by the Help system for performinga specific task.

red eye Undesirable reflection in asubject’s eyes caused by flash photogra-phy.

redo Reverse the previous Undo com-mand.

related topics Help selections thatappear in the Hints palette after doing asearch.

render To apply changes to a digitalimage and display or print it.

resample To change the resolution(pixels/inch) of an image.

reset To return to previous option set-tings.

resolution Measure of picture qualityor degree of detail; pixels/inch; dpi.

retouch To use artistic techniques toimprove the appearance of photo-graphic subjects or scenes; in portraitwork, to soften wrinkles, remove blem-ishes, and so on.

revert To cancel pending edits with-out saving and return to the original ver-sion of a file; see also undo.

RGB Color model and mixing schemeused in Photoshop Elements, based oncomponents Red, Green, and Blue.

Ssearch field Text box in the top-rightcenter of the Photoshop Elements workarea into which a text description of aproblem or task can be typed to triggersearching of Help files.

selection Active object or areawithin the image area to which the nextcommand or operation will be applied.

sepia Tinted monochrome image; typ-ical of antique photographs.

shape Geometric object in PhotoshopElements; examples: Rectangle, Ellipse.

sharpen To increase pixel contrast atobject boundaries; to bring into focus.

shortcuts bar Row of buttons withicons just beneath the menu bar, repre-senting single-click activation of com-monly used commands.

preferences

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simplify To convert vector shape ortype to pixels; to rasterize.

skew To apply a spatial transforma-tion to a selected object that causes itssides to be slanted.

slider Program control in some dia-log windows that can be adjusted byclicking and dragging.

soft Blurred; out of focus.

stacking order Priority of layers ina multilayered image that determinesvisibility of objects; objects on upperlayers will obscure overlapping objectsbeneath.

still Single-frame photographic image(as opposed to moving image createdby a sequence of frames in a movie orvideo).

streaming video Video clip, usuallylow resolution, optimized for download-ing over the Web.

superimpose To overlay onegraphic object on another.

swatch A single, saved color; one ofa table of color selections coordinatedfor a specific purpose, such as Web-safe colors.

system colors Set of swatches con-taining only colors displayable withoutdithering on Windows computers.

Ttexture Variegated surface or area;pattern.

thumbnail Small, low-resolutionimage used to preview file selectionswithout incurring the delay of openingthe full-resolution file.

title bar Top band on any Windowswindow showing the name of its selec-tions (or filename of the image or docu-ment it contains, and by which thewindow may be moved by clicking anddragging.

tool Selection, drawing, and retouch-ing tools found in the PhotoshopElements toolbar, located by default onthe left edge of the work area.

ToolTip Name or function of a toolor button, as well as its shortcut key (ifany), which pops up when you hoverthe pointer over it prior to making aselection.

toolbox Collection of PhotoshopElements tools, located by default onthe left edge of the work area.

transparency Degree to whichobjects and colors on underlying layersare visible; the inverse of opacity.

tutorial Online training lesson avail-able through the Help menu.

type mask Type-shaped selectionarea, typically used to create hollowtext to let the background or lowerlayer show through.

type mask

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ary U–V

undo To reverse or cancel the mostrecently executed command or change;see also redo.

undock To open a palette from thepalette well; see also dock.

ungroup To make a previouslygrouped set of palettes accessible indi-vidually; see also group.

upload To transfer a digital file froma device, such as a camera, camcorder,or scanner, to a computer; to capture.

USB Abbreviation for Universal SerialBus; a type of computer port that sup-ports digital cameras and printers.

vector Mathematical description of ageometric object; a resolution-independ-ent object description.

vertex Point on the edge of a geo-metric object.

vignette Portrait with featherededges.

W–ZWeb site index page Home pageon the World Wide Web.

WIA Abbreviation of Windows ImageAcquisition, a standard for connectingscanners and cameras to computers.

work area The Photoshop Elementsdesktop display.

