Previously called Use All Layers, this setting is found in the options bar of the Clone Stamp, Smudge, Blur, Sharpen, Paint Bucket, Spot Healing Brush and Healing Brush tools. It allows the user to select a sample area based on all visible layers not just the contents of the selected layer.

In CS2 the Sample All Layers (1) replaces the Use All Layers name. This setting still resides on the options bar of the tools with which it can be used.

In the CS3 release the Healing Brush and Clone Stamp tools have two additional sampling options grouped in a Sample drop-down menu (2) in the tool’s option bar. The extra options are Sample Current & Below and Sample Current Layer.

The Current Layer option in the Sample menu of the Healing Brush and Clone Stamp tool restricts the action of these features to just the selected, active layer. No content from other layers is used in the sampling process. This is the same as the default mode of these tools when other sampling alternatives were not available.

The Current & Below entry is one of the new sampling options located in the drop-down menu of the Clone Stamp and Healing Brush tools in Photoshop CS3. This mode uses the content of the selected layer as well as any visible layers stacked beneath this layer in the sampling process.

This approach is different to the Sample All Layers option which uses the content of all visible layers and the Sample Current Layer which sources its details from the selected layer only.

The Eyedropper tool samples the color of an area in an open image or on the desktop. When the mouse button is clicked the color of the area under the pointer is stored as the new foreground color.

The size of the sample area can be set in the tool’s options bar (1). The Point Sample copies the precise color of the pixel beneath the cursor whereas average sample options, such as the 3 by 3 or 5 by 5 entries, store a color that is the average of the pixels contained in these sample areas.

CS3 contains four new average sample sizes above the 5 by 5 pixel maximum available in the previous version of the program.

The saturation of a color photo is usually described as the color’s strength or vibrancy.

Decreasing the saturation in a picture gradually removes the color from the image, creating more subtle or pastel shades. Continuing to lessen the saturation will eventually reach a point where no color remains and the photo is effectively a grayscale image.

Increasing the saturation makes the colors more vibrant. You have to be careful when adjusting the picture in this way though as overly saturated pictures often print as flat areas of color with no detail.

Saturation changes are made by moving the Saturation slider (1) in the Hue/Saturation feature. This feature is also available as an adjustment layer so that you can apply non-destructive saturation changes.

Alternatively you can also change the Saturation of photos using the slider in the Basic section of Adobe Camera Raw(2). Included in the ACR 4.0 is the new Vibrance slider which, unlike the standfard Saturation control, selectively increases saturation. The feature targets only those hues that are desaturated and protects skin tones from the enhancement changes. This is a great tool for boosting color without clipping or oversaturating skin areas.

The Saturation blending mode is one of the group of Hue modes that base their effects on combining the hue, saturation and luminosity of the two layers.

This option creates the result by combining the hue and luminance of the bottom layer with the saturation of the top layer.

There is no change if the top layer has no saturation (is filled with neutral grays).

At various points in the digital photography process it is necessary to change or alter the spread of colors in a picture so that they fit the characteristics of an output device, such as a screen or printer, more fully. Saturation is one of the four different approaches that Photoshop can use in this conversion process. The other choices are Perceptual, Relative Colorimetric and Absolute Colorimetric.

Each approach produces different results and is based on a specific conversion or ‘rendering intent’. The Saturation option tries to maintain the strength of colors during the conversion process. This occurs even at the expense of color accuracy. The Relative Colorimetric setting squashes or stretches the range of colors in the original so that they fit the range of possible colors that the new device can display or print. The Perceptual setting puts conversion emphasis on ensuring that the adjusted picture, when viewed on the new output device, appears to the human eye to be very similar to the original photo. The Absolute Colorimetric option translates colors exactly from the original photo to the range of colors for the new device. Those colors that can’t be displayed are clipped.

Specific Intents can be selected as part of the printing process via the color management controls in the More Options section of the Print Preview dialog (1).

Saving images edited in the Photoshop workspace is a three-step process that starts by choosing File > Save from the menu bar.

With the Save dialog open, navigate through your hard drive to find the directory or folder you wish to save your images in. Next, type in the name for the file and select the file format you wish to use.

The Save feature is grayed out, or unavailable, if no changes have been made to the picture since the last Save action.

In order to make it possible to use the Save a Version (Check-in for CS3) feature in Photoshop (or any other CS2 or CS3 program) the folders or files that you are working with must be organized in a Version Cue project or workspace. In addition the Enable Version Cue options in the preferences of each of the Suite programs also need to be selected. In Photoshop this setting is located in the File Handling Preferences dialog.

Now when a Version Cue protected file is opened and enhanced or edited in any way you have the Save a Version option available in the File menu (1). Following selecting the menu item, a Save a Version dialog is displayed (2). The window contains all the details for the picture as well as a space for you to enter comments about the version you are saving. After clicking the Save button the latest version of the file is then saved and displayed in the standard thumbnail view in Bridge but, when the workspace is switched to the Versions and Alternates View, all the previous iterations of the design are also shown. Alternatively you can also view the versions by setting the status bar display to Version Cue and then choosing the Versions option from the pop-up menu.

A separate window will be displayed showing all the Versions available for the file that is currently open.

The File > Check-in option in CS3 (3) replaces the Save A Version entry in CS2, but provides much the same functionality.

With Version Cue installed and enabled in the File Handling preferences in Photoshop CS2 it is possible to save an Alternate copy of the current document. Unlike versions which document a linear set of changes, Alternates provide exact copies of pictures, allowing branching design changes arising from a common base.

An Alternate can be saved for any project file that is open in a CS2 program. Start by choosing File > Save As, then switch the Dialog box styles to the Adobe Dialog (1) by pressing the Use Adobe Dialog button at the bottom left of the standard OS Save As dialog.

In the Adobe Dialog select the Save as Alternate option (2) at the bottom of the dialog and then press the Save button. You can view the Alternate copies of the document by switching the workspace to the Versions and Alternates View or by setting the status bar display to Version Cue and then choosing the Alternates option from the pop-up menu (3).

A separate window will be displayed showing all the Alternates available for the file that is currently open (4).

For most images you should use the Photoshop or PSD format.

This option gives you a file that maintains all of the specialized features available in Photoshop. However, if you want to share your images with others, either via the web or over a network, then you can choose to save your files in other formats, like JPEG or TIFF.

To save a file in a format other than the PSD fi le type, select the File > Save As option, selecting a different option from the dropdown format menu.

The options in the Save As dialog box allow you to change the name of the file, the location you are saving to, or the format you are saving in.

When preparing photos for use on the internet it is difficult to balance good compression with acceptable image quality. So how much compression is too much? Well, Photoshop helps with this dilemma by including a special Save for Web feature that previews how the image will appear before and after the compression has been applied.

