UNIT-I

INTRODUCTION TO PHOTOSHOP
The simplest description of Photoshop ―a digital image editing _ application.‖
Photoshop provides the standard color and lighting correction capabilities historically associated
with photo editing, but it also provides filtering, painting, masking, layering and many more tools
allow the image editing.

Interface Layout

Figure 3. This is the layout of Adobe Photoshop interface

Menu Bar

If you look at the top of the screen you will see the Menu bar (Figure 3), which contains all the
main functions of Photoshop, such as File, Edit, Image, Layer, Select, Filter, Analysis, 3D,
View, Window, and Help.

Toolbar
Most of the major tools are located in the Toolbar for easy access.

The Image
The image will appear in its own window once you open a file.

Image Name
The name of any image that you open will be at the top of the image window as shown above.

Palettes
Palettes contain functions that help you monitor and modify images. By default, palettes are
stacked together in groups. These are the palettes that are usually visible: Color, Adjustments and
Layers. If none of the palettes are visible, go to Window in the Menu bar and choose the palettes
you need.

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What is Image?
An image is a visual representation of something. In information technology, the term has
several usages: 1) An image is a picture that has been created or copied and stored in electronic
form. An image can be described in terms of vector graphics or raster graphics.
In information technology, the term has several usages:

1) An image is a picture that has been created or copied and stored in electronic form. An image
can be described in terms of vector graphics or raster graphics. An image stored in raster form is
sometimes called a bitmap. An image map is a file containing information that associates
different locations on a specified image with hypertext links.

Common image file formats include:

 JPEG (pronounced JAY-peg) is a graphic image file produced according to a standard

from the Joint Photographic Experts Group, an ISO/IEC group of experts that develops
and maintains standards for a suite of compression algorithms for computer image files.
JPEGs usually have a .jpg file extension.
 GIF (pronounced JIF by many, including its designer; pronounced GIF with a hard G by
many others) stands for Graphics Interchange Format. The GIF uses the 2D raster data
type and is encoded in binary. GIF files ordinarily have the .gif extension.
 GIF89a is an animated GIF image, formatted according to GIF Version 89a. One of the
chief advantage format is the ability to create an animated image that can be played after
transmitting to a viewer page that moves - for example, a twirling icon or a banner with a
hand that waves or letters that magically get larger. A GIF89a can also be specified
for interlaced GIF presentation.
 PNG (pronounced ping ) is a Portable Network Graphics) is a file format for image
compression that was designed to provide a number of improvements over the GIF
format. Like a GIF, a PNG file is compressed in lossless fashion (meaning all image
information is restored when the file is decompressed during viewing). Files typically
have a .png extension.
 SVG is Scalable Vector Graphics, the description of an image as an application of XML.
Any program such as a browser that recognizes XML can display the image using the
information provided in the SVG format. Scalability means that the file can be viewed on
a computer display of any size and resolution, whether the small screen of a smartphone
or a large widescreen display in a PC. Files usually have .svg extension.
 TIFF (Tag Image File Format) is a common format for exchanging raster
graphics (bitmap) images between application programs, including those used
for scanner images. A TIFF file can be identified as a file with a .tiff or ".tif" file name
suffix.

PIXEL (PICTURE ELEMENT)

Though the terms DPI (dots per inch) and PPI (pixels per inch) both describe the
resolution (or clarity) of an image, they’re not the same thing. PPI describes the number of square
pixels that show up in an inch of digital screen (usually between 67-300). DPI, on the other
hand, is a printing term referring to the number of physical dots of ink in a printed document.

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Resolution:
Image Resolution is best understood as a rectangular grid of picture elements (pixels).
Resolution is traditionally set in pixels per inch (ppi) also know as dots per inch (dpi). The
resolution setting maps an image’s pixel dimensions to its physical size. With a pixel dimension
of 600 x 600 and a resolution of 300 DPI, the image has a physical size of 2‖ x2‖.

A file printed at 300 ppi A file printed at 100 ppi

Image resolution
Pixel dimensions measure the total number of pixels along an image’s width and height.
Resolution is the fineness of detail in a bitmap image and is measured in pixels per inch (ppi).
The more pixels per inch, the greater the resolution. Generally, an image with a higher resolution
produces a better printed image quality.