ZIP Lossless file compression scheme.

zoom To magnify the view of animage; an alternative for Blur effectbesides Radial.

undo

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215

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Index A

Acrobat, images, importing, 36active images

areas, 4-5borders, adding, 56-57colors, 59modifying, 61-67cropping, 49edges, softening, 65enhancing, undoing, 48focus, sharpening, 64Quick Fix shortcut, 46-47removing red eye, 58resampling, 53, 56resizing, 53rotating, 51-52straightening, 50transforming perspective, 54-55

active layers, 160. See also layersadding

artwork, 192-193bevels, 113borders, 56-57, 92-94characters, 75eyelight, 124frames, 98images to albums, 145layers, 152layers, controlling, 157layers, copying objects to, 155layers, filling, 158-159layers, flipping, 160layers, moving, 156layers, painting, 154layers, rotating, 160PDF files, 193skies, 100-101slides, 148soft glows, 134-135talk bubbles, 84-85text, 68-71text in picture packages, 72-73text, overlaying, 74text, vertical lines, 79titles to slides, 149vignettes, 132-133

adjustment layers, 161

Adobe Photoshop CS, 164advanced blending, panoramicviews, 195

After window, 46albums

3D-Album, creating screensavers, 150-151formatting, 138formatting Web Photo Gallery, 140-142images, 143-146

aligning. See also movinglayers, 156text, overlaying, 74vertical text, 79vertices, 196

anchor points, 57angles, Dutch, 52animation, 152

images, saving for Web, 176-177slideshows, 150. See also slideshowstalk bubbles, adding, 84-85

antique effects, applying, 202-205applications, opening, 4applying

3D effects, 196-197antique effects, 202-205backlighting, 47Blur filters, 109colors with Eyedropper tools, 115copyrights, 189Craquelure filter, 94effects to text, 86fading, 202fat letters, 88filenames as labels, 140filters, 90oil painting effects, 104-105palettes, 12-13Pointillize filters, 108sepia tones, 202sketch effects, 107textures, 98trick photography effects, 198-200tutorials, 17

archiving images, 42-43artworks, images, adding, 192-193Atmosphere 3D Gallery, 150attachments, sending images viaemail, 172

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217colors

Author boxes, 70Auto adjustments, 46Auto Select Layer, 80, 156auto-adjust canvas size, 52autofocus, 64. See also focusautomatic white balance, 59

B-Cbackgrounds

colors, 97, 114-116customizing, 110images, mounting, 96-99skies, adding, 100-101textures, 98

backlighting, applying, 47backslanted text, skewing, 81balance, automatic white, 59balloons, 84. See also talk bubblesbarrel distortion, 54base layers, 157. See also layersbatches

converting, 186-188renaming, 184-185

best-quality printing, selecting, 182bevels, adding, 113Bicubic image options, 53Bilinear image options, 53black and white. See also colors;grayscale

contrast, modifying, 102-103converting to, 63halftone images, printing, 167

blemishes, removing, 127Blending mode

layers, 161-162panoramic views, 195

block text, moving, 77blow outs, 47, 125Blur filters, applying, 109Blur tools, 9blurring, 65. See also softeningborders

adding, 92-94printing, 57

brightness, modifying, 34, 62

Browse shortcut, 6. See also viewing

Brush tool, 9brushes

Impressionist Brush tool, 121oil paintings, 104-105options, 118painting, 117-118

buildingalbums, 138, 144-146creating Web Photo Gallery, 140-142

Burn tool, 125burning CDs/DVDs, 42

cameras, importing images, 22-23canvas size

auto-adjusting, 52modifying, 40

captions, 39. See also textadding, 68-71printing, 70-71

capturingstill images, 170-171video images, 28-29

catalogs, 143-145. See alsoarchiving images

CDs (compact discs)burning, 42images, archiving, 42-43

cells, sizing, 108cels (celluloid), 152. See also layerschalk/charcoal effects, 107characters, adding, 75cleaning scanner glass, 32Clipboard, copying from, 30closeups, 64closing windows and palettes, 5, 14collages, creating, 201Color Picker dialog box, 11Color Swatches palette, 116colors

antique effects, 202-205backgrounds, 97cast, correcting, 59enhancing, 131hair, modifying, 128-129

