Absolute Beginner's Guide to Digital Photography

338 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

Making Images for the Internet

Developing a Web site requires work, especially designing and building the site.
Afterward, updating the site requires minimal work unless you need to keep it fresh
every day (as most commercial sites must do). You may want to redesign the site
periodically to keep up with new technology and trends, but this might only be nec-
essary every 12 months. If you don’t know how to program, you’ll have to learn
how or get someone to do it for you. However, there are software tools that you can
learn to use, such as Microsoft FrontPage, Dreamweaver, and Macromedia Flash that
make Web development easier (see Figure 23.1).

FIGURE 23.1
One photogra-
pher’s Web site
created using
Macromedia
Flash and
Dreamweaver.

Many photographers who don’t want the commitment of learning these programs
and maintaining the site or want a much more high-tech site than they can develop
on their own will join other photographers on a group Web site. This distributes the
cost, enabling them to hire a professional Web programmer to build, maintain, and
update the site. If you plan to build your own site, keep these tips in mind:

■ Most images need to be resized before uploading to a Web site. Most scanned
images have more pixels than a Web page can display, so you usually will
need to reduce an image’s resolution. Along these lines, not all monitors dis-
play the same number of pixels as your monitor; you will need to design
your Web pages to accommodate different monitors.

■ Variations among monitors can also cause visitors to see your images with
the wrong brightness and contrast or with color bias. You cannot control the

CHAPTER 23 DIGITAL PHOTOGRAPHY AND THE WEB 339

way other people’s monitors display color, but you can reduce the problem.
Make sure the monitor on which you develop your Web images is calibrated
with Adobe Gamma or equivalent software.

■ Most computers receive information sent over the Internet at a very low
speed. Under typical conditions, it takes a fast modem more than four min-
utes to deliver a full-screen, 16 million-color image. Very few Web site visitors
will tolerate that sort of wait. File compression formats have been developed
to speed up the transmission of images, and new formats are being devel-
oped.

■ JPEG is the only universally accepted 24-bit photographic compression format
(see Chapter 7, “Files and File Formats”) for the Web. JPEG is designed to min-
imize the visible irregularities of brightness while allowing large color errors.
The success of the design is impressive; JPEG images compressed to 25 percent
of their original size rarely show signs of compression.

You should plan for compression. It’s a good idea to make sure your Web pages
(images plus text) are received by viewers in fewer than 30 seconds. You can esti-
mate this by adding together the sizes of all the files on the page and dividing the
total by the speed of your visitors’ modems. For example, if a page totals 75 kilo-
bytes and an average modem downloads data at 3 kilobytes per second, the down-
load time will be about 25 seconds. If your page takes too long to download, reduce
the file size of your photos by compressing them at a lower quality level or make
their pixel dimensions smaller.

Creating a Web Photo Gallery

Photoshop and Elements include the same powerful tool for building a Web site of
images, complete with navigation and separate pages. The Web Photo Gallery tool
creates a complete Web site of a directory of images. If
you have a number of images stored in a directory,
follow these steps to create a photo gallery:

1. In Photoshop Elements, choose File, Create Be sure to uncheck
Web Photo Gallery to display the Web Photo Include All Subfolders if
Gallery dialog box. In Photoshop, choose the images you’d like to use are
File, Automate, Web Photo Gallery. The only in one directory.
Web Photo Gallery dialog box appears (see
Figure 23.2).

2. Select a Web site style, such as Horizontal
Dark or Simple. A thumbnail of the site will
appear on the right side of the dialog box.

340 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

FIGURE 23.2
The Web Photo
Gallery dialog
box in
Photoshop
Elements.

3. Click Browse and specify the directory with the images you’d like to use. Click
OK, click Destination, and then specify a destination directory for the Web
pages. Click OK again. Now you can customize the Web pages using options
available in this dialog box.

4. Click the down arrow next to Options and select Large Images. The Web
Photo Gallery tool will create two sizes of each image it is told to place in a
Web page: a thumbnail of the image, and a larger version specified here. The
large size default is 350 pixels wide.

5. Click the down arrow next to Options and select Thumbnails. Ensure that the
default is acceptable and then select Banner under Options.

6. Enter any information in the Banner portion and click OK. Photoshop/
Elements will churn away for a minute or two creating a complete Web pack-
age: thumbnails, larger images, HTML pages, and navigation icons.

7. When the Web photo gallery is complete, find it on your computer and then
double-click index.htm to open the front page of the gallery. Now you have a
complete Web gallery you can upload to a Web site (see Figure 23.3).

CHAPTER 23 DIGITAL PHOTOGRAPHY AND THE WEB 341

FIGURE 23.3
Upload your
new Web photo
gallery to your
personal Web
page on any
Web site.

DUELING GAMMAS?
The monitors of Apple Macintosh and Microsoft Windows computers are set to different
gammas at the factory. (Gamma is a measure of contrast.) Photographs look different on
the two systems.
Macintosh monitors are set to a gamma of 1.8, ideal for creating printed documents.
Windows monitors are set to a gamma of 2.2, the U.S. broadcast television standard. You
can prepare your Internet images on a monitor set with Adobe Gamma for a gamma of 1.8
or 2.2, or you can compromise and use a gamma of 2.0.
You can preview the effects of the gamma change. Choose View, Proof Setup, Windows
RGB to preview how the image will look on a Macintosh (see Figure 23.4) or View, Proof
Setup, Macintosh RGB to preview how the image will look on a Windows computer.

continues

342 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

FIGURE 23.4
Use Windows
RGB mode to
preview how an
image would
look on a
Macintosh.

Compressing Images for the Internet with JPEG

The best way to speed up your Web page is to use more image compression. Slow
download speed is often more of a drawback to a Web site than compression arti-
facts (visual irregularities) in images. The Save For Web dialog box of Photoshop and
Photoshop Elements allows you to get the best performance from JPEG images.
Follow these steps to experiment with compression:

1. Select the Save For Web command from the File menu. The Save For Web dia-
log box enables you to experiment with compression and color settings for
images. These settings enable you to find the best compromise between
image quality and download speed.

2. Click the monitor color and download rate button.
3. A pop-up menu appears. Check the settings you want to use. When choosing

a download rate, remember that many viewers’ modems work much slower
than they are supposed to work.
4. Choose how many versions of your image you want to view. You can open
two- or four-image windows at once; click an image window.
5. Select a JPEG quality setting for the image window you selected. Do this for
each window.

CHAPTER 23 DIGITAL PHOTOGRAPHY AND THE WEB 343

6. Compare the quality of the images. To approximate what you see on a moni-
tor, compare these two images from twice your normal reading distance. An
estimate of the time it requires to download appears under each image.

The Internet: Resource and Gallery

Photographers are increasingly using the Internet. There are two good reasons why:
There are interesting places to visit, and you can show your own work there. Many
groups, companies and individuals have created sites that provide material such as
online magazines, product advertising, educational information, and more.
Newsgroups let you post and receive material about photography. Some groups let
you participate in online discussions with people interested in topics like the history
of photography and photographic techniques and equipment.
The Web displays pages with text, graphics, photographs, sound, and video. You can
view photographs from individuals, stock agencies, and museums. You can put your
own work up for display. If you have a site on the Web, you don’t need to convince a
curator or gallery owner that your work should be shown. At a low cost, you can cre-
ate your own electronic gallery for people around the world to visit, where you can
show what you want.

Exploring the Web

How do you find photography sites on the Web? You’ll find some addresses listed in
books and magazines, and you can link to many sites from other Web pages.
Suppose you are interested in a topic, but don’t know the exact address of a related
Web site. Try using search engines like Yahoo! (www.yahoo.com) or Google
(www.google.com). Using these sites is like doing a subject search in a library catalog.
Type in a subject or keywords, and a list of sites related to that topic is displayed.

Photography Sources

■ The site for the book Photography, 7th edition by Sherry London features simu-
lations and, chat rooms demonstrations of various photographic processes, a
study guide, and links to other sites (www.prenhall.com/london).

■ The Web site for the magazine Photo District News features commercial pho-
tography and digital imaging (www.pdn-pix.com).

■ The National Press Photographers Association has issues of interest to news
photographers, including information about NPPA workshops (www.nppa.org).

344 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

Museums

Many museums have Web sites. The following are only a few of the highlights:
■ California Museum of Photography, Riverside, California (www.cmp.ucr.edu).
■ Friends of Photography, San Francisco, California
(www.friendsofphotography.org).
■ George Eastman House, Rochester, New York (www.eastman.org).
■ International Center for Photography, New York, New York (www.icp.org).
■ Library of Congress Prints and Photographs Reading Room, Washington, D.C.
(www.loc.gov/rr/print).
■ Museum of Contemporary Art, Los Angeles, California (www.moca.org).

