Adobe Photoshop Elements User Guide

User Manual: adobe Photoshop Elements - User Guide Free User Guide for Photoshop Software, Manual

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©2001 Adobe Systems Incorporated. All rights reserved.
Adobe® Photoshop® Elements User Guide for Windows® and Macintosh
If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished
under license and may be used or copied only in accordance with the terms of such license. Except as permitted by any such license, no part
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furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems
Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in the infor-
mational content contained in this guide.
Please remember that existing artwork or images that you may want to include in your project may be protected under copyright law.
The unauthorized incorporation of such material into your new work could be a violation of the rights of the copyright owner. Please be sure
to obtain any permission required from the copyright owner.
Any references to company names in sample templates are for demonstration purposes only and are not intended to refer to any actual
organization.
Adobe, the Adobe logo, Acrobat, Acrobat Reader, Adobe Dimensions, Adobe Gamma, Illustrator, InDesign, Minion, Myriad, PageMaker,
Photomerge, Photoshop, Photoshop Elements, PostScript, and Streamline are either registered trademarks or trademarks of Adobe Systems
Incorporated in the United States and/or other countries. Microsoft and Windows are either registered trademarks or trademarks of
Microsoft Corporation in the United States and/or other countries. Apple, AppleTalk, ColorSync, LaserWriter, Mac, Macintosh, and Quick-
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Part Number: 90030139 (03/01)
iii
Contents
Installing and Learning
Adobe Photoshop Elements
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Installing Adobe Photoshop Elements . . . . . . . . . . . . . . . . . . 1
Learning Adobe Photoshop Elements . . . . . . . . . . . . . . . . . . . 1
Using Web resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Customer support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Overview
Digital Photography: Capture and Correct . . . . . . . . . . . . . . . 7
Digital Photography: Explore and Create . . . . . . . . . . . . . . . . 9
Easy to Use and Affordable . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Web Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Explore Your Creativity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Produce Outstanding Results . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Looking at the Work Area
Chapter 1
Getting familiar with the work area . . . . . . . . . . . . . . . . . . . . 19
Viewing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Getting the most out of Photoshop Elements . . . . . . . . . . 28
Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Reverting to any state of an image . . . . . . . . . . . . . . . . . . . . . 33
Working with presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Configuring Photoshop Elements . . . . . . . . . . . . . . . . . . . . . . 38
Closing files and quitting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Getting Images into
Photoshop Elements
Chapter 2
About bitmap images and vector graphics . . . . . . . . . . . . . 45
About image size and resolution . . . . . . . . . . . . . . . . . . . . . . . 46
Changing image size and resolution . . . . . . . . . . . . . . . . . . . 48
Scanning images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Importing images from a digital camera . . . . . . . . . . . . . . . 52
Importing images using WIA (Windows Image
Acquisition) Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Creating new images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Opening and importing images . . . . . . . . . . . . . . . . . . . . . . . 55
Placing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
iv
Working with Color
Chapter 3
About color and computer graphics . . . . . . . . . . . . . . . . . . . 65
Using color management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Calibrating your monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Describing color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Choosing a color mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Choosing foreground and background colors . . . . . . . . . . 74
Using the Adobe Color Picker . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using other color pickers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Making Color and Tonal
Corrections
Chapter 4
About correcting images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Checking scan quality and tonal range . . . . . . . . . . . . . . . . . 84
Adjusting tonal range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Adjusting color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Applying special color effects to images . . . . . . . . . . . . . . . 95
Sharpening images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Selecting
Chapter 5
About selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Making pixel selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Adjusting pixel selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Softening the edges of a selection . . . . . . . . . . . . . . . . . . . . 108
Moving, copying, and pasting selections and layers . . . . 110
Deleting selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Transforming and
Retouching
Chapter 6
Cropping images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Changing the size of the work canvas . . . . . . . . . . . . . . . . . 118
Creating panoramic images using Photomerge . . . . . . . 118
Using the Liquify filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Rotating and straightening images . . . . . . . . . . . . . . . . . . . 125
Transforming layers, selections, and shapes . . . . . . . . . . . . 126
Transforming objects in three dimensions . . . . . . . . . . . . . 130
Retouching an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
v
Painting and Drawing
Chapter 7
About painting and drawing . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Using the painting tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Erasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Using the impressionist brush tool . . . . . . . . . . . . . . . . . . . . 142
Customizing brush libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Setting options for painting and editing tools . . . . . . . . . 147
Using the gradient tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Using the paint bucket tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Drawing shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Editing shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Filling and stroking selections and layers . . . . . . . . . . . . . . 159
Creating and editing patterns . . . . . . . . . . . . . . . . . . . . . . . . . 161
Using Layers
Chapter 8
About layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Using the Layers palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Creating a layered image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Managing layered images . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Using layer styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Editing layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Specifying opacity and blending options . . . . . . . . . . . . . . 179
Creating grouped layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Using adjustment layers and fill layers . . . . . . . . . . . . . . . . . 181
Applying Filters and Effects
Chapter 9
Using filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
Using effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Tips for applying special filter effects . . . . . . . . . . . . . . . . . . 192
Improving performance with filters . . . . . . . . . . . . . . . . . . . 193
Choosing a filter effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Artistic filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Blur filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Brush Stroke filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Distort filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Liquify filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Noise filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
vi
Pixelate filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
Render filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Sharpen filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Sketch filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Stylize filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Texture filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Video filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Other filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Lighting Effects filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
About plug-in filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Using Type
Chapter 10
About type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Creating type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Working with type layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Formatting characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Setting options for Asian type . . . . . . . . . . . . . . . . . . . . . . . . 220
Optimizing Images for
the Web
Chapter 11
About optimization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Using the Save For Web dialog box . . . . . . . . . . . . . . . . . . . . 225
Choosing a file format for optimization . . . . . . . . . . . . . . . 227
Optimizing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Making transparent and matted images . . . . . . . . . . . . . . . 233
Previewing and controlling dithering . . . . . . . . . . . . . . . . . 235
Creating animated GIFs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Previewing an image in a browser . . . . . . . . . . . . . . . . . . . . 240
Saving optimized images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Creating Web photo galleries . . . . . . . . . . . . . . . . . . . . . . . . . 241
Saving Images
Chapter 12
About file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Saving images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Saving images in specific formats . . . . . . . . . . . . . . . . . . . . . 247
Adding file information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Setting preferences for saving files . . . . . . . . . . . . . . . . . . . . 254
Using the Batch command . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Creating multiple-image layouts . . . . . . . . . . . . . . . . . . . . . . 257
vii
Printing
Chapter 13
Printing images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Positioning and scaling images . . . . . . . . . . . . . . . . . . . . . . . 262
Setting output options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Printing part of an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Choosing a print encoding method . . . . . . . . . . . . . . . . . . . 263
Using color management when printing . . . . . . . . . . . . . . 264
Printing over the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Index
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
1
Installing and Learning
Adobe Photoshop Elements
elcome to the Adobe
®
Photoshop
®
Elements application, an easy-to-use
yet powerful image-editing, photo-
retouching, and Web-graphics solution. Adobe
Photoshop Elements software offers robust
features designed specifically for amateur photog-
raphers, hobbyists, and business users who want to
create professional-quality images for print and
the Web.
Registration
Adobe is confident you will find that its software
greatly increases your productivity and enables
you to explore your creativity. So that Adobe can
continue to provide you with the highest quality
software, offer technical support, and inform you
about new Photoshop Elements software develop-
ments, please register your application.
When you first start the Adobe Photoshop
Elements application, you’re prompted to register
online. You can choose to submit the form directly
or fax a printed copy. You can also register by
filling out and returning the registration card
included with your software package.
Installing Adobe Photoshop
Elements
You must install the Photoshop Elements appli-
cation from the Adobe Photoshop Elements CD
onto your hard drive; you cannot run the program
from the CD.
Follow the on-screen installation instructions.
For more detailed information, see the
How_to_Install.wri
(Windows
®
) or
How_to_Install.txt
(Mac
®
OS) file on the CD.
Learning Adobe Photoshop
Elements
Adobe provides a variety of options for you to
learn Photoshop Elements, including a printed
user guide, online Help, Hints, Recipes, tutorials,
and tool tips. You can also use the free Adobe
Online service to easily access a host of continually
updated Web resources for learning Photoshop
Elements, from tips and tutorials to technical
support information.
Adobe Acrobat
®
Reader
™
software, included on the
Photoshop Elements CD, lets you view Adobe
Portable Document Format (PDF) files. Acrobat
Reader or Acrobat is required to view some of the
documents included on this CD.
W
2
Installing and Learning Adobe Photoshop Elements
Using the printed documentation
A printed user guide,
Adobe Photoshop Elements
User Guide,
is included with the application.
The user guide assumes you have a working
knowledge of your computer and its operating
conventions, including how to use a mouse and
standard menus and commands. It also assumes
you know how to open, save, and close files. For
help with any of these techniques, please see your
Microsoft Windows or Mac OS documentation.
Using online Help
The Adobe Photoshop Elements application
includes complete documentation in an accessible
HTML-based help system.The help system
includes all of the information in the
Adobe
Photoshop Elements User Guide.
It contains
essential information on using all of the
Photoshop Elements commands, features, and
tools, as well as tutorials, keyboard shortcuts, and
full-color illustrations.
The accessible HTML format provides easy
navigation online, as well as easy reading using
Web browsers. The file can also be printed out
from the HTML version or from an included PDF
version to provide a handy desktop reference.
To properly view online Help topics, you need
Netscape Communicator 4.X or Microsoft
Internet Explorer 4.0, 5.0, or 5.5.
To start online Help:
Do one of the following:
•
Choose Help > Help Contents.
•
(Windows) Press F1.
Note:
To properly view online Help topics, you must
open them in Photoshop Elements.
Using Hints, Recipes, and tutorials
Photoshop Elements provides Hints, Recipes, and
tutorials to help you learn the application quickly
and work knowledgeably.
The Hints palette automatically displays an illus-
tration of and brief description about any palette
or tool your mouse pointer is on. The Recipes
palette guides you through typical image-editing
tasks such as removing red-eye in photos, adding
effects to text, and adding GIF animations.
Tutorials are available through the Help system
and use included sample files to take you step-by-
step through the basics of working with layers,
animated GIFs, and merging photos. It is a good
idea to work through the layers tutorial in
particular, since understanding layers is an
important step in understanding Photoshop
Elements tools and techniques.
Using context-sensitive menus
Context-sensitive menus display options for tools
and palettes, and change depending on the item
you’ve currently selected.
3
ADOBE PHOTOSHOP ELEMENTS
User Guide
To display context menus:
1
Position the pointer over an image or
palette item.
2
Click with the right mouse button (Windows)
or hold down Control and press the mouse button
(Mac OS).
If no context-sensitive menu appears, no menu is
available for that tool or palette.
Using tool tips
The tool tips feature lets you display the name of
tools, buttons, or controls.
To identify a tool, button, or control:
Position the pointer over a tool, button, or control,
and pause. A tool tip appears showing the name
and keyboard shortcut (if any) for the item.
Note:
Tool tips are not available in most
dialog boxes.
Using Web resources
If you have an Internet connection and a Web
browser installed on your system, you can access
additional resources for learning Photoshop
Elements, located on the Adobe Systems Web site
on the World Wide Web. These resources are
continually updated.
To access the Adobe home page for your region:
1
Open the Adobe U.S. home page at
www.adobe.com.
2
From the Adobe Sites menu, choose your
geographical region. The Adobe home page is
customized for several geographical regions.
Using Adobe Online
Adobe Online provides access to the latest
products and features that expand your appli-
cation’s power, including professional services
from Adobe and our partners. Bookmarks are also
included to take you quickly to noteworthy Adobe
and Photoshop Elements-related sites.
Through Adobe Online, you’ll find the following
information about how to use and update
Photoshop Elements:
•
Step-by-step tutorials.
•
Quick tips that provide fast answers to common
problems.
•
Updates, patches, and plug-ins.
•
Photoshop Elements Top Issues containing
the latest Photoshop Elements technical support
solutions.
•
Technical guides.
•
A searchable database of answers to technical
questions.
•
Links to user forums.
Adobe Online is constantly changing, so you
should click Refresh before you use it. Refreshing
through Adobe Online updates bookmarks and
buttons so you can quickly access the most current
content available. You can use preferences to
automatically refresh Adobe Online daily, weekly,
or monthly.
When you set up Adobe Online to connect to your
Web browser, Adobe can either notify you
whenever new information for Adobe Online is
available or automatically download that infor-
mation to your hard disk and install it. If you
4
Installing and Learning Adobe Photoshop Elements
choose not to use the automatic download feature,
you can still view and download new Adobe
Online files whenever they are available by using
the Refresh command.
To use Adobe Online:
1
In Photoshop Elements, choose Help > Adobe
Online, or click the Adobe icon in the
shortcuts bar.
Note:
You must have an Internet connection and
an Internet browser installed. Adobe Online will
launch your browser using your default Internet
configuration.
2
Do one of the following:
•
Click Refresh to make sure you have the latest
version of the Adobe Online window and its
buttons, as well as the latest bookmarks. It is
important to refresh the screen so that the current
options are available for you to choose from.
•
Click Preferences to specify connection options.
General preferences affect how Adobe Online
interacts with all Adobe products installed on
your system, and Application preferences affect
how Adobe Online interacts with Photoshop
Elements. To see an explanation of each preference
option, click Setup and follow the prompts. You
can also set up an automatic refresh using the
Update Options.
•
Click any button in the Adobe Online window to
open the Web page to which the button is linked.
•
Click the bookmark button ( ) to view
suggested Web sites related to Photoshop Elements
and Adobe. These bookmarks are automatically
updated as new Web sites become available.
•
Click Close to return to Photoshop Elements.
Customer support
When you register your product, you may be
entitled to technical support for a single incident.
Terms may vary depending on the country of
residence and are only available for retail and
upgrade versions. For more information, refer to
the technical support card provided with the
Photoshop Elements documentation.
Customer support on Adobe Online
Adobe Online provides access to FAQs
(Frequently Asked Questions) and trouble-
shooting information that provides solutions
to common problems.
Additional customer support resources
Adobe Systems provides several forms of
automated technical support:
•
See the ReadMe and ReadMe First! files installed
with the program for information that became
available after this guide went to press.
•
Explore the extensive customer support infor-
mation on the Adobe World Wide Web site
(www.adobe.com). To access the Adobe Web site
from Photoshop Elements, choose Help > Adobe
Online or click the Adobe icon in the shortcuts bar.
(See “Using Web resources” on page 3.)
•
Read the Top Issues Adobe document that is
available from the Help menu.
7
Overview
his overview of Adobe Photoshop Elements introduces you to the key features of the program.
You’ll learn how easy access to state-of-the-art tools lets you transform photos captured with
digital cameras and scanners into high-impact images. Photoshop Elements provides flexible
tools that allow you to freely experiment and get creative with your images. And the versatile output
options let you quickly prepare images for print, email, or posting on the Web. Also, be sure to explore
Recipes to learn additional digital imaging tools and techniques for perfecting your artwork.
Digital Photography: Capture and Correct
With Photoshop Elements, you can capture photos from digital or traditional cameras and start working
with your images immediately. When Photoshop Elements is launched, the Quick Start screen lets you
quickly open or create a file, acquire an image from a scanner or digital camera, and more.
Once you have the image in Photoshop Elements, the software offers features designed to help you begin
retouching images with ease.
T
8
Overview
Fix your photos
Photographs are often taken or scanned at a slight angle and as a result may need to be cropped or rotated.
Photoshop Elements lets you automatically straighten and crop images by using one of the Straighten
Image commands. You can also cut and rotate images by using the crop tool.
Red eye occurs when light from a camera’s flash reflects off the back of the eye. You can easily remove red
eye from an image using the red eye brush. With the red eye brush, you select the color you want to replace,
such as the red in a person’s eyes, and replace it with the color you choose. For red eye reduction, you can
just click the Default Color button in the options bar for fastest and easiest results. You can even use the
red eye brush to retouch other details in an image, such as braces.
Photoshop Elements software can also correct common photographic problems such as improper
lighting. The Adjust Backlighting command lets you darken overexposed areas of an image, while the Fill
Flash command instantly adjusts underexposed areas.
Adjust the tone
Tools such as dodge, burn, and sponge simulate traditional darkroom techniques and let you easily adjust
the tone of specific areas in a photo. The dodge tool lightens areas, while the burn tool darkens them. The
sponge tool, meanwhile, lets you subtly alter the color saturation of an area.
Correct color
Photoshop Elements provides an extensive collection of powerful color correction tools that let you
eliminate the guesswork from color correction. The Variations command automatically generates multiple
color-adjusted versions of an image and displays them side-by-side so you can easily identify the best color
adjustment to make. Levels and other professional controls precisely enhance color and dynamic range
without sacrificing picture detail. Color Cast Correction offers one-click adjustments to remove color
cast problems.
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Digital Photography: Explore and Create
Photoshop Elements tools enable you to explore your visual ideas while mastering the elements of
digital imaging.
Create panoramas
Adobe Photomerge
™
technology automatically resizes, skews, and blends portions of multiple images into
seamless panoramas.
Edit art on layers
To create composite images, you can simply drag and drop an object (including text and images) from one
file to another. Because these objects exist on separate layers, you have the flexibility to move or modify the
objects without affecting the rest of the image. Similarly, you can adjust and store color correction choices
in editable layers without altering your original image layer.
Create subtle or spectacular effects
The Liquify command lets you quickly distort an image by interactively twisting and pulling it as if it were
made of putty. You can use the command as a touch-up tool to make subtle enhancements as well.
10
Overview
Erase
The Background Eraser lets you easily remove the background of a photo without affecting the
foreground. You can then paste the foreground object into another image to create professional,
seamless composites.
Easy to Use and Affordable
With an intuitive interface and affordable price, Photoshop Elements enables anyone interested in digital
imaging to quickly enhance their images using professional tools.
Search for images by previewing them
If you’re searching for an existing file, the integrated file browser lets you find photos simply by viewing
thumbnails of images in a folder.
Hints and Recipes
The Hints palette provides context-sensitive illustrations and tips that explain how to use Photoshop
Elements tools. The Recipes palette interactively teaches you how to perform a variety of multistep tasks,
such as adding gradient effects, yet still gives you full control throughout each task.
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Apply effects easily
The Layer Styles palette lets you drag and drop styles including drop shadows, pattern fills, and bevels, that
can be applied to everything on a layer. You can scan through a variety of predefined styles in the Layer
Styles palette and then apply a style by clicking it. Moreover, you can apply styles cumulatively, giving you
the freedom to mix and match styles to achieve just the right effect.
Filters you can preview
Over 90 special-effects filters are provided in the Filters palette. Once you’ve chosen the filter you want,
you can drag and drop the filter onto an image or double-click to apply it.
Undo errors
The History palette provides extensive undo capabilities. You can quickly view your most recent editing
operations in the palette and use multiple undo levels to correct mistakes and experiment without worry.
Or simply click the Step Backward button or Step Forward button in the shortcuts bar until you’ve
returned to the step you want. You can even configure your preferences for the number of undos
Photoshop Elements allows, giving you the ability to optimize the program’s performance and usability.
12
Overview
Web Tools
Photoshop Elements provides a series of commands and tools that let you quickly and easily create
eye-catching visuals for your Web page.
Add custom effects
You can specify layer settings such as drop shadows, bevels, and glows. This gives you a fast way to create
realistic three-dimensional text, buttons, and other effects that look as if you spent hours refining them.
Once applied to art on a layer, anytime you edit that art the effect is instantly updated and reapplied to the
new art.
GIF animation tools
You can enhance or create animations for the Web by importing or creating GIF animations using layers,
in which each frame of the animation is a separate layer. You can then interactively preview the results
before saving the file.
Create custom Web galleries
The Web Photo Gallery lets you produce photo gallery Web pages automatically using custom templates,
without having to learn HTML.
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Minimize file size
The Save for Web command efficiently compresses files for posting on the Web using interactive
compression options that let you preview and modify the results before you save files. In this way, you can
experiment with real-time image-compression controls to create quality images with minimal file sizes.
Explore Your Creativity
Photoshop Elements software provides endless ways to get creative with your images. Its wide variety of
tools and commands provide easy yet powerful ways to create and modify images.
Built-in libraries
You can easily add interesting graphic elements to photos or create Web buttons and banners by choosing
from a large library of shapes and symbols and applying effects to them.
Effects
The Effects palette includes drag and drop simplicity for applying complex effects to text, textures, frames,
and images. Drag the effect and watch the program automatically jump to life, executing the commands
that generate the visually rich results.
14
Overview
Make text changes without dialog boxes
You can freely add and change text, fonts, and type effects (such as warping) directly to these elements
without having to make your changes within restrictive dialog boxes.
Art brushes
A wide variety of brush libraries are included that let you add paint strokes that simulate different painting
and drawing techniques. For more brushes, you can load other brush libraries, create your own brushes,
or modify existing ones. Or you can use the Impressionist tool to quickly give photos the look of an artistic
painting.
Produce Outstanding Results
Photoshop Elements software provides highly flexible image capture and output options. You can work
with images from digital and film cameras and scanners to easily prepare professional-quality output for
print, email, or Web posting.
Incorporate graphics
Once you have created the image you want, you can incorporate your graphics into printed flyers,
brochures, and presentations.
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Convenient, cost-effective, reliable printing
Photoshop Elements makes it easy to get the most outstanding printed results while also saving time and
money. The Picture Package feature automatically generates multiple copies of a photo in different sizes
on a single page, similar to the photo packages traditionally sold by portrait studios. This enables you to
maximize the use of expensive photo-quality paper, and gives you a simple way to create and print a
contact sheet of your images for easy reference. Built-in Adobe color management ensures that the colors
you see on-screen match what you get in print.
Multiple file formats, including PDF
You can open, save, and print all major graphics file formats, including layered Photoshop files. In
addition, you can open and save your files in Adobe Acrobat Portable Document Format (PDF), giving
you an easy way to share your files with anyone who has the free Adobe Acrobat Reader software.
Web-based photo printing
Photoshop Elements provides simple-to-use access to Web photo services, letting you upload your images
to supported sites easily from within the program. Depending on the service, you may be able to add
borders, create personalized greeting cards, or order prints that are then mailed directly to anywhere you
want, such as to friends, family, clients, and customers.
Note:
Not all services are available in all geographic regions.
1
19
Chapter 1: Looking at the Work Area
elcome to Adobe Photoshop Elements.
Photoshop Elements gives you an
efficient work area and user interface to
create and edit images for both print and the Web.
Getting familiar with the work
area
The Photoshop Elements work area is arranged to
help you focus on creating and editing images.
About the work area
The work area consists of the following
components:
Menu bar
The menu bar contains menus for
performing tasks. The menus are organized by
topic. For example, the Layers menu contains
commands for working with layers.
Shortcuts bar The shortcuts bar displays buttons
for executing common commands. (See “Using
the shortcuts bar” on page 21.)
Options bar The options bar provides options for
using a tool. (See “Using the options bar” on
page 20.)
Toolbox The toolbox holds tools for creating and
editing images. (See “Using the tools” on page 19.)
Palette well The palette well helps you organize
the palettes in your work area. (See “Using the
palette well” on page 21.)
Palettes Palettes help you monitor and modify
images. (See “Using palettes” on page 22.)
Using the tools
Some tools in the toolbox let you select, edit, and
view images; other tools let you paint, draw, and
type. You can view information about any tool in
the toolbox by positioning the pointer over it. The
name of the tool appears below the pointer—this
is called the tool tip. Additional information about
the tool appears in the Hints palette. (See “Using
the Hints palette” on page 29.)
You must select a tool in order to use it. The
currently selected tool is highlighted in the
toolbox. Some tools have additional tools beneath
them—these are called hidden tools. When you see
a small triangle at the lower right of the tool icon,
you know that there are hidden tools.
A. Active tool B. Hidden tool C. Shortcut key
W
A
B
C
CHAPTER 1
20
Looking at the Work Area
To select a tool:
Do one of the following:
•Click its icon in the toolbox. If the icon has a
small triangle at its lower right corner, hold down
the mouse button to view the hidden tools. Then,
click the tool you want to select.
•Press the tool’s keyboard shortcut. The keyboard
shortcut is displayed in its tool tip. For example,
you can select the move tool by pressing “v.”
To cycle through a set of hidden tools:
Hold down Shift and press the tool’s shortcut key.
To move the toolbox:
Drag the toolbox by its title bar.
To set tool preferences:
1Choose Edit > Preferences > General.
2Set one or more of the following options:
•Show Tool Tips to show or hide tool tips and
rollover hints in the Hints palette.
•Use Shift Key for Tool Switch to determine if you
need to hold down the Shift key in order to cycle
through a set of hidden tools. When this option is
deselected, you can cycle through a set of hidden
tools by simply pressing the shortcut key (without
holding down Shift).
3Click OK.
Using the options bar
The first thing you should do after you select a tool
is to set its options in the options bar. By default,
the options bar appears below the shortcuts bar at
the top of the work area. The options bar is context
sensitive, which means that it changes as you select
different tools. Some settings in the options bar are
common to several tools, and some are specific to
one tool.
Options bar for lasso tool
To use the options bar:
1Select a tool. (See “Using the tools” on page 19.)
2Look in the options bar to see the available
options. For more information on setting options
for a specific tool, search for the tool’s name in
online Help.
To return a tool or all tools to the default settings:
Do one of the following:
•Click the tool icon in the options bar, then
choose Reset Tool or Reset All Tools from the
context menu.
•Choose Edit > Preferences > General, click Reset
All Tools, and click OK.
To move the options bar:
Drag the options bar by the gripper bar at the left
edge. The gripper bar will only appear when the
options bar is docked at the top or bottom of the
application window.
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To collapse the options bar (Windows only):
Double-click the bar at the left edge of the options
bar to show only the tool icon.
Using the shortcuts bar
The shortcuts bar displays buttons for common
commands. You can keep the shortcuts bar open in
the work area and click commands as you need
them. To see the name of an icon, position the
pointer over the icon and its tool tip appears.
Shortcuts bar
To move the shortcuts bar:
Drag the shortcuts bar by the gripper bar at the left
edge. The gripper bar will only appear when the
shortcuts bar is docked at the top or bottom of the
application window.
To hide the shortcuts bar:
Choose Window > Hide Shortcuts. To redisplay
the shortcuts bar, choose Window > Show
Shortcuts.
Using the palette well
The palette well helps you organize and manage
palettes. Palettes take up space in the work area;
therefore, it’s desirable to close them to the palette
well when you’re not using them.
Palette well
Note: The shortcuts bar must be showing in order to
use the palette well. Choose Window > Show
Shortcuts to display the shortcuts bar.
To use a palette in the palette well:
Click the palette’s tab. The palette remains open
until you click outside it or click the palette’s tab.
To store palettes in the palette well:
Drag the desired palette’s tab into the palette well
so that the palette well is highlighted.
CHAPTER 1
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Looking at the Work Area
To view information about a palette in the palette
well:
1Position the pointer over the palette’s tab.
2Look at the Hints palette to see a brief
description of the palette. (See “Using the Hints
palette” on page 29.)
Using palettes
Palettes help you monitor and modify images.
There are many ways to organize palettes in the
work area. You can store palettes in the palette well
to keep them out of your way but easily accessible;
or, you can keep frequently used palettes open in
the work area. Another option is to group palettes
together in the work area, or to dock one palette at
the bottom of another palette.
Note: Drag a palette out of the palette well if you
want to keep it open.
To display a palette:
Do one of the following:
•Click its tab.
•Choose the appropriate Show command in the
Window menu. All palettes are listed in the
Window menu.
To change the size of a palette:
Drag any corner of the palette (Windows) or drag
the size box at its lower right corner (Mac OS).
Note: Not all palettes can be resized.
To close a palette:
Do one of the following:
•If the palette is in the palette well, click outside
the palette in the work area or click the palette’s
tab. (See “Using the palette well” on page 21.)
•Click the close icon on the palette title bar.
•If the palette is in a palette group, click the close
icon on the title bar for the group.
•Choose the appropriate Hide command in the
Window menu. If the palette is grouped with other
palettes, the entire group is concealed.
To show or hide multiple palettes:
Do one of the following:
•To show or hide all open palettes, the options
bar, the shortcuts bar, and the toolbox, press Tab.
•To show or hide all palettes, press Shift+Tab.
To group palettes together:
1Display the palettes you want to group together.
If the palettes are in the palette well, drag at least
one of them into the work area.
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2Drag a palette’s tab onto the body of the target
palette. A thick line appears around the body of
the target palette when the pointer is over the
correct area.
Click palette tab, and drag the palette to group.
Palettes are grouped.
To move a palette to another group, drag the
palette’s tab to that group. To separate a palette
from a group, drag the palette’s tab outside
the group.
To dock palettes together:
Drag a palette’s tab to the bottom of another
palette. A double line appears at the bottom of
the target palette when the pointer is over the
correct area.
Note: Entire palette groups cannot be docked
together at once, but you can dock the palettes from
one group to another, one at a time.
To move a palette group:
Drag its title bar.
To collapse a palette group:
Click the Minimize/Maximize box (Windows) or
the Zoom box (Mac OS), or double-click a
palette’s tab.
To reset palettes to their default positions:
Choose Window > Reset Palette Locations.
To always start with the default palette and dialog box
positions:
1Choose Edit > Preferences > General.
2Deselect Save Palette Locations. The change
takes effect the next time you start the application.
Using palette menus
Palette menus are an important part of working
with Photoshop Elements. Some commands in
palette menus can be found in the menu bar; other
commands are exclusive to palette menus.
When a palette has a palette menu, a triangle icon
appears at the top of the palette. The exact location
and appearance of the triangle icon depends on
where the palette is located: in the palette well, in a
palette group, or in the options bar.
Layers palette menu
CHAPTER 1
24
Looking at the Work Area
To use a palette menu:
1Select a palette.
2Do one of the following:
•If the palette is docked in the palette well, click
the palette’s tab to open the palette, and then click
the triangle ( ) on the palette’s tab.
•If the palette is in a palette group or docked in
the palette well, click the triangle ( ) in the upper
right corner of the palette.
3Choose a command from the palette menu.
Using pop-up sliders
A number of palettes and dialog boxes contain
settings that use pop-up sliders (for example, the
Opacity option in the Layers palette). If there is a
triangle ( ) next to the text box, you can activate
the pop-up slider by clicking the triangle.
To use a pop-up slider:
Do one of the following:
•Position the pointer over the triangle next to the
setting, hold down the mouse, and drag the slider
or angle radius to the desired value.
•Click the triangle next to the setting to open the
pop-up slider box, and drag the slider or angle
radius to the desired value. Click outside the slider
box or press Enter or Return to close the slider box.
To cancel changes, press the Escape key (Esc).
To increase or decrease values in 10% incre-
ments when the pop-up slider box is open, hold
down Shift and press the Up Arrow or Down Arrow.
Viewing images
The hand tool, the zoom tools, the Zoom
commands, and the Navigator palette let you view
different areas of an image at different magnifica-
tions. You can open additional windows to display
several views at once (such as different magnifica-
tions) of an image.
Using the document window
The document window is where your image
appears. You can open multiple windows to
display different views of the same file. A list of
open windows appears in the Window menu.
Available memory may limit the number of
windows per image.
To open multiple views of the same image:
Choose View > New View. Depending on the
position of the first window, you may have to move
the second window to view both simultaneously.
To arrange multiple windows (Windows only):
Do one of the following:
•Choose Window > Cascade to display windows
stacked and cascading from the upper left to the
lower right of the screen.
•Choose Window > Tile to display windows edge
to edge.
•Choose Window > Arrange Icons to align
minimized images along the bottom of the
work area.
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To close windows:
Do one of the following:
•Choose File > Close to close the active window.
•Click the close icon on the title bar for the
active window.
•Choose Window > Close All to close all windows
(Windows).
•Choose File > Close All to close all windows
(Mac OS).
Magnifying and reducing the view
You can magnify or reduce your view using
various methods. The window’s title bar displays
the zoom percentage (unless the window is too
small for the display to fit), as does the status bar at
the bottom of the window.
To zoom in:
Do one of the following:
•Select the zoom tool ( ), and click the Zoom In
button ( ) in the options bar. Click the area you
want to magnify. Each click magnifies the image to
the next preset percentage, centering the display
around the point you click. When the image has
reached its maximum magnification level of
1600%, the magnifying glass appears empty.
•Choose View > Zoom In to magnify to the
next preset percentage. When the image has
reached its maximum magnification level,
the command is dimmed.
•Enter a magnification level in the Zoom text box
in the status bar. (See “Using the status bar” on
page 30.)
•Click the Zoom In button ( ) on the Navigator
palette bar.
To zoom out:
Do one of the following:
•Select the zoom tool ( ), and click the Zoom
Out button ( ) in the options bar. Click the
center of the area of the image you want to reduce.
Each click reduces the view to the previous preset
percentage. When the file has reached its
maximum reduction level so that only 1 pixel is
visible horizontally or vertically, the magnifying
glass appears empty.
•Choose View > Zoom Out to reduce to the
previous preset percentage. When the image
reaches its maximum reduction level, the
command is dimmed.
•Enter the desired magnification level in the
Zoom text box in the status bar. (See “Using the
status bar” on page 30.)
When using the zoom tool, hold down Alt
(Windows) or Option (Mac OS) to switch
between zooming in and zooming out.
•Click the Zoom Out button ( ) on the
Navigator palette bar.
To magnify by dragging:
1Select the zoom tool ( ), and click the Zoom In
button ( ) in the options bar.
CHAPTER 1
26
Looking at the Work Area
2Drag over the part of the image you want
to magnify.
Drag the zoom tool to magnify the view.
The area inside the zoom marquee is displayed at
the highest possible magnification. To move the
marquee around the image, begin dragging a
marquee and then hold down the spacebar while
dragging the marquee to a new location.
To display an image at 100%:
Do one of the following:
•Double-click the zoom tool.
•Select the zoom tool or the hand tool, and click
Actual Pixels in the options bar.
•Choose View > Actual Pixels.
•Enter 100% in the Status Bar and press Enter or
Return (Mac OS).
To change the view to fit the screen:
Do one of the following:
•Double-click the hand tool.
•Select the zoom tool or the hand tool, and click
Fit on Screen in the options bar.
•Choose View > Fit on Screen.
These options scale both the zoom level and the
window size to fit the available screen space.
To automatically resize the window when magnifying
or reducing the view:
With the Zoom tool active, select Resize Windows
To Fit in the options bar. The window resizes when
you magnify or reduce the view of the image.
When Resize Windows To Fit is deselected, the
window maintains a constant size regardless
of the image’s magnification. This can be helpful
when using smaller monitors or working with
tiled views.
To automatically resize the window when magnifying
or reducing the view using keyboard shortcuts:
Choose Edit > Preferences > General, select the
Keyboard Zoom Resizes Windows preference, and
click OK.
Navigating the view area
If you have enlarged your image, you can navigate
to bring another area of the image into view.
To view another area of an image:
Do one of the following:
•Use the window scroll bars.
•Select the hand tool ( ) and drag to pan over
the image.
To use the hand tool while another tool is
selected, hold down the spacebar as you drag
in the image.
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To move the view of an image using the Navigator
palette:
1Choose Window > Show Navigator, or click the
Navigator tab in the palette well.
2Do one of the following:
•Drag the view box in the thumbnail of the
image, which represents the boundaries of the
image window.
•Drag the slider in the Navigator palette.
•Click in the thumbnail of the image. The new
view includes the area you clicked.
View in Navigator palette, and 142% view of image
To change the color of the Navigator palette view box:
1Choose Palette Options from the Navigator
palette menu.
2Choose a color:
•To use a preset color, choose an option for Color.
•To specify a different color, click the color box,
and choose a color. (See “Using the Adobe Color
Picker” on page 77.)
•Choose Custom from the preset list.
3Click OK.
Using rulers and the grid
Rulers and the grid help you position items (such
as selections, layers, and shapes) precisely across
the width or length of an image.
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 deter-
mines the grid’s point of origin.
To show or hide rulers:
Do one of the following:
•Click the Ruler button ( ) in the shortcuts bar.
•Choose View > Show Rulers or View >
Hide Rulers.
To show or hide the grid:
Choose View > Show Grid or View > Hide Grid.
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.
Note: To reset the ruler origin to its default value,
double-click the upper left corner of the rulers.
CHAPTER 1
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Looking at the Work Area
To change the rulers’ settings:
1Do one of the following:
•Double-click a ruler.
•Choose Edit > Preferences > Units & Rulers.
2For Rulers, choose a unit of measurement.
Note: Changing the units on the Info palette
automatically changes the units on the rulers. (See
“Using the Info palette” on page 29.)
3For Width and Gutter, enter values for the
column size. You can also change the units.
Some layout programs use the column width
setting to specify the display of an image across
columns. The Image Size and Canvas Size
commands also use this setting. (See “Changing
the print dimensions and resolution of an image”
on page 50 and “Changing the size of the work
canvas” on page 118.)
4For Point/Pica Size, choose from the following
options:
•PostScript (72 points per inch) if you are
printing to a PostScript device.
•Traditional to use printer’s 72.27 points per inch.
5Click OK.
To change the grid settings:
1Choose Edit > Preferences > Grid.
2For Color, choose a preset color, or select
Custom to choose a custom color.
3For Style, choose the line style for the grid.
Choose Lines for solid lines, or choose Dashed
lines or Dots for broken lines.
4For Gridline every, enter a number value, and
then choose the unit of measurement to define the
spacing of major grid lines.
5For Subdivisions, enter a number value to
define the frequency of minor grid lines.
6Click OK.
Duplicating images
Duplicating lets you experiment with and
compare multiple versions of the same image. You
can duplicate an entire image into available
memory without saving to disk.
