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Taking a photo is one thing—editing it to make it perfect is another. Programs like Lightroom and Photoshop are an investment, but if you really want to catapult your images to the next level, watch tutorials and experiment with your photo editor and . adobe acrobat pdf reader download Lightroom 4 buy cheap bargain adobe acrobat download adobe acrobat reader vista download cheapest adobe flashplayer free download adobe photoshop 8 free download cheap Flash Professional CS6 adobe macromedia flash download adobe cs3 classroom in a book lesson files download cheap safe and secure free . Adobe Creative Cloud delivers the world\’s best creative apps — including Photoshop, Illustrator and Premiere Pro — so students can master the digital skills they need to succeed in the classroom and in their careers. Now completely free. Adobe Express for Education is now free for all schools and universities, including premium features.


Adobe photoshop lightroom 5 classroom in a book pdf free


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About Description Sample Content Updates. Features This text is the fastest, easiest, most comprehensive way for students to learn Adobe Photoshop Comprehensive, project-based lessons teach key concepts for editing digital images Official training series from Adobe, developed with the support of Adobe product experts Instructor Notes will be available for this book and can be downloaded from Pearson. Submit Errata. Overview Pearson Education, Inc. Collection and Use of Information To conduct business and deliver products and services, Pearson collects and uses personal information in several ways in connection with this site, including: Questions and Inquiries For inquiries and questions, we collect the inquiry or question, together with name, contact details email address, phone number and mailing address and any other additional information voluntarily submitted to us through a Contact Us form or an email.

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Last Update: November 17,


Adobe photoshop lightroom 5 classroom in a book pdf free


I love that Amazon offers rentals for their textbooks. The book itself is really good. Excellent textbook. Even for teaching my 75 year old mother Photoshop. Full color coated textbook paper. I recommend this book to any beginner using Photoshop! This book was instrumental in me developing my skills. It is a great hands on learning tool!! I entered peachpit and signed in. I enter the ISBN in the book and it was not accepted.

So i will return the book. If you order from adobe or peach pit i guess it it will be ok. I contacted amazon and peachpit and the next day problem solved. Speedy response by peachpit and amazon. The lessons are easy to follow; the material is broad giving a good overview of the software from fixing photos to creating videos which I did not know Photoshop was capable of doing.

One person found this helpful. I just finished registering the book and downloading the free lessons. I had no trouble with any of it, and I am not a computer specialist. The book was in perfect condition when it arrived. The book is well organized, with the steps for each procedure indented and numbered. I just have to find the time to take advantage of all the bounty!

See all reviews. Top reviews from other countries. I would have given it 5 were it not for the mess of gaining access to the downloaded content from Peachtree. Basically there\’s a step missing in that you create an account, then in the bottom right of the website register your book using the ISBN. Then you will get a given a challenge which would make more sense being page,paragraph, line and word. But no, it\’s sentence badly written that explains where it is. The words I\’ve entered do not work so I\’m waiting on support from Peachtree to finally gain access.

All of this could have been a great deal easier and better explained. The book and lessons however are up to Adobe\’s wonderful standard. Just a shame about gaining access to the additional content. I have now been able to download the content. I was reading page 4 where it doesn\’t say you have to register the content just enter the ISBN code.

You have to register it then you get a different page to put your ISMN code into. Page iii has a screen shot of this but that step is not included in the text. So far the content looks good but I\’m only on lesson 2. This book is superb. A must have guide for all those wanting to learn how to use photoshop. The security question at Peachpit does not allow access despite entering the correct answer.

It seems that another purchaser has met the same issue. Dark taller the stack, the values are shown on the left side of the histogram, and bright tones are shown more tiles you have of on the right side. The width of the histogram represents the full tonal range of that particular color. The taller the bar graph, the more pixels you have at that particular brightness level in that color channel. The shorter the graph, the fewer pixels you have at that particular brightness level in that color channel.

This is a quick alternative to rent exposure value of that photo. This means each photo could end up with a going into the Develop different exposure value. These two panels are related to keywords, which are descriptive tags you can apply to images in order to find them easier later on. Click the triangle again to reveal the panels. Once you click to hide a column of panels, they reopen whenever you move your cursor near them, and then they close when you mouse away from them. That way, the panels stay closed until you click within the outside border again.

To reveal them, press Tab again. Press L a second time and everything in your previews turns black, as shown here. Press L again to return to normal view. To exit it, press F again. This is the most often used keyboard shortcut in all of Lightroom! In this mode, only one panel is expanded at a time; the rest of them remain collapsed. When you click another panel, the one that was open collapses and the new one expands.

This keeps you from having to scroll through a slew of open panels to find the one you want to use. Once you activate Solo mode, the solid gray panel triangles are filled with dots, as shown here on the right. E Tip: To change the You can customize how your image previews are displayed too.

Straight from size of the thumbnail the factory, the Library module uses Grid view, wherein resizable thumbnails are previews, use the displayed in a grid. If you peek at the Library module toolbar beneath the preview Thumbnail slider beneath the previews. This option enlarges the selected thumbnail so that it fits within the keyboard to decrease preview area, however large the preview area currently is. For a side-by-side comparison of one image with another— say, to determine which one is the most sharp—use this option.

Press the Spacebar to enter Loupe mode, click within the image on the left called the select photo , and then drag to pan around and examine details your cursor turns into a hand. As you reposition one photo, the other one the candidate matches its position. To exit Compare candidate to select by view, click its icon again or press G to return to Grid view. The candidate is marked by a black diamond. Lightroom grabs the next image in the Filmstrip panel and displays it on the right as the candidate so that you can repeat the process.