Manufacturers

Manufacturers have Web sites that provide product information and often other fea-
tures that can be helpful. For example:

■ Nikon provides considerable technical information, such as their introduction
to digital cameras, “Who’s Afraid of Digital Cameras?”
(www.nikon.co.jp/main/index_e.htm).

■ Polaroid’s Artist’s Studio has an extensive collection of work by artists using
Polaroid materials. (www.polaroid.com)

Other Sites

Individuals and organizations have Web sites large and small, dealing with every-
thing from the art of pinhole photography (www.pinhole.com) to all about Kirlian pho-
tography (www.kirlian.com).

Your Own Virtual Gallery

You can create your own Web page. Do you have photographs you’d like to show to
a wider audience?
A personal Web page is one way to do so. Most Internet service providers let their
subscribers have their own Web page—that part is easy. Now all you have to do is
create your own page or pay someone else to do so. The simplest pages contain text
plus photographs and graphics (see Figure 23.5). More advanced designs can include
music, video, and animation. You will want to investigate different software pro-
grams that are available for building Web sites, such as Microsoft FrontPage,
Macromedia Flash and Dreamweaver.

CHAPTER 23 DIGITAL PHOTOGRAPHY AND THE WEB 345

FIGURE 23.5
Yahoo! Images
is a great place
to start upload-
ing your images
to create your
first photo
gallery Web
page.

You must change your photo files into a form usable on the Internet. Software such
as Adobe ImageReady or Macromedia Fireworks automatically converts a photo-
graph that is already in digital form (for example, in a Photoshop file) into a Web-
compatible format. JPEG compresses your image file for the Web in low, medium, or
high quality. The higher the quality, the bigger the file size. Try saving in all three
and see which versions are acceptable. The goal is to use the smallest file size accept-
able for viewing. GIF was developed for graphics, but works for Web photos as well.

346 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

The Absolute Minimum

This chapter barely scratched the surface of possible uses of the Internet for photog-
raphers. If you don’t have your images up on the Net yet, consider a simple photo
site, such as at Yahoo! or MSN.

■ Use Elements or Photoshop to create your Web galleries. In Photoshop, choose
File, Automate, Web Photo Gallery. In Elements, choose File, Create Web
Photo Gallery.

■ After developing a Web site that has a number of graphics, focus on reducing
the size of files. Use JPEG compression to see how much compression is feasi-
ble without destroying an image.

■ Promote yourself using a Web site. Register your name or a catchy company
name through www.register.com, www.yahoo.com, or www.networksolutions.com.

■ GIF files are mainly used for graphics, such as company logos and banners.
This format only stores 256 colors and is called Indexed Color mode in
Photoshop and Elements.

Glossary

1-bit color A system for creating raster (bit map) images non-glare archival glass for many decades or more without
on a computer in which each pixel uses only one bit of any noticeable fading.
memory and disk storage. In 1-bit color, a pixel is either
black or white. artifact Any visible degradation of the details of a digi-
tal image caused by the methods used to capture, store, or
24-bit color A system for creating raster images in which compress the image. A common form of artifact occurs dur-
each pixel uses three bytes of memory and disk storage. In ing lossy compression when bogus details appear near the
RGB color, one byte is used by each of the red, green, and edges of objects. In other artifacts, bands of solid colors
blue components (channels) of a pixel. appear in places that should exhibit subtle gradations.

8-bit color or 8-bit grayscale A system for creating banding An artifact that spoils the appearance of an
raster images in which each pixel uses one byte of memory image’s subtle gradations of color and tone. In banding,
and disk storage. This produces 256 colors or shades of bands or blocks of solid color appear in place of gradations.
gray, which is enough for a high-quality black-and-white
image or a low-quality color image. binary number A number that is the result of changing
information into computer-readable form. A binary num-
additive colors Red, green, and blue are the additive ber is composed of one or more single digits, each of which
colors of film-based photography and digital imaging. can represent either one or zero. All information in a com-
When red, green, and blue lights are mixed in equal puter is stored as binary numbers.
amounts, the result is white light.
bit A single digit of a binary number, a quantity repre-
aliasing In a digital image, the appearance of jagged, senting either 0 or 1.
“staircase” effects along lines and edges, especially diago-
nal lines. Aliasing is accentuated when the pixels in the bit depth The number of bits used to represent the color
image are highly enlarged and visible to the viewer. of each pixel.

alpha channel In Adobe Photoshop software, the bitmap An image made up of rows and columns of pix-
palette where masks are stored. els. Also called a raster image. Each pixel represents a spot
of solid color.
analog-to-digital conversion The process of convert-
ing the analog information captured by a scanner or cam- brightness (value) In digital images, numerical value
era into computer-readable form. The analog signal is of a pixel that represents its brightness level from black to
translated into digital numbers by a computer chip. white. In gray scale images it ranges in value from 0
(black) to 255 (white). In color images, it is a combination
antialiasing The process of reducing jagged, aliased of the values of each color channel. Brightness is one of the
edges by smoothing (gently blurring) pixels along the three terms that are used to exactly describe a color (the
edges. others are saturation and hue).

archival paper A high-quality inkjet paper, usually Brush An imaging software tool that paints colors or spe-
with a matte or semi-gloss finish, designed for pigment- cial effects on a layer.
based inks. Images on this paper can be displayed behind
byte In a computer, an organized grouping of eight bits
of memory or storage. A byte is often used to represent the

348 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

brightness value of a single pixel in a gray scale image or a methods can be lossless, as in compressed TIFF images, or
single character (number or letter) in word processing. lossy, as in JPEG compression.

calibration The act of adjusting the brightness and col- continuous tone printer A color printer whose smallest
ors of one device, such as a monitor, to match those of color markings can be any of millions of distinct colors. Dye
another, such as a printer. Calibration may also be used to sublimation printers are the most common type of continu-
simply adjust a device to some standard of performance. ous tone printer.

CCD (charge-coupled device) In a digital camera, a data Anything put into, processed by, or stored in a com-
charged-coupled device is a light-sensitive silicon computer puter. Data can also be the input from a camera or scanner
chip that converts the light from the camera lens into elec- or the output to a computer accessory, such as a printer or
trical current. The chip may have millions of separate sen- modem.
sors, each of whose current reading is translated (by an
analog to digital converter) into a digital brightness value. default A predetermined setting in a computer program
that will be used unless the user chooses another.
CD-ROM (Compact Disc, Read-Only Memory) A
nonrewritable compact disc used as a storage medium for device profile A database used by color management
digital data. software. It contains information about the actual colors
that a device (such as a monitor or printer) produces. The
CD-RW (Compact Disc, Rewritable) A rewritable color management software uses the information to ensure
compact disc. that the device produces the desired colors.

clipping In image capture with a scanner or digital cam- digital camera A camera that captures an image on a
era, an exposure error that causes a loss of information at CCD chip and digitizes it so that it can be downloaded to a
the highest and/or lowest brightness levels. computer or a digital printer.

CMY Cyan, magenta, and yellow are three subtractive digital image An image created by a digital camera or
color primaries. Used by some printing processes, notably a computer scanner. Digital images are composed of pixels.
color photographic paper.
digitization The process of converting analog informa-
CMYK Cyan, magenta, yellow, and black are the colors tion into digital data that a computer can use.
used in offset printing. Although CMY ideally would be a
better set of inks for printing, adding K (black) is a practical disc or disk Terms used to describe computer media that
necessity because CMY inks do not produce satisfactory store data on a revolving platter. Magnetic storage media
black tones by themselves. are called disks (floppy disks, Zip disks and hard disks),
while media that use lasers (CDs and DVDs) are called
color cast An unwanted color tint to an image caused discs.
by exposure of the film or digital capture under inappropri-
ate lighting conditions. dithering A process used by some types of printers to cre-
ate the appearance of millions of distinct colors from as few
color channel One of the ways information is organized as four basic (CMYK) colors. In dithering, nearly invisible
within an image. Color channels store the brightness values dots of each basic color are placed so close together (and
of the pixels in each of the primary colors. Contrast with the basic colors mixed without any visible pattern) that the
alpha channels. eye is fooled into seeing a solid distinct color at that spot.
Inkjet printers are the most common dithering printer.
Color Management A software system designed to
deliver accurate color calibration and consistent color download To transfer files or other data from one piece
matching among computer monitors, scanners, and any of computer equipment to another.
output devices such as printers and offset presses.
dpi (dots per inch) Originally, a measurement of the
color space A scientific description of a set of colors. A resolution of a printer or monitor. A printer that can print
color space numerically describes all the colors that can be 1,440 dots in a row in a single inch is a 1440 dpi printer.
created by a device, such as a camera or a printer. dpi is often used interchangeably with other more accurate
terms: pixels per inch (ppi) is a measure of the number of
compression A software process in which image data is pixels (lined up in a row) per inch that appears on a moni-
“squeezed” to reduce the size of the image file. Compression tor or in a print. An image may have only 200 pixels per