Start the feature by selecting the Save for Web option from the File menu of the Photoshop workspace. You are presented with a dialog that shows side-by-side ‘before’ and ‘after’ versions of your picture. The settings used to compress the image can be changed in the top right-hand corner of the screen. Each time a value is altered, the image is recompressed using the new settings and the results redisplayed.

JPEG, GIF and PNG can all be selected and previewed in the Save for Web feature. By carefully checking the preview of the compressed image (at 100% magnification) and the file size readout at the bottom of the screen, it is possible to find a point where both the file size and image quality are acceptable. By clicking OK it is then possible to save a copy of the compressed file to your hard drive ready for attachment to an e-mail or use in a web page.

Revamped for version CS3, the Save For Web option has also been renamed to Save For Web & Devices (1) to reflect the growing need to generate screen content for mobile devices such phones and personal digital assistants (PDAs).

The interface remains pretty much unchanged with the greatest difference between this version and the previous being the inclusion of the Device Central button (2) at the bottom right of the dialog.

Device Central is a new feature that is available across all the programs in Creative Suite and is used to help design and preview content for mobile devices. Containing specifications for a multitude of devices and skins that can be used in the preview mode to display how your images will appear on the device, this new feature will certainly help with optimizing images for use on the smaller screens of most mobile devices.

The Save Selection option allows the user to store complex, multi-step selections with the fi le that they were created for.

To save a selection choose the option after creating a selection and whilst it is still active. The selection is saved as part of the Photoshop file (PSD) and can be restored, using the Load Selection feature, next time the picture is opened. The Reselect option provides a similar function but only restores the last selection made during the current editing session.

TIFF, PDF and JPEG2000 file formats also support saved selections.

The Save Swatches feature allows you to store new, or edited, color swatches, or swatch libraries in a fi le that can be loaded again later.

To save swatches press the sideways arrow at the top of the palette and then select the Save Swatches item from the pop-up menu.

The feature opens a file browser dialog so that you can save the new swatch file (ACO) to a selected folder. Swatch files are generally stored in the Photoshop/Presets/ Color Swatches folder.

The Scale feature allows the resizing of the content of individual layers. After selecting Image > Resize > Scale, click and drag one of the corner handles of the bounding box that appears to resize the layer.

Holding down the Shift key whilst resizing constrains the proportions of the change to the picture so that they are the same as the original. Double-click inside the bounding box to confirm the scale change or click the Commit button in the options bar. When using the feature with a background image the layer will be converted to a normal image layer first. The overall dimensions of the image do not change.

Scattering is one group of options that controls how the Brush tool behaves. The options can be found in the Scattering section of the Brushes palette.

Dragging a brush when the Scatter value is set at 0% creates a single line of brush strokes. Selecting higher values causes the brush strokes to deviate randomly from the drawn path. In the example a brush has been dragged across the canvas with scatter values of 0% (1), 50% (2) and 100% (3).

Count and Color Jitter controls are also included in this dialog.

A scratch disk is really pseudo RAM or pretend memory. When Photoshop runs out of the RAM needed to perform an enhancement change, it can use part of your hard drive as a fake extension to the system’s memory.

The section of hard drive nominated as the RAM extension is called a scratch disk and correctly allocating such a disk will improve the performance of Photoshop on even the most humble machines.

Scratch disks are allocated in the PlugIns & Scratch Disks Preferences dialog (1) or in the new Performance dialog in CS3 (2), with the new settings taking effect after the program has been rebooted. As many as up to four different disks can be used by the feature. Your fastest and least used drive should be allocated first, with other drives with a little extra space being nominated next.

In most cases, internal drive are faster than external, though there are some exceptions ' For instance, a RAID array of Firewire 800 drives works particularly well as an external storage option for a Photoshop scratch disk

The Screen blending mode is one of the group of Lighten modes and as such always produces a result that is brighter than the original.

This mode produces its effect by multiplying the inverse of the colors from the top and bottom layers.

Blending with black produces no change. Blending with white produces a white result.

Photoshop supports scripting as a way of automating events within the application as well as providing options to control other Creative Suite programs.

Windows users can produce scripts in VisualBasic and supporters of the Macintosh platform can use AppleScript. These languages allow the automation on a single platform whereas creating scripts using JavaScript allows cross platform use.

A good example of what is possible with scripting is the Image Processor (File > Scripts > Image Processor) produced by Adobe’s very own Russell Brown (1).

To provide yet another level of automation possibilities in Photoshop, Adobe introduced a new feature called the Scripts Event Manager into the CS2 version of the program. The feature automates the running of scripts or actions when a specific event occurs in Photoshop. This means that it is possible do such things as automatically save copies of files in a different format whenever you click the Save button or set up a specific workspace and document characteristics each time you select File > New.

The Scripts Event Manager dialog contains drop-down lists for selecting the triggering event (3) and the script (4) or action (5) that is to be run when this event occurs. Above this section is a preview space (2) that lists the events and associated actions/scripts that are currently defined, and an Enable Events to Run, option (1) that essentially turns the feature on and off.

Photoshop CS2 and CS3 ship with several scripts, a range of default actions and some preinstalled events that can be used in conjunction with the feature. Customized as well as user generated scripts and actions can be added to extend the capabilities of the feature further and other events can be added (6) to the dialog as well so long as they are defined scripting events.

One of the integrated features in the Bridge workspace is the ability to search for, locate, pay and download stock photos directly from inside the workspace. Adobe has joined forces with several of the world’s leading providers of stock photos and illustrations to provide the feature.

As well as the standard menu option (Bridge: Edit > Search Adobe Stock Photo) the search workspace (2) also provides the ability to refine the search parameters via the Advanced Search dialog (1) which is displayed by pressing the button in the options bar.

The Select > All command automatically draws a selection marquee around the edges of the current document.

The Select All Layers option quickly multiselects all non-background layers in the current document.

The Select > Similar Layers option multiselects all layers in the current document that are of the same content type as the current active layer.

This means that if an image layer is currently active then choosing the Select > Similar Layers would highlight all image layers in the document. In the example a text layer was made active and then the feature selected causing all text or type layers to be selected.

When first starting most Photoshop users apply editing and enhancement changes to the whole photograph, but before too long it becomes obvious that sometimes it would be a benefit to restrict the alterations to a specific part of a picture. For this reason image-editing packages contain features that allow the user to isolate small sections of a photo, which can then be altered independently of the rest of the picture.

The process of isolating a picture part is called Making a selection. When a selection is created in Photoshop, the edges of the isolated area are indicated by a flashing dotted line, which is sometimes referred to as the marching ants.