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218in

dex

halftone images, 166-167indexed, 173layers, filling, 158-159management, 164, 168-169matching, 169profiles, 169replacing, 61RGB, 11, 60shapes, 114-116textures, 98variations, selecting, 60

combining images, 198-200. Seealso layers

commercial printing, color manage-ment, 168-169

compatibility options, 185composition, 49compression

files, 180options, 182types of, 180

configuring. See also formattingdpi, 33tools, 10-11

connecting cameras, 22-23Constrain Proportions option, 187contact sheets, printing, 38-39continuous rotation, 52contours, trimming, 136-137contrast

black-and-white, modifying, 102-103colors, modifying, 34, 62

controllingadjustment layers, 161Blending mode, 162layers, 157

converting files, 183, 186-188Copy Items dialog box, 23copying

images to CDs, 42-43images from Clipboard, 30images from Web pages, 31objects to layers, 155

copyrights, 31, 189Craquelure filter, 94Crop tool, 2cropping images, 49, 195

crush, 125current layers, 160. See also layersCustom Shape tool, 84-85customizing

antique effects, 202-205artworks, adding, 192-193backgrounds, 110Blur filters, 109compression, 182gradient fills, 95images, 198-200oil painting effects, 104-105palettes, 15panoramic views, 194-195Pointillize filters, 108preferences, 18renaming a batch, 184-185retouching. See retouching imagesshapes, 93sketch effects, 107tools, 10-11

cutting layers, 155. See also copying

Ddark areas, retouching, 125decorative borders, adding, 92-94defaults, 18delay, animated frames, 177deleting

colors, applying antique effects, 202distortion, 55layers, 155red eye, 58text, 77

desktop publishing, types of file formats, 183

Destination Folder field, 24dialog boxes. See individual dialogbox names

diffusion, 173digital cameras, importing images,22-23

digital videoimages, capturing, 28-29images, copying from Clipboard, 30images, grabbing, 26-27still images, capturing, 170-171

colors

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219

digital watermarks, 189dimensions, adding bevel, 113directories, navigating, 7distorting text, 81distortion, 54dithering, 173docking palettes, 14Dodge tool, 125downloading plug-ins, 178-179dpi (dots per inch), configuring, 33dragging images, 5. See alsocopying; moving

drawing, 110Eraser tool, 120layers, 154pencils, 117shapes, 112shapes, adding bevels, 113shapes, Color Swatches palette, 116shapes, filling colors, 114shapes, selecting colors, 115Smudge tool, 121

drop shadows, adding text, 87duotones, 67Dutch angles, 52DVDs (digital video discs), burning,42

Eedges, softening, 65, 121Edit menu commands

Redo, 48Undo, 48

editing. See also modifyingEraser tool, 120gradient fills, 95preferences, 18text, 75text, modifying fonts, 76

effects. See also formatting;modifying

3D effects, applying, 196-197antique, 202-205Blur filters, 109drawing, 110halation, 134

layers, 159oil painting, 104-105painting, 110Pointillize filters, 108retouching, 122. See also retouching imagessketch, 107skies, adding, 100-101text, 86-89trick photography, 198-200

email, 141images, sending via, 172slideshows, 149

encoding options, 183enhancing

antique effects, 202-205colors, 131images, adding white borders, 56-57images, converting to grayscale, 63images, correcting color cast, 59images, cropping, 49images, modifying brightness/contrast, 62images, Quick Fix shortcut, 46images, removing red eye, 58images, replacing colors, 61images, resampling , 53, 56images, resizing, 53images, rotating , 51-52images, selecting color variations, 60images, selecting shapes, 66-67images, sharpening focus, 64images, slider adjustments, 47images, softening edges, 65images, straightening, 50images, transforming perspective, 54-55images, undoing, 48

enlarging active image areas, 5Eraser tool, 120extensions, renaming files, 184Eyedropper tool, 67, 115eyelight, adding, 124

Ffacial blemishes, removing, 127facial lines, modifying, 126fading, applying, 202fast-forwarding video, 29

How can we make this index more useful? Email us at indexes@quepublishing.com

fast-forwarding video

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fat letters, 88feathering images, 204. See alsovignettes

fields, Destination Folder, 24File Info dialog box, 70File Transfer Protocol (FTP), 142filenames, applying as labels, 140files. See also images

archiving on CDs, 42-43batches, converting, 186-188batches, renaming, 184-185compression, 180converting, 183copyrights, applying, 189extensions, renaming, 184naming, 31native, 30PDF, 183, 193renaming, 22saving, 19, 23searching, 6-7sizing, 174TIFF, 180types, 19, 180, 183ZIP, 179-180