GLOSSARY 349

inch, but the printer may use 1,440 dots per inch to repre- file A collection of data, such as an individual image,
sent those 200 pixels per inch. Thus, the resolution of the saved on a computer storage device, and given a name to
printer (1440 dpi) is not the same as that of the image that assist in retrieval.
it prints (200 ppi). Confusion results when dpi is used inter-
changeably with pixels per inch. film recorder A device that records a digital image onto
photographic film.
DVD, DVR, DV-RAM, DVD-RW A family of optical
storage discs that offer higher capacities (many gigabytes) film scanner A device that converts images from photo-
than the CD-ROM. graphic film into digital form so they can be stored in a
computer and edited by software.
dye-sublimation printer A high-quality, continuous-
tone color printer. Each multicolored dot is created when filter In imaging software, a filter is a command that
dyes of the basic colors are vaporized and then condensed will produce special effects in an image. There are hundreds
on a precise location on the printing paper or plastic sheet. of filters available as plug-in software for Adobe Photoshop.
Because the amount of vaporization is highly changeable,
each condensed dot can be any one of 16 million colors, flatbed scanner A digital scanner in which the object to
and is thus called a continuous tone. be scanned is held flat on a glass plate while the imaging
sensor (usually three CCDs) moves under it. A flatbed scan-
dynamic range A measurement of image density for a ner can be used as a camera to record three-dimensional
scanner from 0 (pure white) to 4 (very black). The dynamic objects placed on its glass plate.
range scale is logarithmic; a value of 3.0 is 10 times greater
than a value of 2.0. This scale is valuable when measuring gamut The entire range of colors that a device (for exam-
a scanner’s ability to capture detail in shadows on slides ple, a digital camera or a printer) can record or reproduce.
and detail in highlights on negatives. The greater the
dynamic range, the greater the capability to capture detail GIF (Graphic Interchange Format) an image file for-
and not electronic noise. You may see the terms Dmin and mat. GIF is an older bitmap file format. It is an 8-bit for-
Dmax for the minimum and maximum values of density mat, so GIF images have only 256 colors. It is the standard
that a scanner can detect. If a scanner has a Dmin of .3 format for creating non-photographic graphics for use on
and a Dmax of 3.3, the total dynamic range would be 3.0. the Internet.

emulsion The dye or silver halide layer on the plastic gigabyte (GB) A measure of computer memory, disk
(acetate) base that captures the light and image you shoot storage, or file size consisting of approximately one billion
through the camera. Emulsion is also the name used for bytes (a thousand megabytes). The actual value is
chemicals applied to photographic paper used in the dark- 1,073,741,824 bytes.
room.
grayscale image A digital image containing only black,
export The process of transferring data from one pro- white, and shades of gray.
gram (for example, Adobe Photoshop) to another (for
example, Adobe Illustrator). halftone A method of creating images on paper using a
grid of ink dots of various sizes to simulate shades of gray
exposure latitude The capability of films or digital in a photograph. For color printing, four grids of colored
cameras to accurately record a range of brightness values dots (using the colors CMYK) are printed. Newspapers and
in the scene being photographed. A film that can accu- magazines use the halftone process to reproduce images.
rately record scenes with extremely large brightness ranges
(for example, very bright highlights and very dark shad- hue One of the three terms used to exactly describe a
ows) is said to have a wide exposure latitude. color (the others are brightness or value and saturation).
Informally, hue is the name of the color, such as red or
file format The unique and systematic way in which green-yellow. In a 360° color wheel, the hue can be exactly
information is organized in a file. Formats differentiate one specified as one of the points on the outside of the wheel.
kind of file from another. Some common image file formats
include TIFF, JPEG, and PSD (Photoshop file). import The process of bringing data into a program
from another program. For example, the images created by
many kinds of scanner software are imported into Adobe
Photoshop.

350 ABSOLUTE BEGINNER’S GUIDE TO DIGITAL PHOTOGRAPHY

inkjet printer An inkjet printer creates images out of on the monitor as overlays of color. Unlike a selection,
millions of nearly invisible colored dots. The dots are cre- masks can be stored and can be edited for later reuse.
ated by squirting ink through extremely small nozzles. See Masks are stored in the channels palette of Adobe
also dithering. Photoshop.

JPEG (Joint Photographic Experts Group) A software megabyte (MB) A measure of computer memory, disk
procedure that compresses files. JPEG is a “lossy” compres- storage, or file size consisting of approximately one million
sion algorithm that degrades image quality, although the bytes. The actual value is 1,048,576 bytes.
apparent effect is small unless the image is highly com-
pressed. megapixel camera A digital camera whose CCD chip
has over one million individual sensors. Each sensor usu-
JPEG 2000 A revision of the JPEG image compression ally creates one pixel in the camera’s images.
standard. Along with slightly improved image quality, new
features permit images to be viewed with greater color metadata Data about data. EXIF information included
accuracy and allow encoded copyright protection, as well as in digital camera images is one example. The EXIF stan-
embedded keywords to assist Internet searches. dard states what information is stored in a JPEG image and
in what order. This data describes the image itself.
kilobyte (KB) A measure of computer memory, disk stor-
age, or file size consisting of approximately one thousand modem (modulator/demodulator) A device that con-
bytes. The actual value is 1,024 bytes. verts outgoing digital data into analog signals for transmis-
sion over telephone lines, and digitizes incoming analog
laser printer A computer printer that uses laser copier signals.
technology to print from computer data. Printing is much
faster than with inkjet and dye sublimation printers, but network A group of computers connected electronically
image quality is often compromised by banding. so they can exchange data and share peripheral devices,
such as printers and modems.
layer A software feature that permits an image to con-
tain a number of separate images, viewed as though they palette On a computer monitor, a software component
are stacked upon each another. Some software allows spe- that appears as a box containing icons of tools and controls
cialized layers such as adjustment layers, which contain no that modify the way tools operate (options). A command
visible images but contain commands that change the center for image-editing tools.
tones and colors of the layers below, or type layers, which
contain editable letters and numbers. PhotoCD and PictureCD Kodak scanning services
available from many photography stores and mini-labs.
LCD panel (liquid crystal diode) Many digital cam- PhotoCD Master scans offer high-quality images from
eras have illuminated LCD screens that are used as 35mm film with resolutions up to 3072×2048 pixels. Less
viewfinders. They also permit the editing of pictures after expensive PictureCD scans of 1536×1024 pixels are saved as
they have been captured. JPEG files.

lossless compression A file compression technology pixel (picture element) The smallest visible component
that reduces the size of files in ways that result in the origi- of a digitized image. The basic dot that contains a single
nal file being intact after decompression. There is no loss of color.
the original data. TIFF compression is lossless.
plug-in A small, specialized software program that is
lossy compression A file compression technology that opened and operated by image-editing software, and closed
reduces the size of files in ways that result in permanent when its task is finished. For example, scanner software is
changes to the original file after decompression. Depending used to capture and import images, and filters are used to
on the degree of compression used, the image may exhibit modify the image. Plug-ins may be manufactured by com-
noticeable artifacts. JPEG compression is lossy. panies unconnected with the manufacturer of the imaging
software.
marquee An outline of moving dashes that appears on
the monitor to show the boundaries of selected areas within ppi (pixels per inch) See dpi.
an image. See also selection.
quantization coefficient A variable number related to
mask An image-editing tool used to limit the effects of the Quality setting used when a JPEG file is saved. The
image editing to certain areas of the image. Masks appear quantization coefficient is used with JPEG quantization
tables in the compression process.

GLOSSARY 351

RAM (random access memory) The silicon chips that screen lines per inch Also referred to as lines per inch.
are used to contain the computer’s memory. The memory is Used in the offset printing industry, lines per inch refers to
used to hold and process the software programs, data files, the number of rows or columns of halftone dots (a “screen”)
and commands that the computer is currently using. appearing in each inch of the printed matter. Do not con-
Generally, the more RAM that a computer has for image fuse screen lines per inch with dots per inch (see dpi).
processing, the more quickly the editing can be accom-
plished. selection A part of the area of a digital image that has
been isolated from the rest of the image for the purposes of
raster image Raster images (also called bitmaps) are editing operations, such as changes to color or tones. A
made up of rows and columns of pixels. variety of software tools are used to indicate to the com-
puter which area is to be selected.
resample To change the pixel dimensions of an image.
For example, to downsample an image from 2000×1000 service bureau A retail business that offers a variety of
pixels to 500×250 pixels, or to upsample an image from computer-related services. Many have extensive imaging
400×600 to 800×1200 pixels. Resampling permanently capabilities, such as scanning, printing, and rental comput-
alters the image. ers with imaging software. Some offer offset printing serv-
ices that may include the production of large negatives.
resize To alter the physical size of an image (how big it is
printed or how large it appears on the monitor) without subtractive colors Cyan, magenta, and yellow are the
resampling its pixels. subtractive colors of photography and digital imaging.
When equal amounts of cyan, magenta, and yellow inks
resolution Resolution determines the apparent sharpness are mixed on a sheet of white paper, a gray or black tone
of an image. Resolution is the number of pixels per inch (or results.
other measure, like millimeters) in an image. For example,
an image printed 8×10 inches with 200 pixels per inch will TIFF (Tagged Image File Format) A file format for
appear much sharper than an 8×10 print printed with 30 bitmap images that is readable by all major imaging soft-
pixels per inch. When the capabilities of printers are dis- ware programs. TIFF allows moderate amounts of lossless
cussed, the resolution of the printer is described as the num- compression.
ber of dots per inch that the printer can put on the paper.
See dpi. unsharp masking A software process that increases the
apparent sharpness of an image. Actual image detail is not
RGB Red, green, and blue; the primary additive colors of increased.
photography and digital imaging. Computer monitors cre-
ate images using the RGB colors. vector image An image formed without pixels. Lines
and solid-filled areas are created by specifying the location
samples per inch The number of times per inch that a of line endpoints and the positions of lines (straight or
scanner samples an image. Note, however, that if a scanner curved) between them. Adobe Illustrator creates vector
records 2,000 samples per inch, but its software enlarges the graphics, and there are some vector elements (such as
image by 10 times, the final image will have only 200 pix- paths) in Adobe Photoshop that coexist with the bitmap
els per inch. See dpi for related information. features.