Same image at 72-ppi and 300-ppi; inset zoom 200%

Unless an image is resampled (see Resampling), the amount of image data remains constant as
you change either the print dimensions or resolution. For example, if you change the resolution
of a file, its width and height change accordingly to maintain the same amount of image data.
In Photoshop, you can see the relationship between image size and resolution in the Image
Size dialog box (choose Image > Image Size). Deselect Resample Image, because you don’t
want to change the amount of image data in your photo. Then change width, height, or resolution.
As you change one value, the other two values change accordingly. With the Resample Image
option selected, you can change the resolution, width, and height of the image to suit your
printing or onscreen needs.

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Pixel dimensions equal document (output) size times resolution.

A. Original dimensions and resolution B. Decreasing the resolution without changing pixel
dimensions (no resampling) C.Decreasing the resolution at same document size decreases pixel
dimensions (resampling).

File size

The file size of an image is the digital size of the image file, measured in kilobytes (K),
megabytes (MB), or gigabytes (GB). File size is proportional to the pixel dimensions of the
image. Images with more pixels may produce more detail at a given printed size, but they require
more disk space to store and may be slower to edit and print. Image resolution thus becomes a
compromise between image quality (capturing all the data you need) and file size.

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Another factor that affects file size is file format. Because of the varying compression methods
used by GIF, JPEG, PNG, and TIFF file formats, file sizes can vary considerably for the same
pixel dimensions. Similarly, color bit-depth and the number of layers and channels in an image
affect file size.
Photoshop supports a maximum pixel dimension of 300,000 by 300,000 pixels per image. This
restriction places limits on the print size and resolution available to an image.

Monitor Resolution

Your monitor’s resolution is described in pixel dimensions. For example, if your monitor
resolution and your photo’s pixel dimensions are the same size, the photo will fill the screen
when viewed at 100%. How large an image appears on-screen depends on a combination of
factors—the pixel dimensions of the image, the monitor size, and the monitor resolution setting.
In Photoshop, you can change the image magnification on-screen, so you can easily work with
images of any pixel dimensions.

A 620- by 400-pixel image displayed on monitors of various sizes and resolutions.

When preparing images for viewing on-screen, you should consider the lowest monitor
resolution that your photo is likely to be viewed on.

Printer Resolution

Printer resolution is measured in ink dots per inch, also known as dpi. Generally, the more dots
per inch, the finer the printed output you’ll get. Most inkjet printers have a resolution of
approximately 720 to 2880 dpi. (Technically, inkjet printers produce a microscopic spray of ink,
not actual dots like image setters or laser printers.)
Printer resolution is different from, but related to image resolution. To print a high quality photo
on an inkjet printer, an image resolution of at least 220 ppi should provide good results.
Screen frequency is the number of printer dots or halftone cells per inch used to print grayscale
images or color separations. Also known as screen ruling or line screen, screen frequency is
measured in lines per inch (lpi)—or lines of cells per inch in a halftone screen. The higher the
resolution of the output device, the finer (higher) a screen ruling you can use.
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The relationship between image resolution and screen frequency determines the quality of detail
in the printed image. To produce a halftone image of the highest quality, you generally use an
image resolution that is from 1.5 to at most 2 times the screen frequency. But with some images
and output devices, a lower resolution can produce good results. To determine your printer’s
screen frequency, check your printer documentation or consult your service provider.

View the print size onscreen

1. Do one of the following:

 Choose View > Print Size.
 Select the Hand tool or Zoom tool, and click Print Size in the options bar.
The image is redisplayed in its approximate printed size, as specified in the Document Size area
of the Image Size dialog box. The size and resolution of your monitor affect the on-screen print
size.
Resampling
Resampling is changing the amount of image data as you change either the pixel dimensions or
the resolution of an image. When you downsample (decrease the number of pixels), information
is deleted from the image. When you resample up (increase the number of pixels, or upsample),
new pixels are added. You specify an interpolation method to determine how pixels are added or
deleted.