To duplicate an image:
1Open the image you want to duplicate.
2Choose Edit > Duplicate Image.
3Enter a name for the duplicated image.
4To duplicate the image without layers, select
Duplicate Merged Layers Only.
5Click OK.
Getting the most out of
Photoshop Elements
The Photoshop Elements interface provides a
variety of features to help you work efficiently and
knowledgeably. Some features—such as the Hints
palette and the Recipes palette—provide infor-
mation about using tools and performing tasks.
Other features—such as the Info palette and status
bars—provide feedback about the current image
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and operation. Yet other features—such as context
menus, keyboard commands, and the Quick Start
window—provide alternate ways to access
commands.
Using the Hints palette
The Hints palette helps you learn how to use tools
and palettes. As you drag or click on tools, the
Hints palette will give you information on using
the tool.
To use the Hints palette:
1Display the Hints palette by clicking its tab. If
the Hints palette isn’t showing in the palette well
or the work area, choose Window > Show Hints to
display the palette.
2Position the pointer over a tool or palette, and
look at the Hints palette to see a brief description
of the item.
3Click the More Help button to find out more
information about an item.
Using the Recipes palette
The Recipes palette provides activities that guide
you through different image-editing tasks. For
example, you can view instructions about
restoring an old photograph. Photoshop Elements
will even do some of the steps for you.
To use the Recipes palette:
1Display the Recipes palette by clicking its tab. If
the Recipes palette isn’t showing in the palette well
or the work area, choose Window > Show Recipes
to display the palette.
2Select a category of recipes, and click the recipe
you want to use.
3Follow the instructions in the recipe. You can
click the play button ( ), when available, to have
Photoshop Elements perform the task for you.
Using the Info palette
The Info palette provides feedback as you use
a tool.
Note: Move the Info palette out of the palette well if
you want to view information while dragging in
the image.
To use the Info palette:
1Display the Info palette by clicking its tab. If the
Info palette isn’t showing in the palette well or the
work area, choose Window > Show Info to display
the palette.
2Select the desired tool.
3Move the pointer in the image, or drag in the
image to use the tool. The following information
may appear, depending on which tool you’re
using:
( ) The numeric values for the color beneath the
pointer.
( ) The x- and y-coordinates of the pointer.
( ) The width (W) and height (H) of a marquee
or shape as you drag, or the width and height of an
active selection.
( ) The x- and y-coordinates of your starting
position (when you click in the image).
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Looking at the Work Area
( ) The change in position along the x-
coordinate ( X) and y-coordinate ( Y) as you
move a selection, layer, or shape.
( ) The angle (A) of a line or gradient; the change
in angle as you move a selection, layer, or shape; or
the angle of rotation during a transformation. The
change in distance (D) as you move a selection,
layer, or shape.
( ) The percentage of change in width (W) and
height (H) as you scale a selection, layer, or shape.
( ) The angle of horizontal skew (H) or vertical
skew (V) as you skew a selection, layer, or shape.
To change the mode of color values displayed in the
Info palette:
Do one of the following:
•Click an eyedropper icon ( ) in the Info
palette, and choose a color mode from the pop-up
menu.
•Choose Palette Options from the Info palette
menu. Choose a color mode for First Color
Readout and/or Second Color Readout, and
click OK.
Actual Color displays values in the current color
mode of the image; Grayscale displays the
grayscale values beneath the pointer; RGB Color
displays the RGB values beneath the pointer; Web
Color displays the hexadecimal code for the RGB
values beneath the pointer; and HSB Color
displays the HSB values beneath the pointer. (See
“Choosing a color mode” on page 68 for more
information.)
To change the unit of measurement displayed in the
Info palette:
Do one of the following:
•Click the cross-hair icon ( ) in the Info palette,
and choose a unit of measurement from the pop-
up menu.
•Choose Palette Options from the Info palette
menu. Choose a unit of measurement from the
Ruler Units pop-up menu, and click OK.
Using the status bar
The status bar at the bottom of the application
window (Windows) or document window
(Mac OS) displays useful information and is
divided into three sections:
•The leftmost section displays the current magni-
fication. (See “Magnifying and reducing the view”
on page 25).
•The middle section displays information about
the current file. You can change the type of infor-
mation that displays.
•(Windows only) The rightmost section provides
information as you use a tool. It also displays a
progress bar to help you monitor operations.
When an operation—such as applying a filter or
using the Photomerge command—is in progress,
you cannot perform other operations. However,
you can interrupt the process or have the program
notify you when it has finished.
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To display file information in the status bar:
1Click the triangle ( ) in the status bar.
2Select a view option:
•Document Dimensions to display the document
size of the image. (See “Changing the print dimen-
sions and resolution of an image” on page 50.)
•Document Sizes to display information on the
amount of data in the image. The number on the
left represents the printing size of the image—
approximately the size of the saved, flattened file in
Photoshop format. The number on the right
indicates the file’s approximate size, including
layers.
•Document Profile to display the name of the
color profile used by the image. (See “Using color
management” on page 65.)
•Scratch Sizes to display information on the
amount of RAM and scratch disk used to process
the image. The number on the left represents
the amount of memory that is currently being
used by the program to display all open images.
The number on the right represents the total
amount of RAM available for processing images.
•Efficiency to display the percentage of time
actually doing an operation instead of reading or
writing the scratch disk. If the value is below
100%, Photoshop Elements is using the scratch
disk and, therefore, is operating more slowly.
•Timing to display the amount of time it took to
complete the last operation.
•Current Tool to view the name of the active tool.
To cancel operations:
Hold down Esc until the operation in progress has
stopped. In Mac OS, you can also press
Command+period.
To set notification for completion of operations:
1Choose Edit > Preferences > General.
2Select Beep When Done, and click OK.
Viewing file information
You can view copyright and authorship infor-
mation that has been added to the file. This
information includes standard file information
and Digimarc® watermarks. Photoshop Elements
automatically scans opened images for Digimarc
watermarks. If a watermark is detected, Photoshop
Elements displays a copyright symbol in the image
window’s title bar and updates the Copyright &
URL section of the File Info dialog box.
To view additional file information:
Choose File > File Info. For section, choose the
attribute you want to view.
To read a Digimarc watermark:
1Choose Filter > Digimarc > Read Watermark.
If the filter finds a watermark, a dialog box displays
the Creator ID, copyright year (if present), and
image attributes.
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2Click OK, or for more information, choose
from the following:
•If you have a Web browser installed, click Web
Lookup to get more information about the owner
of the image. This option launches the browser
and displays the Digimarc Web site, where contact
details appear for the given Creator ID.
•Call the phone number listed in the Watermark
Information dialog box to get information faxed
back to you.
Using context menus
In addition to the menus at the top of your screen,
context-sensitive menus display commands that
are relevant to the active tool, selection, or palette.
Context menu for a document window
To use a context menu:
1Position the pointer over an image or
palette item.
2Click with the right mouse button (Windows)
or hold down Control and press the mouse
button (Mac OS).
3Choose a command from the menu.
Using keyboard commands and modifier
keys
Keyboard commands let you quickly execute
commands without using a menu; modifier keys
let you alter how a tool operates. When available,
the keyboard command appears to the right of the
command name in the menu. You can view a
complete list of keyboard commands and modifier
keys in the Quick Reference Card section of
online Help.
Using the Quick Start window
The Quick Start window provides options for
creating and opening images, as well as links to
online Help and tutorials.
To display the Quick Start window:
Choose Window > Show Quick Start.
Deselect Show this screen at startup if you don’t
want the Quick Start window to appear when you
restart Photoshop Elements.
Correcting mistakes
Most operations can be undone if you make a
mistake. Alternatively, you can restore all or part
of an image to its last saved version. But available
memory may limit your ability to use these
options.
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For information on how to restore your image to
how it looked at any point in the current work
session, see “Reverting to any state of an image” on
page 33.
To undo the last operation:
Choose Edit > Undo, or click the Step Backward
button ( ) in the shortcuts bar.
If an operation can’t be undone, the command is
dimmed and changes to Can’t Undo.
To redo the last operation:
Choose Edit > Redo, or click the Step Forward
button ( ) in the shortcuts bar.
To free memory used by the Undo command, the
History palette, or the Clipboard:
Choose Edit > Purge, and choose the item type or
buffer you want to clear. If already empty, the item
type or buffer is dimmed.
Important: The Purge command permanently
clears from memory the operation stored by the
command or buffer; it cannot be undone. Use the
Purge command when the amount of information
held in memory is so large that Photoshop Elements’
performance is noticeably diminished.
To revert to the last saved version:
Choose File > Revert.
Note: Revert is added as a history state in the History
palette and can be undone.
Reverting to any state of an
image
The History palette lets you jump to any recent
state of the image created during the current
working session. Each time you apply a change to
pixels in an image, the new state of that image is
added to the palette.
For example, if you select, paint, and rotate part of
an image, each of those states is listed separately in
the palette. You can then select any of the states,
and the image will revert to how it looked when
that change was first applied. You can then work
from that state.
Actions that do not affect pixels in the image, such
as zooming and scrolling, will not appear in the
History palette.
About the History palette
Note the following guidelines when using the
History palette:
•Program-wide changes, such as changes to
palettes, color settings, and preferences, are not
changes to a particular image and so are not added
to the History palette.
•By default, the History palette lists the previous
20 states. Older states are automatically deleted to
free more memory for Photoshop Elements. To
change the number of states that can be displayed
in the History palette, choose Edit > Preferences >
General, and enter a number for History States.
The maximum number of states is 100.
•Once you close and reopen the document,
all states from the last working session are cleared
from the palette.
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Looking at the Work Area
•States are added from the top down. That is, the
oldest state is at the top of the list, the most recent
one at the bottom.
•Each state is listed with the name of the tool or
command used to change the image.
•By default, selecting a state dims those below.
This way you can easily see which changes will be
discarded if you continue working from the
selected state.
•Selecting a state and then changing the image
eliminates all states that come after. Likewise,
deleting a state deletes that state and those that
came after it.
•If you select a state and then change the image,
eliminating the states that came after, you can use
the Undo command to undo the last change and
restore the eliminated states.
Using the History palette
You can use the History palette to revert to a
previous state of an image and delete an image’s
states.
A. History state B. History state slider
C. Trash button
To display the History palette:
Choose Window > Show History, or click the
History palette tab.
To revert to a previous state of an image:
Do any of the following:
•Click the name of the state.
•Drag the slider at the left of the state up or down
to a different state.
•Click the Step Forward or Step Backward
buttons from the shortcuts bar.
•Choose Step Forward or Step Backward from
the palette menu or the Edit menu to move to the
next or previous state.
To set the keyboard command for Step Forward
and Step Backward, choose Edit >
Preferences > General, and select an option for Step
Back/Fwd.
To delete one or more states of the image:
Do one of the following:
•Click the name of the state, and choose Delete
from the History palette menu to delete that
change and those that came after it.
•Drag the state to the Trash button ( ) to delete
that change and those that came after it.
•Choose Clear History from the palette menu to
delete the list of states from the History palette,
without changing the image. This option doesn’t
reduce the amount of memory used by Photoshop
Elements.
A
B
C
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User Guide
•Hold down Alt (Windows) or Option (Mac OS),
and choose Clear History from the palette menu to
purge the list of states from the History palette
(and from the Undo buffer) without changing the
image. If you get a message that Photoshop
Elements is low on memory, purging states is
useful, since the command frees up memory.
Important: This action cannot be undone.
•Choose Edit > Purge > Histories to purge the list
of states from the History palette for all open
documents.
Important: This action cannot be undone.
To replace an existing document with a selected state:
Drag the state onto the document.
Note: This will replace the original image without
changing its name. Make sure to choose File > Save
As to rename the image if you want to keep the
original image.
Working with presets
Photoshop Elements provides predefined brushes,
swatches, gradients, patterns, layer styles, and
custom shapes called presets. Think of presets as
ingredients for creating an image. You select
presets through pop-up palettes in the options bar.
The Fill dialog box, and Layer Styles, and the
Swatches palettes also display presets.
Presets are organized by type into libraries. Each
type of library has its own file extension and
default folder. You can use the Presets Manager to
load different preset libraries. The presets you load
in the Presets Manager correspond to the presets
that appear in pop-up palettes and regular
palettes.
Using pop-up palettes
Pop-up palettes appear in the options bar and
provide access to libraries of brushes, swatches,
gradients, patterns, layer styles, and custom
shapes. When closed, pop-up palettes display a
thumbnail image of the currently selected preset.
When you click the triangle to the right of the
thumbnail image, the pop-up palette opens to
show you the currently loaded preset libraries. You
can change the display of a pop-up palette to view
presets by their names, as thumbnail icons, or with
both names and icons.
The Brush pop-up palette in the options bar. A. Click to
open the pop-up palette. B. Click to view the pop-up
palette menu.
A
B
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Looking at the Work Area
To select a preset in a pop-up palette:
1Click the triangle next to the thumbnail image
of the current preset. When selecting a brush or
gradient, be careful not to click the thumbnail
image—doing so will display the settings editor for
the preset.
2Click a preset in the pop-up palette.
To rename a brush, gradient, or pattern in a pop-up
palette:
1Do one of the following:
•Double-click an item.
•Select an item, click the triangle ( ) in the
upper right corner of the pop-up palette,
and choose the Rename command from the
palette menu.
2Enter a new name in the dialog box provided,
and click OK.
To delete a brush, gradient, or pattern from a pop-up
palette:
Do one of the following:
•Select an item, click the triangle ( ) in the
upper right corner of the pop-up palette,
and choose the Delete command from the
palette menu.
•Hold down Alt (Windows) or Option (Mac OS)
and click an item.
To save a library of brushes, gradients, or patterns for
later use:
Choose the Save command from the pop-up
palette menu. Then enter a name for the library
file, and click Save.
To load a library of brushes, gradients, or patterns:
Choose the Load command from the pop-up
palette menu. Then select the library file you want
to add to the pop-up palette, and click Load.
Note: Using the Load command will add the brush
library to the brushes you have available. If you
choose a preset library of brushes, the preset library
will replace your current set of brushes.
To replace the current set of brushes, gradients, or
patterns in a pop-up palette:
Do one of the following:
•Choose the Replace command from the pop-up
palette menu. Then select the library file you want
to use, and click Load.
•Choose a library file from the bottom section of
the palette menu. Then click OK to replace the
current list.
To load to the default library of brushes, gradients, or
patterns:
Choose the Reset command from the pop-up
palette menu.
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To change the display of items in a pop-up palette:
1Click the triangle ( ) in the upper right corner
of the pop-up palette to view the palette menu.
2Select a view option:
•Text Only to display the name of each item.
•Small Thumbnail or Large Thumbnail to display
a thumbnail of each item.
•Small List or Large List to display the name and
thumbnail of each item.
Note: Not all of the above options are available for
all pop-up palettes.
Using the Preset Manager
The Preset Manager lets you manage the libraries
of brushes, swatches, gradients, and patterns that
come with Photoshop Elements. For example, you
can create a set of favorite brushes, or you can
restore the default presets. The configuration of
presets in the Preset Manager corresponds to
presets that appear in pop-up palettes and regular
palettes.
Each type of library has its own file extension and
default folder. Preset files are installed on your
computer inside the Presets folder in the
Photoshop Elements program folder.
To display the Preset Manager:
Choose Edit > Preset Manager.
To choose a library type:
Choose Brushes, Swatches, Gradients, or Patterns
from the Preset Type menu.
To load a library:
Do one of the following:
•Click Load, then select a library from the list. If
you want to load a library located in another
folder, navigate to that folder, then select the
library. By default, preset files are installed on your
computer inside the Presets folder in the
Photoshop Elements program folder.
•Click the triangle ( ), and choose a library from
the bottom section of the pop-up menu.
To restore the default library or replace the currently
displayed libraries:
Click the triangle ( ), and choose a command
from the pop-up menu.
•Reset to restore the default library for that type.
•Replace to replace the current library with the
contents of another library.
To save a subset of a library:
1Shift-click to select multiple presets. Only the
selected presets will be saved to the new library.
2Click Save Set, then enter a name for the library.
If you want to save the library to a folder other
than the default, navigate to the new folder before
saving.
To rename a preset:
1Do one of the following:
•Select a preset in the list, and click Rename.
•Double-click a preset in the list.
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Looking at the Work Area
2Enter a new name for the preset. If you selected
multiple presets, you will be prompted to enter
multiple names.
To delete a preset:
Select the preset you want to delete, and
click Delete.
To change the display of presets in the Preset
Manager:
Click the triangle ( ), and choose a display mode
from the middle section of the pop-up menu:
•Text Only to display the name of each
preset item.
•Small Thumbnail or Large Thumbnail to display
a thumbnail of each preset item.
•Small List or Large List to display the name and
thumbnail of each preset item.
Configuring Photoshop
Elements
Preferences let you configure Photoshop Elements
to best meet your needs. They can be used to
control how the program uses memory, and to
control the work area environment.
Setting preferences
Preferences are program settings that control
general display options, file-saving options, cursor
options, transparency options, and options for
plug-ins and scratch disks. Most of these options
are set in dialog boxes that can be opened through
the Preferences submenu in the Edit menu.
Preference settings are saved each time you exit the
application.
Unexpected behavior may indicate damaged
preferences. You can generate a new preferences
file with all preference settings returned to their
defaults.
To open a preferences dialog box:
1Choose the desired preference set from the
Edit > Preferences submenu.
2To switch to a different preference set, do one of
the following:
•Choose the preference set from the menu at the
top of the dialog box.
•Click Next to display the next preference set in
the menu list; click Prev to display the previous
preference set.
For information on a specific preference option,
search for the preference name in the index.
To restore all preferences to their default settings:
In Windows, press and hold Alt+Control+Shift
immediately after launching Photoshop Elements.
Click Yes to delete the Adobe Photoshop Elements
settings file.
In Mac OS, do one of the following:
•Press and hold down Option+Command+Shift
immediately after launching Photoshop Elements.
Click Yes to delete the Adobe Photoshop Elements
settings file.
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•Open the Preferences folder in the System
Folder, and drag the following files to the Trash:
Adobe Save For Web 1.0 Prefs and all files in the
Adobe Photoshop Elements Prefs folder.
New Preferences files will be available the next
time you start Photoshop Elements.
Using tool pointers
When you select most tools, the mouse pointer
matches the tool’s icon. The marquee pointer
appears by default as cross hairs, the text tool
pointer appears as an I-beam, and painting tools
default to the Brush Size icon.
To set the tool pointer appearance:
1Choose Edit > Preferences > Display & Cursors.
2Choose a tool pointer setting:
•Click Standard under Paintings Cursors, Other
Cursors, or both to display pointers as tool icons.
•Click Precise under Painting Cursors, Other
Cursors, or both to display pointers as cross hairs.
•Click Brush Size under Painting Cursors to
display the painting tool cursors as brush shapes
representing the size of the current brush. Brush
Size cursors may not display for very large brushes.
3Click OK.
The Painting Cursors options control the pointers
for the eraser, pencil, airbrush, paintbrush,
impressionist brush, background eraser, magic
eraser, red eye brush, clone stamp, pattern stamp,
and the smudge, blur, sharpen, dodge, burn, and
sponge tools.
The Other Cursors options control the pointers
for the marquee, lasso, magic wand, crop,
eyedropper, gradient, paint bucket, shape, hand,
and zoom tools.
To toggle between standard and precise cursors
in some tool pointers, press Caps Lock. Press
Caps Lock again to return to your original setting.
Making previews display more quickly
The Use Pixel Doubling preference option speeds
up the preview of a tool’s or command’s effects
by temporarily doubling the size of the pixels
(halving the resolution) in the preview. This
option has no effect on the pixels in the file;
it simply provides faster previews with the tools
and commands.
To speed up previews:
1Choose Edit > Preferences > Display & Cursors.
2Select Use Pixel Doubling, and click OK.
Resetting all warning dialogs
Sometimes messages containing warnings or
prompts regarding certain situations are
displayed. You can disable the display of these
messages by selecting the Don’t Show Again
option in the message. You can also globally reset
the display of all messages that have been disabled.
To reset the display of all warning messages:
1Choose Edit > Preferences > General.
2Click Reset All Warning Dialogs, and click OK.
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Looking at the Work Area
Using plug-in modules
Plug-in modules are software programs developed
by Adobe Systems and by other software devel-
opers in conjunction with Adobe Systems to add
functionality to Photoshop Elements. A number
of importing, exporting, and special-effects plug-
ins come with your program; they are automati-
cally installed in folders inside the Photoshop
Elements Plug-ins folder.
You can select an additional plug-ins folder to use
compatible plug-ins stored with another appli-
cation. You can also create a shortcut (Windows)
or an alias (Mac OS) for a plug-in stored in
another folder on your system. You can then add
the shortcut or alias to the Plug-ins folder to use
that plug-in with Photoshop Elements.
Once installed, plug-in modules appear as options
added to the Import or Export menu; as file
formats in Open and Save As; or as filters in the
Filter submenus.
Note: Photoshop Elements can accommodate a large
number of plug-ins. However, if the number of
installed plug-in modules becomes great enough,
Photoshop Elements may not be able to list all the
plug-ins in their appropriate menus. Newly installed
plug-ins will then appear in the Filter > Other
submenu. Depending on the resolution of your
monitor, installing a large number of plug-ins may
cause the menu to extend beyond the screen.
To install an Adobe Systems plug-in module:
Do one of the following:
•Use the plug-in installer, if provided.
•Copy the module into the appropriate Plug-ins
folder in the Photoshop Elements folder
(Windows).
•Drag a copy of the module to the appropriate
Plug-ins folder inside the Photoshop Elements
folder (Mac OS).
Note: When you copy or drag the plug-in files into
the Plug-ins folder, make sure that the files are
uncompressed.
To install a third-party plug-in module:
Follow the installation instructions that came with
the plug-in module.
To select an additional plug-ins folder:
1Choose Edit > Preferences > Plug-Ins & Scratch
Disks.
2Select Additional Plug-ins Directory.
3Click Choose, and select a folder or directory
from the list. Make sure that you do not select a
location inside the Plug-ins folder. To display the
contents of a folder, double-click the directory
(Windows) or click Open (Mac OS).
The path to the folder will appear in the prefer-
ences window.
4When you have highlighted the additional plug-
ins folder, click OK (Windows), Select (Mac OS),
or Choose (Mac OS 9.0 and later).
5Restart Photoshop Elements for the plug-ins to
take effect.
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To suppress the loading of a plug-in or folder of
plug-ins:
Add a tilde character (~) at the beginning of the
plug-in name, folder, or directory. That file (or
all files in the folder) will be ignored by the appli-
cation once it has been restarted.
To view information about installed plug-ins:
Choose Help > About Plug-In and select a plug-in
from the submenu (Windows) or choose Apple
menu > About Plug-In and select a plug-in from
the submenu (Mac OS).
Assigning scratch disks
When your system does not have enough RAM to
perform an operation, Photoshop Elements uses a
proprietary virtual memory technology, also called
scratch disks. A scratch disk is any drive or a
partition of a drive with free memory. By default,
Photoshop Elements uses the hard drive that the
operating system is installed on as its primary
scratch disk.
You can change the primary scratch disk or
designate a second, third, or fourth scratch disk, to
be used when the primary disk is full. Your
primary scratch disk should be your fastest hard
disk, and should have plenty of defragmented
space available.
The following guidelines can help you assign
scratch disks:
•You can use up to four scratch disks of any size
your file system supports. Photoshop lets you
create up to 200 GB of scratch disk space using
those scratch disks.
•For best performance, scratch disks should be on
a different drive than any large files you are editing.
•Scratch disks should be on a different drive than
the one used for virtual memory.
•Scratch disks should be on a local drive. That is,
they should not be accessed over a network.
•Scratch disks should be conventional (non-
removable) media.
•Raid disks/disk arrays are good choices for
dedicated scratch disk volumes.
•Drives with scratch disks should be defrag-
mented regularly.
To change the scratch disk assignment:
1Choose Edit > Preferences > Plug-Ins & Scratch
Disks.
2Select the desired disks from the menu (you can
assign up to four scratch disks).
3Click OK.
4Restart Photoshop Elements for the change to
take effect.
Important: The scratch disk file that is created by
Photoshop Elements must be in contiguous hard disk
space. For this reason you should frequently optimize
your hard disk. Adobe recommends that you use a
disk tool utility, such as Windows Disk Defragmenter
or Norton Speed Disk, to defragment your hard drive
on a regular basis. See your Windows or Mac OS
documentation for information on defragmentation
utilities.
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Looking at the Work Area
Closing files and quitting
To close a file:
1Do one of the following:
•Choose File > Close.
•Choose Window > Close All (Windows).
•Choose File > Close All (Mac OS).
2Choose whether or not to save the file:
•Click Yes (Windows) or Save (Mac OS) to save
the file.
•Click No (Windows) or Don’t Save (Mac OS) to
close the file without saving it.
To exit Photoshop Elements:
1Choose File > Exit (Windows) or File >
Quit (Mac OS).
2Choose whether or not to save any open files:
•Click Yes (Windows) or Save (Mac OS) for each
open file to save the file.
•Click No (Windows) or Don’t Save (Mac OS) for
each open file to close the file without saving it.
2
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Chapter 2: Getting Images into
Photoshop Elements
ou can get digital images from a variety of
sources—you can create new images,
import them from another graphics appli-
cation, or capture them using a digital camera.
Often you will begin by scanning a photograph,
a slide, or an image. To create effective artwork,
you must understand some basic concepts about
how to work with digital images, how to produce
high-quality scans, how to work with a variety of
file formats, and how to adjust the resolution and
size of images.
About bitmap images and vector
graphics
Computer graphics falls into two main
categories—bitmap and vector. You can work with
both types of graphics in Photoshop Elements;
moreover, a Photoshop Elements file can contain
both bitmap and vector data. Understanding the
difference between the two categories helps as you
create, edit, and import artwork.
Bitmap images Bitmap images—technically
called raster images—use a grid of colors known as
pixels to represent images. Each pixel is assigned a
specific location and color value. For example,
a bicycle tire in a bitmap image is made up of a
mosaic of pixels in that location. When working
with bitmap images, you edit pixels rather than
objects or shapes.
Bitmap images are the most common electronic
medium for continuous-tone images, such as
photographs or digital paintings, because they can
represent subtle gradations of shades and color.
Bitmap images are resolution-dependent—that is,
they contain a fixed number of pixels. As a result,
they can lose detail and appear jagged if they are
scaled on-screen or if they are printed at a lower
resolution than they were created for.
Note: Bitmap images in Photoshop Elements are not
the same as images saved using the .bmp file format
in Windows.
Bitmap images are good for reproducing subtle gradations
of color, as in photographs. They can have jagged edges
when printed at too large a size or displayed at too high a
magnification.
Vector graphics Vector graphics are made up of
lines and curves defined by mathematical objects
called vectors. Vectors describe an image according
to its geometric characteristics. For example, a
bicycle tire in a vector graphic is made up of a
mathematical definition of a circle drawn with a
Y
24:1
3:1
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Getting Images into Photoshop Elements
certain radius, set at a specific location, and filled
with a specific color. You can move, resize, or
change the color of the tire without losing the
quality of the graphic.
Vector graphics are resolution-independent—
that is, they can be scaled to any size and printed
at any resolution without losing detail or clarity.
As a result, vector graphics are the best choice for
representing bold graphics that must retain crisp
lines when scaled to various sizes—for example,
logos.
Vector graphics are good for reproducing crisp outlines, as in
logos or illustrations. They can be printed or displayed at any
resolution without losing detail.
Because computer monitors represent images by
displaying them on a grid, both vector and bitmap
data is displayed as pixels on-screen.
About image size and resolution
In order to produce high-quality images, it is
important to understand how the pixel data of
images is measured and displayed.
Pixel dimensions The number of pixels along
the height and width of a bitmap image. The
display size of an image on-screen is determined
by the pixel dimensions of the image plus the size
and setting of the monitor.
For example, a 15-inch monitor typically
displays 800 pixels horizontally and 600 vertically.
An image with dimensions of 800 pixels by
600 pixels would fill this small screen. On a larger
monitor with an 800-by-600-pixel setting, the
same image (with 800-by-600-pixel dimensions)
would still fill the screen, but each pixel would
appear larger. Changing the setting of this larger
monitor to 1024-by-768 pixels would display
the image at a smaller size, occupying only part of
the screen.
When preparing an image for online display
(for example, a Web page that will be viewed on a
variety of monitors), pixel dimensions become
especially important. Because your image may be
viewed on a 15-inch monitor, you may want to
limit the size of your image to less than 800-by-600
pixels to allow room for the Web browser window
controls.
How large an image appears on-screen depends on a combina-
tion of factors––the pixel dimensions of the image, the monitor
size, and the monitor resolution setting. The examples above
show a 620-by-400-pixel image displayed on monitors of
various sizes and resolutions.
24:1
3:1
15"
20"
1024 x 768 / 640 x 480
832 x 624 / 640 x 480
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Image resolution The number of pixels displayed
per unit of printed length in an image, usually
measured in pixels per inch (ppi). In Photoshop
Elements, you can change the resolution of an
image because image resolution and pixel dimen-
sions are interdependent.
The amount of detail in an image depends on its
pixel dimensions, while the image resolution
controls how much space the pixels are printed
over. For example, you can modify an image’s
resolution without changing the actual pixel data
in the image—all you change is the printed size of
the image. However, if you want to maintain the
same output dimensions, changing the image’s
resolution requires a change in the total number
of pixels.
72-ppi and 300-ppi images; inset zoom 200%
When printed, an image with a high resolution
contains more, and therefore smaller, pixels than
an image with a low resolution. For example,
a 1-by-1-inch image with a resolution of 72 ppi
contains a total of 5184 pixels (72 pixels wide x
72 pixels high = 5184). The same 1-by-1-inch
image with a resolution of 300 ppi contains a total
of 90,000 pixels. Higher resolution images usually
reproduce more detail and subtler color transi-
tions than lower resolution images. However,
increasing the resolution of a low-resolution
image only spreads the original pixel information
across a greater number of pixels; it rarely
improves image quality.
Using too low a resolution for a printed image
results in pixelation—output with large, coarse-
looking pixels. Using too high a resolution (pixels
smaller than the output device can produce)
increases the file size and slows the printing of the
image; furthermore, the device will be unable to
reproduce the extra detail provided by the higher
resolution image.
Monitor resolution The number of pixels or dots
displayed per unit of length on the monitor,
usually measured in dots per inch (dpi). Monitor
resolution depends on the size of the monitor plus
its pixel setting. Most new monitors have a
resolution of about 96 dpi, while older Mac OS
monitors have a resolution of 72 dpi.
Understanding monitor resolution helps explain
why the display size of an image on-screen often
differs from its printed size. Image pixels are trans-
lated directly into monitor pixels. This means that
when the image resolution is higher than the
monitor resolution, the image appears larger
on-screen than its specified print dimensions.
For example, when you display a 1-by-1 inch,
144-ppi image on a 72-dpi monitor, it appears in a
2-by-2 inch area on-screen. Because the monitor
can display only 72 pixels per inch, it needs
2 inches to display the 144 pixels that make up one
edge of the image.
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Printer resolution The number of ink dots per
inch (dpi) produced by all laser printers. Most
desktop laser printers have a resolution of 600 dpi.
Ink jet printers produce a spray of ink, not actual
dots; however, most ink jet printers have an
approximate resolution of 300 to 600 dpi and
produce good results when printing images up
to 150 ppi.
File size The digital size of an image, 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. For instance, a 1-by-1-inch, 200-ppi
image contains four times as many pixels as a
1-by-1-inch, 100-ppi image and so has four times
the file size. Image resolution thus becomes a
compromise between image quality (capturing all
the data you need) and file size.
Another factor that affects file size is file format—
due to varying compression methods used by GIF,
JPEG, and PNG file formats, file sizes can vary
considerably for the same pixel dimensions.
Similarly, color bit-depth and the number of layers
in an image affect file size.
Photoshop Elements supports a maximum file size
of 2 GB and maximum pixel dimensions of 30,000
by 30,000 pixels per image. This restriction places
limits on the print size and resolution available to
an image.
Changing image size and
resolution
Once you have scanned or imported an image,
you may want to adjust its size. The Image Size
command lets you adjust the pixel dimensions,
print dimensions, and resolution of an image.
Keep in mind that bitmap and vector data can
produce different results when you resize an
image. Bitmap data is resolution-dependent;
therefore, changing the pixel dimensions of a
bitmap image can cause a loss in image quality and
sharpness. In contrast, vector data is resolution-
independent; you can resize it without losing its
crisp edges.
Displaying image size information
You can display information about the current
image size using the information box at the
bottom of the application window (Windows)
or the document window (Mac OS). (See “Using
the status bar” on page 30.)
To display the current image size:
Click the file information box, and hold down the
mouse button. The box displays the width and
height of the image (both in pixels and in the unit
of measurement currently selected for the rulers),
the number of channels, document dimensions,
and the image resolution.
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About resampling
Resampling refers to changing the pixel dimen-
sions (and therefore display size) of an image.
When you downsample (or decrease the number of
pixels), information is deleted from the image.
When you resample up (or increase the number of
pixels), new pixels are added based on color values
of existing pixels.
A. Downsampled B. Original C. Resampled up
(Selected pixels displayed for each image.)
Keep in mind that resampling can result in poorer
image quality. For example, when you resample an
image to larger pixel dimensions, the image will
lose some detail and sharpness. Applying the
Unsharp Mask filter to a resampled image can help
refocus the image’s details. (See “Sharpening
images” on page 98.)
To avoid the need for resampling, scan or create
the image at a high resolution. If you want to
preview the effects of changing pixel dimensions
on-screen or print proofs at different resolutions,
resample a duplicate of your file.
About interpolation methods
When an image is resampled, an interpolation
method is used to assign color values to any new
pixels it creates, based on the color values of
existing pixels in the image. The more sophisti-
cated the method, the more quality and detail
from the original image are preserved.
Photoshop Elements provides three interpolation
methods:
•Nearest Neighbor is the fastest but least precise
method. This method is recommended for use
with illustrations containing non-anti-aliased
edges, to preserve hard edges and produce a
smaller file. However, this method can result in
jagged effects, which become apparent when
distorting or scaling an image or performing
multiple manipulations on a selection.
•Bilinear is the medium-quality method.
•Bicubic is the slowest but most precise method,
resulting in the smoothest tonal gradations.
Changing the pixel dimensions of an
image
When preparing images for online distribution,
it’s useful to specify image size in terms of the pixel
dimensions. Keep in mind that changing pixel
dimensions affects not only the size of an image
on-screen but also its image quality and its printed
characteristics—either its printed dimensions or
its image resolution. (See “About image size and
resolution” on page 46.)
ACB
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To change the pixel dimensions of an image:
1Choose Image > Resize > Image Size.
2Make sure that Resample Image is selected, and
choose an interpolation method. (See “About
interpolation methods” on page 49.)
3To maintain the current proportions of pixel
width to pixel height, select Constrain Propor-
tions. This option automatically updates the width
as you change the height, and vice versa.
4Under 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.
5Click OK to change the pixel dimensions and
resample the image.
For best results in producing a smaller image,
downsample and apply the Unsharp Mask
filter. To produce a larger image, rescan the image at
a higher resolution.
Changing the print dimensions and
resolution of an image
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 in the
Print Options dialog box; however, changes you
make in the Print Options dialog box affect only
the printed image, not the document size of the
image file. (See “Positioning and scaling images”
on page 262.)
If you turn on resampling for the image, you can
change print dimensions and resolution indepen-
dently (and change the total number of pixels in
the image). If you turn resampling off, you can
change either the dimensions or the resolution—
Photoshop Elements 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.
To change the print dimensions and resolution of
an image:
1Choose Image > Resize > Image Size.
2Change 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, make sure that
Resample Image is selected. Then choose an inter-
polation method. (See “About interpolation
methods” on page 49.)
•To change the print dimensions and resolution
without changing the total number of pixels in the
image, deselect Resample Image.
3To maintain the current proportions of image
width to image height, select Constrain Propor-
tions. This option automatically updates the width
as you change the height, and vice versa.
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4Under 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. (See “Using rulers
and the grid” on page 27.)
5For Resolution, enter a new value. If desired,
choose a new unit of measurement.
6Click OK.
To return to the original values displayed in
the Image Size dialog box, hold down Alt
(Windows) or Option (Mac OS), and click Reset.
To view the print size on-screen:
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 magnification of the image is adjusted to
display its approximate printed size, as specified in
the Document Size section of the Image Size dialog
box. Keep in mind that the size and resolution of
your monitor affect the on-screen print size.
Scanning images
Before you scan an image, make sure that the
software necessary for your scanner has been
installed. To ensure a high-quality scan, you
should predetermine the scanning resolution
and dynamic range your image requires. These
preparatory steps can also prevent unwanted color
casts from being introduced by your scanner.
Scanner drivers are provided and supported by
the manufacturers of the scanners, not Adobe
Systems Incorporated. If you have problems with
scanning, make sure that you are using the latest
version of the appropriate scanner driver.
Importing scanned images
You can import scanned images directly from any
scanner that has an Adobe Photoshop-compatible
plug-in module or that supports the TWAIN
interface. To import the scan using a plug-in
module, choose the scanner name from the File >
Import submenu. See your scanner documen-
tation for instructions on installing the scanner
plug-in. For general plug-in information,
see “Using plug-in modules” on page 40.
If your scanner does not have an Adobe
Photoshop-compatible scanner driver, import the
scan using the TWAIN interface. (See “Importing
an image using the TWAIN interface” on page 51.)
If you can’t import the scan using the TWAIN
interface, use the scanner manufacturer’s software
to scan your images, and save the images as TIFF,
PICT, or BMP files. Then open the files in
Photoshop Elements.