Fill Flash, 47filling

colors in shapes, 114gradient, creating, 95layers, 158-159patterns, 114

filters, 90. See also effects3D effects, 196-197Blur, 109Craquelure, 94Pointillize, 108Sketch, printing halftone images, 167

flipping, layers, 160focus

sharpening, 64softening, 130

folders. See also files; imagesbatches, renaming, 184creating, 140Destination Folders, 24navigating, 7

fonts. See also formatting; textformatting, 10modifying, 76

foregrounds, 114-116formatting

albums, 138, 144-146albums, creating Web Photo Gallery,

140-142catalogs, 143, 145collages, 201dpi, 33files, desktop publishing, 183folders, 140fonts, 10images, gradient fills, 95images, modifying black-and-white, 102-103images, posterizing, 106images, Quick Fix shortcut, 46images, resizing, 37images, selecting file types, 180images, slider adjustments, 47images, undoing, 48layers, copying/pasting styles, 163panoramic views, 194-195PDF files, 183picture packages, adding text, 72-73picture packages, printing, 41screensavers, 150-151shapes, 112shapes, adding bevels, 113shapes, Color Swatches palette, 116shapes, filling colors, 114shapes, selecting colors, 115slideshows, 147-149text, adding drop shadows, 87text, adding talk bubbles, 84-85text, applying effects, 86text, creating hollow, 88-89text, overlaying, 74text, rotating, 80text, skewing, 81text, transforming, 81text, vertical, 79text, warping, 82-83thumbnails, 187tools, 10-11

fat letters

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221

frames. See also mounting imageson backgrounds

adding, 98delay, 177video, 26-29

freehand drawing/painting, 117FTP (File Transfer Protocol), 142

G-HGaussian Blur option, 134geometric shapes, 112. See alsoshapes

glossy prints, 37. See also printingGoogle, 31. See also searchinggrabbing video images, 26-27Gradient tool, 95gradients. See also filling

creating, 95layers, 158-159

graphics. See also images; simplify-ing layers

PowerPoint, 147vector, rasterizing, 193

grayscalecontact sheets, 38contrast, modifying, 102-103converting to, 63halftone images, printing, 167selecting shapes, 66-67

greeting cards, 68grouping

layers, 157palettes, 15

growing text, 81

halftone images, previewing, 166-167

halation effects, 134hiding layers, 155, 157high contrast black-and-whiteimages, 102-103

Hints palette, 12-13hollow text, creating, 88-89Horizontal Type Mask tool, 88Horizontal Type tool, 75

How To palettes, 16hue, antique effects, 202-205

Iimagers, posterizing, 106images

3D effects, applying, 196-197Acrobat, importing, 36active image areas, viewing, 5albums, 143-146animation, saving for Web, 176-177antique effects, 202-205artwork, adding, 192-193backgrounds, mounting, 96-99black-and-white, modifying, 102-103blurring, 9borders, adding, 56-57, 92-94brightness/contrast, modifying, 62cameras, importing from, 22-23color cast, correcting, 59colors, converting to grayscale, 63colors, replacing, 61colors, selecting shapes, 66-67colors, selecting variations, 60compression, 180contact sheets, printing, 38-39converting, 186-188copyrights, applying, 189cropping, 49, 195customizing, 198-200drawing, 110edges, softening, 65email, sending via, 172feathering, 204file types, selecting, 180folders, creating, 140formatting, undoing, 48gradient fills, creating, 95halftone, black-and-white printing, 167halftone, color printing, 166JPEG 2000 plug-ins, installing, 178-179labels, applying filenames as, 140layers, adding, 152layers, adjustment layers, 161layers, Blending mode, 162layers, controlling, 157layers, copying objects to, 155layers, copying/pasting styles, 163

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images

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layers, filling, 158-159layers, flipping, 160layers, moving, 156layers, painting, 154layers, rotating, 160merging, 199multiple, opening, 5negatives, scanning, 35opening, 4painting, 110panoramic views, creating, 194-195perspective, transforming, 54-55printing, 37printing, managing colors, 168-169printing, modifying page size, 40printing, picture packages, 41publishing, 164Quick Fix shortcut, 46-47red eye, removing, 58renaming, 184-185resampling, 53, 56resizing, 37, 53retouching, 122-125rotating, 51-52saving, 9, 19, 23saving, archiving on CDs, 42-43saving, reverting to last, 48saving, selecting best-quality printing, 182scanning, 24-25scanning, optimizing, 33screensavers, creating, 150-151shapes, adding bevels, 113shapes, Color Swatches palette, 116shapes, creating, 112shapes, filling colors, 114shapes, selecting colors, 115sharpening, 64sizing, 92sizing, printing, 71skies, replacing, 100-101slides, scanning, 32-34slideshows, creating, 147-149Smudge tool, 121still images, capturing, 170-171straightening, 50text, 75text, adding, 68-71text, modifying fonts, 76text, overlaying, 74text, picture packages, 72-73