Change pixel dimensions of an image

Changing an image’s pixel dimensions affects not only its onscreen size but also its image
quality and its printed characteristics—either its printed dimensions or its image resolution.
1. Choose Image > Image Size.
2. To maintain the current ratio of pixel width to pixel height, select Constrain Proportions. This
option automatically updates the width as you change the height, and vice versa.
3. Under Pixel Dimensions, enter values for Width and Height. To enter values as percentages of
the current dimensions, choose Percent as the unit of measurement. The new file size for the
image appears at the top of the Image Size dialog box, with the old file size in parentheses.
4. Make sure that Resample Image is selected, and choose an interpolation method.
5. If your image has layers with styles applied to them, select Scale Styles to scale the effects in
the resized image. This option is available only if you selected Constrain Proportions.
6. When you finish setting options, click OK.

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Change the print dimensions and resolution

When creating an image for print media, it’s useful to specify image size in terms of the printed
dimensions and the image resolution. These two measurements, referred to as the document size,
determine the total pixel count and therefore the file size of the image; document size also
determines the base size at which an image is placed into another application. You can further
manipulate the scale of the printed image using the Print command; however, changes you make
using the Print command affect only the printed image, not the document size of the image file.
If you turn on resampling for the image, you can change print dimensions and resolution
independently (and change the total number of pixels in the image). If you turn off resampling,
you can change either the dimensions or the resolution—Photoshop adjusts the other value
automatically to preserve the total pixel count. For the highest print quality, it’s generally best to
change the dimensions and resolution first, without resampling. Then resample only as necessary.
1. Choose Image > Image Size.
2. Change the print dimensions, image resolution, or both:
 To change only the print dimensions or only the resolution and adjust the total number of
pixels in the image proportionately, select Resample Image and then choose an interpolation
method.
 To change the print dimensions and resolution without changing the total number of pixels in
the image, deselect Resample Image.
3. To maintain the current ratio of image width to image height, select Constrain Proportions.
This option automatically changes the width as you change the height, and vice versa.
4. Under Document Size, enter new values for the height and width. If desired, choose a new unit
of measurement. Note that for Width, the Columns option uses the width and gutter sizes
specified in the Units & Rulers preferences.
5. For Resolution, enter a new value. If desired, choose a new unit of measurement.

Color Modes

Knowing how colors are created and how they relate to each other lets you work more effectively
in Photoshop. Instead of achieving an effect by accident, you’ll produce consistent results thanks
to an understanding of basic color theory.
Primary colors
Additive primaries are the three colors of light (red, green, and blue) that produce all the colors in
the visible spectrum when added together in different combinations. Adding equal parts of red,
blue, and green light produces white. The complete absence of red, blue, and green light results
in black. Computer monitors are devices that use the additive primaries to create color.

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Additive colors (RGB)

A. Red B. Green C. Blue

Subtractive primaries are pigments, which create a spectrum of colors in different combinations.
Unlike monitors, printers use subtractive primaries (cyan, magenta, yellow, and black pigments)
to produce colors through subtractive mixing. The term ―subtractive‖ is used because the primary
colors are pure until you begin mixing them together, resulting in colors that are less pure
versions of the primaries. For example, orange is created through the subtractive mixing of
magenta and yellow together.

Subtractive colors (CMYK)

A. Cyan B. Magenta C. Yellow D. Black

Different color modes:

1. RGB mode (millions of colors)
2. CMYK mode (four-printed colors)
3. Index mode (256 colors)
4. Grayscale mode (256 grays)
5. Bitmap mode (2 colors)
The color mode or image mode determines how colors combine based on the number of channels
in a color model. Different color modes result in different levels of color detail and file size.

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For instance, use CMYK color mode for images in a full-color print brochure, and use RGB color
mode for images in web or e-mail to reduce file size while maintaining color integrity.

RGB Color mode

Photoshop RGB Color mode uses the RGB model, assigning an intensity value to each pixel. In
8-bits-per-channel images, the intensity values range from 0 (black) to 255 (white) for each of the
RGB (red, green, blue) components in a color image. For example, a bright red color has an R
value of 246, a G value of 20, and a B value of 50. When the values of all three components are
equal, the result is a shade of neutral gray. When the values of all components are 255, the result
is pure white; when the values are 0, pure black.
RGB images use three colors, or channels, to reproduce colors on screen. In 8-bits-per-channel
images, the three channels translate to 24 (8 bits x 3 channels) bits of color information per pixel.
With 24-bit images, the three channels can reproduce up to 16.7 million colors per pixel. With
48-bit (16-bits-per-channel) and 96-bit (32-bits-per-channel) images, even more colors can be
reproduced per pixel. In addition to being the default mode for new Photoshop images, the RGB
model is used by computer monitors to display colors. This means that when working in color
modes other than RGB, such as CMYK, Photoshop converts the CMYK image to RGB for
display on screen.
Although RGB is a standard color model, the exact range of colors represented can vary,
depending on the application or display device. The RGB Color mode in Photoshop varies
according to the working space setting that you specify in the Color Settings dialog box.