Importing an image using the TWAIN
interface
TWAIN is a cross-platform interface for acquiring
images captured by certain scanners, digital
cameras, and frame grabbers. The manufacturer
of the TWAIN device must provide a Source
Manager and TWAIN Data source for your device
to work with Photoshop Elements.
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You must install the TWAIN device and its
software, and restart your computer, before you
can use it to import images into Photoshop
Elements. See the documentation provided by
your device manufacturer for installation
information.
To import an image using the TWAIN interface:
Do one of the following:
•Choose File > Import, and choose the device you
want to use from the submenu.
•Click Acquire on the Quick Start screen that
appears when you start Photoshop Elements.
Optimizing the dynamic range of the scan
Keep in mind that the human eye can detect a
wider tonal range than can be printed. If your
scanner allows, set the black and white points
before scanning a file to produce the best tonal
range and capture the widest dynamic range. Then
use Photoshop Elements’s color adjustment tools
to set the white and black points for the scanned
image. (See “Adjusting tonal range” on page 85.)
Eliminating unwanted color casts
If your scanned image contains an unwanted color
cast, for example if the colors in the image are all
too red in color, you can perform a simple test to
determine whether the cast was introduced by
your scanner. If it was, you can use the same test
file to create a color-cast correction for all images
scanned with the scanner.
To identify and correct a color cast introduced by
a scanner:
1Make sure that your monitor has been
calibrated. (See “Calibrating your monitor” on
page 66.)
2Open a new file, and use the linear gradient
tool ( ) to create a blend from pure black to
pure white.
3Choose Image > Adjustments > Posterize, and
posterize the blend using 11 levels.
4Print the 11-step gray wedge on a black-and-
white printer, and then scan it into Photoshop
Elements.
Note: You can also perform this test using an
18-percent neutral gray card or an 11-step gray
wedge from a photography store.
5Open the Info palette, and read the RGB values
on-screen for each of the gray levels. Uneven R, G,
and B values indicate a color cast.
6Write down the R, G, and B values.
7Open the scanned image you want to correct,
choose Enhance > Brightness/Contrast > Levels,
and enter the R, G, and B values you just recorded.
Importing images from a digital
camera
Photoshop Elements works with digital camera
software to import images directly from a camera.
Make sure that the software and drivers that came
with your digital camera are properly installed
before you import images.
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To import images:
1Follow the procedures in the digital camera
software documentation to connect the digital
camera to your computer.
2Choose File > Import, and select your digital
camera from the submenu.
Note: If the name of your camera does not appear in
the submenu, verify that the software and drivers
were installed properly.
3Once the digital camera software launches,
import the desired images as you would if you
were downloading them to your computer.
4Save the imported image as a Photoshop
Elements file.
Importing images using WIA
(Windows Image Acquisition)
Support
Certain digital cameras and scanners can be used
to import images using WIA Support. When you
use WIA Support, Photoshop Elements works
with Windows and your digital camera or scanner
software to import images directly into Photoshop
Elements.
Note: WIA Support is only available if you are using
WindowsME.
To import images from a digital camera using
WIA support:
1Choose File > Import > WIA Support.
2Choose a destination on your computer for
saving your image files.
3Make sure Open Acquired Images in Photoshop
Elements is checked. If you have a large number of
images to import, or if you want to edit the images
at a later time, deselect it.
4Make sure Unique Subfolder is selected so that
the imported images are put directly into a folder
named with the current date.
5Click Start.
6Select the digital camera that you want to
import images from.
Note: If the name of your camera does not appear in
the submenu, verify that the software and drivers
were properly installed and that the camera is
connected.
7Choose the image or images you want to
import:
•Click the image from the list of thumbnails to
import the image.
•Hold Shift down and click on multiple images to
import them at the same time.
•Click Select All to import all available images.
8Click Get Picture to import the image.
To import images from a scanner using WIA Support:
1Choose File > Import > WIA Support.
2Choose a destination on your computer to save
image files to.
3Click Start.
4Make sure Open Acquired Images in Photoshop
Elements is checked. If you have a large number of
images to import, or if you want to edit the images
at a later time, deselect it.
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5Make sure Unique Subfolder is selected so that
the imported images are put directly into a folder
named with the current date.
6Select the scanner that you want to use.
Note: If the name of your scanner does not appear in
the submenu, verify that the software and drivers
were properly installed and that the scanner is
connected.
7Choose the kind of image you want to scan:
•Color picture to use the default settings for
scanning color images.
•Grayscale picture to use the default settings for
scanning grayscale images.
•Black and White picture or Text to use the
default settings.
•Click Adjust the Quality of the Scanned Picture
to use custom settings.
8Click preview to view the scan. Crop the scan
if needed by pulling the rectangle so it surrounds
the image.
9Click Scan.
10 The scanned image will be saved in the .bmp
file format.
Creating new images
The New command ( ) lets you create a blank
image.
To create a new image:
1Do one of the following:
•Click New on the Quick Start screen that appears
when you start Photoshop Elements.
•To base the image dimensions and resolution on
the Clipboard contents, choose File > New. If the
Clipboard does not contain image data, the image
dimensions and resolution are based on the last
image you created.
•To base the image size on the default dimensions
and resolution or the last entered settings, hold
down Alt (Windows) or Option (Mac OS) when
you choose File > New.
•To create an image from data on the Clipboard,
select File > Create from Clipboard or click Paste
on the Quick Start screen that appears when you
start Photoshop Elements.
2If desired, type a name for the image, and set the
width and height.
To match the width and height of the new
image to that of any open image, choose a
filename from the bottom section of the Windows
menu.
3Set the resolution and mode. (See “About image
size and resolution” on page 46 and “About color
modes” on page 68.)
4Select an option for the contents of the
bottommost layer of the image:
•White to create a white background.
•Background Color to fill the background with
the current background color. (See “Choosing
foreground and background colors” on page 74.)
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•Transparent to make the first layer transparent,
with no color values. The resulting document will
not have a background layer. (See “About the
background layer” on page 166.)
5Click OK.
Opening and importing images
You can open and import images in various file
formats. The available formats appear in the Open
dialog box, the Open As dialog box (Windows),
or the Import submenu. (See “About file formats”
on page 245.)
Note: Photoshop Elements uses plug-in modules to
open and import many file formats. If a file format
does not appear in the Open dialog box or in the
File > Import submenu, you may need to install
the format’s plug-in module. (See “Using plug-in
modules” on page 40.)
Opening files
The Open dialog box provides controls for
locating and previewing files. To bypass the Open
dialog box, use the Open Recent command.
There may be instances when Photoshop Elements
cannot determine the correct format for a file.
For example, transferring a file between Mac OS
and Windows can cause the format to be misla-
beled. In such cases, you must specify the correct
format in which to open the file.
To open a file:
1Choose File > Open ( ).
2Select the name of the file you want to open.
If the file does not appear, select the option for
showing all files from the Files of Type (Windows)
or Show (Mac OS) pop-up menu.
3(Mac OS) Click Show Preview to preview the
selected file. This option requires the Apple
QuickTime extension.
Note: Previews display faster if they are saved with
the file. Select Always Save for Image Previews in the
Saving Files preferences to always save a preview;
select Ask When Saving to save previews on a file-
per-file basis.
4Click Open. In some cases, a dialog box appears,
letting you set format-specific options.
(See “Opening and importing PDF files” on
page 56 and “Opening PostScript artwork” on
page 57.)
Note: If a color profile warning message appears,
specify whether to convert the pixels based on the
file’s color profile. (See “Using color management”
on page 65.)
To open a recently used file:
Choose File > Open Recent, and select a file from
the submenu.
To specify the number of files that are available in
the Open Recent submenu, choose Edit > Prefer-
ences > Saving Files, and enter a number in the
Recent File List Contains text box.
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To specify the file format in which to open a file:
Do one of the following:
•(Windows) Choose File > Open As, and
select the file you want to open. Then choose the
desired format from the Open As pop-up menu,
and click Open.
•(Mac OS) Choose File > Open, and choose
All Documents from the Show pop-up menu.
Then select the file you want to open, choose the
desired file format from the Format pop-up menu,
and click Open.
Important: If the file does not open, then the chosen
format may not match the file’s true format, or the
file may be damaged.
Opening files with File Browser
File Browser helps you quickly locate image files
on your computer.
To open a file using File Browser:
1Choose Window > Show File Browser.
2Select one of the following from the
drop-down list:
•Hard disk drive to show the directories and files
on the hard disk drive.
•Desktop to show the files saved on the desktop of
your computer. Thumbnails of image files are
displayed to identify each image.
•The name of any other drive or removable media
such as a Photo CD.
3Double-click a file folder to view its contents.
4Do one of the following to open the image in
Photoshop Elements:
•Double-click an image file.
•Drag and drop an image file.
•Select an image file and then press Return.
Opening and importing PDF files
Portable Document Format (PDF) is a versatile
file format that can represent both vector and
bitmap data and can contain electronic document
search and navigation features. PDF is the
primary format for Adobe Illustrator 9.0 and
Adobe Acrobat.
Photoshop Elements recognizes two types of PDF
files: Photoshop PDF files and Generic PDF files.
You can open both types of PDF files; however,
you can only save images to Photoshop PDF
format.
Photoshop PDF files Are created using the
Photoshop Elements Save As command.
Photoshop PDF files can contain only a single
image.
Photoshop PDF format supports all of the color
modes and features that are supported in standard
Photoshop format. Photoshop PDF also supports
JPEG and ZIP compression, except for Bitmap-
mode images, which use CCITT Group 4
compression.
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Generic PDF files Are created using applications
other than Photoshop Elements, such as Adobe
Acrobat and Adobe Illustrator, and can contain
multiple pages and images. When you open a
Generic PDF file, Photoshop Elements rasterizes
the image.
You can also bring PDF data into Photoshop
Elements using the Place command, the Paste
command, and the drag-and-drop feature.
(See “Placing files” on page 60, “Using drag and
drop to copy between applications” on page 112,
and “Using the Clipboard to copy between appli-
cations” on page 112.)
To open a PDF file:
1Choose File > Open.
2Select the name of the file, and click Open.
You can change which types of files show by
selecting an option from the Files of Type
(Windows) or Show (Mac OS) pop-up menu.
3If you are opening a Generic PDF file, do the
following:
•If the file contains multiple pages, select the page
you want to open, and click OK.
•Indicate the desired dimensions, resolution,
and mode. If the file has an embedded ICC profile,
you can choose the profile from the mode
pop-up menu.
•Select Constrain Proportions to maintain the
same height-to-width ratio.
•Select Anti-aliased to minimize the jagged
appearance of the artwork’s edges as it is
rasterized.
•Click OK.
To import images from a PDF file:
1Choose File > Import > PDF Image,
select the file you want to import images from,
and click Open.
2Select the image you want to open:
•To open a specific image, select it and click OK.
You can use the arrows to scroll through the
images, or click Go to Image to enter an image
number.
•To open each image as a separate file, click
Import All Images.
Press Esc to cancel the import operation before
all images are imported.
Opening PostScript artwork
Encapsulated PostScript® (EPS) can represent both
vector and bitmap data and is supported by
virtually all graphic, illustration, and page-layout
programs. Adobe applications that produce
PostScript artwork include Adobe Illustrator,
Adobe Dimensions, and Adobe Streamline.
When you open an EPS file containing vector art,
it is rasterized—the mathematically defined lines
and curves of the vector artwork are converted
into the pixels or bits of a bitmap image.
You can also bring PostScript artwork into
Photoshop Elements using the Place command,
the Paste command, and the drag-and-drop
feature. (See “Placing files” on page 60, “Using
drag and drop to copy between applications” on
page 112, and “Using the Clipboard to copy
between applications” on page 112.)
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To open an EPS file:
1Choose File > Open.
2Select the file you want to open, and click Open.
3Indicate the desired dimensions, resolution,
and mode. To maintain the same height-to-width
ratio, select Constrain Proportions.
4Select Anti-aliased to minimize the jagged
appearance of the artwork’s edges as it is
rasterized.
5Click OK.
Opening Photo CD files
You can open Kodak® Photo CD™ (PCD) files,
including high-resolution files from Pro Photo CD
discs.
Note: You cannot save files in PCD format from
Photoshop Elements.
To open a Photo CD file:
1Choose File > Open.
2Select the PCD file you want to open, and click
Open. If the file does not appear, select the option
for showing all files from the Files of Type
(Windows) or Show (Mac OS) menu.
3Select options for the source image:
•Pixel Size to specify the pixel dimensions of the
image. Keep in mind that the on-screen size of the
opened image depends on both the pixel size and
resolution you choose. (See “About image size and
resolution” on page 46.)
•Profile to specify a device profile for color
management. (See “Using color management” on
page 65.)
4Select options for the destination image:
•Resolution to specify the resolution of the
opened image.
•Color Space to specify a color profile for the
opened image. (See “Using color management” on
page 65.)
•Landscape or Portrait to specify the orientation
of the opened image.
5Click OK.
Opening Raw files
The Raw format is designed to accommodate
images saved in undocumented formats, such as
those created by scientific applications.
Compressed files, such as PICT and GIF, cannot be
opened using this format.
To open a file using the Raw format:
1Choose File > Open or File > Open As
(Windows).
2Choose Raw from the file format list, and
click Open.
3For Width and Height, enter values for the
dimensions of the file.
4To reverse the order of the width and height,
click Swap.
5Enter the number of channels.
6Select Interleaved if the file was saved with an
interlaced data option.
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7Select a color depth and, if necessary, a byte
order.
8For Header, enter a value.
9If you are missing the dimensions or header
value, you can have Photoshop Elements estimate
the parameters. Either enter the correct height and
width values to estimate the header size, or enter
the correct header size to estimate the height and
width, and then click Guess.
10 To have Photoshop Elements retain the header
when you save the file, select Retain When Saving.
11 Click OK.
Importing anti-aliased PICT files (Mac OS)
Choose File > Import > Anti-aliased PICT to
import object-oriented PICT files (such as those
created with MacDraw and Canvas) as smooth-
edged, or anti-aliased, images. Because the entire
PICT file must be held in memory for this module
to operate, you may not be able to use the module
with large PICT files.
The Anti-aliased PICT dialog box indicates the
current file size and dimensions. To change the
image dimensions, enter new values for Width and
Height. The file size is then updated. To maintain
image proportions, select Constrain Proportions.
You can choose Grayscale or RGB color mode for
an anti-aliased PICT file.
Importing PICT resources (Mac OS)
The PICT Resource module lets you read PICT
resources from a file—for example, from another
application. To open a PICT resource, choose
File > Import > PICT Resource.
To preview a resource, click Preview. Click the
arrow buttons to step forward and backward
through the resources. Note that the number
displayed for Resource refers to the resource’s
position in ascending order in the resource fork
and not to the resource’s identification number.
Note: In Photoshop Elements, you can also open a
file in the PICT Resource file format by choosing
File > Open, choosing All Documents from the Show
pop-up menu, selecting the file you want to open,
choosing PICT Resource from the Format pop-up
menu, and clicking Open. However, the Open
command automatically opens the first resource in
the file and does not display any other PICT
resources in the file.
Opening images in EPS TIFF or EPS PICT
Preview format
These formats let you open images saved in
file formats that create previews but are not
supported by Adobe Photoshop Elements (such
as QuarkXPress®). An opened preview image can
be edited and used like any other low-resolution
file. EPS PICT Preview is available only in Mac OS.
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Placing files
You can use the File > Place command to place
artwork into a new layer in an image. In
Photoshop Elements, you can place PDF, Adobe
Illustrator, and EPS files.
When you place a PDF, Adobe Illustrator, or EPS
file, it is rasterized; you cannot edit text or vector
data in placed artwork. Keep in mind that artwork
is rasterized at the resolution of the file into which
it is placed.
To place a PDF, Adobe Illustrator, or EPS file:
1Open the Photoshop Elements image into
which you want to place the artwork.
2Choose File > Place, select the file you want to
place, and click Place.
3If you are placing a PDF file that contains
multiple pages, select the page you want to place in
the provided dialog box, and click OK.
The placed artwork appears inside a bounding box
at the center of the Photoshop Elements image.
The artwork maintains its original aspect ratio;
however, if the artwork is larger than the
Photoshop Elements image, it is resized to fit.
4If desired, reposition the placed artwork by
doing one or more of the following:
•Position the pointer inside the bounding box of
the placed artwork, and drag.
•In the options bar, enter a value for X to specify
the distance between the center point of the placed
artwork and the left edge of the image. Enter a
value for Y to specify the distance between the
center point of the placed artwork and the top
edge of the image.
5If desired, scale the placed artwork by doing one
or more of the following:
•Drag one of the handles at the corners or sides of
the bounding box. Hold down Shift as you drag a
corner handle to constrain the proportions.
•In the options bar, enter values for W and H to
specify the width and height of the artwork.
By default, these options represent scale as a
percentage; however, you can enter another unit of
measurement (in, cm, or px). To constrain the
proportions of the artwork, click the Constrain
Proportions icon ( ); the option is on when the
icon has a white background.
6If desired, rotate the placed artwork by doing
one or more of the following:
•Position the pointer outside the bounding box of
the placed artwork (the pointer turns into a curved
arrow), and drag.
•In the options bar, enter a value (in degrees) for
the Rotation option ( ).
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7If desired, skew the placed artwork by holding
down Ctrl (Windows) or Command (Mac OS),
and dragging a side handle of the bounding box.
8Set the Anti-alias option in the options bar as
desired. To blend edge pixels during rasterization,
select the Anti-alias option. To produce a hard-
edged transition between edge pixels during
rasterization, deselect the Anti-alias option.
9To commit the placed artwork to a new layer,
do one of the following:
•Click the OK button ( ) in the options bar.
•Press Enter or Return.
To cancel the placement, click the Cancel
button ( ) in the options bar, or press Esc.
3
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Chapter 3: Working with Color
amiliarity with color theory and termi-
nology can help you understand how color
is measured and how Adobe Photoshop
Elements uses this information to define, display,
and print color values. You can apply colors and
make color and tonal adjustments using the color
information of an image.
About color and computer
graphics
Objects appear to be certain colors because of their
ability to reflect, absorb, or transmit light, which
we perceive as color. Our eyes are sensitive enough
to perceive thousands of different colors in the
spectrum of visible light—including many colors
that cannot be displayed on a color monitor or
printed on a desktop printer.
When creating computer graphics, each piece of
equipment you work with to reproduce color—
such as a scanner, color monitor, and desktop
printer—is called a device. Each type of device
reproduces a different range of color, called a color
gamut. Even similar devices, such as two monitors
made by the same manufacturer, can show the
same color differently. As you move an image from
one device to another, its colors can shift in
appearance, sometimes resulting in dramatic
changes.
Using color management
A color management system is used to achieve
color consistency between different devices.
Ideally, this means that the colors on your monitor
accurately represent both the colors in the scanned
image and the colors you will see when the
image is printed. Photoshop Elements follows a
color management workflow based on conven-
tions developed by the International Color
Consortium (ICC).
An ICC workflow uses color profiles to determine
how colors in a file translate to actual color
appearances. By associating, or tagging, an image
with a color profile, you provide a definition of
actual color appearances in the image; changing
the associated profile changes the color appear-
ances. Images without associated profiles are
known as untagged and contain only raw colors.
To create a color-managed image:
1Open a file and choose Edit > Color Settings.
2Select a color management option, and
click OK:
•No color management to associate no color
profile with the image.
•Limited color management to tag the image with
a standard color profile for Web graphics.
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•Full color management to tag the image with
a standard color profile for print graphics. The
exact color profile depends on the color mode of
the image.
3Choose File > Save As, and select ICC Profile
(Windows) or Embed Color Profile (Mac OS) in
the Save As dialog box.
4Finish saving the image, as described in “Saving
images” on page 246.
Calibrating your monitor
For color management to work effectively, you
must calibrate your computer monitor. The Adobe
Gamma utility, which is automatically installed
into your Control Panels folder, lets you calibrate
and characterize your monitor to a standard and
then save the settings as an ICC-compliant profile.
This calibration helps you eliminate any color cast
in your monitor, make your monitor grays as
neutral as possible, and standardize image display
across different monitors.
Monitor color performance changes and
degrades over time; recharacterize your
monitor every month or so. If you find it difficult or
impossible to calibrate your monitor to a standard, it
may be too old and faded.
Monitor calibration involves adjusting video
settings, which may be unfamiliar to you.
A monitor profile uses these settings to precisely
describe how your monitor reproduces color.
Brightness and contrast The overall level and
range, respectively, of display intensity. These
parameters work just as they do on a television set.
Adobe Gamma helps you set an optimum
brightness and contrast range for calibration.
Gamma The brightness of the midtone values.
The values produced by a monitor from black to
white are nonlinear—if you graph the values, they
form a curve, not a straight line. The gamma value
defines the slope of that curve halfway between
black and white. Gamma adjustment compensates
for the nonlinear tonal reproduction of output
devices such as monitor tubes.
Phosphors The substance that monitors use to
emit light. Different phosphors have different
color characteristics.
White point The coordinates (measured in the
CIE XYZ color space) at which red, green, and blue
phosphors at full intensity create white.
To calibrate your monitor using Adobe Gamma:
1Do the following before you start the
calibration process:
•Make sure your monitor has been turned on for
at least a half hour. This gives it sufficient time to
warm up for a more accurate color reading.
•Make sure your monitor is displaying thousands
(16 bits) of colors or more.
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•Remove colorful background patterns on your
monitor desktop. Busy or bright patterns
surrounding a document interfere with accurate
color perception. Set your desktop to display
neutral grays only, using RGB values of 128. For
more information, see the documentation for
your operating system.
2Start the Adobe Gamma utility:
•In Windows, start Adobe Gamma, located in the
Control Panels folder or in the Program
Files/Common Files /Adobe/Calibration folder on
your hard drive.
•In Mac OS, choose Control Panels > Adobe
Gamma from the Apple menu.
3Do one of the following:
•To use a version of the utility that will guide you
through each step, select Step by Step, and click
OK. Then, follow the instructions described in
the utility. Start from the default profile for
your monitor if available, and enter a unique
description name for the profile. When you are
finished with Adobe Gamma, save the profile
using the same description name. (If you do
not have a default profile, contact your monitor
manufacturer for appropriate phosphor
specifications.)
•To use a compact version of the utility with all
the controls in one place, select Control Panel, and
click OK. This version is recommended if you have
experience creating color profiles.
At any time while working in the Adobe
Gamma control panel, you can click the Wizard
(Windows) or Assistant (Mac OS) button to switch
to the wizard for instructions that guide you through
the same settings as in the control panel, one option
at a time.
Describing color
The human eye perceives color in terms of three
characteristics—hue, saturation, and brightness
(HSB), while computer monitors display colors by
generating varying amounts of red, green, and
blue (RGB) light. Photoshop Elements lets you use
the HSB and RGB color models to select and
manipulate color.
HSB model
Based on the human perception of color, the HSB
model describes three fundamental characteristics
of color:
•Hue is the color reflected from or transmitted
through an object. It is measured as a location on
the standard color wheel, expressed as a degree
between 0° and 360°. In common use, hue is
identified by the name of the color such as red,
orange, or green.
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•Saturation, sometimes called chroma, is the
strength or purity of the color. Saturation repre-
sents the amount of gray in proportion to the hue,
measured as a percentage from 0% (gray) to 100%
(fully saturated). On the standard color wheel,
saturation increases from the center to the edge.
•Brightness is the relative lightness or darkness of
the color, usually measured as a percentage from
0% (black) to 100% (white).
Although you can use the HSB model in
Photoshop Elements to define a color in the Color
Picker dialog box, there is no HSB mode available
for creating and editing images.
A. Saturation B. Hue C. Brightness D. All hues
RGB model
A large percentage of the visible spectrum can be
represented by mixing red, green, and blue (RGB)
colored light in various proportions and inten-
sities. Where the colors overlap, they create cyan,
magenta, yellow, and white.
Because the RGB colors combine to create white,
they are also called additive colors. Adding all
colors together creates white—that is, all light is
transmitted back to the eye. Additive colors are
used for lighting, video, and monitors. Your
monitor, for example, creates color by emitting
light through red, green, and blue phosphors.
Additive colors (RGB)
Choosing a color mode
Photoshop Elements provides several color modes
for displaying and printing images. The color
mode you choose determines the number of colors
that can be displayed in an image and can also
affect the file size of the image.
About color modes
Photoshop Elements provides four color modes:
RGB, Bitmap, Grayscale, and Indexed color.
RGB mode RGB is the default mode for new
Photoshop images. It uses the RGB color model to
assign an intensity value to each pixel ranging
from 0 (black) to 255 (white) for each of the RGB
components in a color image. For example,
a bright red color might have an R value of 246,
A
B
C
D
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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 value of all
components is 255, the result is pure white;
when the value is 0, pure black.
RGB images use three colors, or channels, to
reproduce up to 16.7 million colors on-screen. In
addition to being the default mode for new
Photoshop images, the RGB model is used by
computer monitors to display colors.
Bitmap mode This 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.
Grayscale mode This mode uses up to 256 shades
of gray. Every pixel of a grayscale image has a
brightness value ranging from 0 (black) to 255
(white). Grayscale values can also be measured as
percentages of black ink coverage (0% is equal to
white, 100% to black). Images produced using
black-and-white or grayscale scanners typically are
displayed in Grayscale mode.
Indexed Color mode This mode uses at most 256
colors. When converting to indexed color,
Photoshop Elements 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 simulates the color using available
colors.
By limiting the palette of colors, indexed color can
reduce file size while maintaining visual quality—
for example, for a Web page. Limited editing is
available in this mode. For extensive editing you
should convert temporarily to RGB mode. (See
“Converting to indexed color” on page 71.)
Converting between color modes
When you choose a different color mode
for an image, you permanently change the color
values in the image. Consequently, before
converting images, it’s best to do the following:
•Do as much editing as possible in RGB mode.
•Save a backup copy before converting. Be sure to
save a copy of your image that includes all layers in
order to edit the original version of the image after
the conversion.
•Flatten the file before converting it. The inter-
action of colors between layer blending modes will
change when the mode changes.
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To convert an image to another mode:
Choose Image > Mode, and choose the mode you
want from the submenu. Modes not available for
the active image appear dimmed in the menu.
Note: Images are flattened when you convert them to
Bitmap or Indexed Color mode, because these modes
do not support layers.
Converting between Grayscale and
Bitmap modes
Converting an image to Bitmap mode reduces the
image to two colors, greatly simplifying the color
information in the image and reducing its file size.
To convert an image to Bitmap mode, you must
first convert it to Grayscale mode. This removes
the hue and saturation information from the
pixels and leaves just the brightness values.
However, because few editing options are available
for Bitmap-mode images, it’s usually best to edit
the image in Grayscale mode and then convert it.
Keep in mind that a Bitmap-mode image edited in
Grayscale mode may not look the same when
converted back to Bitmap mode. For example,
consider a pixel that is black in Bitmap mode and
then edited to a shade of gray in Grayscale mode.
If the gray value of the pixel is light enough, it
will become white when converted back to
Bitmap mode.
To convert an image to Bitmap mode:
1Do one of the following:
•If the image is in color, choose Image > Mode >
Grayscale. Then choose Image > Mode > Bitmap.
•If the image is grayscale, choose Image > Mode >
Bitmap.
2For Output, enter a value for the output
resolution of the Bitmap-mode image, and choose
a unit of measurement. By default, the current
image resolution appears as both the input and the
output resolutions.
3Select one of the following bitmap conversion
methods, and click OK:
50% Threshold Converts pixels with gray values
above the middle gray level (128) to white and
below to black. The result is a very high-contrast,
black-and-white representation of the image.
Pattern Dither Converts an image by organizing
the gray levels into geometric configurations of
black and white dots.
Diffusion Dither Converts an image by using an
error-diffusion process, starting at the pixel in the
upper left corner of the image. If the pixel’s value
is above middle gray (128), the pixel is changed
to white—if below, to black. Because the original
pixel is rarely pure white or pure black, error is
inevitably introduced. This error is transferred to
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surrounding pixels and diffused throughout the
image, resulting in a grainy, filmlike texture. This
option is useful for viewing images on a black-
and-white screen.
Original grayscale image, and 50% Threshold
conversion method
Pattern Dither conversion method, and Diffusion Dither
conversion method
To convert a Bitmap-mode image to grayscale:
1Choose Image > Mode > Grayscale.
2Enter a value between 1 and 16 for the size ratio.
The size ratio is the factor for scaling down the
image. For example, to reduce a grayscale image by
50%, enter 2 for the size ratio. If you enter a
number greater than 1, the program averages
multiple pixels in the Bitmap-mode image to
produce a single pixel in the grayscale image. This
process lets you generate multiple shades of gray
from an image scanned on a 1-bit scanner.
Converting to indexed color
Converting to indexed color reduces the
number of colors in the image to at most 256—
the standard number of colors supported by the
GIF and PNG-8 formats and many Web browsers.
This conversion reduces file size by deleting color
information from the image.
Note: To convert to indexed color, you must start
with either a grayscale or RGB image.
To convert an image to indexed color:
1Choose Image > Mode > Indexed Color.
2Click OK to flatten layers.
Note: This will flatten all visible layers and discard
hidden layers.
For grayscale images, the conversion happens
automatically. For RGB images, the Indexed Color
dialog box appears.
3Select Preview the Indexed Color dialog box to
display a preview of the changes.
4Specify conversion options as described in the
following sections.
5Click OK.
Palette types for indexed-color images
A number of palette types are available for
converting an image to indexed color.
Exact Creates a palette using the exact colors
appearing in the RGB image—an option available
only if the image uses 256 or fewer colors. Because
the image’s palette contains all colors in the image,
there is no dithering.
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System (Mac OS) Uses the Mac OS default 8-bit
palette, which is based on a uniform sampling of
RGB colors.
System (Windows) Uses the Windows system’s
default 8-bit palette, which is based on a uniform
sampling of RGB colors.
Web Uses the 216 colors that Web browsers,
regardless of platform, use to display images on a
monitor limited to 256 colors. This palette is a
subset of the Mac OS 8-bit palette. Use this option
to avoid browser dither when viewing images on a
monitor display limited to 256 colors.
Uniform Creates a palette by uniformly sampling
colors from the RGB color cube. For example, if
Photoshop Elements takes 6 evenly spaced color
levels each of red, green, and blue, the combi-
nation produces a uniform palette of 216 colors
(6 cubed = 6 x 6 x 6 = 216). The total number of
colors displayed in an image corresponds to the
nearest perfect cube (8, 27, 64, 125, or 216) that is
less than the value in the Colors text box.
Perceptual Creates a custom palette by giving
priority to colors for which the human eye has
greater sensitivity.
Selective Creates a color table similar to the
Perceptual color table, but favoring broad areas of
color and the preservation of Web colors. This
option usually produces images with the greatest
color integrity.
Adaptive Creates a palette by sampling the colors
from the spectrum appearing most commonly in
the image. For example, an RGB image with only
the colors green and blue produces a palette made
primarily of greens and blues. Most images
concentrate colors in particular areas of the
spectrum. To control a palette more precisely, first
select a part of the image containing the colors you
want to emphasize. Photoshop Elements weights
the conversion toward these colors.
Custom Creates a custom palette using the Color
Table dialog box. Either edit the color table and
save it for later use or click Load to load a previ-
ously created color table. (See “Customizing
indexed color tables” on page 73.) This option also
displays the current adaptive palette, which is
useful for previewing the colors most often used in
the image.
Previous Uses the custom palette from the
previous conversion, making it easy to convert
several images with the same custom palette.
Number of colors in indexed-color images
For the Uniform, Perceptual, Selective, or Adaptive
palette, you can specify the exact number of colors
to be displayed (up to 256) by entering a value for
Colors. The Colors text box controls only how the
indexed color table is created.
Color inclusion and transparency in
indexed-color images
To specify colors to be included in the indexed
color table or to specify transparency in the image,
choose from the following options:
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Forced Provides options to force the inclusion of
certain colors in the color table. Black and White
adds a pure black and a pure white to the color
table; Primaries adds red, green, blue, cyan,
magenta, yellow, black, and white; Web adds the
216 Web-safe colors; and Custom lets you define
custom colors to add.
Transparency Specifies whether to preserve trans-
parent areas of the image during conversion.
Selecting this option adds a special index entry in
the color table for transparent colors. Deselecting
this option fills transparent areas with the matte
color, or with white if no matte color is chosen.
Matte Specifies the background color used to fill
anti-aliased edges that lie adjacent to transparent
areas of the image. With Transparency selected, the
matte is applied to edge areas to help blend the
edges with a Web background of the same color.
With Transparency deselected, the matte is applied
to transparent areas. Choosing None for the matte
creates hard-edged transparency if Transparency is
selected; otherwise, all transparent areas are filled
with 100% white.
Dithering in indexed-color images
Unless you’re using the Exact color table option,
the color table may not contain all the colors used
in the image. To simulate colors not in the color
table, you can dither the colors. Dithering mixes
the pixels of the available colors to simulate the
missing colors.
Choose a dither option from the menu, and enter
a value for the dither amount. A higher amount
dithers more colors, but may increase file size. You
can choose from the following dither options:
None Does not dither colors but instead uses the
color closest to the missing color. This tends to
result in sharp transitions between shades of color
in the image, creating a posterized effect.
Diffusion Uses an error-diffusion method that
produces a less structured dither than the Pattern
option. To protect colors in the image that contain
entries in the color table from being dithered,
select Preserve Exact Colors. This is useful for
preserving fine lines and text for Web images.
Pattern Uses a halftone-like square pattern to
simulate any colors not in the color table.
Noise Helps to reduce seam patterns along the
edges of image slices.
Customizing indexed color tables
The Color Table command lets you make changes
to the color table of an indexed-color image. You
can edit colors in the color table to produce special
effects, or assign transparency in the image to a
single color in the table.
To edit colors in the color table:
1Open the indexed-color image.
2Choose Image > Mode > Color Table.
3Click or drag in the table to choose the color or
range of colors you want to change.
4Choose a color, as explained in “Using the
Adobe Color Picker” on page 77, and click OK.
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If you are changing a range of colors, Photoshop
Elements creates a gradient in the color table
between the starting and ending colors. The first
color you choose in the Color Picker is the
beginning color for the range. When you click OK,
the Color Picker reappears so that you can choose
the last color in the range.
The colors you selected in the Color Picker are
placed in the range you selected in the Color Table
dialog box.
5Click Preview to view the results of the changes
you have made to the image.
6Click OK in the Color Table dialog box to apply
the new colors to the indexed-color image.
To assign transparency to a single color:
1Choose Image > Mode > Color Table.
2Select the eyedropper, and click the desired
color in the table or in the image. The sampled
color is replaced with transparency in the image.
3Click OK to close the color table.
To use a predefined color table:
1Choose Image > Mode > Color Table.
2Select an option from the Table menu:
Black Body Displays a palette based on the
different colors a blackbody radiator emits as it
is heated—from black to red, orange, yellow,
and white.
Grayscale Displays a palette based on 256 levels of
gray—from black to white.
Spectrum Displays a palette based on the colors
produced as white light passes through a prism—
from violet, blue, and green to yellow, orange,
and red.
System (Windows) Displays the standard
Windows 256-color system palette.
System (Mac OS) Displays the standard Mac OS
256-color system palette.
To save a color table for use with other images:
Click the Save button in the Color Table
dialog box. (See “Using the Swatches palette” on
page 76 for information on saving color tables.)
To load a saved color table:
Click the Load button in the Color Table dialog
box. Once you load a color table into an image, the
colors in the image change to reflect the color
positions they reference in the new color table.
Note: You can also load saved color tables into the
Swatches palette. (See “Using the Swatches palette”
on page 76.)
Choosing foreground and
background colors
Photoshop Elements uses the foreground color to
paint, fill, and stroke selections and shapes, and
the background color to make gradient fills and fill
in the erased areas of an image. The foreground
and background colors are also used by some
special effects filters.
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You can designate a new foreground or
background color using the eyedropper tool, the
Swatches palette, or the Adobe Color Picker.
Using color settings in the toolbox
The current foreground color appears in the upper
color selection box in the toolbox; the current
background color appears in the lower box.
The Info palette and the Adobe Color Picker let
you display color values using a number of color
models. (See “About color modes” on page 68.)
To change the foreground or background color:
1Do one of the following:
•To change the foreground color, click the upper
color selection box in the toolbox.
•To change the background color, click the lower
color selection box in the toolbox.
2Choose a color in the Adobe Color Picker.
(See “Using the Adobe Color Picker” on page 77.)
To reverse the foreground and background colors:
Click the Switch Colors icon ( ) in the toolbox.
To set current colors to black and white:
Click the Default Colors icon ( ) in the toolbox.
Using the eyedropper tool
The eyedropper tool samples color from an image
to designate a new foreground or background
color. You can sample from the active image or
from another image. (When you’re using the
eyedropper, you can click in a background image
without making it the active image.)
You can also specify the area sampled by the
eyedropper tool. For example, you can set the
eyedropper to sample the color values of a
3-by-3-pixel area under the pointer. Modifying the
sample size of the eyedropper affects the color
readouts displayed in the Info palette.
To select the foreground or background color:
1Select the eyedropper tool ( ).
2To change the sample size of the eyedropper,
choose an option from the Sample Size menu:
•Point Sample to read the precise value of the
pixel you click.
•3 by 3 Average or 5 by 5 Average to read the
average value of the specified number of pixels
within the area you click.
3Select a color:
•To select a new foreground color from an image,
click the color you want.
• To select a new background color from an
image, Alt-click (Windows) or Option-click (Mac
OS) the color you want.
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As you drag the eyedropper tool, the foreground
color selection box changes dynamically. Alt-drag
(Windows) or Option-drag (Mac OS) to activate
the background color selection box. Release the
mouse button to pick the new color.
To use the eyedropper tool temporarily while
using most painting tools, hold down Alt
(Windows) or Option (Mac OS).