saturation The degree to which a color is pure and undi- virtual memory disk Space on a hard drive that is used
luted by light of a different hue. If a color is 100% satu- as a substitute for RAM by image-editing software when the
rated, it contains no light of another hue. If a color has no software runs out of real RAM. Because hard disks operate
saturation, it appears gray, with no apparent hue. One of more slowly than RAM, using virtual memory slows the
the three terms used to exactly describe a color (the others computer down.
are brightness or value and hue).

scanner A device that converts photographs (on film or
on paper) into digital form so they can be stored in a com-
puter and edited by software.



Index

Numbers Adjust, Hue/Saturation com- Advanced Photo System
mand (Image menu), 140, (APS) film, 34
0000H flag, FAT (File 148, 240
Allocation Table), 105 AF (automatic focus), 54-56
Adjust, Levels command
12-bit scan rates, 184 (Image menu), 140, 148, aliasing
16-bit scan rates, 184 186, 206, 214 antialiasing, selections, 168
35mm film, 33, 76 digital camera limitations,
38-bit depth, JPEG2000 file Adjust, Variations command 21-22
(Image menu), 149
format, 90 allocation, FAT (File
48-bit scan rates, 184-186 adjustment layer masks, Allocation Table), 103-106
220 film, 34 252-253, 263
alpha channels, 163, 263-264
A adjustment layers, 236-237
color banding, 242-243 American Standards
Acquire command (File compatibility, Photoshop file Association (ASA) film rat-
menu), 74 formats, 84 ing system, 36
curves/levels, 231-232
active tracking system, AF data loss, 242-243 Amount option (Unsharp
(autofocus), 56 images, printing without Mask dialog box), 193, 196
color management, 301
Add Anchor Point tool, 161 angles, view, 47
additive color processes, Adjustments, Auto Levels
command (Image menu), annotations, TIFF (Tagged
293-294 220 Image File Format), 91
Adjust Color, Hue/Saturation
Adjustments, Color Balance Anti-aliased option (Magic
command (Enhance menu), command (Image menu), Wand), 141
328, 332 198
Adjust Levels command antialiasing, selections, 168
(Image menu), 146 Adjustments, Curves com-
Adjust, Brightness/Contrast mand (Image menu), 219, aperture, 59-61
command (Image menu), 231
206 APO (Apochromatic) lenses,
Adjust, Color Balance com- Adjustments, Hue/Saturation 14
mand (Image menu), 148, command (Image menu),
240 332 Apple iPhoto
Adjust, Curves command images, 128-131
(Image menu), 140, 186, Adjustments, Levels com- launching, 126
206, 226 mand (Image menu), 207, locating images, 114-115
Adjust, Desaturate command 219, 231 Print dialog box, 127-130
(Image menu), 328
Adobe Gamma, 297 Apple Macintosh, gammas
(Internet images), 341
Adobe ImageReady, creating
Web images, 345 applications
Apple iPhoto
images, 128-131
launching, 126

354 APPLICATIONS

locating images, 114-115 balance blooming, adjusting, 23
Print dialog box, 127-130 color, 32-34, 63-66
Photoshop Elements, 116 white, setting, 64 blur filters, Bayer masks, 20
resampling, 118-121
rescanning, 119 bar graphs, histograms, 221 Blur, Gaussian Blur command
images, 114-118, adjusting pixels, 207-209 (Filter menu), 198, 331
exposure problems, 210-217
121-125 levels, 222-223 blurring backgrounds, 59
printing resolution, 116
baseline optimized compres- blurs, 197-198
APS (Advanced Photo sion method, JPEG (Joint
System) film, 34 Photographics Experts BMP (Windows Bitmap) file
Group), 88 format, 83
archival paper, 288
baseline sequential compres- boot records, FAT (File
area-specific encoding, sion method, JPEG (Joint Allocation Table), 104
JPEG2000 file format, 91 Photographics Experts
Group), 88 Borderless Printing option
art, line art, 274 (Print dialog box), 130
battery life, continuous auto-
artifacts, adjusting, 21-22 focus, 56 borders, images (Apple
iPhoto), 128
artificial lighting, 313-314, Bayer mask, limitations,
320 18-20 bracketing, portraits, 327

ASA (American Standards Bezier curves, 249-251 brightness
Association) film rating sys- image editing, 145-147
tem, 36 bicubic resampling, 245 information (Curves dialog
box), 230-231
aspherical lenses, 14 Bilinear option (interpola- plain paper, 287
tion), 187
authoring software, 292 brightness/contrast, his-
bit depth tograms, 205-206
Auto Levels feature, 220 input resolution, 183-186 adjusting pixels, 207-209
TIFF (Tagged Image File exposure problems, 210-217
Auto option (white balance Format), 91, 95
settings), 64 Brightness/Contrast dialog
Bit Depth option (scanners), box, 206
auto-sharpening, turning off, 182
197 Brightness/Contrast, Levels
black points, setting, 212-214 command (Enhance menu),
Automate, Web Photo 219
Gallery command (File black reflectors, adding fill
menu), 339 light, 321 browsers, locating images,
114-115
automatic focus (AF), 54-56 black-and-white
converting to color, 32 brushes, Selection Brush,
available light, 310-313, 320 fill light, 319 170-171
film, 34
axis lighting (front lighting), images, converting color buttons, navigation or Web
316 images to, 328-330 site, 291

B black slider triangle, 225 Byte Order: IBM PC option
(TIFF Options dialog box),
back lighting, 319 Blend If option (Layer Style 93
dialog box), 239
background images, compo- Byte Order: Macintosh option
nent image selections, 247 blending image layers, (TIFF Options dialog box),
238-239 93
backgrounds, blurring, 59
bytes, 183

COLOR TEMPERATURES 355

C clusters, FAT (File Allocation color images
Table), 104-105 converting to black-and-
C-41 process (chromogenic), white (portraits), 328-330
42 CMOS (Complementary Metal creating, three image layers,
Oxide Semiconductors), 4, 295-296
California Museum of 20 gray tones, 222
Photography Web site, 344
CMY (cyan, magenta, and color management, color
cameras. See digital cameras yellow), subtractive color gamuts, 297-298
processes, 293-296 multiple printers, 305-306
Canon Web site, 14 printing, 299-301
CMYK (cyan, magenta, yel- printing RGB/CMYK,
capture delays, digital cam- low and black) 302-304
era limitations, 13-14 color channels, 255
color space definition, 16 Color Management Policies
catadioptric lenses, 54 printers, 271 option, 279
printing, color management,
CCD (charge-coupled device) 302-304 color masks, CCD (charge-
image sensor, 4-5, 17-20 coupled device) image sen-
collages, 239-241 sor, 18-20
CD-ROMs, saving images to,
80, 288-292 color Color Mode option (scan-
converting to black-and- ners), 181
CDs, saving images to, 79 white, 32
device profiles, 299 color negative film, develop-
cells, halftone, 189 gamut, troubleshooting, 303 ment process, 295-296
masks, 259
center-weighted autofocus reproducing (monitors/ color negative printing paper,
locks, 56 printers), color manage- printing process, 296
ment, 297-306
channels, 255 YUV color space, 88 Color Options option (Print
alpha, 163, 263-264 dialog box), 129
color, 255-257, 263 color balance, 63, 148-149
color images, converting to color film, 32 color processes, 293-296
black-and-white, 330 digital cameras, 64-65
composite, 257 film, 33-34, 66 Color Range command (Select
creating, 262 slide film, 66 menu), 164-165
masks, 257-263
red-eye, fixing, 333-335 color banding, adjustment Color Range dialog box, 164
layers, 242-243
Channels command (Window color reversal film, develop-
menu), 163, 257 color channels, 255 ing, 296
adjusting, 231
Channels palette, accessing, versus alpha channels, 263 Color Settings command (Edit
163, 257 editing, 256-257 menu), 279
RGB, 257
charge-coupled device (CCD) thumbnails, 257 Color Settings option (scan-
image sensor, 4-5, 17-20 turning on/off, 257 ners), 182
viewing, 256-257
chromes, 31 Color Settings, CMYK Setup
color film, 30-32, 295 command (File menu), 305
chromogenic film, light
responses, 42 color gamuts Color Settings, Working
color management, 297-306 Spaces command (Edit
CiéLAB color space definition, human vision, 298 menu), 302
16
color space. See gamuts
clipping paths, 252
color temperatures, measur-
Clone Stamp tool, removing ing, 65
dust & scratches, 203