This is a great way to find the best photo of a bunch, especially if you shoot in burst mode. This option lets you compare multiple images side by side. To use it, select three or more thumbnails, and then either click the Survey icon it has three tiny rectangles inside it with three dots or press N on your keyboard.

You can also drag to rearrange photos in the preview area while sur- veying them. When you find the photo you like the best, point your cursor at it, and mark it as a pick by clicking the tiny flag icon that appears at its lower left.

To exit Survey view, click its icon again or press G to return to Grid view. The next section teaches you a simple strategy for assessing and culling photos. In the resulting dialog, pick a naming scheme; Custom Name — Sequence is a good one because it gives you the opportunity to enter something descriptive into the Custom Text field say, Smith wedding In this case, enter Maui trip The only way to under- stand this admittedly confusing concept is to try it yourself using these steps: 1 In Grid view of the Library module, click anywhere on the first thumbnail preview to select it.

Alter- natively, you can Shift-click the third thumbnail to also select the one in between. In this case, clicking directly atop the image in the second preview switched the most selected status from the first to the second thumbnail shown here in the middle. The result is different than it was in step 2.

Clicking the frame, rather than the image, in the second preview left only the second preview selected and deselected the other two previews shown here in the bottom strip. The takeaway here is that routinely clicking the frame rather than the image in a thumbnail will allow you to avoid being surprised by the less common behavior you saw in step 2.

At the bottom of the dialog, Lightroom shows you what your naming scheme looks like. If you peek at the top left of the interface, you see a status bar. The next section teaches you about another great habit to create after importing images: assessing and culling them. Organizing your photos Lightroom gives you many ways to mark your photos, which makes them easier to organize.

For example, you can rate them with one to five stars, give them color labels, or give them two kinds of flags Pick and Reject. Lightroom also lets you filter your photos for each marker or a combination of them , making certain photos easy to round up.

Applying markers You can apply markers in several ways. To apply the marker, click a thumbnail. Press P to flag an image as a pick one that you want to keep , press X to flag it as a reject, and press U to unflag an image. Press 1—5 on your keyboard to rate an image as 1—5 stars. Press 0 to remove the star rating. Press 6—9 on your keyboard to label an image as red, yellow, green, or blue respectively. You then likely left the mediocre ones in the envelope you got from the photo lab, and you probably forgot about them.

Only the best shots made their way out of the envelope and into a physical album. The 1 In the Catalog panel at the upper left, make sure Previous Import is selected. Double-click the first image to enter Loupe view, and then click Fit in the Navigator panel.

Use the Right Arrow key on your key- board to go forward through your images the Left Arrow key goes backward. When you get to the last sunset photo the one with the blurry palm mistake while flagging photos, press U on your trees , press X on your keyboard to mark it as a reject. Press your Right Arrow key, and mark the next yellow flower shot as a pick. Keep going through the exercise files, marking your favor- ites as picks and any that you think are bad as rejects mark only three to five of the exercise files as rejects.

When you reach the end of the files, your Right Arrow key stops working. When assessing your own images, reject only the ones that are really bad: out of focus, poorly exposed, or awful composition.

Lightroom displays one of your rejects in the preview area, and a dialog appears. Clicking Delete from Disk takes them out of your catalog and off your hard drive. The choice is up to you. For the purposes of this lesson, click Remove. When you do, Lightroom shows only those photos you flagged as picks. In the dialog that appears, enter a designate it as a target meaningful name into the Name field say, Maui keepers or whatever , turn on collection.

Now you can add photos to it by pressing B on your keyboard or by pointing your cursor at a thumb- nail and clicking the tiny circle that appears at its upper right. This also makes it easy to trigger a slideshow from them, as described in Lesson 9. In Loupe be , press U on your keyboard to unflag them all. Use the Right Arrow key to move through the the photos are selected. You may need to click the white flag twice for it to actually filter the photo.

Call it a feature or a bug—the choice is up to you! In the resulting dialog, enter the name Maui selects or something similar. Click Create. This gives you two collections: one for keepers and another for the best ones of the bunch. P Note: Collection 13 To further organize the two collections from your Maui shoot, you can put them sets are a great way both inside a folder. Lightroom calls this a collection set, into which you can to keep your Collec- store collections as well as saved projects say, a book project, saved slideshow, tions panel organized.

In the pher, you may create a dialog that opens, enter the name Maui and click Create. To remove photos from a collection, select them and then press Delete on your P Note: The same keyboard. Doing so removes the photo from the collection, but it still resides in photo can live in mul- tiple collections. When your Lightroom catalog and on your hard drive.

To move a photo from one collec- you add a photo to a tion to another, drag the thumbnail into the collection you want it to appear in. Adding keywords Adding keywords is an extremely powerful way to keep track of photos by subject matter in your Lightroom catalog.

Think of them as search terms, like the ones you use to find something on the web. In the dialog that appears, enter flora in the Keyword Name field, and then enter flowers and plants in the Synonym field. Click Create, and Lightroom adds the keyword to the panel and applies it to the selected photos.

To see nested keywords, click the triangle to the left of a keyword in the Keyword List panel to expand your keyword hierarchies. You can also type a keyword into the search field at the top of the Keyword List panel to reveal it in the Keyword List panel. When you click the arrow to the right of a keyword circled , Light- room automatically switches your source to All Photographs in the catalog also circled.