A selection restricts any changes made to the image to just the area isolated by the marching ants.

To remove the selection and resume full image-editing mode, the area has to be Deselected (Select > Deselect).

The selection tools in Photoshop can be divided into two main groups:

Drawing selection tools , or those that are based on selecting pixels by drawing a line around the part of the image to be isolated. These include the Rectangular and Elliptical Marquee and Lasso tools.

Color selection tools , or those features that distinguish between image parts based on the color or tone of the pixels. An example of this type of tool is the Magic Wand.

The exception to these groupings is the new Quick Selection tool which bases the selections it creates on both drawing action (painting over the areas to be selected) and color, texture and tone matching (Photoshop tries to anticpate other areas to include in the selection based on what you are painting over).

The marching ants of a feathered selection are located at the point where 50% or more of the image is selected.

The Image > Adjustment > Selective Color feature allows you to adjust a specific color in a picture without affecting any other hues.

The Selective Color dialog (1) provides options for adjusting cyans, yellows, magentas, blacks, whites, grays, reds, greens and blues independently.

The Send Backward option moves the selected layer one layer lower in the stack.

In the example, the ‘writer’ layer was sent backwards, which means that its new position is below the ‘type’ layer, causing it to become partially obscured.

The Layer > Arrange menu contains a list of options that can be used for moving the active layer up and down the layer stack. Moving the position of image layers which contain sections that are transparent or semi-transparent will alter the look of the combined picture. The Send to Back option transports the selected layer to the very bottom of the stack (but not below the background layer). In the example, the ‘writer’ type layer was sent back from its uppermost position to below the ‘picture’ layer so that it is now hidden from view.

Files can be sent to the operating system’s Recycling Bin (1) from inside the Bridge application by selecting the file’s thumbnail and then choosing File > Send to the Recycling Bin. Alternatively, you can select the same option from the right-click popup menu (2).

Recycled files can be restored to their original location and position in Bridge by locating them in the Recycling Bin folder and then choosing the Restore option (3) from the right-click pop-up menu.

In Bridge 2.O, which ships with Photoshop CS3, the Send to Recycling Bin option has been removed and, instead, hitting the Delete key with a thumbnail selected will automatically send the file to the bin. A warning dialog (4) stating this is displayed when the Delete key is pressed.

Recycled files cannot be restored if the bin has been emptied or on some network-based systems. Such an action permanently deletes the file from the system.

A clever new feature first introduced in Photoshop CS that allows you to adjust the shadow and highlight areas of an image by correcting each pixel based on the luminance values of neighboring areas. Image contrast can be increased in the shadows or highlights or both without significantly sacrificing contrast in other regions.

As with many Photoshop adjustments you have several sliders to fine-tune your corrections. The Shadows and Highlights sections each have an Amount, Tonal Width and Radius slider.

The Amount slider controls the steepness of a brightening or darkening curve. Larger values lighten shadows and darken highlights. A value of zero for both Shadows and Highlights produces a straight line and no modification of the pixel, while a value of 100 produces a very steep curve with maximum modification. The default is a setting of 50, which is fine for most backlit subjects, but for severe backlighting with very dark subjects you will need to increase this towards 100%, while images needing moderate correction can be set to smaller values of around 20%.

The Tonal Width slider adjusts how much modification you make to the shadows, midtones and highlights. When correcting shadows select a small value in the Tonal Width to place emphasis on the darker regions of the image. Larger values place emphasis on midtones and highlights as well.

The default is set to 50%. If you are trying to lighten a dark subject but the midtones or lighter regions are changing too much move the Shadow Tone Width slider to the left so only the darkest regions are lightened. If you need to brighten up the midtones as well as the shadows, move the slider to the right.

The Radius averages out the luminance of neighboring pixels so that each pixel is modified according to its surrounding data. A larger radius increases the extent that the neighborhood luminance is averaged out.

As you adjust the slider you can obtain a good balance between subject contrast and differential brightening or darkening of the subject compared with the background. The bottom sliders let you adjust Color Correction andbold;">Midtone Contrast. The clip values entered here determine how much of the extremes are clipped when you adjust the slider. Set this too high and the adjustments will appear dramatic, with detail in highlights and shadows being lost or clipped.

CS2 saw the introduction of a new flexible blur filter in the form of the Shape Blur feature.

The filter blurs images using a user selected shape as the basis for the blurring action. The dialog contains a preview (1), a Radius slider (2) and thumbnail list (3) of currently loaded shapes.

To blur a picture choose a low radius to start with (high values can take considerable time to process a preview) and then choose the shape from those listed. Try a range of different shapes and when you are satisfied with the look of the blur then start to refine the strength of the effect using the Radius slider.

Photoshop contains both painting and drawing tools. The shape tools are drawing tools that, in contrast to the Brush, Airbrush and Pencil tools, are vector or line based.

The objects drawn with these tools are defined mathematically as a specific shape, color and size. They exist independently of the pixel grid that makes up your image until it comes time to print, when they are simplified (rasterized).

They produce sharp-edged graphics and are particularly good for creating logos and other flat colored artwork.

The shape tools include Rectangle tool (1), Rounded Rectangle tool (2), Ellipse tool (3), Polygon tool (4), Line tool (5), Custom Shape tool (6) and the Shape Selection tool (7).

Specific settings that control the way that each shape tool functions are available from the pop-up dialog in the tool’s options bar (8).

Using the online resources of Kodak Easy Share Gallery, formerly www.ofoto.com, it is possible to share your photos with family and friends via the web.

After choosing a location and registering as a new user with the EasyShare Gallery, select the images to share from the Bridge workspace and then choose the Tools > Photoshop Services > Photo Sharing option.

Select the recipients and add a subject and message in the dialog that appears. Add new recipients if they are not already listed. After clicking Next the files will be uploaded and an e-mail message sent to the recipients, letting them know that there are pictures to be shared now online.

Photoshop provides a variety of sharpening filters designed to increase the clarity of digital photographs. The options are listed in the Filter > Sharpen menu and include the Sharpen, Sharpen Edges, Sharpen More, Unsharp Mask and the new Smart Sharpen filters. Here we will look at the first three options with the Unsharp Mask and Smart Sharpen filters being handled separately under their own headings.

Digital sharpening techniques are based on increasing the contrast between adjacent pixels in the image. When viewed from a distance, this change makes the picture appear sharper. These Sharpen and Sharpen More filters are designed to apply basic sharpening to the whole of the image and the only difference between the two is that Sharpen More increases the strength of the sharpening effect.