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356 COLOR TRANSPARENCIES

color transparencies, fill light, conversion factors, lenses, 49 DCS (Desktop Color
319 Separations) file formats, 83
Convert Point tool, 162
ColorSync option (Print dia- DCT (Discrete Cosine
log box), 129 converting pixels, RIP (Raster Transform), 88
Image Processor), 189
columns, Single Column defragmentation, 107-109
Marquee tool, 155-156 Copies & Pages option (Print
dialog box), 129 delays, capture delays, 13-14
compatibility, Photoshop file
formats, 84-85 costs, digital versus film pho- Delete Anchor Point tool, 161
tography, 7-9
Complementary Metal Oxide depth of field, 58-61
Semiconductor (CMOS), 4, crawling ants, turning off,
20 335 desaturation, converting
color images to black-and-
component images, compos- Create Web Photo Gallery white, 328-329
ite images, 244-247 command (File menu), 339
Deselect command (Select
composite channels, 257 Crop command (Image menu), 142-143, 154
menu), 170
composite images, 244-247 Design Rule for Camera File
Crop tool, 170 Systems (DCF), 27
compression
file formats, 95 cropping scanned images, 74 Desktop Color Separations
Internet images, 339 (DCS) file formats, 83
JPEG, YUV color space defini- Cubic option (interpolation),
tion, 16 187 Despeckle filter, 200-201
JPEG2000 format, 90-91
lossless, 87, 91 curved paths, creating, Deutsche Industrie Norm
lossy, JPEG (Joint 159-160 (DIN) film rating system, 38
Photographics Experts
Group) file format, 86-88 curves, 219-220 developing film, 295-296
RLE (Run Length Encoding) adjustment layers, 231-232
file format, 94 Bezier, 249-251 device profiles, 299
step by step, 88-90 S curves, 226
wavelet-based, JPEG2000 file devices, CCD (charge-coupled
format, 90 Curves dialog box, 226-231 device), 4-5
Web Photo Gallery, 342-343
cut film, 34 diffused lighting, 307-309
compression artifacts, 86
cyan, magenta, and yellow digital cameras
CompuServe, GIF file format, (CMY), subtractive color color balance, 64-65
82 processes, 293-296 color masks, 18-20
DCF (Design Rule for Camera
Constrain feature, resizing cyan, magenta, yellow and File Systems), 26
images (Apple iPhoto), black. See CMYK Direct Print, 26
130-131 DPOF (Digital Print Order
D Format), 27
Contiguous option (Magic EXIF 2.2 (Exchange Image
Wand), 142 dark tones, correcting with Format), 24-26
curves, 228-229 Exif Print, 26
continuous autofocus, 55 focal length lenses, 49-52
data loss, 106, 242-243 formatting flash media,
contrast, image editing, 108-109
145-147 Daylight option (white bal- Foveon, 20
ance settings), 64 limitations, 11-14, 17, 21-22
contrast/brightness, his- media types, 5
tograms, 205-217 DCF (Design Rule for Camera PictBridge, 26
File Systems), 26 resolution, 176-177

FILE RECOVERY 357

versus CMOS drivers, printers, 127 F
(Complementary Metal
Oxide Semiconductor), drives, 100-105 f-stop. See aperture
14-17, 20, 23-24
dust, removing, 201-203 fast film speed, 39
Digital ICE, 202
Dust & Scratches filter, FAT (File Allocation Table),
Digital Print Order Format 201-203 103-108
(DPOF), 27
DVDs, saving images to, 292 FAT12 file system, 108
DIN (Deutsche Industrie
Norm) film rating system, dye-sublimation printers, 270 FAT16 file system, 108
38 paper, 288
scanning images for, 78 FAT32 file system, 108
direct lighting, 307-308 settings, 273
feathering selections, 168,
Direct Print, 26 E 259, 335

directional lighting, 314 Edge Contrast option FFF7H flag, FAT (File
(Magnetic Lasso tool), 155 Allocation Table), 105
directional-diffused light, 309
EI (exposure index) film rat- FFF8-FFFFH flag, FAT (File
Discard Layers and Save a ing system, 36 Allocation Table), 105
Copy option (TIFF Options
dialog box), 94 Elliptical Marquee tool, 144 File Allocation Table. See FAT

Discrete Consine Transform Encapsulated PostScript (EPS) File Browser command
(DCT), 88 file format, 83 (Window menu), 114

discussion groups (forums), encoding, JPEG2000 file for- file formats
film, 30-31 mat, 90-91 BMP, 82-83
compression, 88-90, 95
displays, viewing images, 282 EPS (Encapsulated PostScript) CT, 82-83
file format, 83 DPOF (Digital Print Order
distorting images, Photoshop Format), 27
Elements, 125 Epson ink cartridges, 280 EXIF 2.2 (Exchange Image
Format), 24-26
dithering, printers, 272 error diffusion, printers, 272 GIF, 82-83
JPEG, 339, 342-343
dots, halftone, 189 error resilience, JPEG2000 file JPEG2000 format, 90-95
format, 91 Photoshop, 82-83
dots per inch (dpi), 175 compatibility, 84-85
inkjet printers, 270 EXIF 2.2 (Exchange Image JPEG (Joint Photographics
output resolution, 176, Format), 24-26 Experts Group), 86-91
186-189 PSD, 95
Exif Print, 26 TIFF (Tagged Image File
downloading PC Inspector Format), 91-95
File Recovery, 99 expanding selections, Photoshop Elements, 82-88
165-168, 335 PNG, 82-83
dpi (dots per inch), 175 PST, 82-83
inkjet printers, 270 exposure PXR, 82-83
output resolution, 176, color film, 32 RLE (Run Length Encoding),
186-189 portraits, 327 94
troubleshooting, 210-217
DPOF (Digital Print Order file recovery, 97-98
Format), 27 exposure index (EI) film rat- defragmentation, 107-109
ing system, 36 FAT (File Allocation Table),
drawing straight lines, Pen 103-106
tool, 248

Drive command (Object
menu), 100

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358 FILES

PC Inspectory File Recovery, Gaussian Blur, 197-198 Free Tranform tool, 124-125
99-103 halftone dots, removing,
Free Transform command
USB (Universal Serial Bus), 197-198 (Edit menu), 124, 262
109-110 moiré patterns, removing,
Freeform Pen tool, 160
files 197-198
storing. See FAT (File dust & scratches, 201 Frequency option (Magnetic
Allocation Table) Noise, 200-203 Lasso tool), 155
TIFF, saving images as, 274 unsharp mask, 192-197
Friends of Photography Web
Fill command (Edit menu), Fireworks (Macromedia), site, 344
155-156 creating Web images, 345
front lighting, 316
fill lighting, 319-321 fisheye lenses, 52-53
full diffused light, 309
film flags, FAT (File Allocation
35mm, 33, 76 Table), 105 full-frame fisheye lenses, 52
220, 34
APS (Advanced Photo flash Fuzziness setting (Color
System), 34 fill light, adding, 321 Range dialog box), 164
black-and-white, 34 media, formatting, 108-109
color, 30-32 memory, 6 G
color balance, 33-34, 66
exposure latitude, 67-69 Flatten Image command galleries
forums (discussion groups), (Layer menu), 241, 247, 332 online, 343-345
30-31 photo, creating, 290-292
high-contrast, 34 flattening composite images, Web Photo Gallery, 339-343
infrared, 34 247
ISO ratings, 30 gammas, monitors (Internet
light, responding to, 41-42 floodlights, adding fill light, images), 341
overview, 29 321
pixels, resolution, 178-179 Gamut Warning feature,
roll, 33 Fluorescent option (white 302-304
scanning images, 178 balance settings), 64
sheet, 34 gamuts
slide, color balance, 66 fluorite lenses, 14 color management, 297-306
speed, 35-41 determining, Photoshop, 279
storing, 35 fly-out menus, Selection definition, digital camera lim-
technologies, 34 tools, 137 itations, 15-17
human vision, 298
film development process, focal length, lenses, 46 troubleshooting, 303
295-296 depth of field, 60-61
digital cameras, 49-52 Gaussian Blur filter, 197-198
film photography versus digi- normal, 47-48
tal, 7-9 General Blending option
focal length multiplier, 177 (Layer Style dialog box),
film scanners, printing large 239
images, 282-284 focus
AF (automatic focus), 54-56 George Eastman House Web
Filter Processing option (scan- depth of field, 58-61 site, 344
ners), 181 wide-area, 54
GIF (Graphics Interchange
filters, 191 focus priority, 55 Format) file format, 82
blurs
adding, 198 formats. See file formats Google Web site, 343
Bayer masks, 20
formatting flash media, grain
108-109 film speed, 37-39
removing, 200-201
forums (discussion groups),
film, 30-31

