Datasheet

389
Index
Screen blend mode
brightness adjustment using, 214, 322
in Mixed Mode Image Save, 210, 211
selecting. See also selection masks
adding/subtracting selections from channel masks,
335
Color Range command for, 155, 156–159, 172
eye for red-eye correction, 226
further information, 172
Magic Wand tool for, 172
Selective Color Options dialog box for, 162–164
selection masks
correcting color using, 159–165
creating with Color Range command, 157–159
for Lens Blur filter, 334
Selective Color Options dialog box, 162–164
self-serve photo centers, 371–372
sepia tone images
combining RGB color with, 308–313
creating, 306–308
service providers
online services, 372–374
photo finishing labs, 370–371
self-serve and discount centers, 371–372
Shadow/Highlight command
Amount sliders, 119, 232
bit depth and, 116
Black Clip/White Clip text boxes, 121, 232
Color Correction slider, 120–121
for flat overcast images, 238, 239
limitations of, 116, 117
Midtone Contrast slider, 121
Radius slider, 119–120, 232
shadow recovery feature, 214–215
Tonal Width slider, 119, 232
for uneven exposure correction, 230–232
uses for, 118
using, 118–121
shadows. See highlights and shadows
Sharpen Edges filter, 124
Sharpen filter, 124
Sharpen More filter, 124
sharpening. See also Unsharp Mask filter
aerial photography, 179–182
in Camera Raw dialog box, avoiding, 72, 87, 122
considerations for, 122–123
determining right amount of, 138
downsampling after, 241–243
edge-sharpening method for, 130–134
eliminating artifacts, 135–136
after Lens Blur filter use, 338
other filters for, 124
oversharpening, avoiding, 122, 123, 179
place in editing process, 244
snapshots, 239–243, 244
third-party plug-ins for, 122
Sheppard, Rob (Adobe Camera Raw For Digital
Photographers Only), 46
sidecar XMP files, 58, 88
simulating an infrared shot, 298–301
16-bit images
converting 8-bit images to, 114–115, 137
digital camera not producing, 26
overview, 12
skies. See also memory colors
Color Range command for selecting, 155
overcast, 237–239
overexposure color correction for, 153, 154–155
reducing noise in, 224–225
shooting for later use, 324
skin tones. See flesh tones; memory colors
slide duping, 267–271, 281
snapshots
flash exposure problems, correcting, 208–217
fluorescent lighting problems, correcting, 233–237
noise, reducing, 222–225
overcast lighting and, 237–239
red-eye correction, 226–228
sharpening, 239–243, 244
underexposure problems, correcting, 217–221
uneven exposures, correcting, 228–233
Soft Light blend mode, 304–305
soft-proofing (previewing)
CMYK proofing, 40–41, 356
color crossover correction, 360–364
Customize Proof Condition options, 354–355
for out-of-gamut colors, 40
with output profiles, 40–41
RGB files, 40, 41
steps for, 355–356
viewing compensation layers, 357–360
Spiralux full-spectrum lamps, 28
sRGB color working profile, 18
Suite Color Settings dialog box, 19
Sun Stick lamps, 28
T
Threshold dialog box, exposure analysis using, 150–151,
229–230
TIFF format, saving files as, 367
tinting photographs, 308–313
tonal adjustments. See also brightness adjustments;
contrast
analyzing an image for, 92–93, 105–107
basic curve shapes for, 107–113
for blown-out highlights and shadows, 245
brightness values, 93–96
in Camera Raw dialog box versus Photoshop, 92
checking for neutral tone, 160
checking noise after, 209
checking tonal information available, 213–214
continued
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