Once you apply a key- word to a photo, a tiny tag icon appears on its lower-right corner. Other ways to apply and delete keywords As you may imagine, there are additional ways to apply keywords. To remove a keyword from a photo, do the same thing but turn off the checkbox that appears to its left. If you go this route, you can create and apply keywords in the same step. If you want to create and apply more than one keyword to the selected photos, use a comma. To delete a keyword from your list, use the Keyword List panel not the Keyword- ing panel.

To do it, click the keyword and then click the minus sign – at the upper left of the panel. In the warning dialog that appears, click Delete.

In the warning dialog, click Delete. In fact, the afore- mentioned menu offers several useful options for managing your keywords. For example, you can edit them, remove a keyword from the selected photo, or delete the keyword altogether. Either way, the keyword is removed from your keyword list and from any photos you applied it to.

Finding photos You learned how to search by keyword in the previous section, but there are several ways to find certain photos in Lightroom. With All Photographs selected in the catalog panel, Lightroom searches your entire catalog to meet criteria that you set.

You can choose to search text, attribute markers , metadata, and more. To see only those photos, click one of the keywords. The next column shows the camera s you use; to see only the photos taken with a certain camera body, click it in the list.

Same thing with lenses. You can also control which columns appear in the Library Filter. From the resulting menu, choose Column. When you do, a column labeled None appears. Click the word None, and then from the menu that appears, choose the information you want displayed in that column.

In this image, Lightroom is filtering for all images taken with a specific camera and lens, regardless of keywords. And of course there are other ways to find photos. First, clear your current filter so E Tip: You can also you can see all your photos again.

In the second menu, choose your criterion say, Contains All. In the field on the right, enter the text you want to find. Click Attribute in the Library Filter, and then click the marker you want to find: flags, ratings, color labels, or kind photo or video.

You can turn on more than one filter in the Library Filter by clicking more than one of the buttons say, Text and Attribute. Doing so reveals a second row of criteria. For example, you could use this trick to search for all the images with a certain keyword that are also flagged as a pick as shown here or that have a certain star rating.

Using smart collections E Tip: You can use Smart collections are collections that automatically populate themselves with smart collections to photos that meet certain criteria that you set. For example, if you use a star rating system to rate your best work, you can easily create a smart collection that perpetually gathers those images. Click the second menu, and choose Is. Click the fifth star so that five stars are bold.

This is handy when you 8 In the Collections panel, select the smart collection you made Best Photos , want to restrict a smart and notice that the photo you added a 5-star rating to is now included in the collection in some way by date, camera, collection. E Tip: Open a few of the prebuilt smart collections that come with Lightroom to see how they are built and to get ideas for your own smart collections. Click Cancel to close the Edit Smart Collection dialog. What are those shortcuts?

Lightroom scours the folder and adds any new photos it finds to your catalog. Press E on the keyboard to switch to Loupe view the larger view of a photograph. The guitarist pictured here is George Kahumoku, Jr. You can find his music at Kahumoku. George Kahumoku, Jr. A toolbar and helpful in the Develop module, because hav- the Filmstrip appear at the bottom; click any photo in the Filmstrip to see it in the ing one panel open at preview area in the middle.

Solo mode by right- clicking the Histogram The toolbar near the bottom lets you see before and after views and zoom. The panel. Filmstrip at the bottom lets you select the image s you want to work on. To see a before and after version of the image while T on your keyboard.

The menu at the right of the toolbar lets you control toolbar content. If you turn on the Slideshow option, a Play button appears that you can use to trigger a full- screen slideshow of the images in your Filmstrip. Photo credit: Lesa Snider, photolesa. Due to its database nature, Lightroom keeps a run- ning list of your edits in the History panel, where you can click to undo and redo consecutive edits anytime you want. Lightroom named this feature Snapshots.

They each lesson file. The Presets panel lets you save frequently used settings, which you can think of as adjustment recipes that can be applied with a single click. The built-in presets are handy for creating black-and-whites and color tints, adding sharpening, and so on, though you can also create them yourself.

Once you click a preset, you see it applied in the preview area and it appears at the top of your History panel. The History panel keeps track of all the adjustments you make to a photo— E Tip: Point your including individual settings—as a chronological list. Click any state to go cursor at states in the History panel to see backward or forward in the editing history of your photo.

If you use the Redo command, the state reappears in the History panel. A brown tint is applied to the photo. The Grain—Heavy and Sepia Tone presets are cumulative, so you see both effects on the photo. This captures a snapshot of the current state of the photo. E Tip: If you no longer The new snapshot appears in the Snapshots panel.

Now you can easily switch need a snapshot, select between the grainy sepia and the black-and-white versions by clicking them in it in the Snapshots the Snapshots panel, even after you close and reopen Lightroom.

To retain all the editing history thus far, click the a running list of every- topmost history state before continuing to adjust the photo. This returns close and relaunch the the photo to its original, unedited state. P Note: Lightroom sports another feature you can use to process a photo in multiple ways: virtual copies. The following steps walk you through adjusting a raw file, though you can use these steps on JPEGs or TIFFs too: 1 With the first lesson file selected, return the photo to its original, color-cast- P Note: You can use riddled state by clicking Reset at lower right or by clicking 0 in the Snapshots this workflow on each of the exercise files in panel.

Click the menu to the right of the word Profile, and take a spin through the profile presets to see which one looks the best Camera Neutral was used here.