types of, 19video, capturing from, 28-29video, copying from Clipboard, 30video, copying from Web pages, 31video, grabbing from, 26-27Web pages, optimizing, 174-175Web Photo Gallery, creating, 140-142

importing images. See also WIAAcrobat, 36capturing video frames, 28-29copying from Clipboard, 30copying from Web pages, 31from cameras, 22-23from slides, 32-34grabbing video frames, 26-27scanning, 24-25scanning negatives, 35

Impressionist Brush tool, 9, 121increasing values, 33installing plug-ins, 178-179Internet

albums, creating Web Photo Gallery, 140-142

albums, publishing, 138images, optimizing, 174-175images, publishing, 164images, saving for, 176-177

invitations, 68italics, skewing text, 81

J-K-LJPEG 2000 plug-in, installing, 178-179

key light, 124. See also Fill Flash;retouching

keystoning, 55Kodaliths, 102

labels, applying as filenames 140landscape orientation, modifying, 23Lasso tool, 66-67layers

adding, 152adjustment layers, 161Auto Select Layer, 156

images

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Blending mode, 162controlling, 157cutting, 155deleting, 155filling, 158-159flipping, 160frame delay, 177grouping, 157hiding, 155, 157linking, 157locking, 157objects, 155-156painting, 154rotating, 160special effects, 159styles, copying/pasting, 163text, deleting, 77trick photography effects, 198-200

Lempel-Ziv-Welch compressionschemes, 180

light areas, retouching, 125lighting

backlighting, applying, 47eyelight, adding, 124retouching, 125

linesfacial, modifying, 126text, adding vertical, 79

linking layers, 157loading images into albums, 143locking layers, 157lossless compression, 180lossy compression, 180LZW (Lempel-Ziv-Welch) compres-sion schemes, 180

MMagic Wand tool, 95managing

colors, 164commercial printing, 168-169

masks, types of, 88-89matching colors, 169merging images, 199. See alsocombining images

metal backgrounds, 99

Micro Research Institute 3D-Album,150

Microsoft PowerPoint. SeePowerPoint

mixing, gradient fills, 95modifying

active image areas, 5adjustment layers, 161brightness, 34colors, modifying hair colors, 128-129contrast, 34contrast, black-and-white, 102-103facial lines, 126files, converting, 186-188fill colors, 114fonts, 76images, adding white borders, 56-57images, adjusting brightness/contrast, 62images, converting to grayscale, 63images, correcting color cast, 59images, cropping, 49images, page size, 40images, removing red eye, 58images, replacing colors, 61images, resampling, 53, 56images, resizing, 37, 53images, rotating, 51-52images, selecting color variations, 60images, selecting shapes, 66-67images, sharpening focus, 64images, softening edges, 65images, straightening, 50images, transforming perspective, 54-55layers, Blending mode, 162layers, controlling, 157layers, copying/pasting styles, 163layers, flipping, 160layers, opacity, 158-159layers, rotating, 160orientation, 23resolution, 33retouching, 122sample sizes, 115screensavers, 151vector shapes, 154

mounting images on backgrounds,96-99

Move tool, 77

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Move tool

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movingactive image areas, 5brushes, 118images, rotating, 51-52images, straightening, 50layers, 156layers, copying/pasting styles, 163layers, flipping, 160layers, rotating, 160objects, copying to layers, 155palettes, 14-15panoramic views, 194shapes, 112text, 77, 80-81vertices, 196

multicolored reflections, removingred eye, 58

multiple imagesopening, 5selecting, 23

N-Onaming files, 22, 31, 184-185native files, 30navigating, shortcuts bar, 6-7negatives, 35, 125New Presentation dialog box, 147

objectslayers, copying to, 155text, resizing, 78

oil painting effects, simulating, 104-105

opacity, modifying layers, 158-159opening

Hints palette, 12images, 4images, multiple, 5palettes, 5, 15

optimizingantique effects, 202-205colors, 131images, adding white borders, 56-57images, converting to grayscale, 63images, correcting color cast, 59images, cropping, 49images, modifying brightness/contrast, 62

