What this means to you is that some things are covered twice in the book. As you go through the book, and you start to think, "This sounds fa- miliar By the way, in my own workflow, if I can do the exact same task in Camera Raw or Photoshop, I always choose to do it in Camera Raw, because it's faster there are no progress bars in Camera Raw and it's non-destruc- tive so I can always change my mind later.
At the end of this book I included a special chapter detailing my own CS6 workflow, but please don't read it until you've read the rest of the book, because it assumes that you've read the book al- ready, and understand the basic concepts, so it doesn't spell everything out or it would be one really, really long drawn- out chapter. A version of Bridge is built right into Photoshop itself. This is great because now you don't have to leave Photoshop and jump to a separate application for finding and working with your images.
Well, barely anything which gives you some hint as to the future of Bridge, eh? Anyway, they did greatly improve and streamline Mini Bridge, but since some of you may still be using Big Bridge for at least a little while longer at least until you fall in love with Mini Bridge , I did update two Big Bridge chapters, and put them on the web for you to down- load free.
I spent years teaching Curves in books and in podcasts and here in this book, but honestly, today I really don't use Curves and if I do, I use the Tone Curve in Camera Raw, which I do cover here in the book. In fact, I had a hard time finding any photographers I know still using Curves, which just shows how Photoshop has evolved over time.
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Although Curves isn't covered here in the book, I did provide a color correction chapter using Curves on the book's down- loads page ya know, just in case you want to go "old school". You can find it at the web address just mentioned in 6. Hey, I thought you said it was "Seven Things"? Well, consider this eighth a "bonus thing," because it's about another bonus I included in this CS6 edition of the book. At the end of every chapter is a special section I call "Photoshop Killer Tips" named after the book of the same name I did a few years ago with Felix Nelson.
These are those time-saving, job-saving, "man, I wish I had known that sooner" type tips. The ones that make you smile, nod, and then want to call all your friends and "tune them up" with your new status as Photoshop guru. These are in addition to all the other tips, which already appear throughout the chapters you can never have enough tips, right?
Remember: He who dies with the most tips, wins! So, there you have it, seven or so things that you're now probably glad you took a couple minutes to read.
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Okay, the easy part is over — turn the page and let's get to work. Anyway, if you read that and you're here now, you must be okay with reading these, knowing full well in advance that these have little instructional or literary value of any kind. Now, once you turn the page, I turn all serious on you, and the fun and games are over, and it's just you and me, and most of the time I'll be screaming at you stuff like, "No, no — that's too much sharpening you goober!
You call that a Curves adjustment? That's why, if you're a meany Mr. Frumpypants type who feels that joking has no place in a serious book of learning like this, then you can: a turn the page and get to the discipline and order you crave, or b if you're not sure, you can take this quick quiz that will help you determine the early warning signs of someone who should skip all the rest of the chapter openers and focus on the "real" learning and yelling.
Question 1: When was the last time you used the word "poopy" in a sentence when not directly addressing or referring to a toddler? Was it: a During a morning HR meeting? Or, d you haven't said that word in a meaningful way since you were three. If you even attempted to answer this question, you're clear to read the rest of the chapter openers.
Oh, by the way: pee pee. Hee hee! I loved that it was more powerful, but I hated that it was a totally separate program, and now I had to leave Photoshop to get to my images. Thankfully, in Photoshop CS5, they added Mini Bridge, and in CS6, it's faster, easier to use, and so convenient that in most cases we don't have to leave Photoshop wild cheers ensue! Step One: By default, Mini Bridge lives at the bot- tom of Photoshop's workspace, and to make it visible, you just click directly on its tab and it pops right up as seen here.
When it appears, click on the Launch Bridge button, and it launches "Big Bridge" what I call the full-sized Adobe Bridge in the background you won't see it, but Mini Bridge actually needs Big Bridge open to do its thing, but again, this happens in the background, so you won't actually see it at all. By the way, if you already have Big Bridge open, of course you won't see a button asking you to launch it. Step Two: Once Big Bridge launches in the background, Mini Bridge comes alive, displaying your images in a horizontal filmstrip layout as seen here.
On the left side of the panel is the Navigation pod, which is where you navigate to the photos you want to appear in Mini Bridge. There's a pop-up menu at the top to help you make your way to the photos on your computer or even ones on your memory card, if it's connected to your computer.
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Here, I chose my Pictures folder, and below the pop-up menu, it lists the folders I have inside that folder. To see what's inside any of the folders, you just double-click on one. That area above the thumbnail filmstrip gives you a "bread- crumb trail" showing the path to the folder that is currently displayed in Mini Bridge Adobe calls this the "Path Bar". If you click on the little right-facing arrow to the right of each folder in the Path Bar, a pop-up menu appears with a list of the subfolders inside that folder. To display what's in one of those folders, just choose it from the pop-up menu as shown here.