Behind the scenes, it renders the raw data into pixels you can view and work with onscreen a process known as demosaicing. These camera-specific profiles produce a subtle shift in color and contrast—Camera Landscape has a satura- tion boost, while Camera Portrait is cautious with skin tones.

These profiles are worth marching through on a few of your own photos to see which one works best for your particular camera and the type of photos you take. Chromatic Aberration is a lens-related anomaly that can cause unwanted color to appear along super high-contrast edges where the black numerals on a clock meet its white background, for example.

Enable Profile Corrections applies a lens profile for the lens with which the photo was taken and automatically corrects any geometric distortion pin- cushioning or barrel distortion and vignetting dark corners that may have occurred. Both maneuvers can save you a lot of time. This is especially true if you tend to take the same kind of pictures with the same camera say, you always shoot portraits with your Canon 5D Mark III. To save settings as defaults: 1 Ensure all other panels on the right are at their default settings.

From this point on, those settings will be applied to any photo you take with that camera the second you open it in the Develop module. Another option is to save certain settings as a preset that you apply whenever you want or on import. For example, if you find a camera calibration profile that you like for landscapes but prefer a different one for portraits, you could set up two presets: One for landscape shots and another for portraits.

And you could apply either of those presets on import. To save a preset: 1 Adjust the settings in the panels on the right however you like.

To apply the preset: 1 Select an image or several. To apply a preset on import, choose it from the Import Preset menu at the bottom of the Import window. Click the Crop tool in the toolbar directly beneath the histogram. Alternatively, press R on your keyboard to activate the tool. P Note: You can adjust When you activate the Crop tool, a box surrounds your image; drag any edge or your crop at any time corner to adjust its size. You can straighten an image with the Crop tool, too, by using the Angle slider or by pointing your cursor outside any corner of the box and then dragging P Note: The workflow when it turns into a curved, double-sided arrow.

In the Basic panel, click the White Balance Selector it looks like a turkey baster , or press W on your keyboard. Open the Histogram panel at options. When you do, both buttons sport a white border. Detail on your keyboard. By turning on the clipping warnings before you adjust tone, Lightroom shows you clipped areas in the image preview: Clipped shadows appear bright blue, and clipped highlights are red.

When you do, Lightroom sets the next six sliders for you, which you can then adjust to your liking. Drag it to the right to increase brightness, or drag it leftward to decrease it. E Tip: To have If you point your cursor at the middle of the histogram in the Develop module, Lightroom perform an Lightroom highlights the tones affected by the Exposure slider in light gray, auto adjustment for a which are circled in this figure.

That skin details. If you adjust Highlights duce noise grainy-looking speckles , be cautious with it. To darken and recover detail in the background of the example image, drag the Highlights slider all the way left.

The ening effect. E Tip: To see which tones the Shadows 11 Adjust the Whites and Blacks sliders to control how dark your blacks are and and Highlights sliders how light your whites are, to fix clipping warnings, or both. In the example affect, point your cursor toward the left image, some clipping is occurring in the highlights on the guitar tuning pegs.

Of course, you can also use these sliders to eliminate clipping warnings and to When you do this using the Whites slider, the ensure your tones are within the realm of what can be printed.

If your whites image turns black and are overexposed for example, blown out and you turned on the clipping warn- clipped highlights ings described in step 6, those areas appear in red. To darken them, drag the appear in white or Whites slider to the left. With the Blacks slider, the E Tip: To see which tones the Whites and Blacks sliders affect, point your cursor at the far left image turns white and right sides of the histogram.

To lighten them, drag the Blacks slider rightward. By contrast, the Saturation slider saturates tones. Saturation sliders. Drag the Amount add an edge vignette slider leftward to about —30, and then drag the Midpoint slider rightward to before doing local approximately Also, once you send a photo with an edge vignette to Photoshop, that vignette is perma- nent in the Photoshop file that comes back to Lightroom.

E Tip: You can use post-crop vignett- ing to give a photo crisp, rounded edges atop a black or white background. The Roundness slider con- trols the shape of the vignette, and the Feather slider controls the softness of the vignette. The Highlights slider keeps the vignette from darkening highlights around the edges of your image. For example, you could save the style switch to Color panel. To apply these settings yourself on the exercise file, click the Reset button at lower right or select Snapshot 0 in the Snapshots panel.

And if your subject is off center and you want to move the vignette to another area, you can use the Radial Filter to create the vignette instead. Scroll up to the Detail panel, open it, and locate the Noise Reduc- refers to graininess tion section. Click within your photo in the main preview area to zoom in to a in your images—the view.

Drag atop the photo to reposition it and bring a noisy area into view. Typically, any ISO above puts you in the noise danger zone. If necessary, you can use the two sliders beneath the E Tip: You can apply Luminance and Color sliders to compensate for some of the blurring and loss of these portrait sharpen- edge detail that occurs. In the Presets portion of your image, which is handy for keeping an eye on two areas at once. For important area into view, such as the face of a portrait.

Locate the Sharpening landscape shots, use the section of the Detail panel. For a portrait, drag the Amount slider rightward to Sharpen — Scenic preset roughly 35, and set Radius to 1. These settings are great starting points Much like sharpening a knife in your kitchen accentuates its edge, sharpening that you can then an image in Lightroom accentuates the edges it contains that is, places where fine-tune.

This adjustment works by lightening light pixels and darkening dark pixels wherever they appear next to each other. Use a higher value for portraits say, 1. The Detail slider lets you control which of the more detailed edges Lightroom sharpens.