images, Quick Fix shortcut, 46images, removing red eye, 58images, replacing colors, 61images, resampling , 53, 56images, resizing, 53images, rotating , 51-52images, selecting color variations, 60images, selecting shapes, 66-67images, sharpening focus, 64images, slider adjustments, 47images, softening edges, 65images, straightening, 50images, transforming perspective, 54-55images, undoing, 48

options. See also customizing;formatting

compatibility, 185compression, 182Constrain Proportions, 187encoding, 183naming, 185palettes, 15Photomerge, 195selecting, 18tools, 10-11

ordering layers, 157orientation

modifying, 23switching, 37

output, selecting files types, 180overlaying text, 74

Ppackages, printing picture, 41Paint Bucket tool, 97painting, 110

brushes, 117brushes, moving, 118Eraser tool, 120layers, 154Pattern Stamp tool, 119shapes, 112-116Smudge tool, 121

palettesapplying, 12-13Color Swatches, 116Layers, painting, 154moving, 14-15

moving

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opening, 5resizing, 14searching, 16tabs, 13

panning, 194panoramic views, creating, 194-195paper backgrounds, 99Pattern Stamp tool, 119patterns

filling, 114layers, 158

PDF (Portable Document Format),183, 193

pencils, drawing with, 117permissions, 31. See also copyrightsperspective, transforming, 54-55Photomerge, creating, 194-195Photoshop Album. See albumspictures. See imagespixelate, 166pixels, 20plug-ins, installing, 178-179Pointillize filter, applying, 108Polygon Tool, 112Portable Document Format (PDF),183, 193

portraitsorientation, modifying, 23vignettes, adding, 132-133

positioning. See also movinglayers, 156-157vertices, 196

posterizing images, 106posters, 68PowerPoint

graphics, 147slideshows, creating, 147-149

preferences. See also customizing;formatting

compatibility, 185compression, 182Constrain Proportions, 187encoding, 183naming, 185palettes, 15

Photomerge, 195selecting, 18tools, 10-11

Prepress PDF, 183Presentations. See also albums

formatting, 138, 140-142slideshows, creating, 147-149

previewing halftone imagesblack-and-white printing, 167color printing, 166

printingborders, 57colors, managing, 168-169halftone images,166-167images, 37images, contact sheets, 38-39images, modifying page size, 40images, picture packages, 41images, selecting best-quality, 182text, 70-71

profiles, color tables, 169Progressive mode, 175properties, modifying text, 76proprietary watermarks, 189publishing

albums, 138, 140-142desktops, types of file formats, 183images, 164

Q-RQuick Fix shortcut, 46-47

radiusfeathering, 204halftone images, 166

rasterizing vector graphics, 193Rectangle tool, 84-85Rectangular Marquee tool, 96-99red eye, removing, 58Redo command (Edit menu), 48reflections. See also retouchingimages

eyelight, 124red eye, removing, 58

removing. See also deleting

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removing

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colors, applying antique effects, 202facial blemishes, 127red eye, 58

renaming files, 22, 184-185rendering 3D effects, 196-197reordering layers, 157replacing

colors, 61skies, 100-101

resampling images, 53, 56resizing

cells, 108files, 174images, 37, 53, 71, 92palettes, 14resizing, 112text, 78

resolutionhalftone images, 166modifying, 33

retouching images, 122adding eyelight, 124adding vignettes, 132-133changing hair colors, 128-129enhancing colors, 131lighting, 125modifying facial lines, 126removing facial blemishes, 127soft glows, 134-135softening focus, 130trimming contours, 136-137

reverting to lasted saved images, 48revisions. See also modifying

Eraser tool, 120gradient fills, 95preferences, 18text, 75

rewinding, 29rotating. See also moving

images, 51-52layers, 160panoramic views, 194text, 80

rules, naming, 185running slideshows, 149

Ssamples, modifying, 115saturation, antique effects, 202-205saving

files, 19, 23images, 9images as animation, 176-177images, archiving on CDs, 42-43images, formatting desktop publishing, 183images, importing from cameras, 22-23images, reverting to last version, 48images, scanning, 24images, selecting best-quality printing, 182

scanningcleaning scanner glass, 32images, 24-25negatives, 35optimizing, 33slides, 32-34