Using the Swatches palette
You can choose a foreground or background color
from the Swatches palette, or you can add or delete
colors to create a custom swatch library. You can
also save a library of swatches and reload them for
use in another image. Although you can add many
colors to the Swatches palette, you should manage
its size and organization. You can load, save, and
manage libraries of swatches using the Preset
Manager. (See “Working with presets” on
page 35.)
To display the Swatches palette:
Choose Window > Show Swatches, or click the
Swatches palette tab.
To select a foreground or background color:
Do one of the following:
•To choose a foreground color, click a color in the
Swatches palette.
•To choose a background color, Alt-click
(Windows) or Option-click (Mac OS) a color in
the Swatches palette.
To add a color to the Swatches palette:
1Use the eyedropper tool ( ) or the Adobe
Color Picker to select the color you want to add.
(See “Using the Adobe Color Picker” on page 77.)
2Position the pointer over an empty space in the
bottom row of the Swatches palette (the pointer
turns into the paint bucket tool), and click to add
the color. Or choose New Swatch from the
Swatches palette menu.
3Enter a name for the new color and click OK.
To delete a color in the Swatches palette:
Ctrl-click (Windows) or Command-click
(Mac OS) a color in the Swatches palette.
Managing swatches
The Swatches palette can hold many swatches.
Creating libraries of swatches can help you group
related or special swatches and manage palette
size. The Adobe Photoshop Elements program
folder includes files containing various swatch
libraries. When you create custom libraries, saving
them to the same folder allows your libraries to be
automatically displayed in the palette menu.
To save and use custom swatch sets:
Choose one of the following commands from the
Swatches palette menu:
•Select the name of a swatch library to load it.
•Reset Swatches to return to the default swatches
palette. You can also replace the current swatch
library.
•Load Swatches to add swatches stored in a file to
the palette.
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•Replace Swatches to replace the current swatch
library with swatches stored in a file.
•Save Swatches to save a swatch library in a file.
You can also load or save swatches using the Preset
Manager. (See “Working with presets” on
page 35.)
Exiting Photoshop Elements saves the contents of
the current palette in the Preferences file.
Changing views of the palette
You can change the view of the palette to display
swatches in different ways.
To change the view of the Swatches palette:
Choose one of the following views from the
Swatches palette menu:
•Thumbnail to display a thumbnail of each
swatch. This is the default view.
•Small List to display the name and thumbnail of
each swatch.
To replace or insert a color in the Swatches palette:
Use the eyedropper tool or the Adobe Color Picker
to select the color you want to add.
To delete a color from the Swatches palette:
Hold down Ctrl (Windows) or Command
(Mac OS), position the pointer over a swatch
(the pointer turns into scissors), and click.
To return to the default Swatches palette:
1Choose Reset Swatches from the Swatches
palette menu. Or choose Edit > Preset Manager,
select Swatches from the Preset Type list, and then
select Reset Swatches from the palette menu.
2Return to the default palette and click OK to
replace the current swatches with the default set.
Using the Adobe Color Picker
You can use the Adobe Color Picker to select the
foreground or background color by choosing from
a color spectrum or by defining colors numeri-
cally. In addition, you can select colors based on
HSB and RGB color models, or choose to use only
Web-safe colors. By default, the program uses the
Adobe Color Picker.
To display the Adobe Color Picker:
Click the foreground or background color
selection box in the toolbox.
Specifying a color using the color field and
color slider
With HSB and RGB color modes, you can use
the color field and the color slider in the Color
Picker dialog box to select a color. The color
slider displays the range of color levels available
for the selected color component (for example,
R, G, or B). The color field displays the range for
the remaining two components—one on the
horizontal axis, one on the vertical.
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For example, if the current color is black and you
click the red component (R) using the RGB color
model, the color slider displays the range of color
for red (0 is at the bottom of the slider and 255 is
at the top). The color field displays the values for
blue along its horizontal axis, for green along its
vertical axis.
To specify a color using the color field and color slider:
1Click a component next to the HSB or RGB
values.
2Select a color:
•Drag the white triangles along the slider.
•Click inside the color slider.
•Click inside the color field.
When you click in the color field, a circular marker
indicates the color’s position in the field.
As you adjust the color using the color field and
color slider, the numerical values change to reflect
the new color. The color rectangle to the right of
the color slider displays the new color in the top
section of the rectangle. The original color appears
at the bottom of the rectangle.
Specifying a color using numeric values
In the Adobe Color Picker, you can select a color
by specifying numeric values for each color
component.
To specify a color using numeric values:
Do one of the following:
•In RGB color mode (the mode your monitor
uses), specify component values from
0 to 255 (0 is black, and 255 is the pure color).
•In HSB color mode, specify saturation and
brightness as percentages; specify hue as an angle
from 0° to 360° that corresponds to a location on
the color wheel. (See “About color modes” on
page 68 for information on the color wheel.)
Using Web-safe colors
The Web-safe colors are the 216 colors used by
browsers regardless of the platform. The browser
will change all colors in the image to these colors
when displaying the color on an 8-bit screen. The
216 colors are a subset of the Mac OS 8-bit color
palettes. By working only with these colors, you
can be sure that art you prepare for the Web will
not dither on a system set to display in 256 colors.
To identify Web-safe colors in the Adobe Color Picker:
•Click the Only Web Colors option in the lower
left corner of the color picker, and then choose any
color in the color picker. Any color you pick with
this option selected is Web-safe.
•Choose a color in the color picker. If you choose
a non-Web color, an alert cube ( ) appears next
to the color rectangle in the color picker. Click
the alert cube to select the closest Web color. (If
no alert cube appears, the color you chose is
Web-safe.)
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Using other color pickers
In addition to the default Adobe Color Picker, you
can use the built-in color pickers on your system
or a plug-in color picker to select colors. Any
plug-in color pickers you install appear under
Color Picker in the General Preferences dialog
box. For information on installing and using a
plug-in color picker, see the documentation that
came with the plug-in.
To use the Windows Color Picker (Windows):
1Choose Edit > Preferences > General.
2Choose Windows from the Color Picker menu,
and click OK.
For more information, see your Windows
documentation.
To use the Apple Color Picker (Mac OS):
1Choose Edit > Preferences > General.
2For Color Picker, choose Apple, and click OK.
The exact appearance of the Apple Color Picker
varies between different system software versions.
For more information, see your Mac OS
documentation.
To return to the Adobe Color Picker after using
another color picker:
1Choose Edit > Preferences > General.
2Choose Adobe from the Color Picker menu,
and click OK.
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Chapter 4: Making Color and Tonal
Corrections
he color and tonal correction tools in
Photoshop Elements are used with images
that were taken with a digital camera or
scanned. You can correct the colors in an entire
image, or just portions of an image.
About correcting images
It may be necessary to correct the color and tone
in an image for several reasons. The original
photograph may have a color cast caused by using
incorrect film or lighting. Or the scan may have
been imperfect—scanners can introduce color
casts or artifacts. Or the colors in your original art
may be out of printable range.
Complete the following steps to correct the color
balance and tonal range of an image:
Calibrate your monitor Use Adobe Gamma to
calibrate your monitor. Otherwise, the image on
your monitor may look very different from the
same image when printed or when viewed on
another monitor. (See “Calibrating your monitor”
on page 66.)
View all pixels View the image at 100% before
making any color corrections. The accuracy of
color corrections may vary if all the pixels in the
image aren’t visible.
Check the scan quality and tonal range Look at
the image’s histogram to evaluate whether the
image has sufficient detail to produce high-quality
output. The greater the range of values in the
histogram, the greater the detail. Poor scans and
photographs without much detail can be difficult
if not impossible to correct. Too many color
corrections can also result in a loss of pixel values
and too little detail. (See “Checking scan quality
and tonal range” on page 84.)
Adjust the tonal range Begin tonal corrections by
adjusting the values of the extreme highlight and
shadow pixels in the image, setting an overall tonal
range that allows for the sharpest detail possible
throughout the image. This process is known as
setting the highlights and shadows or setting the
white and black points. (See “Adjusting tonal
range” on page 85.)
Setting the highlights and shadows typically redis-
tributes the midtone pixels appropriately. When
pixel values are concentrated at either end of the
tonal range, however, you may need to adjust your
midtones manually. It is not usually necessary to
adjust midtones in images that already have a
concentrated amount of midtone detail.
Adjust the color balance After correcting the
tonal range, you can adjust the image’s color
balance to remove unwanted color casts or to
correct oversaturated or undersaturated colors.
(See “Using the Color Cast command” on
page 92.)
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Make other special color adjustments Once you
have corrected the overall color balance of your
image, you can make optional adjustments to
enhance colors or produce special effects.
(See “Applying special color effects to images” on
page 95.)
Sharpen the edges of the image As a final step,
use the Unsharp Mask filter to sharpen the clarity
of edges in the image. This step helps restore focus
to images that have undergone resampling as a
result of tonal adjustments. (See “Sharpening
images” on page 98.)
Checking scan quality and tonal
range
A histogram illustrates how pixels in an image are
distributed by graphing the number of pixels at
each color intensity level. This can show you
whether the image contains enough detail in the
shadows (shown in the left part of the histogram),
midtones (shown in the middle), and highlights
(shown in the right part) to make a good
correction.
The histogram also gives a quick picture of the
tonal range of the image, or the image key type.
A low-key image has detail concentrated in the
shadows; a high-key image has detail concentrated
in the highlights; and an average-key image has
detail concentrated in the midtones. An image
with full tonal range has a high number of pixels in
all areas. Identifying the tonal range helps
determine appropriate tonal corrections.
Original with insufficient detail, and sufficient detail
Original, and corrected average-key image
Original, and corrected high-key image
Original, and corrected low-key image
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To display the histogram for an image:
1To display histogram data for a portion of the
image, first select that portion. By default,
the histogram displays the tonal range of the
entire image.
2Choose Image > Histogram.
The horizontal axis of the histogram represents
the intensity values, or levels, from darkest (0)
at the far left to brightest (255) at the far right;
the vertical axis represents the total number of
pixels with a given value.
Note: The histogram for an adjustment layer reflects
the data for all visible layers beneath it.
3For RGB images, choose an option from the
Channel menu. You can plot either the luminance
of the composite channel (Luminosity) or the
intensity values of an individual channel.
4To view information about a specific point on
the histogram, place the pointer there. To view
information about a range of values, drag in the
histogram to highlight the range. When you are
finished, click OK to close the histogram.
Statistical information about the intensity values
of the pixels appears below the histogram:
Mean Represents the average intensity value.
Standard deviation (Std Dev) Represents how
widely intensity values vary.
Median Shows the middle value in the range of
intensity values.
Pixels Represents the total number of pixels used
to calculate the histogram.
Level Displays the intensity level of the area
underneath the pointer.
Count Shows the total number of pixels corre-
sponding to the intensity level underneath
the pointer.
Percentile Displays the cumulative number of
pixels at or below the level underneath the pointer.
This value is expressed as a percentage of all the
pixels in the image, from 0% at the far left to 100%
at the far right.
Cache Level Shows the setting for the image
cache. If the Use Cache for Histograms option is
selected in the Memory and Image Cache
(Windows) or Image Cache (Mac OS) preferences,
the histogram displays more quickly and is based
on a representative sampling of pixels in the image
(based on the magnification), rather than on all of
the pixels (equivalent to a cache level of 1).
Deselect this option if you want to check for
posterization in the image. You can press Shift
while choosing Image > Histogram to generate the
histogram using all pixels in the image.
Adjusting tonal range
You can adjust the tonal relationships between
pixels in an image using a variety of commands.
Some commands—such as Auto Levels and
Auto Contrast—automatically correct the tonal
range of an image. Other commands—such as
Adjust Backlighting, Fill Flash, and Brightness/
Contrast—give you more control over the tonal
adjustments. Finally, the Levels dialog box gives
you the most precision when adjusting the tonal
relationships in an image.
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Using the Auto Levels command
The Auto Levels command defines the lightest and
darkest pixels in an image, and then redistributes
intermediate pixel values proportionately. Because
Auto Levels adjusts each color channel (red, green,
and blue) individually, it may remove or introduce
color casts.
Auto Levels gives good results when an image with
an average distribution of pixel values needs a
simple contrast adjustment.
To use the Auto Levels command:
Do one of the following:
•Choose Enhance > Auto Levels.
•Open the Levels dialog box. (See “Using the
Levels dialog box” on page 87.) Then, click Auto,
and click OK.
To change the amount of white and black values
clipped:
1Hold down Alt (Windows) or Option
(Mac OS), and click Options in the Levels
dialog box.
2In the Auto Range dialog box, enter the
percentage of extreme highlight and shadow pixels
to ignore, and click OK. A value between 0.5% and
1% is recommended.
Using the Auto Contrast command
The Auto Contrast command adjusts the overall
contrast and mixture of colors in an image
automatically. Because it does not adjust each
color channel (red, green, and blue) individually,
Auto Contrast does not introduce or remove color
casts. It maps the lightest and darkest pixels in the
image to white and black, which makes highlights
appear lighter and shadows appear darker.
Auto Contrast can improve the appearance of
many photographic or continuous-tone images.
It does not improve flat-color images.
To use the Auto Contrast command:
Choose Enhance > Auto Contrast.
Using the Adjust Backlighting command
When taking pictures, you can use backlighting to
emphasize the shape of the subject and bring out
details in the background of a digital photo or
image. However, backlighting can cause underex-
posure in the subject of a picture. You can use the
Adjust Backlighting command to correct this
problem.
Original image, and Backlighting applied
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To use the Adjust Backlighting command:
1Choose Enhance > Adjust Backlighting.
2Drag the Darker slider or enter a value in the
text box to adjust the tonal variation in the image.
Values can range from 0 to 100.
3Click OK.
Using the Fill Flash command
When taking pictures in bright light, shadows in
the image can get so dark that they show little
detail. You can lighten such shadows using the Fill
Flash command.
Original image, and Fill Flash applied
To use the Fill Flash command:
1Choose Enhance > Fill Flash.
2Drag the Lighter slider or enter a value in the
text box to adjust the tonal variation in the image.
Values can range from 0 to 100.
3Click OK.
Using the Brightness/Contrast command
The Brightness/Contrast command lets you make
simple adjustments to the tonal range of an image.
To use the Brightness/Contrast command:
1Do one of the following:
•Choose Enhance > Brightness/Contrast >
Brightness/Contrast.
•Create a new Brightness/Contrast adjustment
layer, or open an existing Brightness/Contrast
adjustment layer. (See “Using adjustment layers
and fill layers” on page 181.)
2Drag the sliders to adjust the brightness and
contrast.
Dragging to the left decreases the level; dragging
to the right increases it. The number at the
right of each slider value displays the brightness
or contrast value. Values can range from –100
to +100.
3Click OK.
Using the Levels dialog box
The Levels dialog box lets you correct the tonal
range and color balance of an image by adjusting
intensity levels of the image’s shadows, midtones,
and highlights. The Levels histogram serves as a
visual guide for adjusting the image’s key tones.
Dragging the Brightness and Contrast sliders
changes all the pixels in the image. Note that
dragging the gray slider in Levels has no effect on
the black and white points of the image. You can
set the highlights and shadows in an image by
moving Input sliders to the first group of pixels on
both ends of the Levels histogram. This maps these
pixels—the darkest and lightest pixels in each
channel—to black and white, increasing the tonal
range of the image. The corresponding pixels in
the other channels are adjusted proportionately to
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Making Color and Tonal Corrections
avoid altering the color balance. You can use the
middle Input slider to change the intensity values
of the middle range of gray tones without dramat-
ically altering the highlights and shadows.
To adjust tonal range using Levels:
1Do one of the following:
•Choose Enhance > Brightness/Contrast >
Levels.
•Create a new Levels adjustment layer, or open an
existing Levels adjustment layer. (See “Using
adjustment layers and fill layers” on page 181.)
2To adjust values for a specific color channel
(red, green, or blue), choose an option from the
Channel menu.
3To adjust the shadows and highlights, do one of
the following:
•Drag the black and white Input Levels sliders to
the edge of the first group of pixels on either end of
the histogram. You can also enter values directly
into the first and third Input Levels text boxes.
•Drag the black and white Output Levels sliders
to define new shadow and highlight values.
You can also enter values directly in the Output
Levels text boxes.
For example, suppose you want to increase the
contrast in an image with pixels that currently
cover a range of only 0–233. If you drag the Input
Levels white triangle to 233, pixels with intensity
values of 233 and higher (in each channel of the
image) are mapped to 255; pixels with lower
intensity values are mapped to corresponding
lighter values. This remapping lightens the image,
increasing the contrast in highlight areas.
Original
Resulting histogram and image
Suppose instead you want to decrease the contrast
in the image. If you drag the Output Levels white
triangle to 220, pixels with intensity values of 255
are remapped to 220, and pixels with lower
intensity values are mapped to corresponding
darker values. This darkens the image, decreasing
the contrast in highlight areas.
Note: You can click Auto to move the highlight and
shadow sliders automatically to the brightest and
darkest points. This is the same as using the Auto
Levels command and may be adequate for an
average-key image. (See “Using the Auto Levels
command” on page 86.)
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4If your image needs midtone corrections, use
the gray Input Levels slider. Drag the slider to the
right to darken the midtones; drag it to the left to
lighten the midtones. You can also enter values
directly in the middle Input Levels text box.
5Click OK.
6To view the adjusted histogram, reopen the
Levels dialog box.
The gaps in the adjusted histogram do not indicate
a perceptible problem in the image unless they are
large or accompanied by a low pixel count.
Setting target colors for highlights,
neutral grays, and shadows
In addition to setting the tonal range, you can use
Levels to set target colors for the lightest and
darkest areas of detail in the image, as well as areas
of neutral gray.
When identifying the lightest and darkest areas of
an image, it’s important to identify representative
highlights and shadows. Otherwise the tonal range
may be expanded unnecessarily to include extreme
pixel values that don’t give the image detail.
A highlight area must be a printable highlight, not
specular white. Specular white has no detail, and so
no ink is printed on the paper. For example, a spot
of glare is specular white, not a printable highlight.
To set target colors for highlights, neutral grays,
and shadows:
1Select the eyedropper tool, and choose 3 by 3
Average from the Sample Size menu in the
eyedropper tool options. This ensures a represen-
tative sample of an area rather than the value of a
single screen pixel.
2Choose View > Actual Pixels to make sure that
you are viewing the image at 100%.
3Open the Levels dialog box. (See “Using the
Levels dialog box” on page 87.)
When you open Levels, the eyedropper tool ( ) is
still active outside the dialog box. You still have
access to the scroll controls and to the hand and
zoom tools by using keyboard shortcuts.
4Identify areas of representative highlights,
known grays, and shadows in the image. One way
to do this is to move the pointer around the image,
and look at the Info palette to find the lightest,
neutral, and darkest areas. (See “Using the Info
palette” on page 29.)
5Double-click the Set White Point eyedropper
tool ( ) in the Levels dialog box to display the
Color Picker. Enter the color values you want to
assign to the lightest area in the image, and click
OK. Follow these guidelines:
•When you are printing on white paper, you can
achieve a good highlight in an average-key image
using RGB values of 244, 244, 244. An approx-
imate grayscale equivalent is a 4% dot.
•You can approximate these target values quickly
by entering 96 in the Brightness (B) text box under
the HSB section of the Color Picker.
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•With a low-key image, you might want to set the
highlight to a lower value to avoid too much
contrast. Experiment with Brightness values
between 96 and 80.
6In the image, click the highlight you identified
in step 4. If you accidentally click the wrong
highlight, hold down Alt (Windows) or Option
(Mac OS), and click Reset in the Levels dialog box.
The pixel values throughout the image are
adjusted proportionately to the new highlight
values. Any pixels lighter than the area you clicked
become specular white. The Info palette shows the
values both before and after the color adjustment.
7Double-click the Set Gray Point eyedropper
tool ( ) in the Levels dialog box to display the
Color Picker. Enter the color values you want to
assign to the neutral gray area in the image, and
click OK. In general, assign equal red, green, and
blue values to produce a neutral gray in an RGB
image.
8In the image, click the neutral gray you
identified in step 4.
9Double-click the Set Black Point eyedropper
tool ( ) in the Levels dialog box to open the
Color Picker. Enter the values you want to assign
to the darkest area in the image, and click OK.
Follow these guidelines:
•When you’re printing on white paper, you can
achieve a good shadow in an average-key image
using RGB values of 10, 10, 10. An approximate
grayscale equivalent is a 96% dot.
•You can approximate these same values quickly
by entering 4 in the Brightness (B) text box under
the HSB section of the Color Picker.
•With a high-key image, you might want to set the
shadow to a higher value to maintain detail in the
highlights. Experiment with Brightness values
between 4 and 20.
10 In the image, click the shadow you identified
in step 4.
11 Click OK.
To use Threshold mode to identify the lightest and
darkest areas in an image:
1Do one of the following:
•Choose Enhance > Brightness/Contrast >
Levels.
•Create a new Levels adjustment layer, or open an
existing Levels adjustment layer. (See “Using
adjustment layers and fill layers” on page 181.)
2Click Preview in the Levels dialog box.
3Hold down Alt (Windows) or Option
(Mac OS), and drag the white or black Input
Levels triangle.
The image changes to Threshold mode, and a
high-contrast preview image appears. The visible
areas of the image indicate the lightest parts of the
image if you are dragging the white slider, and the
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darkest parts if you are dragging the black slider. If
a color channel is selected in the Levels dialog box,
the black area indicates where none of the given
color component exists.
4Slowly drag the slider to the center of the
histogram to identify the light or dark areas in the
image. Use these pixels for targeting the black
point and white point in your image.
Adjusting color
You can adjust the image’s color balance to remove
unwanted color casts or to correct oversaturated
or undersaturated colors.
About the color wheel
Because there are numerous ways to achieve
similar results in color balance, it’s useful to
consider the type of image you have and the effect
you want to produce. If you’re new to adjusting
color components, it helps to keep a diagram of
the color wheel on hand. You can use the color
wheel to predict how a change in one color
component affects other colors.
A. Green B. Yel low C. Red
D. Magenta E. Blue F. Cyan
You can decrease the amount of any color in an
image by increasing the amount of its opposite on
the color wheel—and vice versa. Similarly, you can
increase and decrease a color by adjusting the two
adjacent colors on the wheel, or even by adjusting
the two colors adjacent to its opposite. For
example, in an RGB image you can decrease
magenta by removing red and blue or by adding
green. This results in an overall color balance
containing less magenta.
E
C
B
A
F
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Using the Color Cast command
The Color Cast command changes the overall
mixture of colors in an image for generalized
color correction.
To use the Color Cast command:
1Choose Enhance > Color > Color Cast.
2Use the eyedropper tool to click an area in the
image that should be gray, white, or black. The
image will change according to the color you
selected.
To undo the changes made to the image, click the
Reset button.
3Click OK once the colors have been corrected.
Using the Hue/Saturation command
The Hue/Saturation command lets you adjust the
hue, saturation, and lightness of the entire image
or of individual color components in an image.
Adjusting the hue, or color, represents a move
around the color wheel. Adjusting the saturation,
or purity of the color, represents a move across
its radius.
A. Saturation B. Hue C. Brightness D. All hues
You can also use the Colorize option to add color
to a grayscale image converted to RGB, or to an
RGB image—for example, to make it look like a
duotone by reducing its color values to one hue.
To use the Hue/Saturation command:
1Do one of the following:
•Choose Enhance > Color > Hue/Saturation.
•Create a new Hue/Saturation adjustment layer,
or open an existing Hue/Saturation adjustment
layer. (See “Using adjustment layers and fill layers”
on page 181.)
The two color bars in the dialog box represent the
colors in their order on the color wheel. The upper
color bar shows the color before the adjustment;
the lower bar shows how the adjustment affects all
of the hues at full saturation.
2For Edit, choose which colors to adjust:
•Choose Master to adjust all colors at once.
•Choose one of the other preset color ranges
listed for the color you want to adjust. An
adjustment slider appears between the color bars,
which you can use to edit any range of hues.
(For information on how to modify the slider’s
range, see the instructions following this
procedure.)
3For Hue, enter a value or drag the slider until
the colors appear as you want.
The values displayed in the text box reflect the
number of degrees of rotation around the wheel
from the pixel’s original color. A positive value
indicates clockwise rotation, a negative value
counterclockwise rotation. Values can range from
–180 to +180.
A
B
C
D
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4For Saturation, enter a value or drag the slider
to the right to increase the saturation or to the left
to decrease it.
The color shifts away from or toward the center of
the wheel, relative to the beginning color values of
the selected pixels. Values can range from –100 to
+100.
5For Lightness, enter a value or drag the slider to
the right to increase the lightness or to the left to
decrease it. Values can range from –100 to +100.
6Click OK.
To modify the range of an adjustment slider:
1Choose an individual color from the Edit menu
in the dialog box.
2Do any of the following to the adjustment
slider:
•Drag one of the white triangles to adjust
the amount of color fall-off without affecting
the range.
•Drag one of the light gray bars to adjust the
range without affecting the amount of fall-off.
•Drag the dark gray center part to move the entire
adjustment slider, selecting a different color area.
•Drag one of the vertical white bars next to the
dark gray center part to adjust the range of the
color component. Increasing the range decreases
the fall-off, and vice versa.
•Ctrl-drag (Windows) or Command-drag
(Mac OS) the color bar so that a different color is
in the center of the bar.
A. Adjusts fall-off without affecting range B. Adjusts range
without affecting fall-off C. Moves entire slider D. Adjusts
range of color component
If you modify the adjustment slider so that it falls
into a different color range, the name changes to
reflect this. For example, if you choose Yellow and
alter its range so that it falls in the red part of the
color bar, the name changes to Red 2. You can
convert up to six of the individual color ranges to
varieties of the same color range (for example, Red
through Red 6).
Note: By default, the range of color selected when
you choose a color component is 30° wide, with 30°
of fall-off on either side. Setting the fall-off too low
can produce banding in the image.
3To edit the range by choosing colors from the
image, select the eyedropper tool ( ) in the dialog
box and click in the image. Use the eyedropper +
tool to add to the range; use the eyedropper – tool
to subtract from the range.
While the eyedropper tool is selected, you can also
press Shift to add to the range or Alt (Windows) or
Option (Mac OS) to subtract from it.
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To colorize a grayscale image or create a monotone
effect:
1If you are colorizing a grayscale image, choose
Image > Mode > RGB to convert the image
to RGB.
2Open the Hue/Saturation dialog box.
3Select Colorize. The image is converted to the
hue of the current foreground color, if the
foreground color is not black or white. The
lightness value of each pixel does not change.
4Use the Hue slider to select a new color if
desired. Use the Saturation and Lightness sliders to
adjust the saturation and lightness of the pixels.
5Click OK.
Using the Remove Color command
The Remove Color command converts the colors
in the image to gray values. For example, it assigns
equal red, green, and blue values to each pixel in an
RGB image to make it appear grayscale. The
lightness value of each pixel does not change. The
Remove Color command can also be used on a
selection only.
This command has the same effect as setting
Saturation to –100 in the Hue/Saturation
dialog box.
Note: If you are working with a multilayer image,
Remove Color converts the selected layer only.
To use the Remove Color command:
Choose Enhance > Color > Remove Color.
Using the Replace Color command
The Replace Color command lets you create a
mask around specific colors and then replace those
colors in the image. You can set the hue,
saturation, and lightness of the area identified by
the mask. The mask is temporary.
To use the Replace Color command:
1Choose Enhance > Color > Replace Color.
2Select a display option:
•Selection to display the mask in the preview box.
Masked areas are black and unmasked areas are
white. Partially masked areas (areas covered with a
semitransparent mask) appear as varying levels of
gray according to their opacity.
•Image to display the image in the preview box.
This option is useful when you are working with a
magnified image or have limited screen space.
3Click in the image or in the preview box to
select the areas exposed by the mask. Shift-click or
use the eyedropper + button to add areas; Alt-click
(Windows), Option-click (Mac OS), or use the
eyedropper – button to remove areas.
4Adjust the tolerance of the mask by dragging the
Fuzziness slider or entering a value. This controls
the degree to which related colors are included in
the selection.
5Drag the Hue, Saturation, and Lightness sliders
(or enter values in the text boxes) to change the
color of the selected areas.
6Click OK.
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Using the Variations command
The Variations command lets you adjust the color
balance, contrast, and saturation of an image by
showing you thumbnails of alternatives.
This command is most useful for average-key
images that don’t require precise color adjust-
ments. It does not work on indexed-color images.
To use the Variations command:
1Choose Enhance > Variations.
The two thumbnails at the top of the dialog box
show the original selection (Original) and the
selection with its currently selected adjustments
(Current Pick). When you first open the dialog
box, these two images are the same. As you make
adjustments, the Current Pick image changes to
reflect your choices.
2Select Show Clipping if you want to display a
neon preview of areas in the image that will be
clipped by the adjustment—that is, converted to
pure white or pure black. Clipping can result in
undesirable color shifts, as distinct colors in the
original image are mapped to the same color.
Clipping does not occur when you adjust
midtones.
3Select what to adjust in the image:
•Shadows, Midtones, or Highlights to indicate
whether you want to adjust the dark, middle, or
light areas.
•Saturation to change the degree of hue in the
image. If you exceed the maximum saturation for
a color, it may be clipped.
4Drag the Fine/Coarse slider to determine the
amount of each adjustment. Moving the slider one
tick mark doubles the adjustment amount.
5Adjust the color and brightness:
•To add a color to the image, click the appropriate
color thumbnail.
•To subtract a color, click the thumbnail for its
opposite color. (See “About the color wheel” on
page 91.) For example, to subtract cyan, click the
More Red thumbnail.
•To adjust brightness, click a thumbnail on the
right side of the dialog box.
Each time you click a thumbnail, other thumbnails
change. The center thumbnail always reflects the
current choices.
6Click OK.
Applying special color effects to
images
The Invert, Equalize, Threshold, and Posterize
commands change colors or brightness values in
an image but are typically used for enhancing
color and producing special effects, rather than for
correcting color.
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Using the Invert command
The Invert command inverts the colors in an
image. You might use this command to make a
positive black-and-white image negative or to
make a positive from a scanned black-and-white
negative.
Note: Because color print film contains an orange
mask in its base, the Invert command cannot make
accurate positive images from scanned color
negatives. Be sure to use the proper settings for color
negatives when scanning film on slide scanners.
When you invert an image, the brightness value of
each pixel in the channels is converted to the
inverse value on the 256-step color-values scale.
For example, a pixel in a positive image with a
value of 255 is changed to 0, and a pixel with a
value of 5 is changed to 250.
To use the Invert command:
Do one of the following:
•Choose Image > Adjustments > Invert.
•Create an Invert adjustment layer. (See “Using
adjustment layers and fill layers” on page 181.)
Using the Equalize command
The Equalize command redistributes the
brightness values of the pixels in an image so that
they more evenly represent the entire range of
brightness levels. When you apply this command,
Photoshop Elements finds the brightest and
darkest values in the composite image and remaps
them so that the brightest value represents white
and the darkest value represents black. Photoshop
Elements then attempts to equalize the
brightness—that is, to distribute the intermediate
pixel values evenly throughout the grayscale.
You might use the Equalize command when a
scanned image appears darker than the original
and you want to balance the values to produce a
lighter image. Using Equalize together with the
Histogram command lets you see before-and-after
brightness comparisons.
To use the Equalize command:
1Choose Image > Adjustments > Equalize.
2If you selected an area of the image, select what
to equalize in the dialog box, and click OK:
•Equalize Selected Area Only to evenly distribute
only the selection’s pixels.
•Equalize Entire Image Based on Selected Area to
evenly distribute all image pixels based on those in
the selection.
Using the Threshold command
The Threshold command converts grayscale or
color images to high-contrast, black-and-white
images. You can specify a certain level as a
threshold. All pixels lighter than the threshold are
converted to white; and all pixels darker are
converted to black. The Threshold command is
useful for determining the lightest and darkest
areas of an image.
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To use the Threshold command to convert images to
black and white:
1Do one of the following:
•Choose Image > Adjustments > Threshold.
•Create a new Threshold adjustment layer, or
open an existing Threshold adjustment layer. (See
“Using adjustment layers and fill layers” on
page 181.)
The Threshold dialog box displays a histogram of
the luminance levels of the pixels in the current
selection.
2Drag the slider below the histogram until the
threshold level you want appears at the top of the
dialog box, and click OK. As you drag, the image
changes to reflect the new threshold setting.
To use the Threshold command to identify
representative highlights and shadows:
1Open the Threshold dialog box.
2Select Preview.
3To identify a representative highlight, drag the
slider to the far right until the image becomes pure
black. Drag the slider slowly toward the center
until some solid white areas appear in the image.
4To identify a representative shadow, drag the
slider to the far left until the image becomes pure
white. Drag the slider slowly toward the center
until some solid black areas appear in the image.
These represent the darkest pixels areas in the
image.
5Reset the dialog box by pressing Alt (Windows)
or Option (Mac OS).
6Click Cancel to close the Threshold dialog box
without applying changes to the image.
Using the Posterize command
The Posterize command lets you specify the
number of tonal levels (or brightness values) for
each channel in an image and then maps pixels to
the closest matching level. For example, choosing
two tonal levels in an RGB image gives six colors,
two for red, two for green, and two for blue.
This command is useful for creating special effects,
such as large, flat areas in a photograph. Its effects
are most evident when you reduce the number of
gray levels in a grayscale image. But it also
produces interesting effects in color images.
Original image, and Posterize applied
If you want a specific number of colors in your
image, convert the image to grayscale and
specify the number of levels you want. Then convert
the image back to the previous color mode, and
replace the various gray tones with the colors
you want.
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To use the Posterize command:
1Do one of the following:
•Choose Image > Adjustments > Posterize.
•Create a new Posterize adjustment layer, or open
an existing Posterize adjustment layer. (See “Using
adjustment layers and fill layers” on page 181.)
2Enter the number of tonal levels you want, and
click OK.
Using the Gradient Map command
The Gradient Map command maps the equivalent
grayscale range of an image to the colors of a
specified gradient fill. If you specify a two-color
gradient fill, for example, shadows in the image
map to one of the endpoint colors of the gradient
fill, highlights map to the other endpoint color,
and midtones map to the gradations in between.
To use the Gradient Map command:
1Do one of the following:
•Choose Image > Adjustments > Gradient Map.
•Create a new Gradient Map adjustment layer, or
open an existing Gradient Map adjustment layer.
(See “Using adjustment layers and fill layers” on
page 181.)
2Specify the gradient fill you want to use:
•To choose from a list of gradient fills, click the
triangle to the right of the gradient fill displayed in
the Gradient Map dialog box. Click to select the
desired gradient fill, and then click in a blank area
of the dialog box to dismiss the list. (See “Working
with presets” on page 35 for information on
customizing the gradient fill list.)
•To edit the gradient fill currently displayed in the
Gradient Map dialog box, click the gradient fill.
Then modify the existing gradient fill or create a
new gradient fill. (See “Creating or editing
gradient fills” on page 151.)
By default, the shadows, midtones, and highlights
of the image are mapped respectively to the
starting (left) color, midpoint, and ending (right)
color of the gradient fill.
3Select either, none, or both of the Gradient
Options:
•Dither adds random noise to smooth the
appearance of the gradient fill and reduce banding
effects.
•Reverse switches the direction of the gradient fill,
reversing the gradient map.
4Click OK.
Sharpening images
Unsharp masking, or USM, is a traditional film
compositing technique used to sharpen edges in
an image. The Unsharp Mask filter corrects
blurring introduced during photographing,
scanning, resampling, or printing. It is useful for
images intended for both print and online
viewing.
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Unsharp Mask locates pixels that differ from
surrounding pixels by the threshold you specify
and increases the pixels’ contrast by the amount
you specify. In addition, you specify the radius of
the region to which each pixel is compared. The
effects of the Unsharp Mask filter are far more
pronounced on-screen than in high-resolution
output. If your final destination is print, exper-
iment to determine what settings work best for
your image.
For information on other filters for sharpening
images, see “Sharpen filters” on page 202.
To use Unsharp Mask to sharpen an image:
1Choose Filter > Sharpen > Unsharp Mask.
Make sure the Preview option is selected.
Click on the image in the preview window to see
how the image looks without the sharpening.
Drag in the preview window to see different parts of
the image, and click + or – to zoom in or out.
2Do one of the following:
•Drag the Amount slider or enter a value to
determine how much to increase the contrast of
pixels. For high-resolution printed images, an
amount between 150% and 200% is usually
recommended.
•Drag the Radius slider or enter a value to
determine the number of pixels surrounding the
edge pixels that affect the sharpening. For high-
resolution images, a Radius between 1 and 2 is
usually recommended. A lower value sharpens
only the edge pixels, whereas a higher value
sharpens a wider band of pixels. This effect is
much less noticeable in print than on-screen,
because a 2-pixel radius represents a smaller area
in a high-resolution printed image.
•Drag the Threshold slider or enter a value to
determine how different the sharpened pixels
must be from the surrounding area before they are
considered edge pixels and sharpened by the filter.
To avoid introducing noise (in images with flesh-
tones, for example), experiment with Threshold
values between 2 and 20. The default Threshold
value (0) sharpens all pixels in the image.
3Click OK.
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Chapter 5: Selecting
o modify part of an image in Adobe
Photoshop Elements, you first select the
area you want to edit in the currently active
layer. You can choose from a variety of specialized
tools for creating selection borders.
About selections
A selected area is indicated by a dotted selection
border, also called a selection marquee. The area
outside the selection border is protected while you
move, copy, paint, or apply special effects to the
isolated area. Selections can only be made on the
active layer.
Since there are two different types of image data—
bitmap and vector—you need to use different
tools to make selections of each type. Bitmap
selection tools include the rectangle marquee tool
( ), elliptical marquee tool ( ), lasso tool ( ),
polygonal lasso tool ( ), and magnetic lasso tool
( ). Vector selection tools include the shape
selection tool ( ) and the magic wand tool ( ).