One of the problems with sharpening is that sometimes the effect is detrimental to the image, causing areas of subtle color or tonal change to become coarse and pixelated. These problems are most noticeable in image parts such as skin tones and smoothly graded skies. To help solve this issue, Adobe included another filter in Photoshop, Sharpen Edges, which concentrates the sharpening effects on the edges of objects only. Use this filter when you want to stop the effect being applied to smooth image parts.

For the ultimate non-destructive and editable control of your sharpening use the advanced features in the Smart Sharpen filter or the Unsharp Mask filter together with the Smart Filter technology in CS3.

In addition to using a filter to sharpen your image, it is also possible to make changes to specific areas of the picture (1) using the Sharpening tool located in the Photoshop toolbox.

The size of the area sharpened is based on the current brush size. The intensity of the effect is controlled by the Strength value found in the options bar.

As with the Airbrush tool, the longer you keep the mouse button down the more pronounced the effect will be. Be careful not to overapply the tool as the effects can become very noticeable very quickly and impossible to reverse (2).

These features are particularly useful when you want to change only small parts of an image rather than the whole picture.

The Shear filter, as one of the group of Distort filters, creates a twisted and push/ pulled version of the original photo.

The filter dialog contains an interactive effect box (1) that contains a graph and a control line. Using the mouse the user can add control points to the line and push, pull and twist the line within the confines of the graph. The distortions are then reflected in the preview thumbnail at the bottom of the screen.

Also included are two options for controlling the way that the undefined areas (2), or gaps created by the distortions, are handled. Wrapping uses the picture parts on the opposite side of the frame to fill the space whereas the Repeat Edge Pixels option duplicates the color and brightness of the detail at the edge of the distortion.

A series of shortcuts buttons are located at the top right of the Bridge window.

These buttons provide quick access to Filtering, Create new folder, Rotation, Delete item and Switch to compact mode options.

The View menu in Bridge contains options that control the way that the files in the Content space are displayed (1).

Selecting the View > Show Folders entry will display any folders (2) contained within the directory you are currently viewing.

Most administrative files required by the operating system, or programs such as Photoshop and Bridge, are marked as Hidden by default. This means that they are not displayed when the contents of a folder or directory are viewed either via Bridge or the operating system’s file browsing dialogs.

Choosing the Show Hidden Files option

(1) in Bridge’s View menu will display any hidden files (2) in the current directory or folder.

The View menu in Bridge contains several different Show options that provide another way to filter the images that are displayed in the workspace (CS3 menu options shown).

Show Thumbnail Only - Displays images with no text or metadata labels.

Show Hidden Files - The files shown also include those that are tagged with a Hidden property by the operating system.

Show Folders - Displays folders as well as pictures.

Show Reject Files (CS3) - Displays all images marked (and generally hidden from view) as Rejects via the Label > Reject option.

Show All Files (CS2) - Shows graphic, Raw and vector files.

Show Graphic Files Only (CS2) - Only displays graphic or picture files.

Show Camera Raw Files Only (CS2) -Restricts the view to just Raw files.

Show Vector Files Only (CS2) - Shows vector-based pictures only

New for CS3 is the ability to ‘Reject’ files from the Content area without deleting them from the workspace altogether. This new option appears as a Label choice under the Label menu (1). Images are rejected by selecting their thumbnail in the Content space and then choosing the Reject option. In the default viewing mode the pictures will then be removed from display.

The View > Show Reject Files option (2) displays all the images that have been marked with the Reject label.

When the rejected files are displayed in the Content workspace they are tagged with a red ‘Reject’ label beneath the thumbnail

The View menu in Bridge contains a couple of options that adjust the way that images are displayed in the Content area.

The Show Thumbnail Only entry (1) in the menu displays just the thumbnails of the images without any of the metadata, labels or file name details.

Deselecting the Show Thumbnails Only option while the View > As Thumbnails entry is checked will display the file name along with any specific metadata selected in the Edit > Preferences > Thumbnails section (2). Picking the View > As Details entry will display the thumbnails with more in-depth metadata details alongside (3).

Listed under the Select menu is a range of options for adjusting selections after they have been created.

The Select > Similar is one of these options. The feature looks for, and selects, pixels throughout the whole picture with similar color and tonal characteristics to those already included in the selection.

The Tolerance settings of the selection tool used to make the initial selection are used when creating the new ‘similar’ selection. If the tool you used doesn’t have a tolerance setting, switch to the Magic Wand before proceeding.

The Select > Grow feature is similar except that it restricts its selection of new pixels to only those adjacent to those currently selected.

Or high-bit as it is sometimes called is a picture mode that supports many more colors (65,000 colors) per channel than the standard 8-bit file (256 colors).

Working in 16-bit mode helps to ensure better accuracy of capture and smoother enhancement and editing results. In addition you will find that much more exacting levels of control are possible when working with a 16-bit file instead of an 8-bit one.

The HDR, or High Dynamic Range file format, supports even more colors as it is a 32-bits per channel file type.

The Skew feature is one of the distortion options available under the Edit > Transform menu.

Selecting the feature surrounds your layer with the standard bounding box complete with corner and middle-of-edge handles. Click-dragging of a handle creates a horizontal or vertical shift of the edge of the layer, producing a rhomboid or squashed box effect (1).

Double-click inside the bounding box to apply the changes.

Slices are used in web optimized images to break a picture into smaller usable parts.

Photoshop contains a variety of features for creating and using image slices.

Each slice is stored as an individual files together with its own settings, effects, Color palette and links.

The Slice tool lets you cut a picture up into smaller segments to aid with speedy web display.

The overall picture containing the slices will still appear seamless but each slice has its own web code and can be adjusted so that it appears to change color, dim down, glow or whatever other effect you apply when the cursor goes over it.

Each area is designated with a number.

Slideshow is one of the view modes available in the Bridge workspace.

Selecting this option creates an automatic self-running slideshow (1) containing the images in the current workspace or those multi-selected before choosing the feature.

Pressing the H key displays a list of commands (2) that can be used to navigate, edit and adjust the slideshow.

CS3 also contains a new Slideshow Options dialog where the basic settings for the show can be adjusted and saved before activating the show.

New for Bridge 2.0 is the inclusion of a dedicated Slideshow Options dialog. Displayed by selecting the new entry in the View menu, the dialog contains settings for the following:

Display Options - In this section you can choose to black out any additional, attached monitors not displaying the slideshow, repeat the presentation after it finishes, and automatically apply a Zoom in and out option to the whole show.

Slide Options - These options dictate the duration that slides are displayed for, what caption details are included and how images smaller than the screen or in a different format are presented. The Scaled to Fit option does not crop the picture as it maximizes the image to fit the screen dimensions. In contrast the Scaled to Fill option crops the edges of the photo in order to ensure that the whole screen is filled. Transition Options - The specific Transition type and Speed options are altered in this section of the dialog.