The Masking slider lets you restrict sharpening to only the higher-contrast edges. As you drag the slider rightward, Lightroom sharpens fewer areas. The only real way to produce sharp images is to stabilize your camera using a tripod and then trigger the shutter using a remote control.

You may also be able to produce fairly sharp images by shooting in burst mode wherein your camera keeps firing off shots for as long as you depress the shutter button.

And if you do end up with a slightly blurry photo, you can send it to Photoshop and fix it using the Shake Reduction filter. As you can see, the adjusted image looks far better than the original. Plus, you can save time by saving frequently used settings as defaults or presets.

If you have two or more photos to apply the same changes to, use these steps to sync changes manually: 1 Select the portrait you adjusted in the previous section, and in the Filmstrip, Shift-click the third thumbnail. Lightroom automatically selects the second thumbnail too. Input sharpening vs.

If the button happens to read Auto Sync instead, click the panel switch visible in this figure to the left of the button to change it to Sync. The instructions in this book, particularly those that concern the Basic panel, are for the current Lightroom process version, PV , which was introduced in If you used Lightroom to adjust photos prior to , PV was used instead.

If you open one of those photos in the Develop module, some of the Basic panel slid- ers look and behave differently. For example, the sliders have different names, their starting points are different, and the Clarity slider in particular uses a completely different algorithm in PV than it did in PV If you like the way a photo looks with its older processing, you can leave it alone.

You can change the process version in a couple of ways. You can open the photo in the Develop module and then click the lightning icon at the bottom right of the Histogram panel. In the resulting dialog, click Update. Alterna- tively, you can change the process version using the Process menu at the top of the Camera Calibration panel. Either way, Lightroom replaces the older Basic panel controls with the PV sliders, which you can then use to readjust the photo. Notice how the two selected thumbnails in the Filmstrip change shown here at bottom.

E Tip: You can sync If the result needs fine-tuning on any of the affected photos, including the crop, local adjustments too. Setting your primary external editor preferences Lightroom automatically scours your hard drive for the latest version of Photoshop P Note: Adobe and picks it as the primary external editor.

Bit depth refers to how many colors the image itself contains. The goal is to keep as much color detail as you can for as long as you can. In the infographic shown here, the ProPhoto RGB workspace is shown in white with the other workspaces superimposed atop it. This is the RGB workspace that Photoshop uses unless you pick another one.

The CMYK workspace, on the other hand, represents the smaller number of colors that are reproduc- ible with ink on a commercial printing press. The bottom image shows the ProPhoto RGB workspace compared to the color gamut of the truly incredible human eye.

ProPhoto RGB vs. Raw images, on the other hand, can be bit and contain over trillion colors. P Note: PPI stands for pixels per inch. DPI, on Resolution determines pixel density and thus pixel size when the image is the other hand, stands printed. Leave it at ppi, which is a reasonable starting point for a typical for dots per inch.

The inkjet printer, and then adjust the resolution as necessary when you export the latter term is used when referencing printers, edited file from Lightroom. Lightroom uses these settings. You can even you can still designate other applications in create additional configurations for Photoshop—each with settings geared toward the Additional External particular kinds of photos or uses.

Editor section and then choose them from the For example, you may set up Photoshop as an additional external editor with second section of the options suitable for photos destined for the web. In the be sure to click the resulting dialog, click Use Anyway. Clicking Use Anyway dismisses the warning and allows you to use the same version of Photoshop—with different settings—as both an additional external editor and the primary external editor both of which are available via a keyboard shortcut.

As mentioned earlier, this keeps the quality you have in Lightroom and supports any layers you create in Photoshop. Editor section to con- 6 Leave Resolution set to its default value. Simply use the resolution, that determine image size. You can specify pixel dimensions in Preset menu to save each one as a preset.

Edit In menu. In the dialog that opens, enter a meaningful name for the expand and collapse a options you configured, such as PS web, and then click Create. Setting the stacking preference When you send a file from Lightroom to Photoshop, the PSD that comes back to Lightroom appears next to the original file in the Library module.

In some cases, you may also generate copies of the PSD—if, say, you want to create different versions of it. To reduce the clutter in your library, you may want to turn on Stack With Original to have Lightroom stack your PSD s into a pile with the original photo. Doing so creates a collapsible group, known as a stack, of thumbnails.

When you expand a stack, your PSDs are displayed side by side in the Library module in Grid view and in the Filmstrip. This makes related files easy to spot. Configuring Adobe Photoshop Elements as an external editor You can configure Lightroom to use Adobe Photoshop Elements as your primary or additional external editor too.

The process is roughly the same, but there are a few things to keep in mind. First, if you have Elements but not Photoshop on your computer, Lightroom auto- matically picks Elements as the primary external editor. Second, if you have both Elements and Photoshop on your computer, you can designate Elements as an additional external editor.

To do that, be sure to navigate to the Elements Editor application file, not the alias shortcut in the root level of the Elements Editor folder. Library module, press T on your keyboard.

For the purposes of this lesson, stick with the default file naming scheme. Photoshop Elements as an external editor, With these settings, the files you send from Lightroom to Photoshop should you need to adjust its open in the correct color space.

This flattened layer is what you see in Lightroom. Elements as your external editor, you 3 Click OK to close the dialog. Keeping Lightroom and Camera Raw in sync Lightroom, at its heart, is a raw converter whose job is to convert the data in a raw file into an image that can be viewed and edited onscreen.