Foveon, CCD (charge-coupled
device) image sensor, 20

IMAGES 359

Graphics Interchange Format I resizing, 130-131
(GIF) file format, 82 white borders, 128
ICC profiles, third-party ink, Photoshop Elements
graphics. See also images; 277-279 features, 116
photos Free Transform tool,
iDVD authoring software,
graphs, bar (histograms), 292 124-125
207-217, 221-223 locating, 114
Image Compression Magnetic Lasso tool,
gray tones, color images, 222 JPEG option (TIFF Options
dialog box), 92 170-171
gray slider triangle, 225 LZW option (TIFF Options dia- perspective corrections,
log box), 92
grayscale images None option (TIFF Options 121-122
converting to black-and- dialog box), 91 printing resolution, 116
white, 328-329 ZIP option (TIFF Options dia- resampling images,
masks, 259 log box), 92
118-121
Group with Previous com- image editing rescanning images, 119
mand (Layer menu), 243 brightness/contrast, 145-147 resizing, 116-118
color balance, 148-149 rotation, 122-124
grouping layers, 243 Selection tools, 133-136, Save Selection command,
151-152
Grow command (Select fly-out menus, 137 170-171
menu), 166 Lasso tools, 139, 142-143 Selection Brush, 170-171
Magic Wand, 138-140 troubleshooting, 265-266
H Magnetic Lasso tool,
154-155 image layer masks, 252
halftone cells, 189 Marquee tools, 138,
143-144 image layers
halftone dots, 189, 197-198 modifying images, 140 blending, 238-239
Pen tools, 157-162 color images, creating,
halftone screens, lines per Polygonal Lasso tool, 295-296
inch (lpi), 188 153-154 creating, 237-238
Quick Mask, 156-157 opacity, 238-239
hiding selections, 163 resizing images, 136-137
saving selections, 163 Image Size dialog box,
high-contract film, 34 Single Column Marquee 117-118
tool, 155-156
high-side lighting, 316 Single Row Marquee tool, ImageReady (Adobe), creat-
155-156 ing Web images, 345
highlighting digital camera toolbox, 137
limitations, 23-24 troubleshooting, 163-170 images. See also photos
adding people via layers,
Histogram command (Image image-editing applications 241-242
menu), 207, 221 Apple iPhoto background, component
launching, 126 image selections, 247
histograms, 221 locating, 114-115 black-and-white, converting
exposure problems, 210-217 Print dialog box, 127-130 color images to, 328-330
fixing, images, 223 color
image editing, 148 converting to black-and-
levels, 222-223 white, 328-330
pixels, adjusting, 207-209 creating, three image
layers, 295-296
hue/saturation gray tones, 222
image editing, 148 component, composite
red-eye, fixing, 332-333 images, 244-247

Hue/Saturation command
(Adjust menu), 165

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360 IMAGES

composite, 244-247 scanning images for, 78 J
creating, Internet, 338-339 settings, 273
editing, 136, 177 JEITA (Japan Electronics and
fixing histograms, 223 Input levels, 225 Information Technologies
grayscale, masks, 259 Industries Association), 24
importing, 274 input resolution
large, printing, 282-284 bit depth, 183-186 JPEG (Joint Photographics
locating, 114-115 digital cameras, 176-177 Experts Group) file format,
merging, 262-263 film pixels, 178-179 82, 86-88
pixels, selecting, 164-165 scanner software, 180-183 compression
printer settings, 273 step by step, 88-90
printing, resolution, 177 inspectors, PC Inspector File Web Photo Gallery,
resizing, Selection tools, Recovery, 99-103 342-343
YUV color space defini-
136-137 interactivity, CD-ROMs, 290 tion, 16
saving Internet images, 339
International Center for JPEG2000 format, 90-91
CD-ROM, 288-292 Photography Web site, 344
DVDs, 292 JPEG2000 file format, 90-91
TIFF files, 274 International Color
saving to CD-ROMs, 80 Consortium Web site, 277 K
saving to CDs, 79
scaling, 245 International Organization Kelvin scales, measuring
scanned, cropping, 74 for Standardization (ISO) color temperatures, 65
scanning, 71-72 film rating system, 36
film, 178 key lights, 315-318
step by step, 74-79 Internet, 337 Kirlian Web site, 344
viewing, monitors, 282 displaying photos, 6 Kodak Photo CD, 79
images, creating, 338-339 Kodak Picture CD, 79
Import command (File menu), online galleries, 343-345
73, 84 resources, 343-344 L
scanning images for, 77
importing Web Photo Gallery, 339-343 LAB mode, converting color
images, 274 images to black-and-white,
plug-ins, scanning software, interpolation, 117 329
73 output resolution, 186-188
RAW file formats, 84 software, Bayer masks, 19 laser printers, scanning
images for, 79
indoor available light, Inverse command (Select
312-313 menu), 142-143, 167 Lasso tools, 139, 142-143
latitude, 63, 66-69
Info command (Window inverting masks, 261 Layer Compression: RLE
menu), 215
iPhoto (Apple) option (TIFF Options dialog
Info palette, accessing, 215 images box), 94
locating, 114-115 Layer Compression: ZIP
infrared film, 34 resizing, 130-131 option (TIFF Options dialog
white borders, 128 box), 94
ink, printer resolution, launching, 126 layer masks, 252-253
275-276 Print dialog box, 127-130
Epson, 280
ICC profiles, 277-279 iPhoto option (Print dialog
photo paper, 281-282 box), 130

inkjet printers ISO (International
dpi (dots per inch), 270 Organization for
error diffusion, 272 Standardization) film rating
system, 36
ratings, 30
size (paper), 287

MANUFACTURERS 361

layer sets, compatibility digital camera limitations, top, 317
(Photoshop file formats), 85 14-15 under, 317

Layer Style dialog box, fisheye, 52-53 line art, printing, 274
238-239 focal length, 46
line screen, printing presses,
layers, 235 depth of field, 60-61 188
adjustment, 236-237 digital cameras, 49-52
color banding, 242-243 normal, 47-48 lines, drawing, 248
curves/levels, 231-232 macro, 53
data loss, 242-243 perspective-control, 53 lines per inch (lpi), 175, 188
images, printing without soft-focus, 53
color management, 301 tele-extenders, 51 Load Selection command
adjustment layer masks, 263 telephoto, 51 (Select menu), 171, 261
collages, 239-241 terminology, 14
compatibility, Photoshop file logical drives, 105
formats, 84-85 levels, 219
composite images, 244-247 adjustment layers, 231-232 long focal-length lenses,
creating, 331 Auto Levels feature, 220 digital cameras, 49-51
grouping, 243 color images, gray tones, 222
image histograms, 222-223 lossless compression, 87, 91
adding people, 241-242 images, fixing histograms,
blending, 238-239 223 lossless encoding, JPEG2000
color images, 295-296 Input, 225 file format, 90
creating, 237-238 Output, 225
opacity, 238-239 slider triangles, 224-225 lossy compression, JPEG
merging, 240 (Joint Photographics Experts
naming, 238 Levels dialog box, 207, 214, Group) file format, 86-91
opacity, 238 221, 225
red-eye, fixing, 331-332 lpi (lines per inch), 175, 188
resolution, 241-242 Library of Congress Prints
saving, 241 and Photographs Reading Lura Tech Web site, 90
selecting, Pen tool, 247-252 Room Web site, 344
semitransparent, 238 M
storing, 237 light tones, correcting with
type, 236 curves, 229 Macintosh, gammas (Internet
images), 341
Layers command (Window lighting
menu), 331 artificial, 313-314, 320 macro lenses, 53
available, 310-313, 320
Layers palette, accessing, 237 back, 319 Macromedia Fireworks, creat-
depth of field, 60-61 ing Web images, 345
Layers tab, 331 diffusion, 307-309
directional, 314 Magic Wand, 138-140
Layout option (Print dialog fill light, 319-321
box), 129 film responses, 41-42 Magnetic Lasso tool, 139,
film speed, 35-41 154-155, 170-171
Leica Web site, 14 frontal, 316
high-side, 316 magnification
lenses key lights, 315-318 lens focal length, 46-47
AF (automatic focus), 54-56 portraits, 325-327 uncropped 35mm film, 76
catadioptric, 54 side, 318
conversion factors, 49 specular (direct), 307-308 main lights. See key lights
depth of field, 58-61
managing colors, color
gamuts, 297-299
multiple printers, 305-306
printing, 299-304

