Datasheet

387
Index
motion blur, adding with Lens Blur filter, 333–336
Multiply blend mode, 13–14, 322
N
Nearest Neighbor resampling mode, 8
near-infrared (NIR), 297
negatives, copying
black-and-white, 271–273
color, 274–280
neutral tone, checking for, 160
noise
Camera Raw versus JPEG and, 49
checking after tonal adjustment, 209
chromatic versus luminance, 222
clipping to decrease, 219–220
contrast enhancements and, 176
Lens Blur filter option, 333
Noise Reduction filter for, 222–224
reducing overall, 222–224
reducing with local control, 224–225
sharpening and, 240
underexposure and, 208, 209, 210
Normal blend mode, 210, 211
O
Ole No Moire file (Dry Creek Photo), 200
1-bit line art, printing, 366
online printing services, 372–374
onOne Software’s Genuine Fractals Print Pro, 9, 182
Opacity settings, duplicating layers and, 210
Opteka slide-copying unit, 281
output profiles (for printing equipment)
acquiring device profiles, 33
assuming, 36, 39–40
automatic profile selection for inkjets, 345–349, 354
converting color to, 36–38
custom, for inkjets, 352–354
developer profiles, 19, 33, 42
embedding in images, 36–38
fine-art black-and-white conversion using, 292–296
installing, on the Mac, 33–34
installing, on Windows, 34
overview, 18–19
purchasing custom profiles, 34, 42
soft-proofing with, 40–41
overexposure
colorcasts from, 140, 150
correcting colorcast problems, 150–155
Threshold dialog box for analyzing, 150–151
uneven, correcting, 228–233
P
paper
color profiles for, 314, 370, 376
scaling image to fit, 375
Paste Camera Raw Settings dialog box, 85
Perceptual color conversion, 37, 38
photo enlargers for copy stands, 251
Photo Filters
adjustment layers for, 318, 319
color correction and, 316–318
combining, 324–327
Curves dialog box versus, 316, 317, 338
dialog box options, 318–319
Hue/Saturation dialog box versus, 316, 338
overview, 316
toning and, 318–324
photo finishing labs, 370–371
Photo Flo, 252
photo restoration resources, 253
photocopying
for art prints, 253–255
for black-and-white negatives, 271–273
Camera Raw calibrations for, 259–262
for color negatives, 274–280
copy lighting correction mask for, 255–258
copyright issues, 262
defined, 250
makeshift copy stand for, 251
moiré patterns and, 262–267
overview, 250–251
for photo prints, 252–253
scanner versus camera for, 250, 268, 281
slide duping, 267–271, 281
photojournalism
dot gain issues for, 184–185
fast pace of, 182–183
press output for, 183–184
Photoshop Color Engine, printing using, 350–351, 354
Photoshop CS2. See also specific techniques and tools
auto launching Bridge from, 75–76
color and tonal correction tools, 22–25
opening Camera Raw format in, 72–76
Photoshop Elements versus, 11
Photoshop Elements, 11, 35
pigmented inks, 370
Pixelgenius Photokit Sharpener, 122
pixels
device differences and, 4–5
image sizes and, 6
playing Actions, 7–8
portraiture. See also flesh tones
enhancing skin tones, 187–198
flesh tone gradient picker for, 199–205
glamour and, 186
removing wrinkles, 188–191
retouching shiny skin, 191–192
softening facial skin, 192–198
working with shy people, 188
postcard look, 220–221
Preferences dialog box (Adobe Bridge), 55–58
previewing. See soft-proofing
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