For more information about bitmap images and
vector graphics, see “About bitmap images and
vector graphics” on page 45.
Making pixel selections
When you select pixels, you are selecting
resolution-dependent information in the image.
You can select pixels in an image by dragging
with the marquee tools or lasso tools, or by
isolating color areas with the magic wand tool.
Making a new selection replaces the existing one.
Additionally, you can create selections that can be
added to or subtracted from existing selections.
Using the Select menu
You can use commands in the Select menu to
select all pixels, to deselect, or to reselect.
To select all pixels on a layer within the canvas
boundaries:
1Select the active layer in the Layers palette.
2Choose Select > All.
To deselect selections:
Do one of the following:
•Choose Select > Deselect.
•If you are using the rectangle marquee, elliptical
marquee, or lasso tool, click anywhere in the image
outside the selected area.
To reselect the most recent selection:
Choose Select > Reselect.
Using the marquee tools
The marquee tools draw rectangular and elliptical
selection borders. By default, a selection border is
dragged from its corner.
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To use the marquee tools:
1Select a marquee tool:
•Rectangle marquee ( ) to make a rectangular
selection.
•Elliptical marquee ( ) to make an elliptical
selection.
2In the options bar, specify whether to create a
new selection ( ), add to a selection( ), subtract
from a selection ( ), or select an area intersected
by other selections ( ).
3Specify a feathering setting in the options bar.
Turn anti-aliasing on or off for the elliptical
marquee. (See “Softening the edges of a selection”
on page 108.)
4Choose a style in the options bar:
•Normal to determine marquee proportions
by dragging.
•Constrained Aspect Ratio to set a height-to-
width ratio. Enter values (decimal values are valid)
for the aspect ratio. For example, to draw a
marquee twice as wide as it is high, enter 2 for the
width and 1 for the height.
•Fixed Size to specify set values for the marquee’s
height and width in inches, centimeters, or pixels.
If you are using pixels, enter the pixel values in
whole numbers. Keep in mind that the number of
pixels needed to create a 1-inch selection depends
on the resolution of the image. (See “About image
size and resolution” on page 46.)
5To make a selection, drag over the area you want
to select. Hold down Shift as you drag to constrain
the marquee to a square or circle. To drag a
marquee from its center, hold down
Alt (Windows) or Option (Mac OS) after you
begin dragging.
To reposition a selection border without
changing an image, first drag to create the
border, keeping the mouse button depressed.
Then hold down the spacebar and continue to drag.
If you have finished drawing the border, drag from
inside the selection to move it.
Using the lasso, polygonal lasso, and
magnetic lasso tools
The lasso and polygonal lasso tools let you draw
both straight-edged and freehand segments of a
selection border. With the magnetic lasso tool,
the border snaps to the edges of defined areas in
the image.
The magnetic lasso tool is especially useful for
quickly selecting objects with complex edges set
against high-contrast backgrounds.
To use the lasso tool:
1Select the lasso tool ( ), and select options.
(See “Setting options for the lasso, polygonal lasso,
and magnetic lasso tools” on page 106.)
2Drag to draw a freehand selection border.
3To draw a straight-edged selection border,
hold down Alt (Windows) or Option (Mac OS),
and click where segments should begin and end.
You can switch between drawing freehand and
straight-edged segments.
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4To close the selection border, release the
mouse without holding down Alt (Windows)
or Option (Mac OS).
To use the polygonal lasso tool:
1Select the polygonal lasso tool ( ), and select
options. (See “Setting options for the lasso,
polygonal lasso, and magnetic lasso tools” on
page 106.)
2Click in the image to set the starting point.
3Do one or more of the following:
•To draw a straight segment, position the pointer
where you want the first straight segment to end,
and click. Continue clicking to set endpoints for
subsequent segments.
•To draw a freehand segment, hold down
Alt (Windows) or Option (Mac OS), and drag.
When finished, release Alt or Option and the
mouse button.
•To erase recently drawn straight segments,
press the Delete key.
4Close the selection border:
•Position the polygonal lasso tool pointer over the
starting point (a closed circle appears next to the
pointer), and click.
•If the pointer is not over the starting point,
double-click the polygonal lasso tool pointer,
or Ctrl-click (Windows) or Command-click
(Mac OS).
To use the magnetic lasso tool:
1Select the magnetic lasso tool ( ), and select
options. (See “Setting options for the lasso,
polygonal lasso, and magnetic lasso tools” on
page 106.)
2Click in the image to set the first fastening
point. Fastening points anchor the selection
border in place.
3To draw a freehand segment, move the pointer
along the edge you want to trace. (You can also
drag with the mouse button depressed.)
The most recent segment of the selection border
remains active. As you move the pointer, the active
segment snaps to the strongest edge in the image,
based on the detection Width set in the options
bar. Periodically, the magnetic lasso tool adds
fastening points to the selection border to anchor
previous segments.
4If the border doesn’t snap to the desired edge,
click once to add a fastening point manually.
Continue to trace the edge, and add fastening
points as needed.
5To switch temporarily to the other lasso tools,
do one of the following:
•To activate the lasso tool, hold down Alt
(Windows) or Option (Mac OS), and drag with
the mouse button depressed.
•To activate the polygonal lasso tool, hold down
Alt (Windows) or Option (Mac OS), and click.
6To erase recently drawn segments and fastening
points, press the Delete key until you’ve erased the
fastening points for the desired segment.
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Selecting
7Close the selection border:
•To close the border with a freehand magnetic
segment, double-click, press Enter or Return, or
click anywhere outside the document window.
•To close the border with a straight segment, hold
down Alt (Windows) or Option (Mac OS), and
double-click.
•To close the border, drag back over the starting
point and click.
•To close the border, click anywhere outside the
active window.
Setting options for the lasso, polygonal
lasso, and magnetic lasso tools
The lasso tool options let you customize how the
different lasso tools detect and select edges.
To set options for the lasso tools:
1If needed, select the tool.
2 In the options bar, specify whether to create a
new selection ( ), add to an existing selection ( ),
subtract from a selection ( ), or select an area
intersected by other selections ( ).
3Specify feather and anti-aliasing options.
(See “Softening the edges of a selection” on
page 108.)
4For the magnetic lasso tool, set any of these
options:
•To specify a detection width, enter a pixel value
between 1 and 40 for Width. The magnetic lasso
detects edges only within the specified distance
from the pointer.
•To specify the lasso’s sensitivity to edges in the
image, enter a value between 1% and 100% for
Edge Contrast. A higher value detects only edges
that contrast sharply with their surroundings;
a lower value detects lower-contrast edges.
•To specify the rate at which the lasso sets
fastening points, enter a value between 0 and 100
for Frequency. A higher value anchors the
selection border in place more quickly.
On an image with well-defined edges, try a higher
width and higher edge contrast, and trace the
border roughly. On an image with softer edges,
try a lower width and lower edge contrast,
and trace the border more precisely.
•To change the lasso cursor to indicate the lasso
Width value in the options bar, press the Caps
Lock key on the keyboard. Change the cursor
while the tool is selected but not in use.
•If you are working with a stylus tablet, select or
deselect the Stylus Pressure option. When the
option is selected, an increase in stylus pressure
will cause the edge width to decrease.
While creating a selection, you can press ] to
increase the magnetic lasso edge width by
1 pixel; press [ to decrease the width by 1 pixel.
Using the magic wand tool
The magic wand tool lets you select a consistently
colored area (for example, a red flower) without
having to trace its outline. You specify the color
range, or tolerance, for the magic wand tool’s
selection.
Note: You cannot use the magic wand tool on an
image in Bitmap mode.
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To use the magic wand tool:
1Select the magic wand tool ( ).
2In the options bar, specify whether to create a
new selection ( ), add to an existing selection ( ),
subtract from a selection ( ), or select an area
intersected by other selections ( ). The magic
wand cursor changes depending on which option
is selected.
3For Tolerance, enter a range of pixel values,
ranging from 0 to 255. Enter a low value to select
colors very similar to the pixel you click, or enter a
higher value to select a broader range of colors.
4To define a smooth edge, select Anti-aliased.
(See “Softening the edges of a selection” on
page 108.)
5To select only adjacent areas using the same
colors, select Contiguous. Otherwise, all pixels
using the same colors will be selected.
6To select colors using data from all the visible
layers, select Use All Layers. Otherwise, the magic
wand tool selects colors from the active layer only.
7In the image, click the color you want to select.
If Contiguous is selected, all adjacent pixels within
the tolerance range are selected.
Adjusting pixel selections
You can adjust and refine your pixel selections
using the selection tools and a variety of
commands in the Select menu.
In addition, you can apply geometric transforma-
tions to change the shape of a selection border.
(See “Transforming layers, selections, and shapes”
on page 126.)
Moving, hiding, or inverting a selection
You can move a selection border around an image,
hide a selection border, and invert a selection so
that the previously unselected part of the image
is selected.
To move a selection border:
1Using any selection tool, select new
selection ( ) from the options bar, and position
the pointer inside an existing selection border. The
pointer changes to indicate that you can move the
selection ( ).
2Drag the border to enclose a different area of
the image. You can drag a selection border partly
beyond the canvas boundaries. When you drag
it back, the original border reappears intact.
You can also drag the selection border to another
image window.
To control the movement of a selection:
•To constrain the direction to multiples of 45°,
begin dragging, and then hold down Shift as you
continue to drag.
•To move the selection in 1-pixel increments,
use an arrow key.
•To move the selection in 10-pixel increments,
hold down Shift, and use an arrow key.
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Selecting
To select the unselected parts of an image:
Choose Select > Inverse.
You can use this option to select an object placed
against a solid-colored background. Select the
background using the magic wand tool and then
inverse the selection.
Adjusting selections manually
You can use the selection tools to add to or
subtract from existing pixel selections.
For consistent results, before manually adding to
or subtracting from a selection, set the feather and
anti-aliased values in the options bar to the same
settings used for the original selection. (See
“Softening the edges of a selection” on page 108.)
To add to a selection or select an additional area:
1Make a selection.
2Do one of the following from inside the
selection:
•Select the Add to Selection option ( ) in the
options bar, and drag inside the selection.
•Hold down Shift (a plus sign appears next to the
pointer), and drag from inside the selection to add
another selection.
•For the magic wand tool, click another color in
the active image to add it to the selection.
To subtract from a selection:
1Make a selection.
2Do one of the following:
•Select the Subtract from Selection option ( )
in the options bar, and drag inside the selection to
subtract it.
•Hold down Alt (Windows) or Option (Mac OS)
(a minus sign appears next to the pointer),
and drag inside the selection to subtract another
selection.
•For the magic wand tool, click a selected color to
remove it from the selection.
To select only an area intersected by other selections:
1Make a selection.
2Do one of the following:
•Select the Intersect with Selection option ( ) in
the options bar, and drag inside the selection.
•Hold down Alt+Shift (Windows) or
Option+Shift (Mac OS) (a cross appears next to
the pointer), and drag inside the selection over the
portion of the original selection that you want to
select.
•For the magic wand tool, click another color in
the active image.
Softening the edges of a
selection
You can smooth the hard edges of a selection by
anti-aliasing and by feathering.
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Anti-aliasing Smooths the jagged edges of a
selection by softening the color transition between
edge pixels and background pixels. Since only the
edge pixels change, no detail is lost. Anti-aliasing is
useful when cutting, copying, and pasting selec-
tions to create composite images.
Anti-aliasing is available for the lasso, polygonal
lasso, magnetic lasso, rectangular marquee, ellip-
tical marquee, and magic wand tools. (Select a tool
to display its options bar.) You must specify this
option before using these tools. Once a selection is
made, you cannot add anti-aliasing.
Feathering Blurs edges by building a transition
boundary between the selection and its
surrounding pixels. This blurring can cause some
loss of detail at the edge of the selection.
You can define feathering for the marquee, lasso,
polygonal lasso, or magnetic lasso tool as you use
the tool, or you can add feathering to an existing
selection. Feathering effects become apparent
when you move, cut, copy, or fill the selection.
To use anti-aliasing:
1Select the lasso, polygonal lasso, magnetic lasso,
rectangular marquee, elliptical marquee, or magic
wand tool.
2Select Anti-aliased in the options bar.
To define a feathered edge for a selection tool:
1Select any of the lasso or marquee tools.
2Enter a Feather value in the options bar.
This value defines the width of the feathered edge
and can range from 1 to 250 pixels.
To define a feathered edge for an existing selection:
1Choose Select > Feather.
2Enter a value for the Feather Radius, and
click OK.
Note: A small selection made with a large feather
radius may be so faint that its edges are invisible and
thus not selectable. If a message appears stating
“No pixels are more than 50% selected,” either
decrease the feather radius or increase the selection’s
size. Or click OK to accept the current setting and
create a selection where you cannot see the edges.
A. Original selection B. Feather: 0 C. Feather: 10
D. Feather: 30
A
C
B
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Selecting
Moving, copying, and pasting
selections and layers
You can move or copy selections and layers within
or between images—and also between images in
other applications.
Moving selections and layers within
an image
The move tool lets you drag a selection or layer to
a new location in the image. With the Info palette
open, you can track the exact distance of the move.
To specify move tool options:
1Select the move tool ( ).
2Select any of the following in the options bar:
•Auto Select Layer to select the topmost layer that
has pixels under the move tool, rather than the
selected layer.
•Show Bounding Box to display the bounding box
around the selected item.
•If multiple items are selected, you can choose
one of the alignment options.
To move a selection or layer:
1Select the move tool ( ).
To activate the move tool when another tool is
selected, hold down Ctrl (Windows) or Command
(Mac OS). (This technique does not work with the
hand tool ( ).)
2Do one of the following:
•Move the pointer inside the selection border, and
drag the selection to a new position. If you have
selected multiple areas, all move as you drag.
•Select the layer you want to move. Then drag the
layer to a new position in the Layers palette.
Copying selections or layers
You can use the move tool to copy selections as you
drag them within or between images, or you can
copy and move selections using the Copy,
Copy Merged, Cut, and Paste commands.
Dragging with the move tool saves memory
because the Clipboard is not used as it is with the
Copy, Copy Merged, Cut, and Paste commands.
•The Copy command copies the selected area on
the active layer.
•The Copy Merged command makes a merged
copy of all the layers in the selected area.
•The Paste command pastes a cut or copied
selection into the center of the image or into
another image as a new layer.
•The Paste Into command pastes a cut or
copied selection as a floating selection in the
existing layer.
Keep in mind that when a selection or layer is
pasted between images with different resolutions,
the pasted data retains its original pixel dimen-
sions. This can make the pasted portion appear
out of proportion to the new image. Use the Image
Size command to make the source and destination
images the same resolution before copying
and pasting.
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Depending on your color management settings
and the color profile associated with the file
(or imported data), you may be prompted to
specify how to handle color information in the file
(or imported data). For more information,
see “Using color management” on page 65.
To copy a selection:
1Select the area you want to copy.
2Do one of the following:
•Choose Edit > Copy to copy the selection to the
Clipboard.
•Choose Edit > Copy Merged to copy all layers in
the selected area to the Clipboard.
To copy a selection while dragging:
1Select the move tool ( ), or hold down Ctrl
(Windows) or Command (Mac OS) to activate the
move tool.
2Hold down Alt (Windows) or Option
(Mac OS), and drag the selection you want to
copy and move.
When copying between images, drag the selection
from the active image window into the destination
image window. If nothing is selected, the entire
active layer is copied. As you drag the selection
over another image window, a border highlights
the window if you can drop the selection into it.
To create multiple copies of a selection within
an image:
1Select the move tool ( ), or hold down Ctrl
(Windows) or Command (Mac OS) to activate the
move tool.
2Copy the selection:
•Hold down Alt (Windows) or Option (Mac OS),
and drag the selection.
•To copy the selection and offset the duplicate by
1 pixel, hold down Alt or Option, and press an
arrow key.
•To copy the selection and offset the duplicate by
10 pixels, press Alt+Shift (Windows) or
Option+Shift (Mac OS), and press an arrow key.
As long as you hold down Alt or Option, each
press of an arrow key creates a copy of the selection
and offsets it by the specified distance from the last
duplicate.
To paste one selection into another:
1Cut or copy the part of the image you want
to paste.
2Select the part of the image into which you want
to paste the selection as a floating selection. Note
that the pasted image will only appear in the
selected area. If you move the pasted image out of
the selection, it is not visible.
3Choose Edit > Paste Into.
4Select the move tool ( ), then drag the pasted
image to the proper location.
5If you are satisfied with the results, deselect the
pasted image to lock the layer.
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Selecting
Using drag and drop to copy between
applications
The drag-and-drop feature lets you copy and
move images between Photoshop Elements and
other applications.
In Windows, the application must be OLE-
compliant. To duplicate an entire image by
dragging and dropping, use the move tool to
drag the image. To copy an OLE object that
contains .psd data, use the OLE Clipboard.
(See your Windows documentation.)
In Mac OS, the application must support Mac OS
Drag Manager, and you must be running System
8.6 or higher.
Dragging vector artwork (shapes or text) from
Adobe Illustrator or from other applications that
use the Illustrator Clipboard rasterizes the
artwork—the mathematically defined lines and
curves of the vector art are converted into the
pixels or bits of a bitmap image.
Using the Clipboard to copy between
applications
You can often use the Cut or Copy command to
copy selections between Photoshop Elements and
other applications. The cut or copied selection
remains on the Clipboard until you cut or copy
another selection.
In some cases, the contents of the Clipboard are
converted to a raster image. Photoshop Elements
prompts you when vector artwork will be
rasterized.
Note: The image is rasterized at the resolution of the
file into which you paste it.
To change the Export Clipboard preference:
1Choose Edit > Preferences > General.
2Make sure Export Clipboard is selected to save
any Photoshop Elements contents on the
Clipboard when you exit from Photoshop
Elements. If you leave this deselected, the contents
are deleted when you exit from the program.
3Click OK.
To paste PostScript artwork from another application:
1In the supporting application, select your
artwork, and choose Edit > Copy. Applications
that produce PostScript artwork include Adobe
Photoshop, Adobe Illustrator (versions 5.0
through 9.0), Adobe Dimensions®, and Adobe
Streamline™. (See “About file formats” on
page 245.)
2In Photoshop Elements, select the image into
which you’ll paste the selection.
3Choose Edit > Paste.
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4In the dialog box, select from the following
options:
•Paste as Pixels to have the artwork rasterized as it
is pasted. Rasterizing converts mathematically
defined vector artwork to pixels.
•Paste as Shape Layer to create a new shape layer
that uses the path as a layer clipping path.
5If you chose Paste as Pixels in the previous step,
you can choose Anti-alias in the options bar to
make a smooth transition between the edges of the
selection and the surrounding pixels.
(See “Softening the edges of a selection” on
page 108.)
6Click OK.
Deleting selections
To delete a selection, choose Edit > Clear, or press
Backspace (Windows) or Delete (Mac OS). To cut
a selection to the Clipboard, choose Edit > Cut.
Deleting a selection on a background or on a layer
with the Lock Transparency option selected in the
Layers palette replaces the original location with
the background color. Deleting a selection on a
layer without Lock Transparency selected replaces
the original area with the layer transparency.
6
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Chapter 6: Transforming and
Retouching
ou can transform and retouch images in
many ways. For example, you can manip-
ulate areas of a layer as if the pixels in the
area had been melted, and scale, rotate, or flip
selections or images.
Cropping images
Cropping is the process of selecting and removing
a portion of an image to create focus or strengthen
its composition. You can crop an image using the
crop tool or the Crop command. In addition, you
can use the Straighten and Crop Image command
to automatically correct a skewed image. (See
“Straightening images” on page 126.)
To crop an image using the crop tool:
1Select the crop tool ( ).
2If you want to specify the size or resolution of
the crop, enter the values in the Width, Height, or
Resolution text boxes in the options bar. You can
also click Front Image to enter the values of the
currently active image.
3Drag over the part of the image you want to
keep. When you release the mouse button,
the crop marquee appears as a bounding box with
handles at the corners and sides.
4If necessary, select the Shield cropped area
option to show the cropping shield. To adjust the
color and opacity of the cropping shield, use the
color selection box and the opacity pop-up slider
in the options bar.
5Adjust the crop marquee:
•To move the marquee to another position, place
the pointer inside the bounding box, and drag.
•To scale the marquee, drag a handle. To
constrain the proportions, hold down Shift as you
drag a corner handle.
•To rotate the marquee, position the pointer
outside the bounding box (the pointer turns into a
curved arrow ( )), and drag.
Note: You can’t rotate the crop tool marquee for an
image in Bitmap mode.
6Do one of the following to crop the image:
•Click the OK button ( ) in the options bar.
•Double-click inside the crop marquee.
•Select a different tool in the toolbox.
•Press Enter (Windows) or Return (Mac OS).
Click the Cancel button ( ) in the options bar to
cancel the cropping operation.
To crop an image using the Crop command:
1Select the part of the image you want to keep.
(See “Using the marquee tools” on page 103.)
2Choose Image > Crop.
Y
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Changing the size of the work
canvas
The Canvas Size command lets you add or remove
work space around an existing image. You can crop
an image by decreasing the canvas area. Added
canvas appears in the currently selected
background color or transparent as the
background.
To use the Canvas Size command:
1Choose Image > Resize > Canvas Size.
2Choose the units of measurement you want.
The Columns option measures width in terms
of the columns specified in the Rulers & Units
preferences.
3Enter the dimensions in the Width and
Height boxes.
4For Anchor, click a square to indicate where to
position the existing image on the new canvas.
5Click OK.
Original canvas, and canvas added to top of image
Creating panoramic images
using Photomerge
The Photomerge™ command lets you create a
seamless, panoramic image from multiple
photographs.
About using Photomerge
You can use the Photomerge command to
combine several photographs into one continuous
image. For example, you can take five overlapping
photographs of a city skyline, and then assemble
them into a panorama. The Photomerge
command is capable of assembling photos that
are tiled horizontally as well as vertically.
Taking pictures for use with Photomerge
Your source photographs play a large role in the
success of your panoramic composition. To avoid
problems, follow these guidelines when taking
pictures for use with Photomerge:
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Image overlap Images should have an overlap of
approximately 30% to 50% of the image area. If
the overlap is less, Photomerge may not be able to
automatically assemble the panorama. However,
keep in mind that the images shouldn't overlap too
much. If images overlap by 70% or more, it can be
difficult to work with them, and blending may not
be as effective. Try to keep the individual photos at
least somewhat distinct from each other.
Focal length Use a consistent focal length. Avoid
using the zoom feature of your camera while
taking a series of images for use with Photomerge.
Alignment Keep the camera level. Although slight
rotations between images are tolerated, a tilt of
more than a few degrees can result in errors when
automatically assembling the panorama.
A typical situation where rotation comes into play
is when photographing a panoramic scene from a
high place. The natural inclination is to keep the
horizon level in the viewfinder. However, if you’re
photographing the horizon from an elevated
position, this actually produces a noticeable
rotation between images. Keep the camera level
when taking photographs in this situation.
Using a tripod with a rotating head helps
maintain camera alignment and viewpoint.
Viewpoint Take pictures from the same
viewpoint. Don’t change your position as you take
a series of photographs. Small changes in
viewpoint are tolerated, but if you walk to a new
position while taking photographs, you’ll likely
disrupt the continuity of your images. Using the
optical viewfinder with the camera held close to
the eye helps keep the viewpoint consistent.
Image Size Don’t try to merge images that are
larger than 2 megapixels. Larger file sizes will take
longer for Photoshop Elements to process, and too
many large files could generate memory errors.
Use the Image Size Reduction option in the
Photomerge Setup dialog box to keep the output
panorama to a reasonable size.
Lens Avoid using lenses, such as fish-eye lenses,
that cause noticeable distortion to the image.
Small amounts of barrel distortion (found in
many cameras at the wide-angle setting) are
tolerated, but strong distortions interfere with the
automatic registration process.
Exposure The advanced blending feature in
Photomerge helps smooth out different exposures,
but extreme differences make alignment difficult.
Some cameras have an “AE Lock” feature for fixing
the exposure just for this purpose. Avoid using the
flash in some pictures and not in others.
Setting up a Photomerge composition
The setup information you provide instructs
Photoshop Elements which source files to use
and how to process them. You can choose to
let Photoshop Elements create a composition
automatically, in which case it tries to find similar
image areas and align them. Or, you can choose to
simply load the source images and assemble the
composition yourself. If you choose to have
Photoshop Elements automatically detect and
align your images, you can still override the results
in the assembly window.
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To set up a new Photomerge composition:
1Choose File > Photomerge.
2Click Add in the Photomerge dialog box.
3Navigate to the source files and select the files
for your Photomerge composition.
4Click Open to add the files to the Source Files
list in the Photomerge dialog box. You can always
remove a file from the Source Files list by selecting
the file and clicking Remove.
Note: For information on opening an existing
composition, see “Saving and opening Photomerge
compositions” on page 123.
5Specify an Image Size Reduction value to set the
size at which the source files are imported. A
reduction value of at least 50% is recommended
for 2 megapixels or larger.
6Do one of the following:
•Select Attempt to Automatically Arrange Source
Images if you want the Photomerge command to
attempt to assemble the source images for you.
•Deselect Attempt to Automatically Arrange
Source Images if you want to assemble the source
images manually.
7If you selected Attempt to Automatically
Arrange Source Images, you can select additional
options. These options determine how Photoshop
Elements processes the source images when
assembling the composition.
•Apply Perspective to correct perspective across
the assembled composition.
8Click OK. The source images open automati-
cally, and then the Photomerge new composition
dialog box appears.
If Photoshop Elements is unable to automati-
cally assemble the composition, a message to
this effect appears on-screen. You can still assemble
the composition manually in the Photomerge
dialog box. However, you may want to review the
information in “Taking pictures for use with
Photomerge” on page 118 to make sure that your
source images follow the recommended guidelines.
Using the Photomerge dialog box
You use the Photomerge dialog box to edit a
panoramic composition. This dialog box contains
tools for manipulating the composition, a lightbox
for storing source images that are not in use, a
work area for assembling the composition, and
options for viewing and editing the composition.
How source images appear in the Photomerge
dialog box depends on how you set up the compo-
sition in the Photomerge Setup dialog box. If you
selected Attempt to Automatically Arrange Source
Files, Photoshop Elements attempts to assemble a
composition for you in the work area. If
Photoshop Elements can’t determine how to place
a source image, the image appears in the lightbox.
If you deselected Attempt to Automatically
Arrange Source Files, all source images appear in
the lightbox, and you must manually assemble the
composition by dragging each image from the
lightbox to the work area.
Note: A tutorial is available for learning how to use
the Photomerge command. Click the Tutorial button
in the Photomerge dialog box.
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To change your view of a composition:
Do one or more of the following:
•Select the hand tool ( ) and drag in the work
area to move the view.
•Drag the view box in the Navigator thumbnail.
The view box represents the boundaries of the
work area.
•Use the magnification controls below the
Navigator thumbnail to zoom in or zoom out.
Editing a Photomerge composition
When assembling a panoramic composition, your
goal is to align the separate pieces and blend them
into a seamless image. Because of differences in
perspective, the pieces may not line up exactly.
Photoshop Elements lets you adjust the
perspective and blend exposure differences to
produce the best possible effect.
To assemble a composition in the work area:
1Select the select image tool ( ).
2Do one or more of the following:
•Drag an image in the work area to reposition
it. Hold down Shift to constrain the movement
to a horizontal path, a vertical path, or a 45° angle.
•Drag an image from the lightbox to the work
area to add it to the composition.
•Drag an image from the work area to the
lightbox to remove it from the composition.
•Double-click an image in the lightbox to place
the first image in the work area. For moving
subsequent images, use any of the three previous
methods.
3If desired, modify the Tool Settings options to
determine how images appear as you drag them in
the work area:
•Dragging to control the interaction between
overlapping images. Choose Ghost to make an
image partially transparent while you are dragging
it. Ghosting allows you to visually align common
elements in overlapping areas.
•Snap to Image to turn snapping on or off. Select
Snap to Image to automatically snap overlapping
images into place when a commonality is detected.
Sometimes it’s difficult to select an image that
is partially obscured by another overlapping
image. Hold down Alt (Windows) or Option (Mac
OS) as you move the mouse in the work area. The
image, whose center is nearest to the pointer, is
highlighted. You can then click to select the image.
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To adjust the perspective of a composition:
1Select the Use Perspective option.
2Select the vanishing point tool ( ), and click
on an image in the work area to make it the
vanishing point image.
The vanishing point image is used to correct the
perspective for the entire composition and has a
light blue border when it is selected (as opposed to
a red border). By default, the first image you drag
into the work area is the vanishing point image. In
an automatically assembled composition, the
middle image is the default vanishing point image.
There can only be one vanishing point image per
composition.
3If necessary, adjust the position of the non-
vanishing point images. A non-vanishing point
image has a red border when it is selected (as
opposed to a blue border).
When you apply perspective correction to a
composition, the non-vanishing point images are
linked to the vanishing point image. You can break
this link by separating the images in the work area
or by dragging the vanishing point image back to
the lightbox. Once the link is broken, images
return to their original shapes.
The perspective correction only works up to
approximately a 120° angle of view. For a wider
angle of view, the Use Perspective option should be
deselected.
To change the perspective of a composition,
select the vanishing point tool, and click on a
non-vanishing point image in the work area. Notice
how the perspective of the composition changes
depending on which image is the vanishing
point image.
To rotate an image in the work area:
1Select the select image tool ( ), and click on the
image you want to rotate.
2Select the rotate tool ( ).
3Click near the edge of the image and drag in a
circular motion around the center of the image.
Hold down Shift to constrain the rotation to
45° increments.
To clear a composition:
Hold down Alt (Windows) or Option (Mac OS),
and click New. All images in the work area are
returned to the lightbox.
Previewing a Photomerge composition
The Cylindrical Mapping and Advanced Blending
options are used to process the final image. The
results of applying these options are visible only in
Preview mode or in the final, generated image.
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To preview a Photomerge composition:
1Select Composition options as desired:
•Cylindrical Mapping to reduce the “bow tie”
distortion that can occur when you apply
perspective correction. You must select the Use
Perspective option in order to apply cylindrical
mapping.
Original
Cylindrical Mapping applied
•Advanced Blending to minimize color inconsis-
tencies that result from blending images with
exposure differences. When this option is selected,
broad colors and tones are blended over a large
area, while detailed colors and tones are blended
over a smaller area.
2Click Preview.
To return to edit mode:
Click Exit Preview.
Saving and opening Photomerge
compositions
You can save a composition so that you can
reaccess it at a later time. You may want to create
multiple compositions in order to experiment
with different alignments and settings.
To save a Photomerge composition:
Click Save As, and enter a name for the compo-
sition. The composition is automatically saved in
the same folder as the source images. Files are
saved with a .pmg extension.
Important: Do not move the composition from the
same folder as the source images. Doing so will
prevent you from reopening the composition.
To open an existing Photomerge composition:
1Choose File > Photomerge.
2Click Open in the Photomerge dialog box.
3Navigate to the existing composition and
click Open.
Generating a panoramic image
When you’re satisfied with your Photomerge
composition, you can generate the panorama. The
final image appears in a new Photoshop file and is
editable like any other image.
To generate a panoramic image:
Click OK in the Photomerge dialog box.
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Using the Liquify filter
The Liquify filter makes it easy to manipulate
areas of an image as if those areas had been melted.
You work with a preview image of the current
layer, using special tools to warp, twirl, expand,
contract, shift, and reflect areas of the image.
When you’re finished, you can apply the changes
to the actual image.
Original image, and with distortion and reconstruction
Note: The Liquify filter is not available for images in
Bitmap mode or Indexed Color mode.
To distort an image:
1Select the layer you want to distort. If you want
to change only part of the current layer, select the
area or areas to be changed.
You can use a selection to zoom in on an area to
be displayed in the preview image. You can’t
zoom within the preview.
2Choose Filter > Liquify. A dialog box displays
the preview image, tools for editing the image, and
tool and view options.
Note: If a type or shape layer is selected, you must
simplify the layer before proceeding. The type will
become uneditable. To distort type without simpli-
fying the type layer, use the Warp options for the
type tool.
3Adjust the brush size and pressure of the tools
as needed:
•To change the brush size for the tools, enter a
Brush Size value or drag the slider. The brush size
can range from 1 to 150 pixels.
•To change the brush pressure for the tools, enter
a Brush Pressure value or drag the slider. Brush
pressure can range from 1% to 100%.
A low brush pressure makes changes occur more
slowly, so it’s easier to stop them at exactly the
right moment.
•Use the Tool Options settings to adjust stylus size
and pressure when using a stylus tablet.
4Use any of the following tools to distort the
preview image:
•The warp tool ( ) to push pixels forward as
you drag.
•The twirl clockwise tool ( ) to rotate pixels
clockwise as you hold down the mouse button
or drag.
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•The twirl counterclockwise tool ( ) to rotate
pixels counterclockwise as you hold down the
mouse button or drag.
•The pucker tool ( ) to move pixels toward the
center of the brush area as you hold down the
mouse button or drag.
•The bloat tool ( ) to move pixels away from the
center of the brush area as you hold down the
mouse button or drag.
•The shift pixels tool ( ) to move pixels perpen-
dicular to the stroke direction. Drag to move pixels
to the left, and Alt-drag (Windows) or Option-
drag (Mac OS) to move pixels to the right.
•The reflection tool ( ) to copy pixels to the
brush area. Drag to reflect the area perpendicular
to the direction of the stroke (to the left of or below
the stroke). Alt-drag (Windows) or Option-drag
(Mac OS) to reflect the area in the direction
opposite to that of the stroke (for example, the
area above a downward stroke). Use overlapping
strokes to create an effect similar to a reflection in
water.
You can Shift-click with the warp, shift pixels,
and reflection tools to create the effect of
dragging in a straight line between the current
point and the previous point that you clicked or
Shift-clicked.
5Click OK to apply the changes in the preview
image to the actual image.
To restore a preview image to a previous state:
Do one of the following:
•Select the reconstruct tool ( ), and hold down
the mouse button or drag over the distorted areas.
The restoration occurs more quickly at the brush
center. Shift-click to reconstruct in a straight line
between the current point and the previous point
that you clicked or Shift-clicked.
•Click Revert, or Alt-click (Windows) or Option-
click (Mac OS) Reset, to restore the entire preview
image to its state when you opened the dialog
box. Revert also resets the tools to their previous
setting.
Rotating and straightening
images
You can rotate, flip, and straighten an entire image
using the commands in the Image > Rotate
submenu. To rotate a layer, see “Rotating layers,
selections, and shapes” on page 127.
Rotating and flipping images
Rotating an image turns it around its center point,
while flipping an image inverts it across its
horizontal or vertical axis.
To rotate or flip an entire image:
Choose Image > Rotate, and choose one of the
following commands from the submenu:
•Canvas 90° Left to rotate the image counter-
clockwise by a quarter-turn.
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•Canvas 90° Right to rotate the image clockwise
by a quarter-turn.
•Canvas 180° to rotate the image by a half-turn.
•Canvas Custom to rotate the image by the angle
you specify. If you choose this option, enter an
angle between –359.99 and 359.99 in the angle text
box, and then select Right or Left to rotate
clockwise or counterclockwise. Click OK.
•Flip Canvas Horizontal to flip the image
horizontally.
•Flip Canvas Vertical to flip the image vertically.
Straightening images
Skewed images are a common by-product of the
scanning process. For example, if you lay a photo-
graph on the scanner at an angle, the image will
appear rotated when you open it in Photoshop
Elements. You can quickly correct a rotated image
using one of the Straighten Image commands.
To straighten an image:
Do one of the following:
•To straighten and crop the image, choose
Image > Rotate > Straighten and Crop Image.
Note: The Straighten and Crop Image command
may not produce good results if the edges of the
rotated scan are too close to the image window
boundaries. In this case, you can use the Canvas Size
command to enlarge the work canvas. (See
“Changing the size of the work canvas” on page 118.)
•To straighten the image and leave the canvas size
the same, choose Image > Rotate > Straighten
Image. Using this command results in an image
with a transparent border at its edges.
Transforming layers, selections,
and shapes
You can scale, rotate, skew, distort, and apply
perspective to entire layers, selected parts
of layers, and shapes.
Specifying what to transform
You can apply a transformation to a selection on a
layer or to an entire layer. You can also link layers
in order to transform them together.
To specify what to transform:
Do one of the following:
•To transform the entire layer, make the layer
active, and make sure nothing is selected. (See
“Using the Layers palette” on page 166.)
Important: You cannot transform the background
layer. However, you can convert a background layer
to a regular layer. (See “Adding layers” on page 170.)
•To transform part of a layer, make the layer
active, and then select part of the image on that
layer. (See “Making pixel selections” on page 103).
•To transform multiple layers, link the layers
together in the Layers palette. (See “Linking layers”
on page 170.)
•To transform a shape on a layer, use the shape
selection tool ( ) to select the shape. (See “Trans-
forming shapes” on page 159.)
Setting the reference point
All transformations are performed around a fixed
point called the reference point. By default, this
point is at the center of the layer or selection.
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To set the reference point for a transformation:
1Select a transformation command, as described
in the following topics. A bounding box appears in
the image.
2In the options bar, click a square on the
reference point locator ( ). Each square repre-
sents a point on the bounding box. For example, to
set the reference point to the top left corner of the
bounding box, click the top left square on the
reference point locator.
Rotating layers, selections, and shapes
Rotating a layer, a selection on a layer, or a shape
turns it around the reference point. By default, this
point is at the center of the layer or selection;
however, you can move it to another location.
To rotate or flip a layer, selection, or shape:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Choose Image > Rotate, and choose one of the
following commands from the submenu:
•90° Left to rotate the layer, area, or shape
counterclockwise by a quarter-turn.
•90° Right to rotate the layer, area, or shape
clockwise by a quarter-turn.