After altering the options you can choose to Play a slide show using the new settings or click the Done button to save the adjustments for use the next time a Slideshow is activated.

The Smart Blur filter, as one of the group of Blur filters, selectively blurs your picture whilst retaining the sharpness of edge details.

The filter dialog contains several controls to adjust the strength and location of the blur.

The Radius setting (1) controls the strength of the effect.

The Threshold slider (2) determines where the blurring will occur. High values include more of the picture in the blur action.

The Quality drop-down menu (3) controls the image quality of the final result. When set to high the filter processing takes longer.

The Mode option (4) is used to select other ways of applying the effect, including adding edge detection lines to the finished results.

Photoshop CS3 includes a new filtering option called Smart Filters which allows you to apply a filter to an image nondestructively.

Based around the Smart Object technology first introduced into Photoshop in CS2, applying a Smart Filter is a two-step process.

First, the image layer needs to be converted to a Smart Object. This can be done via the new entry in the Filter menu, Convert for Smart Filters, or by selecting the image layer and then choosing Layer > Smart Objects > Convert to Smart Objects.

Next, pick the filter you want to apply and adjust the settings as you would normally before clicking OK.

Smart Filters are added as an extra entry beneath the Smart Object in the Layers palette. The entry contains a mask as well as a separate section for the filter entry and its associated settings. Like adjustment layers, you can change the setting of a Smart Filter at any time by double-clicking the filter’s name in the Layers palette. The blending mode of the filter is adjusted by double-clicking the Settings icon at the right end of the Filter entry.

The Smart Filter mask can be edited to alter where the filter effects are applied to the photo. In this release multiple Smart Filters can be added to a photo but they all must use the one common mask.

With Smart Filters we finally have a way to apply such things as sharpness or texture non-destructively.

First introduced in CS2, the Smart Guides feature automatically aligns different layer contents with other elements in a Photoshop document. When moving layer contents Photoshop will automatically snap contents to align with edges or centers of other picture parts (1).

To display the Smart Guides as you arrange picture parts select Smart Guides from the View > Show menu (2).

The color of the Smart Guide display lines can be altered via the Edit > Preferences > Guides, Grid & Slices dialog (3).

Smart Objects first appeared as a new technology in Photoshop CS2. Using Smart Objects it is possible to store vector, Raw and bitmap files within an open document and still maintain the integrity of these files throughout the editing and enhancing process.

To best understand the idea think of the technology as embedding one file within another. The embedded file is the Smart Object. It can be edited in its original form or non-destructively as part of the document it is embedded in.

For example, when placing an EPS vector art file in Photoshop it automatically becomes a Smart Object and is represented in a single Smart Object layer (1). The obj ect can then be transformed and edited just like any other picture part in the document. Unlike in previous versions of Photoshop the placed file retains its vector status rendering or rasterizing the picture details to form the composite image we see in the workspace.

Smart Objects don’t have to be completely separate files; a group of layers can be converted into a Smart Object.

In Photoshop CS2 Smart Objects layers can be converted to standard image layers by selecting the object layer and then choosing Layer > Smart Objects > Convert to Layer (1).

This step looses the ability to edit the contents of the Smart Object but may be required for some enhancement technique which can’t be applied directly to a Smart Object.

A similar option is available in the right-click menu of a Smart Object layer in CS3 (2). The Rasterize Layer option converts the Smart Object contents to a standard, bitmapped-based image layer.

The contents of Smart Objects can be edited separately from the Photoshop document in which they are embedded.

When editing the source files for the objects, they are opened into Photoshop if they contain Raster or Raw data and Illustrator if the object is based on EPS or PDF files.

Embedded files are edited by selecting the Smart Object layer first and then choosing the Edit Contents option from the Layer > Smart Objects menu (2). Alternatively you can double-click the Smart Objects thumbnail in the Layers palette (1).

The contents of a Smart Object can be exported and saved as a separate file using the Export Contents option in the Layer > Smart Objects menu.

To export an object select the layer the object is stored in and then choose the Export Contents option.

Smart Objects that have been created from a group of layers are exported to a new document that contains all the documents intact.

As well as holding raster, Raw and vector content, the Smart Object format can also contain groups of layers.

To change several layers Into a Smart Object multi-select the layers and then choose the Group Into New Smart Object option from the Layer > Smart Object menu.

In Photoshop CS3, this option has been replaced with a standard Convert to Smart Object command, which can be found in both the Layer > Smart Object menu and also in the right-click menu of Smart Object layer entries.

As Smart Objects work on a ‘file within a file’ basis, the source file is always linked back to the document in which it is embedded. This remains the case even when duplicating the object’s layer.

When copying Smart Object layers the user also has a choice about whether these copies are linked to each other as well as the source image.

Duplicate Smart Object layers that are linked will reflect changes made in any layer across all linked layers. Changes made to a non-linked Smart Object duplicate will only affect the individual layer that has been edited.

Consequently there are two different ways to duplicate a Smart Object layer in Photoshop CS2 and CS3:

Copy with link (1) - To copy a Smart Object layer and continue to maintain the link to the source file you can

• Drag the layer to the New Layer button at the bottom of the Layers palette or

• • Select the layer and then choose Layer > New > Layer Via Copy.

Both these methods will maintain the link so that any edits made to the copy will affect the original Smart Object and vice versa.

Copy breaking the link (2) – To duplicate the Smart Object but break the link with the original object select the layer and then choose Layer > Smart Objects > New Smart Object Via Copy.

The contents of a Smart Object can be replaced with another file. This command is particularly useful ifyou need to update multiple instances of the Smart Object within a document as replacing the contents once will permeate throughout the rest of the document.

To replace the contents of a Smart Object, select the Smart Object layer and then choose the Replace Contents (1) option from the Layer > Smart Object menu. Next navigate to and select the file (2) that is to be used as the replacement and press the Place button. The contents of the Smart Object will update automatically (3).

New for the Extended version of Photoshop CS3 is the ability to compare and contrast the layer content of a multi-layer document that has been converted to a Smart Object.

Photoshop Extended ships with several different ways to compare the content and then render the results to screen. These options are located under the Layer > Smart Object > Stack Mode menu (1).

Most of the entries involve sophisticated image analysis routines that are seldom used by the average photographer but are very important in the daily work of scientific and medical image makers.

Until the release of CS2 the best way to take control of the sharpening in your photographs was to use the Unsharp Mask filter. But in CS2 Adobe included a brand new sharpening tool that will easily steal this crown.

The Smart Sharpen filter provides all the control that we are familiar with in the Unsharp Mask dialog plus better edge detection abilities, which leads to less apparent sharpening halos and specific controls for shadow and highlight sharpening (in Advanced mode).