CMYK Color mode

In the CMYK mode, each pixel is assigned a percentage value for each of the process inks. The
lightest (highlight) colors are assigned small percentages of process ink colors; the darker
(shadow) colors higher percentages. For example, a bright red might contain 2% cyan, 93%
magenta, 90% yellow, and 0% black. In CMYK images, pure white is generated when all four
components have values of 0%.
Use the CMYK mode when preparing an image to be printed using process colors. Converting an
RGB image into CMYK creates a color separation. If you start with an RGB image, it’s best to
edit first in RGB and then convert to CMYK at the end of your editing process. In RGB mode,
you can use the Proof Setup commands to simulate the effects of a CMYK conversion without
changing the actual image data. You can also use CMYK mode to work directly with CMYK
images scanned or imported from high-end systems.
Although CMYK is a standard color model, the exact range of colors represented can vary,
depending on the press and printing conditions. The CMYK Color mode in Photoshop varies
according to the working space setting that you specify in the Color Settings dialog box.

Lab Color mode

The CIE L*a*b* color model (Lab) is based on the human perception of color. The numeric
values in Lab describe all the colors that a person with normal vision sees. Because Lab describes
how a color looks rather than how much of a particular colorant is needed for a device (such as a

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monitor, desktop printer, or digital camera) to produce colors, Lab is considered to be a device-
independent color model. Color management systems use Lab as a color reference to predictably
transform a color from one color space to another color space.
The Lab Color mode has a lightness component (L) that can range from 0 to 100. In the Adobe
Color Picker and Color panel, the acomponent (green-red axis) and the b component (blue-
yellow axis) can range from +127 to –128.
Lab images can be saved in Photoshop, Photoshop EPS, Large Document Format (PSB),
Photoshop PDF, Photoshop Raw, TIFF, Photoshop DCS 1.0, or Photoshop DCS 2.0 formats.
You can save 48-bit (16-bits-per-channel) Lab images in Photoshop, Large Document Format
(PSB), Photoshop PDF, Photoshop Raw, or TIFF formats.

Grayscale mode
Grayscale mode uses different shades of gray in an image. In 8-bit images, there can be up to 256
shades of gray. Every pixel of a grayscale image has a brightness value ranging from 0 (black) to
255 (white). In 16-and 32-bit images, the number of shades in an image is much greater than in
8-bit images.
Grayscale values can also be measured as percentages of black ink coverage (0% is equal to
white, 100% to black).
Grayscale mode uses the range defined by the working space setting that you specify in
the Color Settings dialog box.

Bitmap mode
Bitmap mode uses one of two color values (black or white) to represent the pixels in an image.
Images in Bitmap mode are called bitmapped 1-bit images because they have a bit depth of 1

Duotone mode
Duotone mode creates monotone, duotone (two-color), tritone (three-color), and quadtone (four-
color) grayscale images using one to four custom inks.

Indexed Color mode

Indexed Color mode produces 8-bit image files with up to 256 colors. When converting to
indexed color, Photoshop builds a color lookup table (CLUT), which stores and indexes the
colors in the image. If a color in the original image does not appear in the table, the program
chooses the closest one or uses dithering to simulate the color using available colors.
Although its palette of colors is limited, indexed color can reduce file size yet maintain the visual
quality needed for multimedia presentations, web pages, and the like. Limited editing is available
in this mode. For extensive editing, you should convert temporarily to RGB mode. Indexed color
files can be saved in Photoshop, BMP, DICOM (Digital Imaging and Communications in
Medicine), GIF, Photoshop EPS, Large Document Format (PSB), PCX, Photoshop PDF,
Photoshop Raw, Photoshop 2.0, PICT, PNG, Targa®, or TIFF formats.