•180° to rotate the layer, area, or shape by a
half-turn.
•Flip Horizontal to flip the layer, area, or shape
horizontally.
•Flip Vertical to flip the image layer, area,
or shape vertically.
To freely rotate a layer, selection, or shape:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Choose Image > Rotate > Free Rotate.
3To rotate around a point other than the center
of the layer or selection, see “Setting the reference
point” on page 126.
4Do one of the following:
•Move the pointer outside of the bounding
border (it becomes a curved, two-sided arrow)
( ), and then drag. Press Shift to constrain the
rotation to 15° increments.
•Specify an angle of rotation in the options bar.
5If desired, switch to a different type of transfor-
mation by clicking the Scale button ( ) or the
Skew button ( ) in the options bar, or by
selecting a command from the Image > Transform
submenu.
6When you’re satisfied with the results, click the
OK button ( ) in the options bar, or press Enter
(Windows) or Return (Mac OS), to commit the
transformation.
Scaling layers, selections, and shapes
Scaling a layer, a selection on a layer, or a shape
enlarges or reduces it relative to its reference point.
You can scale horizontally, vertically, or both
horizontally and vertically.
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To scale a layer, selection, or shape:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Choose Image > Resize > Scale.
3To scale in relation to a point other than the
center of the layer or selection, see “Setting the
reference point” on page 126.
4Do one of the following:
•Drag a handle. Press Shift as you drag a corner
handle to scale proportionately. When positioned
over a handle, the pointer becomes a double arrow
().
•Specify a percentage for the horizontal scale
and/or the vertical scale in the options bar. Click
the Maintain Aspect Ratio button ( ) to scale
proportionately.
5If desired, switch to a different type of transfor-
mation by clicking the Rotate button ( ) or the
Skew button ( ) in the options bar, or by
selecting a command from the Image > Transform
submenu.
6When you’re satisfied with the results, click the
OK button ( ) in the options bar, or press Enter
(Windows) or Return (Mac OS), to commit the
transformation.
Skewing, distorting, and applying
perspective to layers, selections, and
shapes
Skewing, distorting, and applying perspective are
transformations that change the geometry of a
layer, a selection on a layer, or a shape. Skewing lets
you slant a layer vertically and horizontally;
distorting lets you stretch a layer in all directions;
applying perspective lets you apply one-point
perspective to a layer. You apply each type of trans-
formation by dragging a handle on the bounding
box in the document window.
You can use the Free Transform command to skew,
distort, and apply perspective, as well as rotate,
scale, and move, in a continuous operation. (See
“Using the Free Transform command” on
page 129.)
To skew, distort, or apply perspective to a layer,
selection, or shape:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Do one of the following:
•Choose Image > Transform > Skew, and drag a
side handle to slant the bounding box.
•Choose Image > Transform > Distort, and drag
a corner handle to stretch the bounding box.
•Choose Image > Transform > Perspective, and
drag a corner handle to apply perspective to the
bounding box.
Note: If you are transforming a shape with the shape
tool selected, the Transform menu becomes the
Transform Path menu.
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3If desired, switch to a different type of transfor-
mation by clicking the Rotate button ( ), the
Scale button ( ), or the Skew button ( ) in the
options bar, or by selecting a command from the
Image > Transform submenu.
4When you’re satisfied with the results, click the
OK button ( ) in the options bar, or press Enter
(Windows) or Return (Mac OS), to commit the
transformation.
To duplicate a layer when transforming it:
Hold down Alt (Windows) or Option (Mac OS)
when selecting the Transform command.
Using the Free Transform command
The Free Transform command lets you apply
transformations (rotate, scale, skew, distort, and
perspective) in one continuous operation. Instead
of choosing different commands, you simply hold
down a key on your keyboard to switch between
transformation types.
To freely transform a layer:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Choose Image > Transform > Free Transform.
If you are transforming a shape with the custom
shape tool selected, choose Image > Transform
Path > Free Transform Shape.
3Do one or more of the following:
•To scale, drag a handle. Press Shift as you drag a
corner handle to scale proportionately. When
positioned over a handle, the pointer becomes a
double arrow ( ).
•To rotate, move the pointer outside of the
bounding border (it becomes a curved, two-sided
arrow) ( ), and then drag. Press Shift to
constrain the rotation to 15° increments.
•To rotate around a point other than the center of
the layer or selection, see “Setting the reference
point” on page 126.
•To distort freely, press Ctrl (Windows) or
Command (Mac OS), and drag a handle.
•To skew, press Ctrl+Shift (Windows) or
Command+Shift (Mac OS), and drag a side
handle. When positioned over a side handle, the
pointer becomes a white arrowhead with a small
double arrow ( ).
•To apply perspective, press Ctrl+Alt+Shift
(Windows) or Command+Option+Shift
(Mac OS), and drag a corner handle. When
positioned over a corner handle, the pointer
becomes a gray arrowhead ( ).
To undo the last handle adjustment, choose
Edit > Undo.
4Click the OK button ( ) in the options bar, or
press Enter (Windows) or Return (Mac OS), to
commit the transformation.
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Transforming objects in three
dimensions
The 3D Transform filter lets you manipulate a flat,
two-dimensional image as if it were a solid, three-
dimensional object. Take, for example, a
perspective photograph of a cereal box. You specify
the corners of the box using a wire frame, and you
can then manipulate the box as if it were a three-
dimensional object. You can reposition the box,
turn or rotate it, shrink or enlarge it, and change
its field of view.
Transforming and manipulating objects
You can transform a two-dimensional object into
a cube, sphere, or cylinder and manipulate it using
wire frames based on that shape. Cylinders can
include anything from simple objects, such as a
can of soup, to shapes whose sides are lathed, such
as a bottle or a lamp.
You can create and manipulate any grouping of
cubes, spheres, and cylinders in the same image.
For example, you can create and rotate a box, three
spheres, and a bottle together in the same image.
To transform and manipulate an object in three
dimensions:
1Select the layer, area, or shape you want to
transform. (See “Specifying what to transform” on
page 126.)
2Do one of the following:
•Choose Filter > Render > 3D Transform.
•Double-click 3D Transform in the Filters palette.
•Drag the 3D Transform thumbnail from the
Filters palette to the image.
3Select one of these tools in the dialog box:
•Cube ( ) to map the image (such as a file
cabinet) to a cubic surface.
•Sphere ( ) to map the image (such as a globe or
ball) to a spherical surface.
•Cylinder ( ) to map the image (such as a can or
bottle) to a cylindrical surface.
4Drag to create a cubic, cylindrical, or spherical
wire frame over the image.
5Move or reshape the wire frame, as described
later in this section. The anchor points should
line up with the corners of the box, or the top
and bottom of the sphere or cylinder you want
to manipulate.
6Manipulate the object in three dimensions, as
described later in this section.
7Click OK.
To move or reshape the wire frame:
1Select the selection tool ( ) or direct selection
tool ( ) in the 3D Transform dialog box.
2Do either of the following:
•Drag an edge of the wire frame to move the
entire frame.
•With the direct selection tool, drag an
anchor point on the wire frame to move that
anchor point.
Note: The wire frame turns red if you try to make a
wire frame that would be impossible to re-create in
three dimensions.
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3If you are creating a complex cylinder, do any of
the following:
•To add an anchor point to a cylinder, select the
add anchor point tool ( ) in the dialog box, and
click the right side of the wire frame. For example,
you can add an anchor point to more closely fit the
cylindrical wire frame to a picture of a bottle.
•To change an added anchor point from a smooth
anchor point to a corner anchor point and vice
versa, select the convert anchor point tool ( ), and
click the point. A smooth anchor point creates a
gentle curve when you adjust it; a corner anchor
point creates a sharp corner.
•To delete an added anchor point, select the delete
anchor point tool ( ), and click the point. Only
round or diamond-shaped points can be deleted.
4For Field of View, enter a value between 1 and
130. Alternatively, drag the slider to the left to
increase the apparent field-of-view, right to
decrease it. This can make the wire frame fit the
image better. If you know the field of view angle
used to photograph the image, you can enter
it here.
To delete a wire frame:
1Select the selection tool ( ) in the 3D
Transform dialog box.
2Select the wire frame, and press Backspace
(Windows) or Delete (Mac OS).
To manipulate the object in three dimensions:
Do any of the following in the 3D Transform
dialog box:
•To move the object, click the pan camera tool
( ) in the dialog box, and drag the object.
•To rotate the object in any direction, click the
trackball tool ( ), and drag the object.
•For Dolly Camera, enter a value between 0 and
99. Alternatively, drag the slider to the left to
magnify the transformed object, right to shrink
it. This has the same effect as if you were dollying,
or moving, the camera further from or closer to
the image.
•For Field of View, enter a value between 1 and
130, or drag the slider to the left to increase the
apparent field of view, right to decrease it.
The 3D Transform dialog box previews only the
active layer. As you manipulate an object in
three dimensions, you can align it with the contents
of underlying layers.
To align an object with an underlying layer:
1Duplicate the layer with which you want
to align.
2Within the existing stacking order, place this
duplicate layer directly under the layer you are
transforming.
3Merge the layer to be transformed with the
duplicated layer.
4With the Display Background option enabled in
the 3D Transform options, manipulate the object
on the layer.
5When the layer is aligned, disable the Display
Background option, and click OK.
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Modifying the preview image
Use the zoom and hand tools in the 3D Transform
dialog box to change your preview of an image.
These actions do not modify the transformation
itself, only your view of it.
To magnify or shrink the preview image:
1Select the zoom tool ( ) in the 3D Transform
dialog box.
2Click the image to zoom in, or Alt-click
(Windows) or Option-click (Mac OS) to
zoom out.
To move the view of the preview image:
Select the hand tool ( ) in the 3D Transform
dialog box, and drag the preview image. This
works only if you are zoomed in on the image.
Setting 3D rendering options
You can set the resolution and anti-aliasing of
rendered images and specify whether to show
the background from the original image in the
3D preview.
To set 3D rendering options:
1Click Options in the 3D Transform dialog box.
2Do any of the following:
•For Resolution, choose the quality of the
rendered image. The setting has little effect on the
image quality of cubes, but will produce smoother
curved surfaces in cylinders and spheres.
•For Anti-aliasing, choose the level of anti-
aliasing to apply to the rendered image.
•Select Display Background to include the
portions of the original image outside of the wire
frame in the preview and with the rendered image.
Turn this option off to separate the transformed
object from the original background.
3Click OK.
Retouching an image
You can retouch images using the clone stamp,
pattern stamp, red eye brush, smudge, focus,
toning, and sponge tools.
Note: These tools cannot be used with Bitmap or
Indexed Color mode.
Using the clone stamp tool
The clone stamp tool takes a sample of an image,
which you can then apply over another image or
part of the same image. Each stroke of the tool
paints on more of the sample. Cross hairs mark the
original sampling point.
To use the clone stamp tool:
1Select the clone stamp tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
3Specify a blending mode and opacity.
(See “Setting options for painting and editing
tools” on page 147.)
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4Select Aligned to apply the entire sampled area
once, regardless of how many times you stop and
resume painting. This option is useful when you
want to use different-sized brushes to paint an
image. You can also use the Aligned option to
duplicate two halves of a single image and place
them at different locations.
If Aligned is deselected, the sampled area is applied
from the initial sampling point each time you stop
and resume painting. Because the clone stamp tool
samples the entire image, this option is useful for
applying multiple copies of the same part of an
image to different images.
5Select Use All Layers to sample data from all
visible layers. If this is deselected, the tool samples
only from the active layer.
6If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
7Position the pointer on the part of any open
image you want to sample, and Alt-click
(Windows) or Option-click (Mac OS). This
sample point is the location from which the image
is duplicated as you paint.
8Drag to paint with the tool.
Using the pattern stamp tool
The pattern stamp tool lets you paint with a
pattern. You can select a pattern from the pattern
libraries or create your own patterns.
To use the pattern stamp tool:
1Select the pattern stamp tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
3Specify a blending mode and opacity.
(See “Setting options for painting and editing
tools” on page 147.)
4Choose a pattern from the pop-up palette in the
options bar.
To load additional pattern libraries, select a library
name from the pop-up palette menu or choose
Load and navigate to the folder where the library
is stored. To learn more about patterns and pattern
libraries, see “Creating and editing patterns” on
page 161.
5Select Aligned to repeat the pattern as
contiguous, uniform tiles. The pattern is aligned
from one paint area to the next.
If Aligned is deselected, the pattern is centered
on the pointer each time you stop and resume
painting.
6If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
7Drag to paint with the tool.
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Using the red eye brush
Red eye occurs when light from an on-camera
flash reflects off the back of the eye. You can easily
remove red eye from an image using the red eye
brush. You can also use the red eye brush to
retouch other details in an image, such as braces.
To use the red eye brush:
1Select the red eye brush ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
3Specify a target color (the color you want to
remove) by doing one of the following:
•To set the target color when you click in the
image, choose First Click from the Sampling
pop-up menu.
•To use the default target color, choose Current
Color from the Sampling pop-up menu. Then
click Default Colors.
•To pick a custom target color, choose Current
Color from the Sampling pop-up menu. Then
click the Current color swatch. When the color
picker appears, click in the image on the color you
want to remove. Alternately, you can choose a
target color using the color picker.
4Specify a replacement color by doing one of
the following:
•To use the default replacement color, click
Default Colors.
Note: Clicking Default Colors also resets the
target color.
•To pick a custom replacement color, click the
Replacement color swatch, and pick the color that
you want to use for the correction.
5Specify a value for Tolerance. The tolerance
defines how similar in color a pixel must be to be
replaced. A low percentage replaces adjacent pixels
within a range of color values very similar to the
pixel you click. A high percentage replaces adjacent
pixels within a broader range of color values.
If a person has pinkish skin, the red eye brush
might have problems differentiating between the
pupil’s red eye and the face. Specifying a lower
tolerance might help.
6If desired, click the Brush Dynamics button
( ), and set brush dynamics options. (See “Speci-
fying the effect of stylus pressure” on page 149 and
“Specifying a paint fade-out rate” on page 149.)
7Drag in the image over the details you want to
correct. Any pixels that match the target color are
colorized with the replacement color.
Using the smudge tool
The smudge tool simulates the actions of dragging
a finger through wet paint. The tool picks up color
where the stroke begins and pushes it in the
direction you drag.
To use the smudge tool:
1Select the smudge tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
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If a brush is too large to fit in the palette, it appears
as a smaller brush with a number indicating the
actual diameter in pixels.
3Specify a blending mode and pressure.
(See “Setting options for painting and editing
tools” on page 147.)
4Select Use All Layers to smudge using color data
from all visible layers. If this is deselected, the
smudge tool uses colors from only the active layer.
5Select Finger Painting to smudge using the
foreground color at the beginning of each stroke.
If this is deselected, the smudge tool uses the color
under the pointer at the beginning of each stroke.
6If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
7Drag in the image to smudge color.
Press Alt (Windows) or Option (Mac OS) as
you drag with the smudge tool to use the Finger
Painting option.
Using the focus tools
The focus tools consist of the blur tool and the
sharpen tool. The blur tool softens hard edges or
areas in an image to reduce detail. The sharpen
tool focuses soft edges to increase clarity or focus.
For information on other ways to adjust
sharpness, see “Sharpening images” on page 98
and “Improving performance with filters” on
page 193.
To use the blur or sharpen tool:
1Select the blur tool ( ) or sharpen tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
If a brush is too large to fit in the palette, it appears
as a smaller brush with a number indicating the
actual diameter in pixels.
3Specify a blending mode and pressure.
(See “Setting options for painting and editing
tools” on page 147.)
4Select Use All Layers to blur or sharpen using
data from all visible layers. If this is deselected, the
tool uses data from only the active layer.
5If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
6Click and drag over the part of the image you
want to blur or sharpen.
Using the toning tools
The toning tools consist of the dodge tool and the
burn tool. Used to lighten or darken areas of the
image, the dodge and burn tools are based on a
traditional photographer’s technique for
regulating exposure on specific areas of a print.
Photographers hold back light to lighten an area
on the print (dodging) or increase the exposure to
darken areas on a print (burning).
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To use the dodge or burn tool:
1Select the dodge tool ( ) or burn tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
3Select what to change in the image:
•Midtones to change the middle range of grays.
•Shadows to change the dark areas.
•Highlights to change the light areas.
4Specify the exposure for the tool. (See “Speci-
fying opacity, pressure, or exposure” on page 149.)
5If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
6Click and drag over the part of the image you
want to modify.
Using the sponge tool
The sponge tool subtly changes the color
saturation of an area. In Grayscale mode, the tool
increases or decreases contrast by moving gray
levels away from or toward the middle gray.
To use the sponge tool:
1Select the sponge tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
3Select how to change the color:
•Saturate to intensify the color’s saturation.
•Desaturate to dilute the color’s saturation.
4Specify the pressure for the tool. (See “Speci-
fying opacity, pressure, or exposure” on page 149.)
5If you are using a pressure-sensitive drawing
tablet, specify the effects of stylus pressure.
(See “Specifying the effect of stylus pressure” on
page 149.)
6Drag over the part of the image you want
to modify.
7
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Chapter 7: Painting and Drawing
here are several tools you can use to paint
and draw objects in Photoshop Elements.
You can create different effects with the
painting and drawing tools by customizing the
options for each tool. You can also create and
edit shapes using the shape tools. Other tools and
commands let you transform and retouch
an image.
About painting and drawing
When creating graphics on a computer, there is a
distinction between painting and drawing.
Painting involves changing the colors of pixels
using a painting tool. You can apply colors
gradually, with soft edges and transitions, and
manipulate individual pixels using powerful filter
effects. When you use a painting tool, the color is
applied to the currently selected layer.
Drawing involves creating shapes that are defined
as geometric objects. For example, if you draw a
circle using the ellipse tool, the circle is defined by
a specific radius, location, and color. You can
quickly select the entire circle and move it to a new
location. When you use a drawing tool, a new layer
is automatically created.
Using the painting tools
You can use the paintbrush, pencil, or airbrush to
paint color on an image. The three tools create
different effects:
•The paintbrush tool creates soft strokes of color.
•The pencil tool creates hard-edged freehand
lines.
•The airbrush tool applies gradual tones
(including sprays of color) to an image, simulating
traditional airbrush techniques. The edges of the
stroke are more diffused than those created with
the paintbrush tool. The pressure setting for the
airbrush tool controls how quickly the spray of
paint is applied. If you hold down the mouse
button without dragging, you can build up color.
To use a painting tool:
1Specify a foreground color. (See “Choosing
foreground and background colors” on page 74.)
2Select the paintbrush tool ( ), pencil tool ( ),
or airbrush tool ( ).
3Click the inverted arrow ( ) next to the brush
sample and choose a size for the brush from the
pop-up palette menu in the options bar. To learn
more about using pop-up palettes, see “Using
pop-up palettes” on page 35.
If a brush is too large to fit in the palette, it appears
as a smaller brush with a number indicating the
actual diameter in pixels.
4Specify a blending mode to control how
painting affects existing pixels in the image.
(See “Selecting a blending mode” on page 147.)
5Specify opacity for the paintbrush or pencil
tool, or pressure for the airbrush tool. (See “Speci-
fying opacity, pressure, or exposure” on page 149.)
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6Set additional options:
•For the paintbrush tool, select Wet Edges to
paint with a watercolor effect. The paint builds up
along the edges of the brush stroke.
•For the pencil tool, select Auto Erase to paint the
background color over areas containing the
foreground color.
7Specify the rate at which a brush stroke fades
dynamically. (See “Specifying a paint fade-out
rate” on page 149.)
8Drag in the image to paint.
To draw a straight line with one of the painting
tools, click a starting point in the image. Then
hold down Shift, and click an ending point.
Erasing
The eraser and magic eraser tools let you erase
areas of an image to transparency or to the
background color. The background eraser tool lets
you erase to transparency on a layer.
You can also use the Auto Erase option with the
pencil tool to erase the foreground color to the
background color as you paint, unless the area
does not contain the foreground color. In that case
the area is painted with the foreground color.
Using the eraser tool
The eraser tool changes pixels in the image as you
drag through them. If you’re working in the
background or in a layer with transparency locked,
the pixels change to the background color;
otherwise, the pixels are erased to transparency.
To use the eraser tool:
1Select the eraser tool ( ).
2Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
If a brush is too large to fit in the palette, it appears
as a smaller brush with a number indicating the
actual diameter in pixels.
3Choose the tool Mode you want to use as an
eraser—paintbrush, airbrush, pencil, or block.
4Specify an opacity to define the strength of the
erasure. An opacity of 100% erases pixels to
complete transparency. A lower opacity erases
pixels to partial transparency. (This option is not
available for block mode.)
5If you’re using the paintbrush eraser, select Wet
Edges to erase with a watercolor effect. When this
is selected, the erased effect builds up along the
edges of the brush stroke.
6Specify the rate at which a brush stroke fades
dynamically. (See “Specifying a paint fade-out
rate” on page 149.)
7Drag through the area you want to erase.
Using the magic eraser tool
When you click in a layer with the magic eraser
tool, the tool automatically changes all similar
adjacent pixels. If you’re working in the
background, or in a layer with locked trans-
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parency, the pixels change to the background
color; otherwise, the pixels are erased to trans-
parency. You can choose to erase contiguous pixels
only or all similar pixels on the current layer.
Erasing similar pixels
To use the magic eraser tool:
1Select the magic eraser tool ( ).
2Enter a tolerance value. This defines the range
of colors that can be erased. A low tolerance erases
pixels within a range of color values very similar to
the pixel you click. A high tolerance erases pixels
within a broader range.
3Select Anti-aliased to smooth the edges of the
area you erase.
4Select Contiguous to erase only pixels
contiguous to the one you click, or leave
unselected to erase all similar pixels in the image.
5Select Use All Layers to sample the erased color
using combined data from all visible layers.
6Specify an opacity to define the strength of the
erasure. An opacity of 100% erases pixels to
complete transparency. A lower opacity erases
pixels to partial transparency.
7Click in the part of the layer you want to erase.
Using the background eraser tool
The background eraser tool lets you erase pixels on
a layer to transparency as you drag; this allows you
to erase the background while maintaining the
edges of an object in the foreground. The
background eraser samples the color in the center
of the brush, also called the hotspot, and deletes
that color wherever it appears inside the brush. It
also performs color extraction at the edges of any
foreground objects, so that color halos are not
visible if the foreground object is later pasted into
another image.
Note: The background eraser overrides the lock
transparency setting of a layer.
To use the background eraser tool:
1In the Layers palette, select the layer containing
the areas you want to erase.
2Select the background eraser tool ( ).
3Choose a brush size from the pop-up palette in
the options bar. To learn more about using pop-up
palettes, see “Using pop-up palettes” on page 35.
If a brush is too large to fit in the palette, it appears
as a smaller brush with a number indicating the
actual diameter in pixels.
4Choose a Limits mode for erasing:
•Discontiguous to erase the sampled color
wherever it occurs under the brush.
•Contiguous to erase areas that contain the
sampled color and are connected to one another.
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5For Tolerance, enter a value or drag the slider.
A low tolerance limits erasure to areas that are very
similar to the sampled color. A high tolerance
erases a broader range of colors.
6Specify the rate at which a brush stroke fades
dynamically. (See “Specifying a paint fade-out
rate” on page 149.)
7Drag through the area you want to erase.
The background eraser tool pointer appears as
a brush shape with a cross hair indicating the tool’s
hotspot ( ).
Using the Auto Erase option
The Auto Erase option for the pencil tool lets you
paint the background color over areas containing
the foreground color.
To use the Auto Erase option:
1Specify foreground and background colors.
(See “Choosing foreground and background
colors” on page 74.)
2Select the pencil tool ( ).
3Select Auto Erase.
4Drag over the image.
If you begin dragging over the foreground color,
the area is erased to the background color. If you
begin dragging from an area that doesn’t contain
the foreground color, the area is painted with the
foreground color.
Using the impressionist brush
tool
The impressionist brush tool lets you paint with
stylized strokes. By experimenting with different
paint style, fidelity, size, and tolerance options,
you can simulate the texture of painting with
different colors and artistic styles.
A. Original B. Square brush C. Large brush D. Small brush
To use the impressionist brush tool:
1Select the impressionist brush tool ( ).
2Choose a brush from the pop-up menu in the
options bar. (See “Using pop-up palettes” on
page 35.)
3Choose a mode from the drop-down list.
4Specify opacity for the paint. (See “Setting
options for painting and editing tools” on
page 147.)
5Choose an option from the Style menu to
control the shape of the paint stroke.
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6For Fidelity, enter a value or drag the slider to
control how much the paint color deviates from
the color in the source state or snapshot. The lower
the fidelity, the more the color will vary from
the source.
7For Area, enter a value to specify the area
covered by the paint strokes. The greater the size,
the larger the covered area and the more numerous
the strokes.
8For Spacing, enter a value or drag the slider to
limit the regions where paint strokes can be
applied. A low spacing tolerance lets you paint
unlimited strokes anywhere in the image. A high
spacing tolerance limits paint strokes to areas that
differ considerably from the color in the source
state or snapshot.
9If you are using a pressure-sensitive tablet,
set any of the following brush dynamics ( )
options in the options bar to Stylus:
•Size to have increased pressure result in a larger
area covered by the paint. (Size refers to the area of
coverage, not the brush size.)
•Opacity to have increased pressure result in
more opaque paint.
If you do not have a stylus, you can set these
options to Fade. (See “Specifying a paint fade-out
rate” on page 149.)
10 Drag in the image to paint.
Customizing brush libraries
The brush sizes and shapes available for painting
and editing appear in the pop-up palette in the
options bar for the painting and editing tools. You
can customize the brushes and settings for each of
the painting tools (airbrush, paintbrush, eraser,
and pencil) and editing tools (clone stamp,
smudge, focus, toning, and red eye brush).
In Photoshop Elements, you can save libraries,
load, replace, save, rename brushes in libraries,
reset, or delete new brushes or libraries of brushes
using the Preset Manager. (See “Working with
presets” on page 35.)
Creating and editing brushes
You can create new brushes and delete brushes
you no longer need, and you can use part of an
image to create a custom brush. You can also create
a temporary brush that you only expect to use
one time.
A. Brush options B. Pop-up palette
To create a brush:
Do one of the following:
•Click the inverted arrow ( ) next to the brush
sample to display the pop-up palette in the options
bar, and choose New Brush from the pop-up
palette menu. The preview box in the lower right
corner of the New Brush dialog box shows the
current brush tip. The box in the lower left corner
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shows the current brush angle and roundness.
As you enter new options, the brushes in these
boxes update. Set the brush options as described
in“Setting brush options” on page 145, then
click OK.
•Click the brush sample in the options bar to
display the options of the selected brush. Then
click New ( ) to save this brush as a preset. Enter
a name for the brush, and set the brush options as
described in “Setting brush options” on page 145.
The new brush is selected in the options bar and is
added at the bottom of the pop-up palette.
To create a temporary brush or temporarily change a
brush:
1Click the brush sample in the options bar.
2Set the brush options. (See “Setting brush
options” on page 145.)
3Draw in the image.
To delete a brush:
Do one of the following:
•In the pop-up palette in the options bar, press
Alt (Windows) or Option (Mac OS), and click the
brush you want to delete.
•Click the brush in the pop-up palette, and
choose Delete Brush from the pop-up
palette menu.
•Choose Edit > Preset Manager, select Brushes
from the Preset Type list, select the brush from the
list in the dialog box, and click Delete.
To create a custom brush shape:
1Use the rectangle marquee ( ) with Feather
set to 0 px to select part of an image to use as a
custom brush.
The brush shape can be up to 1024 pixels by 1024
pixels in size. To be most effective, the shape
should appear on a solid white background. If you
want to define brushes with soft edges, select brush
shapes composed of pixels with gray values.
(Colored brush shapes appear as gray values.)
2Choose Define Brush from the Edit menu.
3Name the brush and click OK.
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You can set the spacing and anti-alias options by
selecting the brush from the pop-up palette in the
options bar and clicking the brush sample. If you
make changes, click the New Preset button ( ) to
save your changes as a new preset item.
Pear painted with custom
brush shown in inset
You can easily save, load, replace, or delete brushes
using the pop-up palette menu. You can also
customize the view of the pop-up palette.
(See “Using pop-up palettes” on page 35.) You can
also load or save brushes using the Preset Manager.
(See “Working with presets” on page 35.)
Exiting Photoshop Elements saves the contents of
the current pop-up palette in the Preferences file.
Setting brush options
You can define a number of options for the default
brushes. For custom brushes, only the name,
spacing, and anti-aliased options can be changed.
To set brush options:
1Do one of the following:
•To edit the current brush, click the brush sample
in the options bar.
•To edit a different brush, select the brush you
want in the pop-up palette, then click the brush
sample in the options bar.
2Set the options for Diameter, Hardness,
Spacing, Angle, and Roundness. For custom
brushes, enter a new name if desired, then set the
options for Spacing and Anti-aliased.
3Click New Preset ( ) to create a new
preset brush.
Diameter Controls the size of the brush. Enter a
value in pixels or drag the slider.
While using a preset brush, you can press the
[ key to decrease the brush width by 10 pixels.
Press the ] key to increase the width by 10 pixels.
Press Shift+ the ] key to increase the brush hardness.
Press Shift+ the [ key to decrease the brush hardness.
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Hardness Controls the size of the brush’s hard
center. Type a number, or use the slider to enter a
value that is a percentage of the brush diameter.
Brush strokes with different hardness values
Spacing Controls the distance between the brush
marks in a stroke. To change the spacing, type a
number, or use the slider to enter a value that is a
percentage of the brush diameter. To paint strokes
without defined spacing, deselect this option.
Increasing the spacing makes the brush skip.
Angle Specifies the angle by which an elliptical
brush’s long axis is offset from horizontal. Type a
value in degrees, or drag the horizontal axis in the
left preview box.
Angled brushes create a chiseled stroke.
Roundness Specifies the ratio between the brush’s
short and long axes. Enter a percentage value, or
drag the points in the left preview box. A value of
100% indicates a circular brush, a value of 0%
indicates a linear brush, and intermediate values
indicate elliptical brushes.
Adjusting roundness affects shape of brush tip.
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Setting options for painting and
editing tools
You set options for a painting or editing tool in the
options bar for that tool.
Selecting a blending mode
The blending mode specified in the options bar
controls how pixels in the image are affected by a
painting or editing tool. It’s helpful to think in
terms of the following colors when visualizing a
blending mode’s effect:
•The base color is the original color in the image.
•The blend color is the color being applied with
the painting or editing tool.
•The result color is the color resulting from
the blend.
To select a blending mode for a tool:
Choose from the Mode menu in the options bar.
Normal Edits or paints each pixel to make it the
result color. This is the default mode. (Normal
mode is called Threshold when you’re working
with a bitmapped or indexed-color image.)
Dissolve Edits or paints each pixel to make it the
result color. However, the result color is a random
replacement of the pixels with the base color or the
blend color, depending on the opacity at any pixel
location. This mode works best with the paint-
brush or airbrush tool and a large brush.
Behind Edits or paints only on the transparent
part of a layer. This mode works only in layers with
Lock Transparency deselected and is analogous to
painting on the back of transparent areas in a sheet
of acetate.
Multiply Looks at the color information in each
channel and multiplies the base color by the blend
color. The result color is always a darker color.
Multiplying any color with black produces black.
Multiplying any color with white leaves the color
unchanged. When you’re painting with a color
other than black or white, successive strokes with a
painting tool produce progressively darker colors.
The effect is similar to drawing on the image with
multiple felt-tipped pens.
Screen Looks at each channel’s color information
and multiplies the inverse of the blend and base
colors. The result color is always a lighter color.
Screening with black leaves the color unchanged.
Screening with white produces white. The effect is
similar to projecting multiple photographic slides
on top of each other.
Overlay Multiplies or screens the colors,
depending on the base color. Patterns or colors
overlay the existing pixels while preserving the
highlights and shadows of the base color. The base
color is not replaced but is mixed with the blend
color to reflect the lightness or darkness of the
original color.
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Soft Light Darkens or lightens the colors,
depending on the blend color. The effect is similar
to shining a diffused spotlight on the image.
If the blend color (light source) is lighter than
50% gray, the image is lightened, as if it were
dodged. If the blend color is darker than 50%
gray, the image is darkened, as if it were burned in.
Painting with pure black or white produces a
distinctly darker or lighter area but does not result
in pure black or white.
Hard Light Multiplies or screens the colors,
depending on the blend color. The effect is similar
to shining a harsh spotlight on the image.
If the blend color (light source) is lighter than
50% gray, the image is lightened, as if it were
screened. This is useful for adding highlights to
an image. If the blend color is darker than 50%
gray, the image is darkened, as if it were multiplied.
This is useful for adding shadows to an image.
Painting with pure black or white results in pure
black or white.
Color Dodge Looks at the color information in
each channel and brightens the base color to
reflect the blend color. Blending with black
produces no change.
Color Burn Looks at the color information in
each channel and darkens the base color to reflect
the blend color. Blending with white produces
no change.
Darken Looks at the color information in each
channel and selects the base or blend color—
whichever is darker—as the result color. Pixels
lighter than the blend color are replaced, and
pixels darker than the blend color do not change.
Lighten Looks at the color information in each
channel and selects the base or blend color—
whichever is lighter—as the result color. Pixels
darker than the blend color are replaced, and
pixels lighter than the blend color do not change.
Difference Looks at the color information in each
channel and subtracts either the blend color from
the base color or the base color from the blend
color, depending on which has the greater
brightness value. Blending with white inverts the
base color values; blending with black produces no
change.
Exclusion Creates an effect similar to but lower in
contrast than the Difference mode. Blending with
white inverts the base color values. Blending with
black produces no change.
Hue Creates a result color with the luminance and
saturation of the base color and the hue of the
blend color.
Saturation Creates a result color with the
luminance and hue of the base color and the
saturation of the blend color. Painting with this
mode in an area with no (0) saturation (gray)
causes no change.
Color Creates a result color with the luminance of
the base color and the hue and saturation of the
blend color. This preserves the gray levels in the
image and is useful for coloring monochrome
images and for tinting color images.
Luminosity Creates a result color with the hue and
saturation of the base color and the luminance of
the blend color. This mode creates an inverse effect
from that of the Color mode.
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Specifying opacity, pressure, or exposure
You can specify opacity, pressure, or exposure for
a variety of tools:
•Opacity is used by the gradient fill, pencil, paint-
brush, clone stamp, pattern stamp, and impres-
sionist brush tools.
•Pressure of action is applied by the airbrush,
smudge, blur, sharpen, and sponge tools.
•Amount of exposure is used by the dodge and
burn tools.
To specify opacity, pressure, or exposure:
Enter a value, or drag the slider for Opacity,
Pressure, or Exposure in the options bar.
Opacity, pressure, or exposure can range from 1%
to 100%. For transparent paint or a weak effect,
specify a low percentage value; for more opaque
paint or a strong effect, specify a high value.
If you have selected a tool without an opacity
option in its options bar, press a number key to
set the opacity in multiples of 10% (pressing 1 sets to
10%, pressing 0 sets to 100%).
Specifying the effect of stylus pressure
Photoshop Elements is compatible with most
pressure-sensitive digitizing tablets such as the
Wacom® tablets. With Control Panel software for
your tablet installed, you can specify the type of
effect that results when you vary stylus pressure.
These stylus pressure options affect the magnetic
lasso, magnetic pen, pencil, paintbrush, airbrush,
eraser, clone stamp, pattern stamp, impressionist
brush, smudge, blur, sharpen, dodge, burn, and
sponge tools.
To specify the effect of stylus pressure:
Click the Brush Dynamics button ( ) in the
options bar, and choose Stylus for each of the
options you want to set:
•Size to have increased pressure create a broader
brush stroke.
•Opacity/Pressure to have increased pressure
make the paint more opaque or more intense.
•Color if you want light pressure to paint with the
background color, making a transition to the
foreground color as the pressure increases. (This
option is only available when using a tool that
supports color.)
Note: If the highest pressure of your stylus does not
reach 100%, contact your tablet vendor. This
problem is caused by the driver software, not
Photoshop Elements.
Specifying a paint fade-out rate
If you don’t have a stylus, you can still simulate
actual brush strokes by setting the rates at which
most of the drawing and painting tools fade out
from their beginning strokes. You can specify
which options dynamically change over the course
of a brush stroke: opacity, size, and color can all be
individually set.
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To specify a paint fade-out rate:
1Click the Brush Dynamics button ( ) in the
options bar, and choose Fade for each of the
following options you want to set:
•Size to decrease the brush stroke size over the
length of a brush stroke.
•Opacity/Pressure to reduce the opacity over the
length of a stroke.
•Color to cause the color to fade in intensity over
the length of a stroke. (This option is only available
when using a tool that supports color.)
2Enter a value for Steps. The value represents the
number of steps in the fade. A smaller value causes
the stroke to fade quickly.
Each step is equal to one mark of the brush tip. The
value can range from 1 to 9999. For example,
entering 10 steps produces a fade in 10 increments.
For smaller brushes, you may want to set a value
of 25 or larger. If strokes fade too quickly, increase
the values.
Fade-out showing setting of
40, 60, and 80 steps
Using the gradient tools
The gradient tools create a gradual blend between
multiple colors. You can choose from existing
gradient fills or create your own.
Linear gradient ( ) Shades from the starting
point to the ending point in a straight line.
Radial gradient ( ) Shades from the starting
point to the ending point in a circular pattern.
Angular gradient ( ) Shades in a counter-
clockwise sweep around the starting point.
Reflected gradient ( ) Shades using symmetric
linear gradients on either side of the starting point.
Diamond gradient ( ) Shades from the starting
point outward in a diamond pattern. The ending
point defines one corner of the diamond.
Note: The gradient tools cannot be used with
images in Bitmap, indexed-color, or 16-bits per
channel mode.