The filter dialog contains a zoomable preview (1), Advanced and Basic controls Fade Amount: 18| %

(2), the ability to save and load favorite settings (3) and a Settings section (4).

In Basic mode (4) the user can control the sharpening effect with the following settings:

pixels

Amount - Strength of sharpening effect. Radius - Determines the extent of sharpening. Higher values equals more obvious edge effects.

Remove - Determines sharpening algorithm used. Gaussian Blur uses the same approach as the Unsharp Mask filter. Lens Blur concentrates on sharpening details and produces results with fewer halos. Motion Blur reduces the effects of blur caused by camera shake or subject movement.

Angle - Sets Motion Blur direction.

More Accurate - Longer processing for better results.

In Advanced mode (5) the feature offers these additional controls for both highlight and shadow parts of the picture:

Fade Amount - Controls the amount of sharpening in these areas.

Tonal Width - Sets the range of tones included in shadow/highlight ranges. Low values restrict changes to just dark and light regions of the picture.

Radius - Sets the size of area around each pixel that is used to determine if the pixel is to be considered a shadow or highlight tone.

The options in the Select > Modify menu are designed for adjusting selections after they have been created.

The Select > Modify > Smooth searches for unselected pixels within the nominated radius. If these areas are surrounded by selected pixels then they will be included in the selection; if the surrounding areas are not selected then they will not be included.

The Smudge Stick filter, as one of the group of Artistic filters, recreates the photo so that it looks like it has been drawn with coarse pastels or crayons.

The filter dialog contains several controls that adjust the look and feel of the effect.

The settings used for the Stroke Length (1) determine the strength of the effect. High values create a coarse result. The Highlight Area slider (2) sets the brightness of the middle and shadow areas. The Intensity option (3) controls how much of the original image detail is retained. Low values maintain much of the detail from the original photo.

The Smudge tool is used to push and blur picture parts by click-dragging the mouse cursor.

The tool has been used to add speed lines to the running man in the example.

Similar effects can be created with the Liquify filter.

Used in conjunction with Photoshop’s Grid and Guides features, Snap (View

> Snap) and Snap To (View > Snap To) automatically align drawn objects such as shapes and marquees with the nearest grid or guide line.

The Snap To settings control the elements that are used for alignment and the Snap option turns the feature on and off.

First introduced in Photoshop CS2 was the ability to snap layer contents to the edges of other contents.

The Snap To > Layers option is one of several snap choices that aid the layout of various picture parts in a multi-layer document.

To activate the feature firstly select View > Snap To > Layers then turn on all selected snapping options - choose View > Snap. A small ‘ ’ will be displayed when the feature is activated.

Now, when you use the Move tool to arrange picture parts, the edges of the layer will snap to the content of other layers in the document.

Snapshot is a History palette feature that allows you to take an instant record of the state of the open document.

Unlike other history states, snapshots can be labeled and are stored for the whole time that the document is open.

You can create a snapshot by pressing the Create a Snapshot button (2) at the bottom of the History palette. The new snapshot is then displayed at the top of the palette (1).

The Soft Light blending mode is one of the group of Overlay modes that base their effects on combining the two layers depending on the tonal value of their contents.

This option is similar to the Overlay mode but produces a more subtle and sometimes less contrasty result. The content of the top layer is either Screened or Multiplied depending on its color and tonal value.

Blending with 50% gray produces no change.

The Select > Feather feature softens the edges of existing selections by gradually mixing the edge pixels with transparency (1).

A soft edge can be applied before creating the selection by inputting a Feather value in the Selection tool’s options bar (2).

New for CS3 is the ability to make and preview Feathering changes via the Refine Edge feature (Select > Refine Edge).

The Solarize filter, as one of the group of Stylize filters, recreates the look of when a color photograph is exposed to light during its processing. This traditional photographic effect is called solarization.

The filter contains no controls to adjust the strength or look of the effect. The end result is based on inverting some of the hues of the unfiltered image and then adding them back to the picture in combination with the original colors.

The Solid Color fill layer option creates a new layer filled with a selected color (1). The layer’s color can be altered at any time by double-clicking on the layer thumbnail

(3) and selecting a new hue from the Color Picker palette.

Creating a new Solid Color fill layer is a three-step process. After selecting Layer > New Fill Layer > Solid Color, input a name into the New Layer dialog and then choose a color from the Color Picker.

New fill layers can also be created via the option in the Layer menu or by pressing the Create New Adjustment and Fill Layer button (2) in the Layers palette.

The thumbnails that are displayed in the Bridge workspace can be sorted and displayed in a variety of different ways.

By default the pictures are displayed in ascending order based on their filenames but Bridge provides a variety of other options in the View > Sort menu (1).

Most of the settings listed here are self-explanatory.

In addition, the following related features can also give you control over how your files are displayed:

• The Show options in the View menu,

• Ratings and Labels features together with the filtering options contained in the drop-down menu at the top right of the Bridge workspace.

The Spatter filter, as one of the group of Brush Strokes filters, repaints the colors and tones of the photo with a spattered spray paint effect.

The filter has two slider controls to adjust the way that the filtered result appears.

The Spray Radius slider (1) determines the strength of the effect and how much of the original photo detail is retained. Low values retain detail.

The Smoothness control (2) varies the way that the color is applied to the picture. High values create an almost watercolorlike effect, whereas low values produce a detailed spattered result.

Specular highlights are the very bright glints or sparks of light that reflect off very shiny gloss or silvered surfaces.

These highlights contain no detail and are completely white with tonal values of 256 for each of the channels. It is important to recognize and not tone down these highlights when they occur in your pictures.

They need to remain at the pure white level and shouldn’t be adjusted back into the white highlight detail area of the tonal range with tools such as Levels or Shadows/Highlights.

The Spherize filter, as one of the group of Distort filters, shapes the picture onto either the ballooned outside of a ball or the concave inside surface.

The filter dialog contains several controls that adjust the look and feel of the effect. The Amount slider (1) determines the strength of the effect.

The wire frame thumbnail (2) provides an example of the distortion level associated with the Amount setting.

The Mode choice (3) allows the user to select to spherize the picture either horizontally, vertically or in both directions. The filter is useful for correcting barrel distortion.

Scanning resolution, as opposed to image or printing resolution, is determined by the number of times per inch that the scanner samples your original image. The unit of measure for this is called samples per inch or SPI.

The number of pixels generated by a digital camera has an upper limit that is fixed by the number of sensors in the camera. This is not the case for scanner capture. By altering the number of samples taken for each inch of the original print or negative you can change the total number of pixels created in the digital file. This figure will affect both the ‘enlargement’ potential of the final scan and its file size. The general rule is the higher the resolution the bigger the file and the bigger the printed size possible (before seeing pixel blocks or digital grain).