Photoshop has a raw converter too: a plug-in named Camera Raw. Camera Raw and Lightroom use the same raw conversion engine, and when Adobe updates one, it usually updates the other with a matching version.

This is important because when you send a raw photo from Lightroom to Photo- shop, Photoshop uses Camera Raw to render the raw data into pixels you can see and work with onscreen. A screen opens that shows your version of Lightroom. Click the screen to close it. Your version of Photoshop appears on the screen that opens. Close the screen by clicking it. Your version of the Camera Raw plug-in is reported on the screen that opens.

Encountering a Lightroom— Camera Raw mismatch If you have mismatched versions of Lightroom and Camera Raw installed on your computer, you may get a mismatch warning in Lightroom when you try to send a raw file to Photoshop. You can then upgrade your software before trying again.

A potential downside is that as soon as you click the Render Using Lightroom button in the warning dialog, an RGB copy of the image is added in your Light- room catalog, and it stays there even if you change your mind and close the image in Photoshop without saving. In that case, you now have the extra step of deleting the RGB copy from your Lightroom catalog. When you update Photoshop, you get the latest version of Camera Raw too. Sending a raw file from Lightroom to Photoshop P Note: You can Once you adjust a raw photo in Lightroom, you may determine that you need to easily send other file send it to Photoshop for some of the pixel-level editing voodoo that it excels at.

CR2 from topic is covered later in this lesson. Canon or an. This section teaches you how to do that. Turn Grid view styles. This gives Lightroom more information about your camera and lens. However, you may need to experiment with the other buttons on your own photos to see which one works best. This E Tip: In some cases, option often produces the most realistic result. Although this option may pro- adjustment too.

You can also use the Transform panel sliders to fine-tune the per- spective correction. Happily, you can easily fill in those areas in Photoshop, as the next section explains, which keeps you from having to crop them out. Any adjustments you made in Lightroom are made more thumbnails and choosing Edit In from permanent in the image that opens in Photoshop.

Of course, your adjustments the resulting menu. You should now see marching ants around the photo itself. The marching ants now appear around the empty corners. In the resulting dialog, enter 3, and click OK. Ensure that Preserve Transparency is turned off.

Click OK, and Photoshop fills the empty corners. In the resulting dialog, enter clone right corner into the name field, and then click OK. Doing so decreases your edit- ing flexibility greatly because the resulting PSD never shows up in Lightroom.

You also end up with an extra copy of the image the exported one on your hard drive. Photoshop document lean in file size. As you brush across the window, a crosshair shows the area that Photoshop is copying pixels from—the window on the left. As long as Lightroom is open and running when you do this, the PSD appears in your Lightroom catalog next to the original photo.

The raw file displays the adjustments you made to it in Lightroom before you sent it to Photoshop. The Photoshop file reflects your Lightroom adjustments as well as the filling and cloning you did in Photoshop. As mentioned earlier, your Lightroom edits are permanent in the PSD file.

For example, you may decide to do a bit more cloning in the lower-right corner. Choosing any other option in this scenario will not open the layered PSD. The updated PSD returns to Lightroom with your changes intact. And if you open a copy of the PSD that includes the Lightroom adjustments, you lose the layers you originally made in Photoshop.

If necessary, press D to open the Develop module—you may already be in the Develop module—and then open the Effects panel. Photo credit: Allison Mae, allisonmae. Choosing any other option in the Edit Photo dialog would prevent your Lightroom adjustments from being visible once the file opens in Photoshop.

From the panel that appears, click the gear icon, and in the resulting menu, choose Photographic Toning. Your changes are updated in the PSD that appears in Lightroom. Sending a photo from Lightroom to Photoshop as a Smart Object Another way to send files of any format to Photoshop is to send them as Smart P Note: Adobe Objects, which you can think of as a protective wrapper.

When you create snapshots on a raw file, you can access them via the Camera Raw plug-in by sending the raw file to Photoshop as a Smart Object. In the resulting dialog, enter the name full color and click Create. The photo opens in Photoshop. Click OK to close the Camera Raw plug-in. That said, it bears repeating that this maneuver works only on raw files. Running filters on a Smart Object in Photoshop Another incredibly handy trick you can do when you send a photo from Lightroom P Note: You can to Photoshop as a Smart Object is to run filters nondestructively.

When you use Smart Filters, as this is called, the filter appears in your Layers panel beneath the Smart Object layer. Click OK. Keep Threshold as low as possible but high enough to preserve the skin texture. When you do, white corner brackets appear around the mask. In the realm of masks, black conceals and white reveals. By filling the mask with black, the filter is hidden from the entire photo.

In the Options panel at the top of the Photoshop workspace, click the brush preview, and choose a soft-edge brush one that has fuzzy, soft edges. Click the brush preview icon again to close the panel. Press the Left Bracket [ to decrease brush size or the Right Bracket ] to increase it. As you can see in this before Scratches filter trick is also a great way to left and after right version, this filter made a big difference in the portrait.

Back in Lightroom, the PSD appears next to the original raw file. If you determine that you need to reopen the PSD for more editing, follow the instructions in the previous section. Lightroom asks what options you want to open the image with: file format, color space, and so on. The end result is an additional file in your catalog. In addition to configuring the primary external editor, you can set up additional configurations for the same editor, or a different one, in the Additional External Editor section.

If you create snapshots for a raw file and then send it to Photoshop as a Smart Object, you can double-click the Smart Object in Photoshop to open the Camera Raw plug-in. Other common reasons to combine photos are to merge multiple exposures into a high dynamic range HDR image or to stitch several photos together into a panorama, which you can easily do in Light- room.