Applying a gradient fill
You fill an area with a gradient by dragging in the
image or in a selection. The starting point (where
the mouse is pressed) and ending point (where the
mouse is released) affect the gradient appearance,
depending on the gradient tool used.
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To apply a gradient fill:
1To fill part of the image, select the desired area.
Otherwise, the gradient fill is applied to the entire
active layer.
2Select the gradient tool ( ).
3In the options bar, click the desired gradient
type (linear, radial, angular, reflected, or
diamond).
4Choose a gradient fill from the pop-up palette
in the options bar. To learn more about using pop-
up palettes, see “Using pop-up palettes” on
page 35.
5Specify a blending mode and opacity for the
paint. (See “Setting options for painting and
editing tools” on page 147.)
6To reverse the order of colors in the gradient fill,
select Reverse.
7To create a smoother blend with less banding,
select Dither.
8To use a transparency mask for the gradient fill,
select Transparency. (See “Specifying the gradient
transparency” on page 153.)
9Position the pointer in the image where you
want to set the starting point of the gradient, and
drag to define the ending point. To constrain the
line angle to a multiple of 45°, hold down Shift as
you drag.
Creating or editing gradient fills
The Gradient Editor dialog box lets you define a
new gradient by modifying a copy of an existing
gradient. You can also edit fills by adding interme-
diate colors to a gradient, or creating a blend
between more than two colors.
A. Palette menu B. Opacity stop C. Color stop D. Adjust val-
ues or delete the selected opacity or color stop E. Midpoint
To create a gradient:
1Select the gradient tool ( ).
2To display the Gradient Editor dialog box, do
one of the following:
•Click the Edit button next to the gradient
sample.
•Click the gradient sample in the options bar.
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3Select a gradient from the list to create a new
gradient based on the gradient you selected.
4To define the starting color of the gradient, click
the left color stop under the gradient bar. The
triangle above the stop turns black, indicating that
the starting color is being edited.
5To choose a color, do one of the following:
•Double-click the color stop, or click the color
swatch below the gradient bar. Choose a color, and
click OK. For information on choosing a color,
see “Using the Adobe Color Picker” on page 77.
•Choose foreground from the color pop-up menu
in the Gradient Editor dialog box to use the
current foreground color.
•Choose background from the color pop-up
menu to use the current background color.
•Position the pointer over the gradient bar (the
pointer turns into the eyedropper), and click to
sample a color, or click anywhere in the image to
sample a color from the image.
6To define the ending color, click the right color
stop under the gradient bar. Then choose a color as
described in step 5.
7To adjust the location of the starting point or
ending point, do one of the following:
•Drag the corresponding color stop left or right to
the location you want.
•Click the corresponding color stop, and enter a
value for Location. A value of 0% places the point
at the far left end of the gradient bar, a value of
100% at the far right end.
8To adjust the location of the midpoint (where
the gradient displays an even mix of the starting
and ending colors), drag the diamond below the
gradient bar to the left or right, or click the
diamond and enter a value for Location.
9To delete the color stop you are editing,
click Delete.
10 To set the smoothness for the entire gradient,
enter a value or drag the slider.
11 If desired, set transparency values for the
gradient. (See “Specifying the gradient trans-
parency” on page 153.)
12 Enter a name for the new gradient.
13 To save the gradient as a preset, click New after
you have finished creating the gradient.
14 Click OK to exit the dialog box, and the newly
created gradient is selected and ready to use.
To add intermediate colors to a gradient:
In the Gradient Editor dialog box, click below the
gradient bar to define another color stop. Specify
the color and adjust the location and midpoint for
the intermediate point as you would for a starting
or ending point. To remove an intermediate color,
drag the color stop down and off the gradient bar,
or select the color stop and press Delete.
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Applying gradient fill to text
You can fill text using the gradient tool.
To apply gradient fill to text:
1Do one of the following:
•Select the Horizontal Type tool to enter
horizontal text.
•Select the Vertical Type tool to enter
vertical type.
2In the options bar, make sure that the Create a
Text Layer button is selected. Select a font family
and a font size.
3Enter the type you want and then click the OK
button in the options bar to commit the text.
4Choose Layer > Simplify Layer to convert the
image to a bitmapped image.
5Control-click (Windows) or Command-click
(Mac OS) on the text layer in the Layers palette to
select the text.
6Select the Gradient tool.
7In the options bar, click the desired gradient
type (linear, radial, angular, reflected, or
diamond).
8Choose a gradient fill from the Gradient Picker
pop-up palette.
9Position the pointer on the text where you want
to set the starting point of the gradient, and drag
to define the ending point.
Specifying the gradient transparency
Each gradient fill contains settings that control the
opacity of the fill at different locations on the
gradient. For example, you can set the starting
color to 100% opacity and have the fill gradually
blend into an ending color with 50% opacity.
The checkerboard pattern indicates the amount of
transparency in the gradient preview.
To specify the gradient transparency:
1Create a gradient as described in steps 1
through 10 of “Creating or editing gradient fills”
on page 151.
2To adjust the starting opacity, click the
left opacity stop above the gradient bar. The
triangle below the stop turns black, indicating that
the starting transparency is being edited.
3Set the Opacity by doing one of the following:
•Enter a value between 0 (fully transparent) and
100% (fully opaque).
•Drag the arrow on the Opacity slider.
4To adjust the opacity of the endpoint, click the
right transparency stop above the gradient bar.
Then set the opacity as described in step 3.
5To adjust the location of the starting or ending
opacity, do one of the following:
•Drag the corresponding opacity stop to the left
or right.
•Select the corresponding opacity stop, and enter
a value for Location.
6To adjust the location of the midpoint opacity
(the point midway between the starting and
ending opacities), do one of the following:
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•Drag the diamond above the gradient bar to the
left or right.
•Select the diamond and enter a value for
Location.
7To delete the opacity stop you are editing,
click Delete.
8To add an intermediate opacity, click above the
gradient bar to define a new opacity stop. You can
then adjust and move this opacity as you would for
a starting or ending opacity. To remove an inter-
mediate opacity, drag its transparency stop up and
off the gradient bar.
9To create a preset gradient, click New. This
creates a new gradient preset with the trans-
parency setting you specified.
10 Click OK to exit the dialog box and select the
newly created gradient.
Creating noise gradient fills
In addition to creating smooth gradients, the
Gradient Editor dialog box lets you define a new
noise gradient. A noise gradient is a gradient that
contains randomly distributed colors within the
range of colors that you specify.
A. 10% noise B. 50% noise C. 90% noise
To create a noise gradient:
1Select the gradient tool ( ).
2Click in the gradient sample in the options bar
to display the Gradient Editor dialog box.
3Select a gradient from the list. The new gradient
will be based on this gradient.
4Set Gradient Type to Noise.
5To set the roughness for the entire gradient,
enter a value, or drag the slider.
6To define the color model, choose a color model
from the Color Model list.
7To adjust the range of colors, drag the sliders.
For each color component of the color model
you’ve selected, you can drag the sliders to define
the range of acceptable values. For example, if you
choose the HSB model, you can restrict the
gradient to blue-green hues, high saturation, and
medium brightness.
8Set the options to restrict colors or to add
transparency.
9To randomize a gradient that conforms to the
settings, click the Randomize button until you find
a setting you like.
10 Enter a name for the new gradient.
11 To create a preset gradient, click New. This
creates a new preset gradient with the settings
you specified.
12 Click OK to exit the dialog box and select the
newly created gradient.
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Managing gradients
By saving and loading libraries of gradients, you
can customize the gradient list that appears in the
gradient options bar and the Gradient Editor
dialog box. For information on using the pop-up
palette in the Gradient Editor dialog box,
see “Using pop-up palettes” on page 35. You can
also manage gradients using the Preset Manager.
(For more information on the Preset Manager,
see “Working with presets” on page 35.)
You can change the view of the pop-up palette to
display gradients different ways. You can use the
same method to change the view of the gradients
in the Gradient Editor dialog box.
Using the paint bucket tool
The paint bucket tool fills adjacent pixels that are
similar in color value to the pixels you click.
Note: The paint bucket tool cannot be used with
images in Bitmap mode.
To use the paint bucket tool:
1Specify a foreground color. (See “Choosing
foreground and background colors” on page 74.)
2Select the paint bucket tool ( ).
3Specify whether to fill the selection with the
foreground color, or in Photoshop Elements, with
a pattern. (See “Filling and stroking selections and
layers” on page 159.)
4Specify a blending mode and opacity for the
paint. (See “Setting options for painting and
editing tools” on page 147.)
5If you choose to fill the selection with a pattern,
click the inverted arrow( ) next to the pattern
sample and select a pattern for the fill.
(See “Creating and editing patterns” on page 161.)
6Enter the tolerance for the fill.
The tolerance defines how similar in color a pixel
must be to be filled. Values can range from 0 to
255. A low tolerance fills pixels within a range of
color values very similar to the pixel you click.
A high tolerance fills pixels within a broader range.
7To smooth the edges of the filled selection,
select Anti-aliased. (See “Softening the edges of a
selection” on page 108.)
8To fill pixels based on the merged color data
from all visible layers, select All Layers.
(See “Sampling from all layers” on page 178.)
9To fill only pixels contiguous to the one you
click, select Contiguous; leave unselected to fill all
similar pixels in the image.
10 Click the part of the image you want to fill.
All specified pixels within the specified tolerance
are filled with the foreground color or pattern.
If you’re working on a layer and don’t want to
fill transparent areas, make sure that the layer’s
transparency is locked in the Layers palette.
(See “Locking layers” on page 178.)
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Drawing shapes
You use the shape tools to draw lines, rectangles,
rounded rectangles, polygons, ellipses, and
custom shapes in an image.
The shape tools provide an easy way to create
buttons, navigation bars, and other items used
on Web pages.
Creating shapes
A shape layer can contain a single shape or
multiple shapes, depending on the shape area
option you select. You can change the color of a
shape by editing its fill layer and applying layer
styles to it.
To create a shape:
1Select the rectangle tool ( ), rounded rectangle
tool ( ), ellipse tool ( ), polygon tool ( ), line
tool ( ), or custom shape tool ( ).
To select a hidden drawing tool, position the
pointer on the visible tool and hold down the
mouse button until the tools list appears. Then
click the tool you want.
2In the options bar, do the following:
•Select the Create New Shape Layer option ( ).
•Click the color swatch to specify the color with
which you want to fill the shape. (See “Using the
Adobe Color Picker” on page 77.)
•Select a layer style from the Layer Style
pop-up palette to apply a predefined layer style to
the shape. (See “Using layer styles” on page 175.)
•If you’re using the custom shape tool, select a
predefined shape from the Shape pop-up palette.
•Set additional, tool-specific options.
(See “Setting shape tool options” on page 156.)
3Drag in the image to draw the shape.
To create multiple shapes in the same layer:
1Select a layer in the Layers palette.
2If desired, select a different tool in the options
bar or the toolbox to create a different type
of shape.
3Before you draw, select a shape area option to
determine what happens at the intersection of
overlapping shapes.
•Add ( ) to add the new area to the existing
shapes or path.
•Subtract ( ) to remove the overlapping area
from the existing shapes or path.
•Intersect ( ) to restrict the area to the inter-
section of the new area and the existing shapes
or path.
•Exclude ( ) to exclude the overlap area in the
consolidated new and existing areas.
4Drag in the image to draw new shapes.
Setting shape tool options
Each shape tool provides specific options; for
example, you can set options that allow you to
draw a rectangle with fixed dimensions or a line
with arrowheads.
Select a shape in the options bar, and click the inverted
arrow to display options for the selected shape.
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To set tool-specific options:
1Select a shape tool.
2In the options bar, set the options that are
available for the active shape tool. Click the
inverted arrow ( ) next to the shape buttons to
view additional options for the active tool.
Arrowheads Start and End Renders a line with
arrowheads. Select Start, End, or both to specify
on which end of the line arrows are rendered. The
shape options appear in the pop-up dialog box.
Enter values for Width and Length to specify the
proportions of the arrowhead as a percentage of
the line width (10% to 1000% for Width, and 10%
to 5000% for Length). Enter a value for the
concavity of the arrowhead (from –50% to +50%).
The concavity value defines the amount of
curvature on the widest part of the arrowhead,
where the arrowhead meets the line.
Circle Constrains an ellipse to a circle.
Defined Proportions Renders a custom shape
based on the proportions with which it was
created.
Defined Size Renders a custom shape based on
the size at which it was created.
Fixed Size Renders a rectangle, rounded
rectangle, ellipse, or custom shape as a fixed shape
based on the values you enter in the Width and
Height text boxes.
From Center Renders a rectangle, rounded
rectangle, ellipse, or custom shape from the center.
Indent Sides By Renders a polygon as a star. Enter
a percentage in the text box to specify the portion
of the star’s radius taken up by the points. A 50%
setting creates points that are half the total radius
of the star; a larger value creates sharper, thinner
points; a smaller value creates fuller points.
Proportional Renders a rectangle, rounded
rectangle, or ellipse as a proportional shape based
on the values you enter in the Width and Height
text boxes.
Radius For rounded rectangles, specifies the
corner radius. For polygons, specifies the distance
from the center of a polygon to the outer points.
Sides Specifies the number of sides in a polygon.
Smooth Corners or Smooth Indents Renders a
polygon with smooth corners or indents.
Snap to Pixels Snaps edges of a rectangle or
rounded rectangle to the pixel boundaries.
Square Constrains a rectangle or rounded
rectangle to a square.
Unconstrained Lets you set the width and height
of a rectangle, rounded rectangle, ellipse, or
custom shape by dragging.
Weight Determines the width of a line in pixels.
Editing shapes
Some of the benefits of using shapes are that you
can select, move, and combine shapes; change the
color of shapes; and apply layer styles to shapes
with just a few clicks. You can also simplify a shape
layer to convert it to a regular layer.
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Changing the color of shapes
In the Layers palette, shape layers are distinguished
by two thumbnail icons to the left of the layer
name. The left icon is the color thumbnail and
displays the fill color for all shapes on the layer; the
right icon is the clipping path thumbnail and
displays the outline of all shapes on the layer. You
can change the color of a shape by double-clicking
its color thumbnail in the Layers palette.
To change the color of all shapes on a layer:
1In the Layers palette, double-click the color
thumbnail for the shape layer.
2Use the color picker to select a new color. (See
“Using the Adobe Color Picker” on page 77.)
If the color of a shape doesn’t change when you
pick a new color for it, check to see if the layer
has a layer style (represented by an “f” icon in the
Layers palette). Some layer styles override the base
color of a shape. For information on clearing layer
styles, see “Editing layer styles” on page 176.
Applying layer styles to shapes
You apply effects—such as drop shadows and
bevels—to shapes quickly and easily using layer
styles. Keep in mind that a layer style applies to
all shapes on a layer. For example, if you apply
a drop shadow style to a layer that contains
multiple shapes, all of the shapes will display a
drop shadow.
To apply a layer style to a shape:
1Select the shape using the shape selection tool.
(See “Using the shape selection tool” on page 158.)
2Click the Layer Styles thumbnail in the
options bar.
3Scroll through the layer styles in the palette. To
view additional layer styles, choose a category
from the drop-down list.
4Apply the style to the shape:
•Drag a style from the pop-up palette onto a
shape in the image.
•Click a style to apply it to the shape layer.
Using the shape selection tool
The shape selection tool allows you to select shapes
with one click. After you select a shape, you can
move, resize, and rotate the shape.
Note: After a shape is converted to a bitmap image
by simplifying the layer, the shape selection tool will
no longer select the shape.
To use the shape selection tool:
Do one of the following:
•Select the shape selection tool ( ) in the toolbox.
The shape selection tool may be hidden beneath
another drawing tool. To select a hidden tool,
position the pointer on the visible tool and hold
down the mouse button until the tools list appears.
Then select the desired tool.
•If another shape tool is active, click the shape
selection tool in the options bar.
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Moving shapes
If a layer contains multiple shapes, you can
reposition all the shapes together using the move
tool. However, if you want to reposition a specific
shape in a layer, you must use the shape selection
tool. The shape selection tool is grouped with the
shape tools in the toolbox.
To move a shape:
1Select the shape selection tool ( ).
2Drag the shape to a new position in the image.
Transforming shapes
You can alter a shape by applying transformations
to it. For example, you can scale, rotate, skew,
distort, and apply perspective to a shape.
To transform a shape:
1Select the shape selection tool ( ).
2Do one of the following:
•Double-click the shape you want to transform.
•Select the shape you want to transform, choose
Image > Transform Path, and choose a transfor-
mation command.
3Transform the shape as described in “Trans-
forming layers, selections, and shapes” on
page 126.
Simplifying shape layers
Simplifying a shape layer converts it to a regular,
raster layer. Simplifying a layer is necessary when
you want to paint on a shape or apply filters to it.
To simplify a shape layer:
1Select a shape layer in the Layers palette.
2Do one of the following:
•Choose Layer > Simplify Layer.
•Select a shape tool in the toolbox, and click
Simplify in the options bar.
Filling and stroking selections
and layers
Photoshop Elements provides a variety of ways to
fill a selection or a layer with colors and patterns.
You can also paint a border around a selection or a
layer. Layer styles allow you to fill or stroke a
selection or layer to create a live editable effect,
while you can also paint a fill or border to create a
softer effect. (See “Managing layered images” on
page 173.)
To increase the contrast between your image and
the surrounding work canvas, you can fill the
canvas with a color.
Filling a selection or layer with colors
or patterns
You can fill a selection or layer with the foreground
color, the background color, or a pattern. In
Photoshop Elements, you can use patterns from
the pattern libraries provided or create your own
patterns. You can also fill a shape using the Color,
Gradient, or Pattern Overlay effects or the Solid
Color, Gradient, or Pattern fill layers on the Layers
palette. When you use fill layers to fill a selection,
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you can easily change the type of layer being used.
(See “Using the Layers palette” on page 166 and
“Using adjustment layers and fill layers” on
page 181.)
To fill a selection or a layer with a foreground or
background color:
1Specify a foreground or background color.
(See “Choosing foreground and background
colors” on page 74.)
2Select the area you want to fill. To fill an entire
layer, select the layer in the Layers palette.
3Choose Edit > Fill to fill the selection or layer.
4In the Fill dialog box, for Use, choose one of the
following options or select a Custom Pattern:
•Foreground Color, Background Color, Black,
50% Gray, or White to fill the selection with the
specified color.
To apply a foreground color fill only to the areas
that contain pixels, press Alt+Shift+Backspace
(Windows) or Option+Shift+Delete (Mac OS). This
preserves the transparency of the layer. To apply a
background color fill only to the areas that contain
pixels, press Ctrl+Shift+Backspace (Windows) or
Command+Shift+Delete (Mac OS).
•Pattern to fill the selection with a pattern. Click
the inverted arrow ( ) next to the pattern sample
and select a pattern from the pop-up palette. You
can load additional patterns using the pop-up
palette menu. Select the name of a library of
patterns or choose Load and navigate to the folder
containing the patterns you want to use.
5Specify the blending mode and opacity for the
paint. (See “Setting options for painting and
editing tools” on page 147.)
6If you’re working in a layer and want to fill
only areas containing pixels, choose Preserve
Transparency.
7Click OK to fill the selection.
To fill the work canvas:
1Set the foreground color you want to use for
the canvas.
2Select the paint bucket tool ( ).
3In the options bar, set Fill to Foreground.
4Hold down Shift, and click in the work canvas.
Note: You need to be in full screen mode and viewing
the menus to fill the work canvas.
To fill a selection with a pattern:
1Select the part of the image you want to fill.
2Do one of the following:
•Choose Edit > Fill. In the Fill dialog box, for Use,
choose Pattern, select a pattern from the pop-up
palette, and click OK.
If Pattern is dimmed, you need to load a pattern
library before you can select this option.
(See “Working with presets” on page 35.)
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•Select the paint bucket tool ( ). In the options
bar, set Fill to Pattern and click the inverted arrow
next to the pattern sample and select a pattern
from the pop-up palette. Then click to fill the
selected area with the pattern.
Note: You can load additional pattern libraries into
the pop-up palette prior to making a selection.
(See “Using pop-up palettes” on page 35.)
Stroking a selection or layer with color
You can use the Stroke command to paint a
colored border around a selection or layer. This
allows you to create a softer border than one
created using the Stroke layer style. The Stroke
layer style provides a resolution-independent
method to stroke a shape. (See “Managing layered
images” on page 173.) You can use the Stroke layer
effect when you want to stroke the entire layer. If
you want a quick way to create a stroke on the
current layer—without necessarily following the
edge of the layer—use the Stroke command.
To stroke a selection or layer:
1Specify a foreground color. (See “Choosing
foreground and background colors” on page 74.)
2Select the area or layer you want to stroke.
3Choose Edit > Stroke.
4In the Stroke dialog box, specify the width of
the hard-edged border. Values can range from 1 to
16 pixels.
5For Location, specify whether to place the
border inside, outside, or centered over the
selection or layer boundaries.
6Specify an opacity and a blending mode.
(See “Setting options for painting and editing
tools” on page 147.)
7If you’re working in a layer and want to stroke
only areas containing pixels, select the Preserve
Transparency option. (See “Locking layers” on
page 178.)
8Click OK to stroke the selection or layer.
Creating and editing patterns
In addition to using the libraries of patterns
provided with Photoshop Elements, you can
create your own custom patterns. Once you’ve
created patterns, you can save them in a library,
then load and manage libraries of patterns using
the Preset Manager. This allows you to easily use
multiple patterns in an image. You can also use the
pattern stamp tool to paint with a pattern.
(See “Using the pattern stamp tool” on page 133).
To create a custom pattern:
1Make a rectangular selection around the part of
the image you want to use as the pattern, or you
can use the entire image. Note that large patterns
may become hard to manage.
2Choose Edit > Define Pattern.
3Enter a name for the pattern in the Pattern
Name dialog box.
The pattern you defined is repeated as tiles within
the selection. If you want to reuse patterns, you
can create a library of defined patterns.
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To define a pattern for use with the pattern tool:
1Use the rectangle marquee tool ( ) on any
open image to select an area to use as a pattern.
Feather must be set to 0 px.
2Choose Edit > Define Pattern and enter a name
for the pattern.
3Deselect the rectangle.
Note: If you are using a pattern from one image and
applying it to another, Photoshop Elements converts
the color mode.
To use a preset pattern from the PostScript Patterns
folder:
1Choose File > Open. Each preset file in the
PostScript Patterns folder (which comes with
Photoshop Elements) contains a single pattern in
the Adobe Illustrator format. You can scale and
render these patterns at any resolution.
2Select the pattern file you want to use, and
click Open.
3Select any rasterizing options. (See “Opening
and importing images” on page 55.)
4Click OK.
5Make a rectangular selection around the
pattern, or choose Select > All.
6Choose Edit > Define Pattern. The pattern is
defined as an Adobe Photoshop Elements pattern.
7Enter a name for the pattern in the Pattern
Name dialog box.
8Click OK.
Managing patterns
The pop-up palette in the options bar for the
pattern stamp tool and the paint bucket tool, and
the pop-up palette in the Layer Style dialog box
can hold many patterns. You can also change how
those patterns are viewed. (See “Using pop-up
palettes” on page 35.) In addition, you can load or
save patterns using the Preset Manager.
(See “Working with presets” on page 35.)
Exiting Photoshop Elements saves the contents of
the current pop-up palette in the Preferences file.
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Chapter 8: Using Layers
ayers are the basis for creating and editing
images in Photoshop Elements. Layers help
you to customize your images, and can
give your images different artistic effects. Layers
also make managing components in your
images easier.
About layers
When you create, import, or scan an image in
Photoshop Elements, the image consists of a single
layer. If you’re simply retouching the image, you
don’t have to create new layers. However, if you
plan to add different elements to your image,
layers will make your task a lot easier.
The power of layers is that they allow you to work
on one element of your image without disturbing
the others. Until you combine, or merge, the layers,
each layer remains independent. This means you
can experiment freely with different compositions
without making permanent changes to your
overall image. In addition, special features such as
adjustment layers, fill layers, and layer styles let
you create sophisticated effects.
A good way to think of layers is as sheets of acetate
stacked one on top of the other. Where there is no
image on a layer, you can see through to the layers
below. Behind all of the layers is the background.
In the following illustration, each animal and the
map are on separate layers. The dark texture is the
background. Depending on how you stack and
position the layers, the composition changes.
Zebra is on topmost layer.
Transparent areas on a layer let you see through to the
layers below.
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Using the Layers palette
The Layers palette lists all layers in an image,
starting with the topmost layer. The order of layers
in the Layers palette indicates the order of layers in
the image—the topmost layer in the Layers palette
is the topmost layer in the image. You can change
the stacking order of layers by dragging a layer to a
new position in the Layers palette.
About the background layer
When you create a new image with a white
background or a colored background, the
bottommost image in the Layers palette is called
Background. You cannot change the stacking order
of a background, change its blending mode, or
change its opacity. However, you can convert a
background to a regular layer. (See “Adding layers”
on page 170.)
When you create a new image with transparent
contents, the bottommost layer is called Layer 1.
This layer is not constrained like the background
layer; you can move it anywhere in the Layers
palette, and change its opacity and blending mode.
Because the background can never be transparent,
it’s helpful to have a background when you want to
create an image that will not have any transparent
regions. If you want to create an image with trans-
parent regions—for example, for a transparent
GIF on a Web page—you’ll want to create an image
without a background. For information on
converting a layer to a background, see “Adding
layers” on page 170.
About the Layers palette
Changes to an image affect only the highlighted or
active layer. You select a layer to make it active, and
only one layer can be active at a time. You can
accomplish many tasks—such as creating, hiding,
displaying, copying, and deleting a layer—using
the icons in the Layers palette. You can access
additional commands and options in the Layers
palette menu and the Layers menu.
The Layers palette uses icons to provide infor-
mation about layers. The leftmost column in the
palette displays an eye icon next to visible layers
and no eye icon to hidden layers.
The second column from the left shows a paint-
brush icon next to the active layer; layers without
the paintbrush icon cannot be modified. It also
shows a link icon for layers that are linked to the
active layer.
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The right column lists the layer’s name and may
display additional icons. By default, this column
also shows a thumbnail image that is updated as
you edit the layer. You can change the thumbnail
size or choose not to show thumbnails in the
Layers palette.
A. Layer lock options (from left to right): Transparency,
All B. Show/Hide C. Paintbrush icon D. Link/Unlink
E. Thumbnail F. Palette menu G. Highlighted layer
is active layer. H. Partially locked layer I. New fill or
adjustment layer J. New layer K. Trash
Note: If you open a file that was created in
Photoshop 6.0, the image may contain layer sets.
Layer sets are indicated by a folder icon and can
contain multiple layers. Although Photoshop
Elements does not support layer sets, it displays
preexisting layer sets in their collapsed state. You can
simplify a layer set to convert it to a single, editable,
raster layer. (See “Simplifying layers” on page 173.)
Displaying the Layers palette
When you open Photoshop Elements for the first
time, the Layers palette appears on the right side of
your work area grouped with the Layer Styles
palette. You can move the palette anywhere on
your screen. You can close the palette to the palette
well or hide it completely. (See “Using the palette
well” on page 21.)
To display the Layers palette:
Choose Window > Show Layers.
Using the Layers palette menu
The Layers palette menu contains commands and
options for working with layers.
To use the Layers palette menu:
1Click the triangle ( ) at the top right corner of
the palette.
2Choose a command or option from the menu.
Selecting layers
If your image has multiple layers, you must choose
what layer you want to work on. Any changes you
make to the image affect only the active layer. You
select a layer to make it active, and only one layer
can be active at a time.
If you don’t see the desired results when using a
tool or applying a command, you may not have
the correct layer selected. Check the Layers palette to
make sure that you’re working on the desired layer.
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To select a layer:
Do one of the following:
•In the Layers palette, click a layer to make
it active.
•Select the move tool, right-click (Windows) or
Control-click (Mac OS) in the image, and choose
the layer you want from the context menu. The
context menu lists all the layers that contain pixels
under the current pointer location.
You can also select layers interactively as you use
the move tool. If Auto Select Layer is selected in the
Move tool options, the topmost layer containing
pixels under the cursor will be selected. (See
“Moving selections and layers within an image” on
page 110.)
Viewing layers
With the Layers palette, you can control whether a
layer is visible, whether a preview or thumbnail of
its contents is displayed, and also how trans-
parency is displayed. Turning off thumbnails or
reducing their size can save space in the Layers
palette, and reduce memory usage.
To show or hide a layer:
Do one of the following:
•In the Layers palette, click the eye icon next to a
layer to hide that layer. Click in the column again
to redisplay the layer.
•Drag through the eye column to show or hide
multiple layers.
•Alt-click (Windows) or Option-click (Mac OS)
the eye icon for a layer to display just that layer.
Alt/Option-click in the eye column again to
redisplay all the layers.
Note: Only visible layers are printed.
Lion layer, and background hidden
To change the display of layer thumbnails:
1Choose Palette Options from the Layers
palette menu.
2Select a size or select None to turn off the
thumbnails, and then click OK.
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To change the transparency display:
1Choose Edit > Preferences > Transparency.
2For Grid Size, choose a pattern size. By default,
the transparent areas of a document appear as a
checkerboard pattern. If you choose None, trans-
parent areas in the layer appear white.
3For Grid Colors, choose an option:
•Light, Medium, or Dark to specify a gray pattern.
•Any other color from the list to display the
checkerboard in that color.
•Custom to choose a color that does not appear in
the list. Then click either of the color selection
boxes to specify a custom color.
4Click OK.
Changing the stacking order of layers
The stacking order determines whether a layer
appears in front of or behind other layers.
To change the order of a layer:
1In the Layers palette, select the layer that you
want to move.
2Choose Layer > Arrange, and choose an option
from the submenu to arrange the layer:
•Bring to Front to make the layer the topmost
layer.
•Bring Forward to move the layer one level up in
the stacking order.
•Send Backward to move the layer one level down
in the stacking order.
•Send to Back to make the layer the bottommost
layer in the image (except for the background).
To change the order of layers by dragging:
1In the Layers palette, select the layer that you
want to move.
2Drag the layer up or down in the Layers palette.
When the highlighted line appears in the desired
position, release the mouse button.
Original image
Zebra layer dragged below lion layer
Note: By default, the background cannot be moved
from the bottom of the layer list. To move the
background, first convert it to a layer. (See “Adding
layers” on page 170.)
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Linking layers
By linking two or more layers, you can move their
contents together. You can also copy, paste, merge,
and apply transformations to linked layers.
To link layers:
1Select a layer in the Layers palette.
2Click in the column immediately to the left of
any layers you want to link to the active layer. The
link icon appears in the column.
To unlink layers:
In the Layers palette, click the link icons to
remove them.
Creating a layered image
Photoshop Elements lets you create up to 8000
layers in an image, each with its own blending
mode and opacity. However, the amount of
memory in your system may put a lower limit on
the number of layers possible in a single image.
Adding layers
Newly added layers appear above the selected layer
in the Layers palette. You can add layers to an
image in a variety of ways:
•By creating new layers or turning selections
into layers.
•By converting a background to a regular layer or
adding a background to an image.
•By pasting selections into the image. (See
“Copying selections or layers” on page 110.)
•By using the type tool or by using a shape tool.
(See “Creating type” on page 213 and “Drawing
shapes” on page 156.)
To create a new layer using default options:
Click the New Layer button ( ) at the bottom of
the Layers palette. The layer uses Normal mode
with 100% opacity and is named according to its
order of creation.
To add a new layer and specify options:
1Do one of the following:
•Choose Layer > New > Layer.
•Choose New Layer from the Layers
palette menu.
•Alt-click (Windows) or Option-click (Mac OS)
the New Layer button at the bottom of the Layers
palette.
2Name the layer, and set other layer options.
(See “Specifying opacity and blending options” on
page 179 and “Creating grouped layers” on
page 180.)
3Click OK.
To turn a selection into a new layer:
1Make a selection.
2Choose Layer > New, and choose a command
from the submenu:
•To copy the selection into a new layer, choose
Layer Via Copy.
•To cut the selection and paste it into a new layer,
choose Layer Via Cut.
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The selection contents appear in the same position
relative to the image boundaries.
Selection cut and pasted into new layer
To convert a background into a layer:
1Do one of the following:
•Double-click Background in the Layers palette.
•Choose Layer > New > Layer from Background.
2Rename the layer, and click OK.
To convert a layer into a background:
1Select a layer in the Layers palette.
2Choose Layer > New > Background from Layer.
Duplicating layers
You can duplicate any layer (including the
background) within an image. And you can copy
any layer (including the background) from one
image to another.
When copying layers between images, keep in
mind that the printed size of the copied layer
depends on the resolution of the destination
image. (See “About image size and resolution” on
page 46.)
To duplicate a layer in an image:
1Select the layer in the Layers palette.
2Duplicate the layer:
•To duplicate and rename the layer, choose
Layer > Duplicate Layer, or choose Duplicate
Layer from the Layers palette menu. Name the
duplicate layer, and click OK.
•To duplicate without naming, select the layer
and drag it to the New Layer button ( ) at the
bottom of the Layers palette.
•(Windows only) Right-click on the layer bar (not
the thumbnail) and choose Duplicate Layer.
To copy a layer between images:
1Open the two images you want to use.
2In the Layers palette of the source image, select
the layer that you want to copy.
3Do one of the following:
•Drag the layer’s name from the Layers palette of
the source image into the destination image.
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•Use the move tool ( ) to drag the layer from the
source image to the destination image. The copied
layer appears in the destination image where you
release the mouse button (and above the active
layer in the Layers palette). If the layer you’re
dragging is larger than the destination image, only
part of the layer is visible. You can use the move
tool to drag other sections of the layer into view.
Hold down Shift as you drag a layer to copy it
in the same position it occupied in the source
image (if the source and destination images have the
same pixel dimensions) or to the center of the desti-
nation image (if the source and destination images
have different pixel dimensions).
•Choose Select > All to select all of the pixels on
the layer, and choose Edit > Copy. Then make the
destination image active, and choose Edit > Paste.
To copy multiple layers into another image:
1Make sure that both the source and destination
images are open, and select one of the layers you
want to copy.
2In the Layers palette, click in the column
immediately to the left of any additional layers you
want to copy. The link icon appears in the column.
3Use the move tool ( ) to drag the linked layers
from the source image to the destination image.
To duplicate a layer into another image or a
new image:
1If you plan to copy a layer to an existing image,
open both the source and destination images.
2In the source document’s Layers palette, select
the name of the layer you want to duplicate.
3Choose Layer > Duplicate Layer, or choose
Duplicate Layer from the Layers palette menu.
4Type a name for the duplicate layer.
5Choose a destination document for the layer:
•To duplicate the layer to an existing image,
choose a filename from the Document
pop-up menu.
•To create a new document for the layer, choose
New from the Document pop-up menu, and enter
a name for the new file. An image created by dupli-
cating a layer has no background.
6Click OK.
Repositioning layers
You can quickly adjust the composition of an
image by repositioning its layers. Using the move
tool, you can make minute adjustments or
radically change the position of a layer. The layer’s
content is preserved even if you move it outside the
image area.
To reposition layers:
1In the Layers palette, select the layer that you
want to reposition. To reposition multiple layers at
the same time, link the layers together in the Layers
palette. (See “Linking layers” on page 170.)
2Select the move tool ( ).
3Do one of the following:
•Drag in the image to move the selected layer to
the desired position.
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•Hold down Shift as you drag to move the layer
directly up or down, directly to the side, or on a 45°
diagonal. In other words, using the Shift key in this
way constrains the movement to multiples of 45°.
•Press the arrow keys on the keyboard to move
the layer in 1-pixel increments, or press Shift
and an arrow key to move the layer in 10-pixel
increments.
Managing layered images
After you add layers to an image, you can use the
Layers palette to manage them. You can rename
layers, delete layers, simplify layers, merge two or
more layers, or flatten all layers in an image into
one layer.
Renaming layers
As you add more layers to an image, it’s helpful to
rename layers based on their content. Using
descriptive layer names allows you to easily
identify layers in the Layers palette.
To rename a layer:
1Do one of the following:
•Double-click the layer’s name in the Layers
palette.
•Select the layer in the Layers palette, and choose
Layer > Rename Layer.
•Select the layer in the Layers palette, and choose
Rename Layer from the Layers palette menu.
2Type a new name for the layer, and click OK.
Simplifying layers
You can simplify a type layer, shape layer, solid
color layer, gradient layer, pattern fill layer, or an
imported layer set in order to convert the layer’s
content into a flat, raster image. Once you simplify
a layer, you can apply filters to it and edit it with
the painting tools. However, you can no longer
make changes to the layer using the type- and
shape-editing options.
To simplify a layer:
1Select the layer you want to simplify.
2Do one of the following:
•Choose Layer > Simplify Layer.
•Choose Simplify Layer from the Layers
palette menu.
•Click the Simplify button in the options bar.
Deleting layers
Deleting layers that you no longer need reduces
the size of your image file.
To delete a layer:
1Select the layer in the Layers palette.
2Do one of the following:
•Click the Trash button at the bottom of the
Layers palette, and click Yes.
•Choose Layer > Delete Layer, or choose Delete
Layer from the Layers palette menu.
•Alt-click (Windows) or Option-click (Mac OS)
the Trash button at the bottom of the Layers
palette.
•Drag the layer to the Trash button.
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Merging layers
Merging layers combines several layers into one
and keeps file size manageable. When you’ve
finalized the characteristics and positioning of a
layer’s contents, you can merge the layer with one
or more layers to create partial versions of your
composite image. The intersection of all trans-
parent areas in the merged layers remains trans-
parent. You can also merge the layers in a linked
group or grouped layer. (See “Creating grouped
layers” on page 180.)
For information on merging adjustment layers, see
“Merging adjustment layers or fill layers” on
page 185.
Note: Merging any layer with the background
creates a background layer.