Does this mean that we always scan at the highest resolution possible? The intelligent answer is NO! The best approach is to balance your scanning settings with your printing needs. If you are working on a design for a postage stamp you will need fewer pixels to play with than if you want your masterpiece in poster format. For this reason it is important to consciously set your scanning resolution keeping in mind your required output size.

Some scanning software will give you an indication of resolution, file size and print size as part of the dialog panel, but for those of you without this facility use the table above as a rough guide.

In addition to using the Hue/Saturation feature to adjust the vividness of color in your image, it is also possible to make changes to specific areas of the picture (1) using the Sponge tool located with the Dodging and Burning tools in the Photoshop toolbar. The tool can be set to either Saturate (make the colors more vibrant) or Desaturate (decrease the color strength until only the gray tone remains). The size of the area altered is based on the current brush size. The intensity of the effect is controlled by the Flow value found in the options bar. Repeated strokes over the picture to be enhanced gradually builds up the effect. Just like the Dodging and Burning tools this feature is very useful for emphasizing a point of focus, but in this case it is achieved by increasing the area’s color strength.

In recognition ofjust how tricky it can be to get seamless dust removal with the Clone Stamp tool, Adobe decided to include the Spot Healing Brush that originally started life in Photoshop Elements in Photoshop CS2.

After selecting the new tool you adjust the size of the brush tip using the options in the tool’s option bar and then click on the dust spots and small marks in your pictures.

The Spot Healing Brush uses the texture that surrounds the mark as a guide to how the program should ‘paint over’ the area. In this way, Photoshop tries to match color, texture and tone whilst eliminating the dust mark.

The results are terrific and this tool should be the one that you reach for first when there is a piece of dust or a hair mark to remove from your photographs.

Spotlight is one of the lighting types featured in the Lighting Effects filter. The Spotlight style shines a focused disk of light onto the main subject.

This light type is great for highlighting a

3 specific part of a scene whilst reducing the brightness of the rest of the picture.

Move the position of the light by click-dragging the light’s center. You can decrease or increase the size of the spotlight light source by click-dragging one of the light handles.

Adjust the characteristics of the light source by changing its properties. The brightness of the light is determined by the Exposure and Intensity sliders.

The Sprayed Strokes filter, as one of the group of Brush Strokes filters, combines the textured stroke appearance of filters like the Graphic Pen with the sprayed-on approach of the Spatter filter.

The filter dialog contains several controls that adjust the look and feel of the effect.

The Stroke Length slider (1) adjusts the look of the sprayed pattern from a dot, at low values, to a pen-like stroke at higher settings. The Spray Radius control (2) determines both the strength of the effect and the amount of original detail that is conserved. Low values retain more of the original photo and produce subtle results. The Stroke Direction option (3) controls the direction of the line that is used in a repeated pattern.

When all the images in a stack are grouped under the one thumbnail, the stack is referred to as being collapsed or closed. Opening the stack so that all the images are revealed is called Expanding the stack.

To collapse an expanded stack either:

• 1. Click on the number in the top left of the thumbnail,
• 2. Press the Ctrl/Cmd left-arrow keys or,
• 3. Select the Stacks > Close Stack option.

To close or collapse all open or expanded stacks select the Collapse All Stacks option from the Stacks menu.

When ten or more images are grouped in a single image stack you have the ability to play the contents of the stack as a short image sequence. The rate at which the sequence is displayed is based on the setting in the Stacks > Frame Rate menu (1). The same option is also available from the right-click menu for the image stack.

To play the image sequence, move the mouse cursor over the stack’s thumbnail; the Scrub control will appear at the top of the picture, now click on the sideways arrow (2) to play the sequence.

To stack or group a selection of photos, multi-select the candidate photos in the Content panel and then right-click on one of the thumbnails. Next, choose Group as Stack from the pop-up menu. Alternatively you can select the Group as Stack option from the new Stacks menu. Initially all the photos will remain displayed as individual thumbnails. To stack the pictures in the group under a single thumbnail, click on the number in the top left-hand corner of the first thumbnail. To display all the photos contained in a stacked, click on the number.

The order that the images appear in the stack is the same as how they were displayed when selected in the Content space.

The first image selected when creating the stack becomes the stack thumbnail. The number in the top left-hand corner of the stack thumbnail is the number of images contained in the stack.

The new Stack option in Bridge allows you to group alike files under a single thumbnail in the Content space.

Images stacks are a great way to help organize pictures in your collection. After multi-selecting the pictures to include from those displayed in the Content area select the Stacks > Group as Stack. All images will be collated under a single front photo like a stack of cards.

The number of images included in the stack is indicated in the top left of the stack thumbnail.

Stacks can be expanded or collapsed by clicking on this number (stacks expand downwards in workspaces where the thumbnails are arranged vertically). Options for ungrouping the photos in a stack, or changing the picture used as the front image, can be located in the Stacks menu.

It is important to realize that Stacks in Bridge is different to the Stack Mode in Photoshop, which is a feature used to compare the contents of multi-layered documents that have been converted to a Smart Object.

The Stack Mode in Photoshop refers to the new image analysis options available in Photoshop CS3 Extended. To use these options the images to be compared or analyzed must first be combined into a single multi-layered document. The content should then be aligned, if registration is a key factor in the comparison process, and the layers then selected and converted to a Smart Object. The Stack Mode filter/ rendering options can then be applied to the Smart Object.

The various comparison and rendering filters available in Stack Mode are grouped under the Layer > Smart Object > Stack Mode menu.

When all the images in a stack are grouped under the one thumbnail (1), the stack is referred to as being collapsed or closed. Opening the stack so that all the images are revealed (2) is called Expanding the stack.

To expand a collapsed stack either:

• Click on the number (3) in the top left of the thumbnail,

• Press the Ctrl/Cmd right-arrow keys or,

• Select the Stacks > Open Stack option.

The first image selected in the group of photos that are converted to an image stack is the one that is used as the stack’s thumbnail.

This is not a fixed scenario though as the thumbnail image can be changed for any of the other photos included in the stack. Simply expand the stack and select an alternative picture and then select the Promote to Top of Stack option from either the Stacks menu or the right-click menu.

When ten or more images are grouped into a Stack you can flick through the contents quickly by click-dragging the Scrub controller that appears at the top of the thumbnail (1) when you mouse over the stack.

Click-drag the small black dot (2) from left to right to flip through the stack’s images. Click on the small sideways arrow, or Play button (3), to show the pictures in a small image sequence. The rate at which the images are played in the sequence is controlled by selecting a setting from the Stacks > Frame Rate menu. The whole stack needs to be selected before Frame Rate changes can be made.