managing layers, 240-241

manufacturers, Internet
resources, 344

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362 MARQUEE TOOLS

Marquee tools, 138 LAB command (Image menu), New Adjustment Layer,
Elliptical Marquee tool, 144 329 Curves command (Layer
Rectangular Marquee tool, menu), 231-232
143 RGB Color command (Image
menu), 257 New Adjustment Layer,
masks Levels command (Layer
adjustment layer masks, 263 modes menu), 231
color, 18-20, 259 LAB mode, converting color
grayscale images, 259 images to black-and-white, New Channel icon, 262
inverting, 157, 261 329
layer, 252-253 Quick Mask, 260-261 New dialog box, 277
opacity, 259
Quick Mask, 156-157, 264 Modify, Border command New Layer command (Layer
selections, 257-259 (Select menu), 167 menu), 237
storing. See alpha channels
unsharp mask filter, 192-197 Modify, Contract command New Layer icon, 237
visibility, 259-263 (Select menu), 166
Nikon Web site, 14, 344
master boot records, FAT (File moiré patterns, removing,
Allocation Table), 104 197-198 noise, adding, 335

media monitors Noise filters, 200-203
digital cameras, 5 color reproduction, color
flash memory, 6 management, 297-306 Noise, Add Noise command
gammas (Internet images), (Filter menu), 335
medium film speed, 39 341
images, viewing, 282 Noise, Despeckle command
megapixels, 175 (Filter menu), 200
multimedia, CD-ROMs, 289
memory, flash, 6 Noise, Dust & Scratches com-
multiple printers, color man- mand (Filter menu), 203
Merge Down command agement, 305-306
(Layer menu), 240 normal focal-length lenses,
Museum of Contemporary 47-48
Merge Visible command Art Web site, 344
(Layer menu), 241 NPPA (National Press
museums, Internet resources, Photographers Association)
merging 344 Web site, 343
images, 262-263
layers, 240 N O

micro lenses (macro lenses), naming layers, 238 objects, vector, 249
53
National Press Photographers offset printers, scanning
Microsoft Windows, gammas Association (NPPA) Web images for, 79
(Internet images), 341 site, 343
online galleries, 343-345
mirror lenses, 54 navigation buttons, creating,
291 opacity
Mode command (Image layers, 238-239
menu), 163 Nearest neighbor option masks, 259
(interpolation), 187
Mode Open Drive icon, 100
8 bits/channel command negative color films, 295
(Image menu), Options, Files command
184-186 negative film, 31 (Object menu), 102, 106
CMYK Color command color balance, 66
(Image menu), 305 exposure latitude, 67 outdoor available light,
Grayscale command (Image professional, 32 310-312, 320
menu), 328-329
Output levels, 225

Output Options option (Print
dialog box), 129

PIXELS 363

output resolution, 176 PDF (Portable Document Photoshop DCS 2.0 file
digital cameras, 177 Format) file format, 82 format, 83
interpolation, 186-188
printing presses, 188-189 Pen tool, layer selections, 247 Photoshop Elements
drawing straight lines, 248 features, 116
Output Resolution option paths, 249-252 file formats, 82-83
(scanners), 181 compatibility, 84-85
people, adding to images, JPEG (Joint Photographic
overexposure, portraits, 327 241-242 Experts Group), 86-91
PSD, 95
P perspective, correcting TIFF (Tagged Image File
(Photoshop Elements), Format), 91-95
palettes 121-122 images
Channels, accessing, 163, Free Transform tool,
257 perspective-control lenses, 53 124-125
Info, accessing, 215 locating, 114
Layers, accessing, 237 Photo District News Web site, perspective corrections,
Paths, accessing, 157, 248 343 121-122
resampling, 118-121
paper, 285 photo galleries, creating, rescanning, 119
archival paper, 288 290-292 resizing, 116-118
dye-sublimation printers, 288 rotating, 122-124
ISO size, 287 photo paper, 281-282, Magnetic Lasso tool,
multiple printers, color man- 286-287 170-171
agement, 305-306 printing resolution, 116
photo paper, 281-282, photography, Internet Save Selection command,
286-287 resources, 343 170-171
plain paper, 287 Selection Brush, 170-171
photos. See also images
Paper Handling option (Print color, converting to black- physical drives, 105
dialog box), 129 and-white, 328-330
displaying, Internet, 6 PICT file format, 83
passive tracking system, AF exposure, 327
(autofocus), 56 lighting, 325-327 PictBridge, 26
red-eye, fixing, 330-335
paths pictures. See also images;
clipping, 252 Photoshop photos
compatibility, Photoshop file color space, determining,
formats, 85 279 Pinhole Visions, The Art of
creating, 157-162, 247-251 EPS file format, 83 Pinhole Photography Web
curved, creating, 159-160 EXIF 2.2 (Exchange Image site, 344
saving, 248 Format), 24-26
file formats, 82-83 Pixar file format, 82
Paths command (Window compatibility, 84-85
menu), 157 JPEG (Joint Photographic pixels. See also resolution
Experts Group), 86-91 adjusting, 21-22, 207-209
Paths palette, accessing, 157, PSD, 95 converting, RIP (Raster Image
248 TIFF (Tagged Image File Processor), 189
Format), 91-95 film, resolution, 178-179
patterns, moiré, 197-198 navigation buttons, creating, interpolation, output resolu-
291 tion, 186-188
PC Inspector File Recovery, PDF file format, 82 megapixels, 175
99-103 samples per inch, 175
Photoshop DCS 1.0 file selecting, 164-165
PCX file format, 83 format, 83 virtual, Bayer masks, 19

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364 PIXELS PER INCH (PPI)

pixels per inch (ppi), 174, 271 printers Radius option, 193, 196,
input resolution CMYK, 271 201-203
bit depth, 183-186 color reproduction, color
digital cameras, 176-177 management, 297-306 Raster Image Processor (RIP),
film pixels, 178-179 dithering, 272 189
scanner software, drivers, 127
180-183 dye-sublimation, 78, 270, rating systems, film speed,
resolution, 273-274 288 36-38
film scanners, 282-284 error diffusion, 272
ink, 275-282 inkjet, 78, 270 RAW file format, 82, 84
monitors, 282 laser, scanning images for, 79
settings, 273 multiple, color management, recovering files, 97-98
305-306 defragmentation, 107-109
plain paper, 287 offset, scanning images for, FAT (File Allocation Table),
79 103-106
plug-ins ppi (pixels per inch) ratings, PC Inspector File Recovery,
ICC profiles, third-party ink, 271-284 99-103
277-279 resolution, 269, 273-282 USB (Universal Serial Bus),
software, scanning, 73 settings, 273 109-110

PNG file format, 83 printing Rectangular Marquee tool,
images, resolution, 177 143
Polaroid Web site, 344 large images, 282-284
line art, 274 red, green, and blue. See RGB
Polygonal Lasso tool, 139, paper, 285-288
153-154 resolution, Photoshop red eye, fixing, 330
Elements, 116 channels, 333-335
Portable Document Format layers, 331-333
(PDF) file format, 82 printing presses, output reso-
lution, 188-189 Redo feature, 135
portrait lenses, 53
printing process, 296 reflectors, adding fill light,
portraits. See also images; 320-321
photos professional film, 31-32
relative aperture, 60
positive (reversal) color films, profiles, device profiles, 299
295 Remove Hardware button,
Proof Setup, Macintosh RGB 109
ppi (pixels per inch), 174, 271 command (View menu), 341
input resolution resampling
bit depth, 183-186 Proof Setup, Windows RGB bicubic, 245
digital cameras, 176-177 command (View menu), 341 images, Photoshop Elements,
film pixels, 178-179 118-121
scanner software, PSD Photoshop file format,
180-183 95 rescanning images,
resolution, 273-274 Photoshop Elements, 119
film scanners, 282-284 Q-R
ink, 275-282 Reselect command (Select
monitors, 282 Quality & Media option (Print menu), 163
settings, 273 dialog box), 129
Resize, Image command
Print command (File menu), Quick Mask, 156-157, (Image menu), 117, 120
127 260-261, 264
Resize, Scale command
Print dialog box, 127-130 (Image menu), 125

Print Size option (scanners), resizing images
182 Apple iPhoto, 130-131
Photoshop Elements,
116-118
Selection tools, 136-137