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Multichannel mode
Multichannel mode images contain 256 levels of gray in each channel and are useful for
specialized printing. Multichannel mode images can be saved in Photoshop, Large Document
Format (PSB), Photoshop 2.0, Photoshop Raw, or Photoshop DCS 2.0 formats.
These guidelines apply when converting images to Multichannel mode:
 Layers are unsupported and therefore flattened.
 Color channels in the original image become spot color channels in the converted image.
 Converting a CMYK image to Multichannel mode creates cyan, magenta, yellow, and black spot
channels.
 Converting an RGB image to Multichannel mode creates cyan, magenta, and yellow spot
channels.
 Deleting a channel from an RGB, CMYK, or Lab image automatically converts the image to
Multichannel mode, flattening layers.
 To export a multichannel image, save it in Photoshop DCS 2.0 format.
.

Zoom in and out in Photoshop

There are two ways

1. Ctrl + + to zoom in and ctrl + - to zoom out.
2. Ctrl + space bar + left click to zoom in and alt + space bar + left click to zoom out.

ZOOM BY CLICKING

The Zoom tool appears on the Tools panel. To use this tool for zooming in and out, follow these
steps:
1. Click the Zoom tool on the Tools panel (or press Z).
2. Move the cursor, now loaded with the Zoom tool, to the image window and click the place where
you want to zoom in.
To zoom in more, click again; keep clicking until you zoom in far enough.
3. To zoom out of an image, keep the Zoom tool selected, hold down the Alt key (Option key on the
Macintosh), and click.
The cursor changes to a magnifying glass tool with a minus (-) symbol when you hold down the
Alt key (Option key on the Macintosh).

ZOOM TO A SELECTION
Another way to change a view is to zoom to a target area in an image. Here’s how:
1. Click the Zoom tool on the Tools panel (or press Z).

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2. Drag a box around the area you want to zoom.

Keep the mouse button pressed, and as you drag the mouse, a dashed rectangle marquee appears.

Click the Zoom tool on the Tools panel and drag around an area you want to zoom in on.
3. Release the mouse button.
The view zooms to fit the space defined by the marquee rectangle.

USING THE OPTIONS BAR

Above the image window and below the Shortcuts bar, you find the Options bar. The Options bar

is ever-changing, offering different options when you select different tools on the Tools panel.

When you click the Zoom tool, the Options bar changes. You have many similar choices for

zooming in and out of images and a few options unique to the Options bar:

Click the Zoom tool on the Tools panel to make the Options bar change to reflect choices for
zooming in and out of images.

 Zoom In/Zoom Out tools: You can choose Zoom In or Zoom Out as separate tools to

avoid using the Alt key (Option key on the Macintosh) to toggle between the two.

 Zoom percentage: This number shows you the current zoom level as a percentage. You

can edit the text by typing values between 5 and 3200.

 Zoom slider: Click the down-pointing arrow to open a slider bar. Drag the slider left to

zoom out or right to zoom in.

 Resize Windows to Fit: Select this check box to resize the window along with the image

zoom. Deselect the box to zoom in and out of an image while the image window remains

at a fixed size.

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 Zoom All Windows: If you have multiple images open and select this check box,
zooming with the Zoom tool zooms all open documents simultaneously.

 1:1: Zooms the current window to a 1-to-1 ratio, showing the zoom level at which the file
will be printed.

 Fit Screen: Click this button to fit the image within the image window.

 Fill Screen: Zooms the current window to fill the screen.

 Print Size: Often, this option shows you the same size as 1:1, where the image is zoomed
to the size of the print file.

Rulers, Grids, And Guides

In Expert mode, rulers, grids, and guides help you position items (such as selections, layers, and
shapes) precisely across the width or length of an image. In Quick mode, only grids are available.
When visible, rulers appear along the top and left side of the active window. Markers in the ruler
display the pointer’s position when you move it. Changing the ruler origin (the 0, 0 mark on the
top and left rulers) lets you measure from a specific point on the image. The ruler origin also
determines the grid’s point of origin.
Use the View menu to show or hide the rulers (Expert mode only), the grid, or the guide. The
View menu also helps you to enable or disable the snapping of items to the grid or guide.

Change the rulers’ zero origin and settings

1. In Expert mode, do one of the following:
 To change the rulers’ zero origin, position the pointer over the intersection of the rulers in the
upper-left corner of the window, and drag diagonally down onto the image. A set of cross
hairs appears, marking the new origin on the rulers. The new zero origin will be set where you
release the mouse button.
Note:
To reset the ruler origin to its default value, double-click the upper-left corner of the rulers.