Photoshop also has a few tricks you can use to produce an HDR look from a single photo. Having each photo on a separate layer gives you a lot of editing flexibility because you can control the opacity of, resize, and reposition each layer individually to produce the effect you want.

You can also control the way color behaves between layers to produce interesting blending effects. The next section teaches you how to use one photo to add texture to another photo. Adding texture to a photo using another photo An easy way to add texture to a photo is to blend it with another photo.

You can use nearly any photo for the texture, including shots of nature, a rusty piece of metal, concrete flooring, marble, wood, and so on. How handy is that! Open as Layers in 3 Since the texture photo is bigger than the boathouse, you need to shrink it. Photoshop surrounds the texture with draggable resizing handles. To make ton and the modifier keys when the texture is the same height as the boathouse.

Release your mouse button when a light gray line appears above the other layer. To produce a vintage look from these two particular photos, Linear on your keyboard, and then tap the plus icon Light works well. Click the tiny triangles at the upper right of the Properties panel to close it.

You see what appear to be marching ants surrounding the boathouse photo. Here you can see before top and after to tweak the texture opacity or the drop in bottom versions. This is the color you get after mixing the base and blend colors using a layer blend mode.

To illustrate this concept, you can draw yellow and blue circles on separate layers and then change the blend mode of the blue circle layer to Darken. Another way to understand this concept is to put on a pair of sunglasses and then look around. The second, third, and fourth categories are the most useful for blending photos.

The second category begins with Darken, as those modes darken or burn images. When you use one of these modes, Photoshop compares the base and blend colors and keeps the darkest colors, so you end up with a darker image than you started with. White, and other light colors, may disappear. The third category begins with Lighten, as those modes lighten, or dodge, your image. Photoshop compares the base and blend color and keeps the lightest colors, so you end up with a lighter image than you started with.

Black, and other dark colors, may disappear. The fourth category begins with Overlay. You can think of these as contrast modes because they do a little darkening and a little lightening, and thus increase the contrast of your image.

A layer mask is like digital masking tape in your own images along with stock photos. You can use masks to hide layer content, which is a far more flexible Consider the possibili- approach than erasing deleting content. Photoshop adds the mask circled in the image on the next page to the right of the layer thumbnail. Since the mask you added is white, all the content of that particular layer is visible.

However, by adding black to the mask, you can hide part of the cat close-up photo, which effectively punches a hole through it so you can see the content on the layer underneath it.

Notice the white brackets around the mask thumbnail. They indicate that the mask, not the layer content, is active, so whatever you do next happens to the mask.

If you want the next thing you do to happen to the layer content instead, click its thumbnail and the brackets appear around it instead. Then set the Size slider to around pixels. To do it, press D on your keyboard to set the color chips to their default values of black and white, and then press X on your keyboard to flip-flop them so that black is on top.

In order to hide part of the cat close-up photo, you need to paint with black inside the mask. Since the foreground color chip at the bottom of the Tools panel determines the color that the Brush tool uses, you have to set it to black.

As you brush, you begin to see the photo on the layer underneath and your strokes appear as black inside the layer mask. If you mess up and hide too much of the photo, press X on your keyboard to flip-flop your color chips so that white is on top, and then paint across that area with white to reveal it. Press V to activate it, and then Shift- with the Move tool drag the cat close-up layer rightward.

Now activate the other cat photo and constrains the move to Shift-drag it leftward. When the By default, Photoshop locks the layer content and the mask together so that Move tool is active, you can also use the arrow when you move one, the other tags along for the ride.

If you want to move them keys on your keyboard independently say, to reposition the photo inside the mask , click the tiny chain to scoot photos around. Next, click the thumbnail of the thing you want to move—the photo or the mask—and then use the Move tool. To lock them together again, click between the thumbnails and the chain icon reappears. A natural gradi- The steps for fading two photos using a gradient are basically the same as the ent occurs in the sky each day during sunrise soft-brush method in the previous technique.

Turn off the layer visibility icon of the original layer. In the resulting dialog, choose White from the Contents menu shown here at right and click OK. Once the mask is filled with white you can see the entire cat close-up photo. Remember that in the realm of layer masks, black conceals and white reveals! In the options bar, click the down-pointing triangle to the right of the gradient preview to open the Gradient picker. Make sure that the Mode menu is set to Normal and that Opacity is percent.

Click to open the Gradient picker shown here. As soon as you release your mouse button, Photoshop plops the gradient into the layer mask, which fades the photos together. The pro- gram includes all manner of shapes that are handy for masking, including Rectan- gle, Rounded Rectangle, Ellipse, and Polygon tools, as well as a Custom Shape tool that you can use to access a plethora of built-in shapes leaves, flowers, animals, and so on.

Transform command. That way, you can experiment with image size multiple times without losing quality that is, try not to enlarge the photo vastly beyond its original size. Indeed, if you use Free Transform on a regular image layer more than twice, you can end up with pixel pudding. The shape tools live near the bottom of the Tools panel. Click it and hold down your mouse button until a menu appears, and then choose the Ellipse tool. Putting the tool in Path mode instructs Photoshop to create a shape outline, instead of creating a shape layer or filling the shape with pixels.

E Tip: To draw a perfect shape—say, a circle or a square—Shift-drag with that particular shape tool. You see a thin line, named a path, as you drag. When you let go of the mouse button, Photoshop opens the Properties panel, which you can close click the double-arrow icon at its upper right, which is circled here.