SELECTION TOOLS 365

resolution, 173 RIP (Raster Image Processor), DVDs, 292
collages, 240 189 TIFF files, 274
defined, 174 layers, 241
digital camera limitations, RLE (Run Length Encoding) paths, 248
14-15 file format, 94 selections, 163, 259
dpi (dots per inch), 175
dye-sublimation printers, 78 roll film, 33 scalability
images, 177 collages, 240
inkjet printers, 78 rotating images, Photoshop images, 125, 245
input Elements, 122-124 JPEG2000 file format, 90
bit depth, 183-186
digital cameras, 176-177 rows, Single Row Marquee scanners, 71-72
film pixels, 178-179 tool, 155-156 large images, printing,
scanner software, 282-284
180-183 Run Length Encoding (RLE) options, 181-182
large images, printing, file format, 94 software, 73, 180-186
282-284 step-by-step scans, 74-79
laser printers, 79 S
layers, 241-242 scanning drives, PC Inspector
line art, printing, 274 S curves, 226 File Recovery, 100-103
lpi (lines per inch), 175
megapixels, 175 Safely Remove Hardware dia- scanning images
monitors, 282 log box, 110 cropping, 74
offset printers, 79 film, 178
output, 176, 186-189 samples per inch, 76-77, 175
ppi (pixels per inch), 174 Scheduler option (Print dia-
printers, 269, 273-282 saturation/hue, image edit- log box), 129
printing, Photoshop Element, ing, 148, 332-333
116 Schneider Web site, 14
samples per inch, 76-77, 175 Save As command (File
menu), 277 Scitex CT (Continuous Tone)
resources, Internet, 343-344 file format, 83
Save As dialog box, 277
reversal (positive) color films, scratches, removing, 201-203
295 Save for Web command (File
menu), 342 screens, halftone, 188
reversal film, 31
color balance, 66 Save for Web dialog box, 342 search engines, Internet
exposure latitude, 67-69 resource, 343
professional, 32 Save Image Pyramid option
(TIFF Options dialog box), sectors, FAT (File Allocation
Revert command (File menu), 93 Table), 104
193
Save Selection command Select Directory dialog box,
RGB (red, green, and blue) (Select menu), 163, 170-171, 102
additive color processes, 246, 261
293-294 Select Drive dialog box, 100
bit depth, 183 Save Transparency option
color channels, 255-257 (TIFF Options dialog box), Select Sector Range dialog
color space definition, 15-16 93 box, 101
printing, color management,
302-304 saved selections, compatibili- Selection Brush, 170-171
ty (Photoshop file formats),
85 Selection tools, 133, 135,
151-152
saving fly-out menus, 137
editing images, 136 Lasso tools, 139, 142-143
images Magic Wand, 138-140
CD-ROM, 80, 288-292 Magnetic Lasso tool,
CDs, 79 154-155

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366 SELECTION TOOLS

Marquee tools, 138, 143-144 Show Channels command Special Effects option (Print
modifying images, 140 (Window menu), 330 dialog box), 130
Pen tools, 157-162
Polygonal Lasso tool, Show Layers command specular lighting (direct),
(Window menu), 237 307-308
153-154
Quick Mask, 156-157 Show, Selection Edges com- speed, film, 30, 35-41
resizing images, 136-137 mand (Select menu), 168
saving selections, 163 sRGB color space definition,
Single Column Marquee tool, Show, Selection Edges com- 15
mand (View menu), 163
155-156 standard focal-length lenses,
Single Row Marquee tool, showing selections, 163 47-48

155-156 shrinking selections, 165-168 Stop a Hardware Device
toolbox, 137 dialog box, 110
troubleshooting, 163 side lighting, 318
storing
antialiasing selections, 168 silver halide crystals, 41 files. See FAT (File Allocation
Color Range command, Table)
Similar command (Select film, 35
164-165 menu), 167 layers, 237
Crop tool, 170 masks. See alpha channels
feathering selections, 168 Single Column Marquee tool,
selection modifications, 155-156 subtractive color processes,
293-296
165-168 Single Row Marquee tool,
155-156 Summary option (Print dialog
selections box), 130
compatibility, Photoshop file single-shot autofocus, 55
formats, 85 T
creating, masks, 257-258 sites. See Web sites
expanding, 335 Tagged Image File Format
expanding/shrinking, skewing images, Photoshop (TIFF), 83, 91-95
165-168 Elements, 125
feathering, 259, 335 TARGA file format, 82
hiding/showing, 163 slide film, 31
layers, Pen tool, 247-252 color balance, 66 tele-extenders, 51
restoring, 163 developing, 296
saving as masks, 259 teleconverters, lenses, 51
sliders triangles (levels),
semitransparent layers, 238 224-225 telephoto lenses, 51

sensitivity specks, 41 slow film speed, 41 tenting, diffused light, 308

sensor resolution, digital soft-focus lenses, 53 text layers, compatibility
cameras, 176-177 (Photoshop file formats), 85
softboxes, artificial light, 314
sensors, CCD (charge-coupled third-party ink, printer reso-
device), 17-20 software lution, 276
Adobe Gamma, 297 Epson, 280
shadows, fill light, 319-321 Adobe ImageReady, creating ICC profiles, 277-279
Web images, 345 photo paper, 281-282
Sharpen, Unsharp Mask com- authoring, 292
mand (Filter menu), 193, image-editing, troubleshoot- Threshold option, 193, 196,
196 ing, 265-266 201-203
interpolation, Bayer masks,
sheet film, 34 19 thumbnails, color channels,
Macromedia Fireworks, creat- 257
short focal-length lenses, ing Web images, 345
digital cameras, 51-52 scanners, 73, 180-186

WEB SITE BUTTONS 367

TIFF (Tagged Image File Transform, Distort command Unsharp Mask filter, 192-197
Format), 83, 91-95, 274 (Edit menu), 125
USB (Universal Serial Bus),
TIFF Options dialog box, Transform, Free Transform file recovery, 109-110
91-94 command (Image menu),
122-124 V
Tolerance option (Magic
Wand), 141 Transform, Perspective com- vector objects, paths, 249
mand (Edit menu), 122
tones, correcting with curves, view angles, lens focal
228-229 Transform, Scale command length, 47
(Edit menu), 247
toolbox, Selection tools, 137 viewing
Transform, Skew command color channels, 256-257
tools (Edit menu), 125 images, monitors, 282
Add Anchor Point, 161
Clone Stamp, removing dust transparencies, color, 319 virtual pixels, Bayer masks,
& scratches, 203 19
Convert Point, 162 transparency film, 31
Delete Anchor Point, 161 visibility, masks, 259-263
Free Transform, 124-125 triangles, sliders (levels),
Freeform Pen, 160 224-225 W
Magnetic Lasso, 170-171
Marquee, 138, 143-144 troubleshooting wavelet-based compression,
Pen, layer selections, exposure, 210-217 JPEG2000 file format, 90
247-525 gamut, 303
Selection, 133-135, 151-152 image-editing software, Web browsers, locating
fly-out menus, 137 265-266 images, 114-115
Lasso tools, 139, 142-143 images, histograms, 223
Magic Wand, 138-140 red eye, fixing, 330-335 Web Photo Gallery, 339-343
Magnetic Lasso tool, Selection tools, 163
154-155 antialiasing selections, 168 Web sites
Marquee tools, 138, Color Range command, Canon, 14
143-144 164-165 Google, 343
modifying images, 140 Crop tool, 170 International Color
Pen tools, 157-162 feathering selections, 168 Consortium, 277
Polygonal Lasso tool, selection modifications, Kirlian, 344
153-154 165-168 Leica, 14
Quick Mask, 156-157 Lura Tech, 90
resizing images, 136-137 true fisheye lenses, 52 museums, 344
saving selections, 163 Nikon, 14, 344
Single Column Marquee Tungsten option (white bal- PC Inspector File Recovery, 99
tool, 155-156 ance settings), 64 Photo District News, 343
Single Row Marquee tool, Pinhole Visions, The Art of
155-156 type layers, 236 Pinhole Photography, 344
toolbox, 137 Polaroid, 344
troubleshooting, 163-170 U Schneider, 14
tips for creating, 338-339
top lighting, 317 umbrella reflectors, artificial Wilhelm Imaging Research,
light, 314 288
tracking system, AF (autofo- Yahoo!, 343
cus), 56 under lighting, 317 Zeiss, 14

underexposure, portraits, 327 Web site buttons, 291

Undo feature, 135-136

Universal Serial Bus (USB),
file recovery, 109-110

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368 WHITE BALANCE

white balance, setting, 64
white borders, images (Apple

iPhoto), 128
white points, setting, 212-214
white slider triangle, 225
wide-angle lenses, 51-52
wide-area focus, 54
Width option (Magnetic

Lasso tool), 154
Wilhelm Imaging Research

Web site, 288
Windows

defragmentation, 107
gammas (Internet images),

341
Windows Bitmap (BMP) file

format, 83
Working Spaces option, 279

X-Z

Yahoo! Web site, 343
YUV color space (YCbCr),

15-16, 88

Zeiss Web site, 14
Zoom In command (View

menu), 198
zooming, 198