To remove a picture from an image stack firstly expand the stack so that all images are being displayed. Next select the photo to be removed and then choose the Ungroup From Stack option from either the Stacks menu or the right-click menu.

To open or expand all closed or collapsed stacks select the Expand All Stacks option from the Stacks menu

The Stained Glass filter, as one of the group of Texture filters, simulates the look of a stylized stained glass window by breaking the picture into colored cells and surrounding them with a thick black border.

The Cell Size slider (1) determines how large each individual ‘glass panel’ is. Higher values create bigger cell sizes and retain less of the original picture detail.

The Border Thickness control (2) varies the size of the black edge that surrounds each colored cell. The Light Intensity slider (3) controls brightness of the center of the image.

The Stamp filter, as one of the group of Sketch filters, converts the picture to just black and white areas and works like a sophisticated version of the Threshold filter.

The filter dialog contains two controls that adjust the look and feel of the effect.

The Light/Dark Balance control (1) determines the tones that are converted to white and those that are changed to black. High values convert more of the tones to black.

The Smoothness slider (2) varies the amount of edge detail retained in the picture. Lower values contain more detail.

Photoshop contains three different screen modes that alter the way in which the workspace appears.

When Photoshop first launches, the workspace is set to the default or Standard Screen mode. Altering the mode will change the way that the menu bar, title bar, toolbar and scroll bars are displayed. The following options are possible:

Standard Screen Mode - This is the default view with menu bars, scroll bars and palettes visible (1).

Full Screen Mode with Menu Bar - This option switches the document to Maximize mode and removes the title bar from the program but keeps the menu bar visible (2).

Full Screen Mode - Shows the image against a black background and hides both the menu and title bars. Menu options can be selected from the side-arrow at the top of the toolbar (3).

To change the present screen mode press the F key or click on a different mode button in the toolbar (4).

Changes in screen mode are often used in conjunction with the Tab key, which hides the option and toolbars in order to display your picture with no distractions.

Using the resources of the Adobe Acrobat Connect technology, Bridge now contains the option to start and conduct web-based meetings with colleagues and friends.

The virtual meeting room is hosted by Adobe and can be assessed on a range of price plans. There is also a Free Trial offer to test out the features of web-based meetings before committing your cash.

To commence a meeting select the Start a Meeting option (1) from either the Tools menu or the right-click menu. Next, add in meeting details and login name and password (2) before inviting others to join the meeting.

The status bar at the bottom of the document window displays a variety of information that includes:

Magnification (1) - The current zoom level.

Data section (2) - displays one of the following: Version Cue, Document Sizes, Document Profile, Document Dimensions, Scratch Sizes, Efficiency, Timing, Current Tool or 32-bit exposure.

To alter the display in the status bar press the sideways arrow and select the Show option before choosing the desired display from the pop-up menu (3).

The Edit > Step Backward command is similar to the Edit > Undo option in that it returns the picture to its state before the last change.

Choosing the option repeatedly gradually steps back through all current history states.

The Edit > Step Forward command returns the picture to the next step in the History palette list.

The option is only available if you have first stepped backward.

The Bridge application is not only a pivot point for the organization of your own digital media assets but the feature can also be used to search for, pay, download and manage stock images and illustrations.

Adobe has linked with Photodisc, Comstock Images, DigitalVision, Imageshop and Amana to provide Photoshop users with access to hundreds of thousands of stock photos.

The collection can be searched or browsed from inside of the Bridge workspace and candidate images can be downloaded in a low resolution comp form suitable for creating presentation visuals to clients. Full resolution versions of the photos can be paid for and downloaded, all without leaving the Bridge application.

The Crop and Straighten Image option in Photoshop is designed for enhancing scanned images that have been captured a little askew.

The feature isolates the consistent neutral background in the original scan and automatically remove this white space as it straightens and crops the picture.

If the crop or straighten effect is not accurate, Edit > Undo the results and use the Crop tool manually.

Photoshop has a function called Stroke which is often used to create simple line borders around photos. This command is used to draw a line that follows the edge of a selection.

So the process of creating a border requires the creation of a selection first and, whilst it is still active, applying a Stroke to the marquee’s edge.

In the example we simply select the whole image and stroke the selection with a line of a given color and pixel width.

Layer styles can be applied very effectively to type and image layers and provide a quick and easy way to enhance the look of these picture elements.

Everything from a simple drop shadow to complex surface and color treatments can be applied using this single-click feature.

Each style is applied using the default values that were set when it was first created, but these attributes can be adjusted to suit the context in which you are using the effect.

The settings of individual styles and the effects that they are comprised of can be edited by double-clicking on the ‘f ’ icon

(1) in the text layer and adjusting one or more of the style settings in the dialog that appears (2).

The particular effects used for each style are listed below the layer in the Layers palette (3).

A collection of layer styles that are included in Photoshop can be found in the Styles palette.

A variety of different style groups is available from the drop-down list (1) accessed via the side-arrow button in the top right of the palette. Small example images (2) of each style listed are provided as a preview of the effect.

Additional styles can be downloaded from websites specializing in resources for Photoshop users. These should be installed into the AdobePhotoshopPresetsStyles folder. The next time you start Photoshop, the new styles will appear in the Layer Styles palette.

Alternatively they can be loaded into the palette via the Load Style entry in the popup menu (3).

The Sumi-e filter, as one of the group of Brush Strokes filters, recreates the photo with softer hues in broad areas of color that are defined with a dark outline and small strokes to indicate texture.

The filter dialog contains several controls that adjust the look and feel of the effect.

The Stroke Width slider (1) determines how fine the border and texture stroke will be. High values create pictures with strong edges and dark texture.

The Stroke Pressure control (2) varies the strength of the texture as well as what proportion of the image it covers.

The Contrast option (3) adjusts the overall contrast present in the filtered photo.

The Surface Blur filter was first added to the Filter > Blur line up in version CS2. The filter blurs whilst at the same time preserving edge detail.

Careful adjusting of the two slider controls in the filter allows precise placement of the blur effect making this feature useful for minimizing noise in an overly grainy picture.

The Radius slider (1) controls the strength of the effect and the Threshold setting (2) is used to adjust which pixels are blurred and which are considered edges and therefore preserved.

The Swatches palette houses the color swatch groups and color tables that are available for use in Photoshop.

The palette is displayed by selecting Window > Swatches. Swatch groups that are already loaded into the palette can be displayed by selecting them from the side-arrow drop-down menu (2).

Additional swatch groups can be loaded into the palette via the Load command in the pop-up menu accessed by pressing the side-arrow button (1).

Customized swatch groups can be saved using the Save Swatches option also available in this menu.