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Dragging to create a new ruler origin

 To change the rulers’ settings, double-click a ruler, or choose Edit > Preferences > Units &
Rulers. For Rulers, choose a unit of measurement. Click OK.
Note:
Changing the units on the Info panel automatically changes the units on the rulers.

Change the guides and grid settings

1. Choose Edit > Preferences > Guides & Grid.
2. Under the Guides or Grids area:
 Choose a preset color, or click the color swatch to choose a custom color.
 Choose the line style for the grid. Choose Lines for solid lines, or choose Dashed lines or Dots
for broken lines.
3. For Gridline Every, enter a number value, and then choose the unit of measurement to define
the spacing of major grid lines.
4. For Subdivisions, enter a number value to define the frequency of minor grid lines, and click
OK.
Position with guides and the grid
Guides and the grid help you position images or elements precisely. Guides appear as
nonprinting lines that float over the image. You can move and remove guides. You can also lock
them so that you don’t move them by accident.
Smart Guides help you align shapes, slices, and selections. They appear automatically when you
draw a shape or create a selection or slide. You can hide Smart Guides if you need to.
The grid is useful for laying out elements symmetrically. The grid appears by default as
nonprinting lines but can also be displayed as dots.

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Guides and grids behave in similar ways:

 Selections, selection borders, and tools snap to a guide or the grid when dragged within 8 screen
(not image) pixels. Guides also snap to the grid when moved. You can turn this feature on and
off.
 Guide spacing, along with guide and grid visibility and snapping, is specific to an image.
 Grid spacing, along with guide and grid color and style, is the same for all images.

Show or hide a grid, guides, or Smart Guides

1. Do one of the following:
 Choose View > Show > Grid.
 Choose View > Show > Guides.
 Choose View > Show > Smart Guides.
 Choose View > Extras. This command also shows or hides layer edges, selection edges, target
paths, and slices.

Place a guide
1. If the rulers are not visible, choose View > Rulers.
Note:
For the most accurate readings, view the image at 100% magnification or use the Info panel.

2. Do one of the following to create a guide:

 Choose View > New Guide. In the dialog box, select Horizontal or Vertical orientation,
enter a position, and click OK.
 Drag from the horizontal ruler to create a horizontal guide.

Dragging to create a horizontal guide

 Hold down Alt (Windows) or Option (Mac OS), and drag from the vertical ruler to create a
horizontal guide.
 Drag from the vertical ruler to create a vertical guide.

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 Hold down Alt (Windows) or Option (Mac OS), and drag from the horizontal ruler to create a
vertical guide.
 Hold down Shift and drag from the horizontal or vertical ruler to create a guide that snaps to
the ruler ticks. The pointer changes to a double-headed arrow when you drag a guide.
3. (Optional) If you want to lock all guides, choose View > Lock Guides.

Move a guide
1. Select the Move tool , or hold down Ctrl (Windows) or Command (Mac OS) to activate
the Move tool.
2. Position the pointer over the guide (the pointer turns into a double-headed arrow).
3. Move the guide in any of the following ways:
 Drag the guide to move it.
 Change the guide from horizontal to vertical, or vice versa, by holding down Alt (Windows)
or Option (Mac OS) as you click or drag the guide.
 Align the guide with the ruler ticks by holding down Shift as you drag the guide. The guide
snaps to the grid if the grid is visible and View > Snap To > Grid is selected.

Remove guides from the image

1. Do one of the following:
 To remove a single guide, drag the guide outside the image window.
 To remove all guides, choose View > Clear Guides.

Set guide and grid preferences

1. Do one of the following:
 (Windows) Choose Edit > Preferences > Guides, Grid, & Slices.
2. For Color, choose a color for the guides, the grid, or both. If you choose Custom, click the
color box, choose a color, and click OK.
3. For Style, choose a display option for guides or the grid, or both.
4. For Gridline Every, enter a value for the grid spacing. For Subdivisions, enter a value by
which to subdivide the grid.
If desired, change the units for this option. The Percent option creates a grid that divides the
image into even sections. For example, choosing 25 for the Percent option creates an evenly
divided 4-by-4 grid.
5. Click OK.

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