Screen Angles setting, printers, 166screensavers, creating, 150-151scrollbars, 4searching

files, 6-7palettes, 16

selectingadjustment layers, 161albums, 144best-quality printing, 182colors, Color Swatches palette, 116colors, shapes, 115colors, variations, 60file types, 180multiple images, 23preferences, 18shapes, 66-67, 113, 200text, 75tools, 8-9

semitransparent fill layers, 158sending images via email, 172sepia tones

applying, 202converting to, 63

Seurat, Georges, 108shadows, adding, 87

removing

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Shape Selection tool, 112shapes

customizing, 93layers, adding, 154moving, 112selecting, 113, 200talk bubbles, adding, 84-85vector, modifying, 154

sharing images, PDF files, 183sharpening focus, 64shortcuts

navigating, 6-7Quick Fix short shortcut, 46slider adjustments, 47

simplifying layers, 154sizing

cells, 108files, 174images, 37, 40, 53, 56, 71, 92samples, modifying, 115shapes, 112text, resizing, 78

sketch effects, applying, 107Sketch filter, 167skewing text, 81skies, replacing, 100-101sliders, Quick Fix shortcut, 47slides

adding, 148scanning, 32-34titles, adding, 149troubleshooting, 34

slideshows, creating, 147-149Smudge tool, 121soft glows, adding, 134-135softening

edges, 65, 121focus, 130

special effects3D effects, applying, 196-197antique, 202-205Blur filters, 109drawing, 110layers, 159oil painting effects, applying, 104-105painting, 110

Pointillize filters, 108retouching, 122sketch, 107skies, adding, 100-101text, 87-89trick photography, 198-200

speech balloons, 84Sponge tool, 131starting Photoshop Elements, 4still frames, capturing, 28. See alsoframes

still images, capturing, 170-171. See also images

straightening images, 50styles, moving layers, 163swatches, Color Swatches palette,116

switching orientation, 37

Ttables, modifying colors, 169tabs, palettes, 13Tagged Image File Format (TIFF),182

talk bubbles, adding, 84-85text

adding, 68-71, 74captions, 39deleting, 77drop shadows, adding, 87editing, 75-76effects, applying, 86hollow, creating, 88-89moving, 77picture packages, adding, 72-73printing, 70-71resizing, 78rotating, 80selecting, 75simplifying, 154skewing, 81talk bubbles, adding, 84-85transforming, 81vertical, creating, 79warping, 82-83

textures

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text

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backgrounds, 98oil paintings, 104-105sketch, 107

thumbnails, creating, 187. See alsoimages

TIFF (Tagged Image File Format),180-182

Title boxes, 70titles. See also text

adding, 68-71, 74picture packages, adding, 72-73slides, adding, 149

toning tools, 125toolboxes, 2, 8-9tools, 2. See also individual toolnames

configuring, 10-11drawing, 110painting, 110selecting, 8-9toning, 125

transforming3D effects, 196-197images, antique effects, 202-205perspective, 54-55text, 81

trick photography effects, applying,198-200

trimming contours, 136-137troubleshooting slides, 34tutorials, following, 17

U-V-Wundocking palettes, 14undoing, 46. See also deleting;removing

Eraser tool, 120formatting, 48

ungrouping palettes, 15unzipping files, 179uploading. See also publishing

images from cameras, 22Web pages, 142

values, increasing, 33variations, selecting colors, 60vector graphics, rasterizing, 193vector shapes, modifying, 154. Seealso simplifying layers

vertical text, creating, 79Vertical Type tool, 79vertices, positioning, 196video images, 26-30

still images, capturing, 170-171viewing images, 5-7vignettes, adding, 132-133virtual walkthroughs, 150

warping text, 82-83watermarks, 189Web pages

animation, saving images as, 176-177images, copying from, 31images, optimizing, 174-175images, publishing, 164uploading, 142

Web Photo gallery, creating, 140-142

Web sites, 138, 140-142WIA (Windows Image Acquisition),24-25

Windows Clipboard. See Clipboardwork areas, 2

closing, 5navigating, applying shortcuts bar, 6-7palettes, 12-16starting, 4toolboxes, selecting tools, 8-9tools, configuring, 10-11

X-Y-ZZIP files, 179-180. See alsocompression

Zoom tool, 5, 8zooming

Blur filters, 109red eye, removing, 5

textures

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