Once you try this a few times, you'll love how quickly you can drill down to find the photos you want to work on. By the way and this may seem insanely obvious, but Step Four: To change the size of the thumbnails when Mini Bridge is docked to the bot- tom of the screen, you just change the size of the Mini Bridge panel itself. Click- and-drag the top of the panel upward and, as you do, the thumbnails grow to fill in the space as seen here.
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TIP: Learning More About Big Bridge If you want to learn more about Big Bridge, make sure you download the two free bonus chapters I posted on the book's download website, mentioned in the introduction of this book. Step One: By default, Mini Bridge is set up in a wide filmstrip layout, and is docked to the bottom of your screen, like the one you see here.
However, you can undock it and have it work like any other floating panel in Photoshop. Step Two: To undock Mini Bridge, click-and-drag its tab up toward the center of Photoshop's image area, and it becomes a floating panel with multiple columns and rows as seen here. Doing this also reveals a thumbnail size slider in the bottom-right corner of the Mini Bridge panel shown circled here in red.
Also, once you've found the images you want to work with, you can hide the Navigation pod along the left side so you can see more of the thumbnails by clicking on the panel's flyout menu in its upper-right corner and choosing Hide Navigation Pod. Again, if you want your thumbnails bigger, you have to drag the left side of Mini Bridge out to the left, and as it gets wider, the thumbnails grow to fill in the space.
Technically, you could "nest" it with your other panels, like the Layers panel or the Color panel, but then its size would be really constricted by those other panels drag its tab over next to the Layers tab and you'll see what I mean , so it's really better off positioned like you see here, so it kind of pops-out to the left. Step Four: To view any of these thumbnails much larger, you don't have to resize Mini Bridge. Instead, you can get an instant full-screen preview by clicking on a thumbnail, and then pressing the Spacebar on your key- board.
That image goes full screen as shown here , so you can get a good look at it. To see the next image in the filmstrip, just press the Right Arrow key on your keyboard and, of course, to go to a previ- ous image, use the Left Arrow key. When you're done seeing this full-screen preview, you can either press the Spacebar again, or press the Esc key on your keyboard.
By making your images much larger onscreen, it makes it much easier to find your best shots, and Review mode really makes whittling things down to just the best shots from your shoot so much easier.
Step One: To see the images in Mini Bridge in Review mode, make sure either no images are selected or all the images you want to see are selected by Command-clicking [PC: Ctrl-clicking] on them , then choose Review Mode from the View icon's pop- up menu at the top left of the panel as shown here. By the way, if you have less than four images, it doesn't go into the full carousel slide show version of Review mode like you see in the next step — it just puts the four in Full Screen Preview mode yawn. Step Two: When you choose Review Mode, it enters a full-screen view with your images in a cool carousel-like rotation as seen here.
This mode is great for two big reasons: The first being it makes a really nice on- screen slide show presentation. You can use the Left and Right Arrow keys on your keyboard to move through the pho- tos or the arrow buttons in the lower-left corner of the screen as a photo comes to the front, it becomes larger and brighter.
If you want to open the image in front in Photoshop, press the letter O. To open the front photo in Adobe Camera Raw, press R.
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To leave Review mode, press the Esc key. If you forget any of these shortcuts, just press H.
Here's how: Let's say you have five or six simi- lar photos, or photos of a similar subject in this case, a football player , and you want to find the single best one out of those. Start by Command-clicking PC: Ctrl-clicking on just those photos in the filmstrip to select them, and enter Review mode.
As you move through the photos using the Left and Right Arrow keys on your keyboard , and you see one come to the front that's not going to make the cut, just press the Down Arrow key on your keyboard or click the Down Arrow but- ton onscreen and that photo is removed from the screen. Keep doing this until you've narrowed things down to just the final image. Step Four: Like I mentioned, once you fall below five images, you no longer get the car- ousel view.
Instead, it looks more like regular Full Screen Preview mode — it's just full screen as seen here. In Review mode, you can zoom in tight on a parti- cular area using the built-in Loupe.
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Just move your cursor over the part of the photo you want a closer look at, and click to bring up the Loupe for that photo as shown here, in the image in the top right. To move it, click-and-hold inside the Loupe and drag it where you want it. To make it go away, just click once in- side it. Once you've whittled things down to just your keepers, you can give each a star rating like a 5-star rating by pressing Command-5 [PC: Ctrl-5] — more on this on the next page. We generally always have the same goal here: quickly finding out which are the best shots from your shoot the keepers , marking them as your best shots, and then separating those from the rest, so they're just one click away when you need them.
That way, you can view them as slide shows, post them on the web, send them to a client for proofing, or prepare them for printing. Step One: When you view your images in Mini Bridge, by default, they're sorted manu- ally by filename, so it's pretty likely that the first photo you shot will appear in the left end of the filmstrip. I say it's "pretty likely" because there are excep- tions if you did multiple shoots on different cameras, or shot on different memory cards, etc.
If you want to change how they are sorted, click on the Sort icon it looks like up and down arrows near the left end of the Toolbar, and a pop-up menu of options will appear as seen here. Step Two: Let's start by quickly rating our photos to separate the keepers from the rest of the bunch.