To move the path after you draw it, press A to grab the Path Selection tool its Tools panel icon is a black arrow , click the path to activate it, and then drag to move it wherever you want. Because the path you drew with the shape tool is vector- in the options bar. You can resize a vector mask at any time without losing quality.

In this case, you could activate the vector mask and then resize it using P Note: Vectors Free Transform. Click within the Free Transform bounding box to reposi- tion the photo atop the other one. Now click to activate the layer thumbnail not the mask , and then increase its size slightly using Free Transform as described earlier. Drag within the bounding box to reposition the photo inside the mask. If the sliders are grayed out, single- click the mask thumbnail in the Layers panel to activate it.

Close the Properties panel. If you decide to adjust the feather amount later on, reopen the PSD from within Lightroom and then repeat this step to access the Feather slider. In the resulting dialog, choose Transparent Pixels and turn on all four checkboxes in the Trim Away section. In the panel that opens, choose Kodak Kodak from the first menu also circled.

Photoshop adds a Color Lookup adjustment layer to your Layers panel, and the colors in the image shift accordingly. P Note: Several interesting color treatments are available in a Color Lookup adjustment layer, so feel free to experiment with them to see which one you like best.

As you can see, combining photos in this kind of way is striking. Be sure to experi- ment with this technique using other shape tools too! You can perform this same technique using the Elliptical or Rectangular Mar- quee tool, which creates a selection instead of a path.

If you go that route, click the circle-within-a-square button at the bottom of the Layers panel to add a layer mask. The next section teaches you how to combine two photos in order to create the perfect group shot. It seems inevitable that someone is smiling in one photo and not in another, or that someone has their eyes closed in the photo where everyone is smiling. In the resulting dialog, choose Auto and then click OK. Photoshop adds a white mask thumbnail to the right of the layer thumbnail.

Set the Size slider to around pixels. The trick is to take two photos of the subject: one with their glasses on and another with their glasses off. Now you can combine, align, and mask swap the eyes as described in this sec- tion to hide the glare. You learned how to use these controls in exposure value. For example, its bracketing feature. That said, if you have one exposure to work with, you can use Photoshop to produce some HDR-style looks too. The following sections teach you how to do all that and more.

Select these five thumbnails. In the resulting dialog, click Check None and then turn on Lens Corrections. Click Synchronize. Library module.

Lightroom aligns and merges the exposures into a single image that you see in the preview area. This may take a minute to complete. Deghosting reduces any blurring resulting from movement in the scene between individual shots.

For example, trees may blow in the wind, clouds may move in the sky, and so on. Try a setting of Low, but if you still see blurry spots, try Medium or High. The realistic shots. It also includes HDR in its filename clever! The superrealistic look emphasizes local contrast and detail and is either very saturated or undersaturated for a grungy style.

In this example, you may decrease exposure, increase contrast, darken the whites, or increase clarity, vibrance, and saturation. Remember that Vibrance is cautious with yellows, so to enhance them you need to use the Saturation slider. Tone down the Orange by dragging that slider leftward to around — E Tip: Rather than adjusting individual sliders, you can use the Targeted Adjustment tool at the top left of the HSL panel to drag upward on any part of the image to increase saturation of those colors.

This is why HDR photography is so addictive. The tonal detail and exag- gerated contrast make for a striking image. The following exercise teaches you how to do that. In the resulting dialog, make sure the Preview checkbox is turned on, and then from the Preset menu, choose Photorealistic High Contrast. Click to save settings as a preset. Be sure to experiment with all the presets in the menu.

When you find one you like, you can fiddle with the settings in the other sections of the dialog to produce the look you want. If you create a look that you love, you can save it as a preset by clicking the gear icon labeled here. Here are before left and after right versions of the wave using the Photorealistic High Contrast preset.

The next section teaches you yet another way to give the appearance of an extended dynamic range. Exaggerating edge contrast in Photoshop Another way to simulate the look of an extended dynamic range is to exagger- ate edge contrast in Photoshop using the High Pass filter.

Follow these steps to give it a spin. This filter exaggerates contrasting edge details and leaves the rest of the photo alone, which greatly accentuates your subject. In the dialog that opens, choose Overlay from the Mode menu, and then click OK. Here are before left and after right previews of using this super-slick technique. When such misfortune strikes, all is not lost; you can take several overlapping shots and then merge them into a panoramic image in Lightroom or Photoshop.

First and foremost, Lightroom includes a Boundary Warp slider that all but negates the need to crop the resulting panorama due to the spherical distortion necessary to align so many images. Convenience aside, you may still have to send the result to Photoshop. The next two sections teach you how to do all of that. E Tip: When capturing images for a panorama, try to overlap each shot with the preceding one by about 30 percent.

If possible, use a tripod. Lens Corrections panel adjustments—specifically, turning on Enable Profile Corrections—help Lightroom stitch the images together more accurately. In this case, Cylindrical works well; however, notice all the white areas around the image that need to be cropped out or filled in. This slider corrects the distortion to such a level that you may never need to crop or fill in the edges of your panorama again.

If you decide that you want to crop out the edges, turn on the Auto Crop checkbox. And the founder of First Shot School. A sought after public speaker, he lectures at seminars and workshops around the world to passionate artists looking to gain a better understanding of their craft , and was worked with companies such as Intel, Dell, Canon, Samsung, Nokia, among others. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

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