To merge a layer with the layer below it:
1Make sure that the two layers you want to merge
are visible. Select the top layer of the pair in the
Layers palette.
2Choose Layer > Merge Down, or choose Merge
Down from the Layers palette menu.
To merge all visible linked layers:
1Make visible all layers you want to merge, and
link them together.
2Choose Layer > Merge Linked, or choose Merge
Linked from the Layers palette menu.
To merge all the visible layers in an image:
1Hide any layers you do not want to merge. Make
sure that no hidden layers are linked to the
visible layers.
2Choose Layer > Merge Visible, or choose Merge
Visible from the Layers palette menu.
To create a new, merged layer from all visible layers,
while keeping the original layers intact:
1Hide any layers you do not want to merge. Make
sure that no hidden layers are linked to the
visible layers.
2Hold down Alt (Windows) or Option (Mac
OS), and choose Layer > Merge Visible.
Flattening all layers
In a flattened image, all visible layers are merged
into the background, greatly reducing file size.
Flattening an image discards all hidden layers and
fills the remaining transparent areas with white. In
most cases, you won’t want to flatten a file until
you have finished editing individual layers.
Note: Converting an image between some color
modes flattens the file. Be sure to save a copy of your
file that includes all layers if you want to edit the
original image after the conversion.
To flatten an image:
1Make sure that all the layers you want to keep
are visible.
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2Choose Layer > Flatten Image, or choose
Flatten Image from the Layers palette menu.
Layered file, and flattened file
Tracking file size
File size depends on the pixel dimensions of an
image and the number of layers contained in the
image. Images with more pixels may produce
more detail when printed, but they require more
disk space to store and may be slower to edit and
print. You should keep track of your file sizes to
make sure the files are not becoming too large for
your purposes. If the file is becoming too large,
reduce the number of layers in the image or change
the image size.
To track file size:
Select the Document Sizes option in the status bar.
(See “Using the status bar” on page 30.)
The first (left) value indicates the size of the file if
flattened. The second (right) value shows the
estimated file size of the unflattened file.
Using layer styles
Layer styles let you quickly apply effects to a layer’s
content. You can scan through a variety of
predefined layer styles in the Layer Styles palette
and apply a style with just a click of the mouse.
About layer styles
Layer styles allow you to apply effects—such as
drop shadows and bevels—to a layer’s content.
The boundaries of the effect are automatically
updated when you edit that layer. For example, if
you apply a drop shadow style to a text layer, the
shadow will change automatically when you edit
the text.
Layer styles are cumulative, which means that you
can create a complex effect by applying multiple
styles to a layer. You can also change a layer’s style
settings to adjust the final effect.
Using the Layer Styles palette
The Layer Styles palette lets you view and select
layer styles. Depending on the palette display
options that you choose, you can view layer styles
as a list of thumbnails or as a list with both names
and thumbnails. The layer styles that come with
Photoshop Elements are grouped into sets. For
example, one set contains drop shadow styles;
another set contains bevel styles. You can apply
multiple styles to the same layer to create a
complex effect.
To display the Layer Styles palette:
Choose Window > Show Layer Styles, or click the
Layer Styles tab in the palette well.
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To change the set of styles in the Layer Styles palette:
Select a style set from the pop-up list at the top of
the Layer Styles palette.
To change how styles are displayed in the Layer
Styles palette:
Choose a display option from the Layer Styles
palette menu: Thumbnail or List.
Applying layer styles
When you apply a style to a layer, an “f” icon ( )
appears to the right of the layer’s name in the
Layers palette. Layer effects are linked to the layer
contents. When you move or edit the contents of
the layer, the effects are modified correspondingly.
Layer style added
By default, layer styles are cumulative. For
example, if you apply two styles to the same layer,
the attributes of the second style are added to the
attributes of the first style. You can replace the
attributes of the first style with those of the second
style by using a keyboard modifier.
To remove a layer style, click the Step Backward
button ( ) in the shortcuts bar.
To apply a layer style to a layer:
Do one of the following:
•Click a style in the Layer Styles palette to apply it
to the currently selected layer.
•Drag the style onto a layer in the Layers palette.
•Drag the style to the document window, and
release the mouse button when the pointer is over
the layer content to which you want to apply
the style.
•Hold down Shift while dragging the style to
replace any existing effects on the destination
layer.
To hide or show all layer styles in the image:
Choose Layer > Layer Style > Hide All Effects, or
choose Layer > Layer Style > Show All Effects.
Editing layer styles
You can edit a layer’s style settings to adjust the
effect. You can also copy style settings between
layers and remove a style from a layer.
To edit a layer’s style settings:
1Do one of the following:
•Double-click the “f” icon ( ) in the Layers
palette.
•Choose Layer > Layer Style > Style Settings.
2To preview the changes in your image,
select Preview.
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3Adjust one or more of the following settings,
and click OK. If a setting is dimmed, it is not
present in the effect you are using, and therefore
you cannot adjust it.
Lighting Angle Specifies the lighting angle at
which the effect is applied to the layer.
Use Global Light Applies the lighting angle to all
styles in the image. Using a global angle gives the
appearance of a consistent light source shining on
the image.
Shadow Distance Specifies the distance of a drop
shadow from the layer’s content.
Outer Glow Size Specifies the size of a glow that
emanates from the outside edges of the layer’s
content.
Inner Glow Size Specifies the size of a glow that
emanates from the inside edges of the layer’s
content.
Bevel Size Specifies the size of beveling along the
inside edges of the layer’s content.
Bevel Direction Specifies the direction of the
bevel, either Up or Down.
To change the scale of a layer style:
1In the Layers palette, select the layer containing
style effects you want to scale.
2Choose Layer > Layer Style > Scale Effect.
3To preview the changes in your image,
select Preview.
4Specify how much you want to scale the effects.
Scaling applies only to shadow distance, outer
glow size, inner glow size, and bevel size. For
example, at 200%, the shadow distance, outer glow
size, inner glow size, and bevel size are doubled; at
100%, the scale remains the same.
5Click OK.
To copy style settings between layers:
1In the Layers palette, select the layer containing
the style settings you want to copy.
2Choose Layer > Layer Style > Copy Layer Style.
3Select the destination layer in the Layers palette,
and choose Layer > Layer Style > Paste Layer Style.
To remove a layer style:
1In the Layers palette, select the layer containing
the style you want to remove.
2Do one of the following:
•Choose Layer > Layer Style > Clear Layer Style.
•Click Default Style in the Layer Styles palette.
Editing layers
A newly created layer is transparent. You can add
color values to the layer using the painting and
editing tools, and then apply filters or use special
effects to modify the layer. All painting and editing
occurs on the active layer.
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Locking layers
You can fully or partially lock layers to protect
their contents. When a layer is locked, a lock
displays to the right of the layer name. The lock is
solid when the layer is fully locked so that no
editing is possible; it is hollow when only the
layer’s transparency is locked. Locked layers can be
moved to a different location within the stacking
order of the Layers palette, but they cannot be
deleted. When a layer is fully locked, you cannot
edit the pixels, move the image, or change the
opacity, blending mode, or layer style applied to
that layer. When a layer’s transparency is locked,
painting and editing are confined to those areas of
a layer already containing pixels. For example, you
can lock a layer’s transparency if you want to edit
an object (adding special effects, changing color)
without adding pixels to the transparent area
outside the object.
To lock all layer properties:
1Select the layer in the Layers palette.
2Click the Lock All icon ( ) at the top of the
Layers palette.
To confine editing to the opaque portions of a layer:
1Select the layer in the Layers palette.
2Click the Lock Transparency icon ( ) at the top
of the Layers palette.
Note: For type and shape layers, transparency is
locked by default and cannot be unlocked.
Painting with transparency locked
Sampling from all layers
By default, when working with the magic wand,
smudge, blur, sharpen, or clone stamp tool, you
are applying color sampled only from pixels on the
active layer. This means you can smudge or sample
in a single layer even when other layers are visible,
and you can sample from one layer and paint in
another one.
Alternatively, you can choose to paint using
sampled data from all the visible layers. For
example, you can use the clone stamp tool to clone
an area containing pixels from all the visible layers.
To sample from all visible layers:
1Select the magic wand tool ( ), smudge tool
( ), blur tool ( ), sharpen tool ( ), or clone
stamp tool ( ).
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2In the options bar, select Use All Layers.
Cloning with zebra layer, and with merged data from
all layers
Selecting opaque areas on a layer
You can quickly select all the opaque areas on a
layer within the layer boundaries. This is useful
when you want to exclude transparent areas from
a selection.
To select all opaque areas on a layer:
Do one of the following:
•In the Layers palette, Ctrl-click (Windows) or
Command-click (Mac OS) the layer thumbnail.
•Right-click (Windows) on the layer thumbnail
in the Layers palette.
Layer pixels loaded as selection
•To add the pixels to an existing selection, press
Ctrl+Shift (Windows) or Command+Shift
Mac OS), and click the layer thumbnail in the
Layers palette.
•To subtract the pixels from an existing selection,
press Ctrl+Alt (Windows) or Command+Option
(Mac OS), and click the layer thumbnail in the
Layers palette.
•To load the intersection of the pixels and an
existing selection, press Ctrl+Alt+Shift (Windows)
or Command+Option+Shift (Mac OS), and click
the layer thumbnail in the Layers palette.
Specifying opacity and blending
options
Keep in mind that a layer’s opacity and blending
mode interact with the opacity and mode of the
tools you use to paint and edit the pixels on the
layer. For example, suppose you are working on a
layer that uses the Dissolve mode and an opacity of
50%. If you paint on this layer using the paint-
brush tool set to Normal mode with an opacity of
100%, the paint will appear in Dissolve mode with
a 50% opacity because this is the maximum the
layer can display. On the other hand, suppose you
are working on a layer created using Normal mode
and 100% opacity. If you use the eraser tool with
an opacity of 50%, only 50% of the paint will
disappear as you erase.
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Specifying opacity
A layer’s opacity determines to what degree it
obscures or reveals the layer beneath it. A layer
with 1% opacity appears nearly transparent, while
one with 100% opacity appears completely
opaque.
Zebra layer with 50% opacity
To specify opacity for a layer:
1Select the layer in the Layers palette.
2In the Layers palette, enter a value for Opacity
or drag the Opacity pop-up slider.
Specifying layer blending modes
You use layer blending modes to determine how
the pixels in a layer or set of layers are blended with
underlying pixels in the image. By applying modes
to layers, you can create a variety of special effects.
For a description of each blending mode,
see “Selecting a blending mode” on page 147.
To specify a blending mode for a layer:
1Select the layer in the Layers palette.
2Choose an option from the Blending Mode
pop-up menu.
Filling a new layer with a neutral color
Some filters (such as the Lighting Effects filter)
cannot be applied to layers with no pixels.
Selecting Fill with Neutral Color in the New Layer
dialog box resolves this problem by first filling the
layer with a preset, neutral color. The neutral color
is assigned based on the layer’s blending mode and
is invisible. If no effect is applied, filling with a
neutral color has no effect on the remaining layers.
The Fill with Neutral Color option is not available
for layers that use the Normal, Dissolve, Hue,
Saturation, Color, or Luminosity modes.
Creating grouped layers
In grouped layers, the bottommost layer,
or base layer, defines the boundaries for the entire
group. For example, you might have a shape on
one layer, a photographic image on the overlying
layer, and some text on the topmost layer. If you
define all three layers as grouped, the texture and
the text appear only through the shape on the base
layer, and take on the opacity of the base layer.
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Note that only successive layers can be included
in a group. The name of the base layer in the
group is underlined, and the thumbnails for the
overlying layers are indented. Additionally,
the overlying layers display a grouped layer
icon ( ).
Grouped layer with Layer 1 and lion layers
To create grouped layers:
1Do one of the following:
•Hold down Alt (Windows) or Option (Mac OS),
position the pointer over the line dividing two
layers in the Layers palette (the pointer changes to
two overlapping circles ( )), and click.
•Select a layer in the Layers palette, and choose
Layer > Group with Previous.
•Link together the desired layers in the Layers
palette. (See “Linking layers” on page 170.)
Then choose Layer > Group Linked.
•When creating a new layer, select Group with
Previous in the New Layer dialog box.
The grouped layer is assigned the opacity and
mode attributes of the bottommost layer in
the group.
To remove a layer from a grouped layer:
Do one of the following:
•Hold down Alt (Windows) or Option (Mac OS),
position the pointer over the line separating two
grouped layers in the Layers palette (the pointer
changes to two overlapping circles ( )), and click.
•In the Layers palette, select a layer in the grouped
layer, and choose Layer > Ungroup. This
command removes the selected layer and any
layers above it from the grouped layer.
To ungroup all layers:
1In the Layers palette, select the base layer in the
grouped layer.
2Choose Layer > Ungroup.
To merge grouped layers:
1Make visible all the layers in the group that you
want to merge (any hidden layers in the group are
discarded when you merge).
2Select the base layer in the group.
3Choose Layer > Merge Group, or choose Merge
Group from the Layers palette menu.
Using adjustment layers and fill
layers
Adjustment layers and fill layers add another level
of flexibility to working with layers. Adjustment
layers allow you to experiment with color and
tonal adjustment to an image; fill layers allow you
to quickly add color, pattern, and gradient
elements to an image. If you change your mind
about the results, you can go back and edit or
remove the adjustment or fill at any time.
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About adjustment layers
Adjustment layers let you experiment with color
and tonal adjustments to an image without
permanently modifying the pixels in the image.
The color and tonal changes reside within the
adjustment layer, which acts as a veil through
which the underlying image layers appear. Keep in
mind that an adjustment layer affects all the layers
below it. This means that you can correct multiple
layers by making a single adjustment, rather than
making the adjustment to each layer separately.
Original, and levels adjustment applied
Layers palette with adjustment layer
About fill layers
Fill layers let you fill a layer with a solid color, a
gradient, or a pattern. Unlike adjustment layers,
fill layers do not affect the layers underneath them.
Creating adjustment layers or fill layers
Adjustment layers and fill layers have the same
opacity and blending mode options as image
layers and can be rearranged in order, deleted,
hidden, and duplicated in the same manner as
image layers. By default, adjustment layers and fill
layers take the name of the adjustment/fill type.
Adjustment layers display a partially filled circle to
the right of the layer name.
A. Fill layers B. Adjustment layers
To create an adjustment layer or fill layer:
1To confine the effects of the adjustment layer or
fill layer to a selected area, make a selection. To
confine the effects of an adjustment layer to the
layers immediately below it, create a grouped layer
consisting of these layers. (See “Creating grouped
layers” on page 180.)
2Do one of the following:
•Click the New Adjustment Layer button ( )
at the bottom of the Layers palette, and choose the
layer type you want to create.
A
B
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•Choose Layer > New Fill Layer, and choose an
option from the submenu. Then name the layer,
set other layer options, and click OK. (See “Speci-
fying opacity and blending options” on page 179
and “Creating grouped layers” on page 180.)
•Choose Layer > New Adjustment Layer, and
choose an option from the submenu. Then name
the layer, set other layer options, and click OK.
(See “Specifying opacity and blending options” on
page 179 and “Creating grouped layers” on
page 180.)
3Choose from the following layer properties, and
then click OK.
Solid Color Specify a color. (See “Using the Adobe
Color Picker” on page 77.)
Gradient Click the gradient to display the
Gradient Editor, or click the inverted arrow ( )
and choose a gradient from the pop-up palette.
(See “Creating or editing gradient fills” on
page 151.) Set additional options if desired. Style
specifies the shape of the gradient. Angle specifies
the angle at which the gradient is applied. Scale
changes the size of the gradient. Reverse flips the
orientation of the gradient. Dither reduces
banding by applying dithering to the gradient.
Align With Layer uses the bounding box of the
layer to calculate the gradient fill. You can use the
mouse to move the center of the gradient by
clicking and dragging in the image window.
Pattern Click the pattern, and choose a pattern
from the pop-up palette. Click Scale and enter a
value or drag the slider to scale the pattern.
Click Snap to Origin to position the origin of the
pattern with that of the document window. (See
“Using rulers and the grid” on page 27.) Select
Link With Layer to specify that the pattern moves
with the fill layer as it is relocated. When Link With
Layer is selected, you can drag in the image to
position the pattern while the Pattern Fill dialog
box is open. You can edit the pattern settings, then
click the New Preset button ( ) to create a new
preset pattern. For more information on creating
patterns and loading pattern presets, see “Creating
and editing patterns” on page 161 and “Working
with presets” on page 35.
Levels Specify values for the highlights, shadows,
and midtones. (See “Using the Levels dialog box”
on page 87.)
Brightness/Contrast Specify values for Brightness
and Contrast. (See “Using the Brightness/Contrast
command” on page 87.)
Hue/Saturation Choose which colors to edit, and
specify values for Hue, Saturation, and Lightness.
(See “Using the Hue/Saturation command” on
page 92.)
Gradient Map Choose a gradient and set gradient
options. (See “Using the Gradient Map
command” on page 98.)
Invert Invert adjustment layers don’t have
options. (See “Using the Invert command” on
page 96.)
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Threshold Specify a threshold level. (See “Using
the Threshold command” on page 96.)
Posterize Specify the number of tonal levels for
each color channel. (See “Using the Posterize
command” on page 97.)
Editing adjustment layers or fill layers
Once you create an adjustment or fill layer, you can
easily edit the settings, or dynamically replace it
with a different adjustment or fill type.
You can also edit the mask of an adjustment layer
or fill layer. A layer mask protects sections of a
layer (or the entire layer) from being edited and
can be used to show or hide sections of an image.
When the layer mask is attached to an adjustment
or fill layer, it is used to control the effect that the
layer has on the image. By default, all areas of an
adjustment or fill layer are “unmasked” and,
therefore, are showing.
The layer mask is a grayscale image, so what you
paint in black will be hidden, what you paint in
white will show, and what you paint in gray shades
will show in various levels of transparency. Masks
can be edited like a grayscale image.
Adjustment layer with triangular mask added
To edit an adjustment or fill layer:
1Do one of the following:
•Double-click the adjustment or fill layer’s
thumbnail in the Layers palette.
•Choose Layer > Layer Content Options.
2Make the desired adjustments, and click OK.
Note: Inverted adjustment layers do not have
editable settings.
To change the content of an adjustment or fill layer:
1Select the adjustment layer or fill layer that you
want to change.
2Choose Layer > Change Layer Content and
select a different fill or adjustment layer from
the list.
To edit the layer mask for an adjustment or fill layer:
1Select the adjustment layer or fill layer in the
Layers palette.
2Select any painting or editing tool.
3Use the following methods to view the
layer mask:
•Alt-click (Windows) or Option-click (Mac OS)
the adjustment layer thumbnail to view only the
grayscale mask. Alt/Option-click the thumbnail
again to redisplay the other layers.
•Hold down Alt+Shift (Windows) or
Option+Shift (Mac OS), and click the adjustment
layer thumbnail to view the mask in a rubylith
masking color. Hold down Alt/Option+Shift
and click the thumbnail again to turn off the
rubylith display.
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•Shift-click the adjustment layer thumbnail to
turn off the masking effects temporarily; click the
thumbnail again to turn on the mask.
4Edit the layer mask:
•To constrain editing to part of the mask, make a
selection. (See “Making pixel selections” on
page 103.)
•To remove the adjustment effect or fill, paint the
layer mask with black.
•To display the full effect of the adjustment or fill
over the image layers beneath, paint the layer mask
with white.
•To partially remove the adjustment effect or fill,
paint the layer mask with gray. The extent to which
the effect or fill is removed depends on the tones of
gray you use to paint.
Merging adjustment layers or fill layers
You can merge an adjustment or fill layer several
ways: with the layer below it, with the layers in
its own grouped layer, with the layers it is linked
to, and with all other visible layers. You cannot,
however, use an adjustment layer or fill layer as the
target layer for a merge. When you merge an
adjustment layer or fill layer with the layer below
it, the adjustments are rasterized and become
permanently applied within the merged layer.
(See “Merging layers” on page 174.) You can also
rasterize a fill layer without merging it. (See
“Simplifying layers” on page 173.)
Adjustment layers and fill layers whose masks
contain only white values do not add significantly
to the file size, so it is not necessary to merge these
adjustment layers to conserve file space.
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Chapter 9: Applying Filters and Effects
photographer places filters over the
camera lens to create visual effects. Adobe
Photoshop Elements provides filters you
can use to simulate photographic effects and to
create visual effects beyond the bounds of tradi-
tional photography.
Using filters
Filters let you apply special effects to your images,
such as impressionistic or mosaic effects, lighting
effects, and distortions. You can also create your
own effects using the Custom filter, or you can
install plug-in filters sold by non-Adobe software
developers.
Filters appear in the Filters palette and in the Filter
menu. Keep in mind the following guidelines
when selecting a filter:
•Filters are applied to the active, visible layer.
•Filters cannot be applied to Bitmap-mode or
indexed-color images.
•The last filter applied appears at the top of the
Filter menu.
Using the Filters palette
The Filters palette lets you view and select
filter effects.
Filters palette
To display the Filters palette:
Choose Window > Show Filters Browser, or click
the Filters tab in the palette well.
To change the visible filters in the Filters palette:
Select a set of filters from the pop-up list at the top
of the Filters palette. Select All to view a list of
all filters.
To change how filter effects are displayed in the
Filters palette:
Do one of the following:
•Click the List View button ( ) at the bottom of
the Filters palette to view the filters by their names.
When you select a filter name, a thumbnail of the
filter effect displays on the left side of the palette.
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•Click the Thumbnail View button ( ) at the
bottom of the Filters palette to view the filters
as thumbnails.
•Choose a display option from the Filters palette
menu: List View or Thumbnail View. (See “Using
palette menus” on page 23.)
Previewing and applying filters
Applying filters—especially to large images—can
be time-consuming. You can view an example of
the effect in the Filters palette. Some filters also
let you preview the effect before you apply it to
your image.
To save time when trying various filters,
experiment on a small, representative part of
your image.
To preview and apply a filter:
1To apply a filter to an area of a layer, select that
area. To apply a filter to the entire layer, leave the
layer unselected.
2Do one of the following:
•In the Filters palette, select the filter you want to
apply. If the filter provides optional settings, select
Filter Options to view the options, or deselect
Filter Options to apply the default filter settings.
(Filter Options are not available for all filters.)
Then, double-click the filter, select the filter and
click Apply, or drag a filter into the image.
•Choose a filter from the submenus in the Filter
menu. If a filter name is followed by ellipses (…),
a dialog box appears.
3If a dialog box appears, enter values or
select options.
To display the dialog box for the last filter you
applied, press Ctrl+Alt+F (Windows) or
Command+Option+F (Mac OS).
4If the dialog box contains a preview window,
use the following navigation methods to preview
the effect:
•Click in the image window to center a specific
area of the image in the preview window.
Note: This does not work with all preview windows.
•Drag in the preview window to center a specific
area of the image in the window.
•Use the + or – button under the preview window
to zoom in or zoom out on the preview.
A flashing line beneath the preview size indicates
that the preview is still being rendered.
5If available, select the Preview option to preview
the filter effect on the entire image.
6Click OK to apply the filter.
A progress indicator in the status bar (Windows)
or progress bar (Mac OS) lets you gauge the time
remaining until the filter is applied.
Loading images and textures
To produce their effects, some filters load and use
other images, such as textures and displacement
maps. These filters include the Conté Crayon,
Displace, Glass, Lighting Effects, Rough Pastels,
Texture Fill, Texturizer, Underpainting,
and Custom.
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Not all of these filters load images or textures in the
same way. (See “Using the Lighting Effects filter”
on page 207.)
To load images and textures:
1Use the Filters palette to apply the desired filter,
or choose the filter from the appropriate submenu
in the Filter menu.
2Choose Load Texture in the Texture pop-up
menu. Locate and open a texture image.
All textures must be in the Photoshop format.
Most filters use only the grayscale information of
a color file.
3Click OK.
Defining undistorted areas
The Displace, Shear, and Wave filters in the Distort
submenu and the Offset filter in the Other
submenu let you treat areas undefined by the filter
in the following ways:
•Wrap Around fills the undefined space with
content from the opposite edge of the image.
•Repeat Edge Pixels extends the colors of pixels
along the image’s edge in the direction specified.
Banding may result if the edge pixels are
different colors.
•Set to Background (Offset filter only) fills the
selected area with the current background color.
Using texture and glass surface controls
The Conté Crayon, Glass, Rough Pastels,
Texturizer, and Underpainting filters have textur-
izing options. These options make images appear
as if they were painted onto textures such as canvas
and brick or viewed through glass blocks.
To use texture and glass surface controls:
1Use the Filters palette to apply the desired filter,
or choose the filter from the appropriate submenu
in the Filter menu.
2For Texture, choose a texture type or choose
Load Texture to specify a Photoshop file.
3Drag the Scaling slider to enlarge or reduce the
effect on the image surface.
4Drag the Relief slider (if available) to adjust the
depth of the texture’s surface.
5Select Invert to reverse the surface’s light and
dark colors.
6For Light Direction, indicate the direction of
the light source on the image.
7Click OK.
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Using effects
Effects let you achieve complex effects through the
automatic sequencing of filters, layer styles, and/or
program functions. You can scan through a variety
of effects in the Effects palette.
Effects palette
To display the Effects palette:
Choose Window > Show Effects Browser, or click
the Effects tab in the palette well.
To apply an effect:
1To apply an effect to an area of an image, select
that area. To apply an effect to the entire image,
make sure that no areas are selected in the image.
2Do one of the following:
•Select an effect in the Effects palette, and
click Apply.
•Drag an effect from the Effects palette to
the image.
3When prompted, click Yes to keep the effect, or
click No to discard the effect.
Note: To undo multiple actions effects, such as
Blizzard, you must undo multiple times to clear all
the actions.
To change the visible effects in the Effects palette:
Select a set of effects from the pop-up list at the top
of the Effects palette. Select All to view a list of
all effects.
To change how effects are displayed in the Effects
palette:
Do one of the following:
•Click the List View button ( ) at the bottom
of the Effects palette to view the effects by their
names. When you select an effect name, a
thumbnail of the effect displays on the left side
of the palette.
•Click the Thumbnail View button ( ) at the
bottom of the Effects palette to view the effects as
thumbnails.
•Choose a display option from the Effects palette
menu: List View or Thumbnail View. (See “Using
palette menus” on page 23.)
Tips for applying special filter
effects
Try the following techniques to apply special
effects with filters.
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Apply edge effects You can use various
techniques to treat the edges of a filter effect
applied to only part of an image. To leave a distinct
edge, simply apply the filter. For a soft edge,
feather the edge, and then apply the filter.
Apply filters to layers You can apply filters to
individual layers or to several layers in succession
to build up an effect. For a filter to affect a layer,
the layer must be visible and must contain pixels—
for example, a neutral fill color. (See “Filling a new
layer with a neutral color” on page 180.)
Apply backgrounds By applying filter effects to
solid-color or grayscale images, you can generate a
variety of backgrounds and textures. You might
then blur these textures. Although some filters
have little or no visible effect when applied to solid
colors (for example, Glass), others produce
interesting effects. You might try Add Noise, Chalk
& Charcoal, Clouds, Conté Crayon, Craquelure,
Difference Clouds, Glass, Grain, Graphic Pen,
Halftone Pattern, Mezzotint, Mosaic Tiles,
Note Paper, Patchwork, Pointillize, Reticulation,
Rough Pastels, Sponge, Stained Glass, Texture Fill,
Texturizer, and Underpainting.
Improve image quality and consistency You can
disguise faults, alter or enhance, or make a series
of images look related by applying the same effect
to each.
Improving performance with
filters
Some filter effects can be memory intensive,
especially when applied to a high-resolution
image. You can use these techniques to improve
performance:
•Try out filters and settings on a small portion of
an image.
•Free up memory before running the filter by
using the Purge command. (See “Correcting
mistakes” on page 32.)
•Allocate more RAM to Photoshop Elements. If
necessary, exit from other applications to make
more memory available to Photoshop Elements.
•Try changing settings to improve the speed of
memory-intensive filters, such as Lighting Effects,
Cutout, Stained Glass, Chrome, Ripple, Spatter,
Sprayed Strokes, and Glass filters. (For example,
with the Stained Glass filter, increase cell size.
With the Cutout filter, increase Edge Simplicity, or
decrease Edge Fidelity, or both.)
Choosing a filter effect
The built-in filters are grouped into sets. In
addition, any third-party filters installed appear at
the bottom of the Filter menu.
Artistic filters Achieve a painterly or special effect
for a fine arts or commercial project. For example,
use the Cutout filter for collages or type treatment.
These filters replicate natural or traditional media
effects. (See “Artistic filters” on page 195.)
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Blur filters Soften a selection or an image. Blur
filters are useful for retouching. They smooth
transitions by averaging the pixels next to the hard
edges of defined lines and shaded areas in an
image. (See “Blur filters” on page 196.)
Note: To apply a Blur filter to the edges of a layer,
be sure to unlock the transparency in the Layers
palette. (See “Locking layers” on page 178.)
Brush Stroke filters Like the Artistic filters, the
Brush Stroke filters give a painterly or fine-arts
look using different brush and ink stroke effects.
Some of the filters add grain, paint, noise, edge
detail, or texture to an image for a pointillist effect.
(See “Brush Stroke filters” on page 197.)
Distort filters Geometrically distort an image,
creating reshaping effects. Note that these filters
can be very memory intensive. (See “Distort
filters” on page 197.)
Noise filters Add or remove noise, or pixels with
randomly distributed color levels. This helps to
blend a selection into the surrounding pixels.
Noise filters can create unusual textures or remove
problem areas, such as dust and scratches, from an
image. The Add Noise filter can be used to reduce
banding in feathered selections or graduated fills
or to give a more realistic look to heavily retouched
areas. (See “Noise filter” on page 199.)
Pixelate filters Sharply define a selection by
clumping pixels of similar color values in cells.
(See “Pixelate filters” on page 200.)
Render filters Create 3D shapes, cloud patterns,
refraction patterns, and simulated light reflections
in an image. You can also manipulate objects in 3D
space, create 3D objects (cubes, spheres, and
cylinders), and create texture fills from grayscale
files to produce 3D-like effects for lighting. (See
“Render filters” on page 201.)
When using the Clouds filter, generate
a more stark cloud pattern by holding down
Alt (Windows) or Option (Mac OS) as you choose
Filter > Render > Clouds.
Sharpen filters Focus blurry images by increasing
the contrast of adjacent pixels. They include the
Sharpen Edges and Unsharp Mask filters, which
find and sharpen areas where significant color
changes occur (such as the edges). The Unsharp
Mask filter is commonly used for high-end color
correction. (See “Sharpen filters” on page 202.)
Sketch filters Add texture to images, often for a
3D effect. The filters also are useful for creating a
fine-arts or hand-drawn look. Many of the Sketch
filters use the foreground and background color as
they redraw the image. (See “Sketch filters” on
page 202.)
For a truer effect, change the foreground color
to one of the common Conté Crayon colors
(black, sepia, sanguine) before applying the filter.
Stylize filters Produce a painted or impression-
istic effect on a selection by displacing pixels and
by finding and heightening contrast in an image.
After using filters such as Find Edges and Trace
Contour that highlight edges, you can apply the
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Invert command to outline the edges of a color
image with colored lines or to outline the edges of
a grayscale image with white lines. (See “Stylize
filters” on page 203.)
Texture filters Give images the appearance of
depth or substance, or add an organic look. (See
“Texture filters” on page 205.)
Video filters Include the NTSC (National
Television Standards Committee) Color filter,
which restricts the gamut of colors to those
acceptable for television reproduction, and the
De-Interlace filter, which smooths moving images
captured on video. (See “Video filters” on
page 205.)
Other filters Let you create your own custom filter
effects, offset a selection within an image, and
make quick color adjustments. (See “Other filters”
on page 206.)
Digimarc filter Lets you view a Digimarc
watermark. (See “Viewing file information” on
page 31.)
Artistic filters
Choose an Artistic filter to replicate natural or
traditional media effects.
Colored Pencil Draws an image using colored
pencils on a solid background. Important edges
are retained and given a rough crosshatch
appearance; the solid background color shows
through the smoother areas.
For a parchment effect, change the background
color just before applying the Colored Pencil
filter to a selected area.
Cutout Portrays an image as though it were made
from roughly cut-out pieces of colored paper.
High-contrast images appear as if in silhouette,
while colored images are built up from several
layers of colored paper.
Dry Brush Paints the edges of the image using a
dry brush technique (between oil and watercolor).
The filter simplifies an image by reducing its range
of colors to areas of common color.
Film Grain Applies an even pattern to the shadow
tones and midtones of an image. A smoother,
more saturated pattern is added to the image’s
lighter areas. This filter is useful for eliminating
banding in blends and visually unifying elements
from various sources.
Fresco Paints an image in a coarse style using
short, rounded, and hastily applied dabs.
Neon Glow Adds various types of glows to the
objects in an image and is useful for colorizing an
image while softening its look. To select a glow
color, click the Glow Color box and select a color
from the color picker.
Paint Daubs Lets you choose from various brush
sizes (from 1 to 50) and types for a painterly effect.
Brush types include simple, light rough, dark
rough, wide sharp, wide blurry, and sparkle.
Palette Knife Reduces detail in an image to give
the effect of a thinly painted canvas that reveals the
texture underneath.
Plastic Wrap Coats the image in shiny plastic,
accentuating the surface detail.
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Poster Edges Reduces the number of colors in an
image (posterizes) according to the posterization
option you set, and finds the edges of the image
and draws black lines on them. Large broad areas
of the image have simple shading while fine dark
detail is distributed throughout the image.
Rough Pastels Makes an image appear as if
stroked with colored pastel chalk on a textured
background. In areas of bright color, the chalk
appears thick with little texture; in darker areas,
the chalk appears scraped off to reveal the texture.
For more on the filter options, see “Using texture
and glass surface controls” on page 191.
Smudge Stick Softens an image using short
diagonal strokes to smudge or smear the darker
areas of the images. Lighter areas become brighter
and lose detail.
Sponge Creates images with highly textured areas
of contrasting color, appearing to have been
painted with a sponge.
Underpainting Paints the image on a textured
background, and then paints the final image over
it. For more on the filter options, see “Using
texture and glass surface controls” on page 191.
Watercolor Paints the image in a watercolor style,
simplifying details in an image, using a medium
brush loaded with water and color. Where signif-
icant tonal changes occur at edges, the filter
saturates the color.
Blur filters
The Blur filters soften a selection or an image, and
are useful for retouching. They smooth transitions
by averaging the pixels next to the hard edges of
defined lines and shaded areas in an image.
Note: To apply a Blur filter to the edges of a layer, be
sure to deselect the Lock transparent pixels option in
the Layers palette.
Blur and Blur More Eliminate noise where signif-
icant color transitions occur in an image. Blur
filters smooth transitions by averaging the pixels
next to the hard edges of defined lines and shaded
areas. The Blur More filter produces an effect three
or four times stronger than that of the Blur filter.
Gaussian Blur Quickly blurs a selection by an
adjustable amount. Gaussian refers to the bell-
shaped curve that is generated when Photoshop
Elements applies a weighted average to the pixels.
The Gaussian Blur filter adds low-frequency detail
and can produce a hazy effect.
Motion Blur Blurs in a particular direction
(from –360º to +360º) and at a specific intensity
(from 1 to 999). The filter’s effect is analogous to
taking a picture of a moving object with a fixed
exposure time.
Radial Blur Simulates the blur of a zooming or
rotating camera to produce a soft blur. Choose
Spin, to blur along concentric circular lines, and
then specify a degree of rotation; or Zoom, to blur
along radial lines, as if zooming in or out of the
image, and specify an amount from 1 to 100. Blur
quality ranges from Draft for the fastest but grainy
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results; or Good and Best for smoother results,
which are indistinguishable except on a large
selection. Specify the origin of the blur by dragging
the pattern in the Blur Center box.
Smart Blur Precisely blurs an image. You can
specify a radius, to determine how far the filter
searches for dissimilar pixels to blur; a threshold,
to determine how different the pixels’ values
should be before they are eliminated; and a blur
quality. You also can set a mode for the entire
selection (Normal), or for the edges of color
transitions (Edge Only and Overlay Edge). Where
significant contrast occurs, Edge Only applies
black-and-white edges, and Overlay Edge
applies white.
Brush Stroke filters
Like the Artistic filters, the Brush Stroke filters give
a painterly or fine-arts look using different brush
and ink stroke effects. Some of the filters add
grain, paint, noise, edge detail, or texture to an
image for a pointillist effect.
Accented Edges Accentuates the edges of an
image. When the edge brightness control is set to a
high value, the accents resemble white chalk; when
set to a low value, the accents resemble black ink.
Angled Strokes Repaints an image using diagonal
strokes. The lighter areas of the image are painted
in strokes going in one direction, while the darker
areas are painted in strokes going the opposite
direction.
Crosshatch Preserves the details and features of
the original image while adding texture and
roughening the edges of the colored areas in the
image with simulated pencil hatching. The
appearance of the hatching can be adjusted with
the Stroke Length and Sharpness options. The
Strength option controls the number of hatching
passes, from 1 to 3.
Dark Strokes Paints dark areas of an image closer
to black with short, tight strokes, and paints lighter
areas of the image with long, white strokes.
Ink Outlines Redraws an image with fine narrow
lines over the original details, in pen-and-ink style.
Spatter Replicates the effect of a spatter airbrush.
Increasing the options simplifies the overall effect.
Sprayed Strokes Repaints an image, using its
dominant colors with angled, sprayed strokes
of color.
Sumi-e Paints an image in Japanese style, as if with
a wet brush full of black ink on rice paper.
The effect is soft blurry edges with rich blacks.
Distort filters
The Distort filters geometrically distort an image,
creating 3D or other reshaping effects. Note that
these filters can be very memory intensive.
Diffuse Glow Renders an image as though it were
viewed through a soft diffusion filter. The filter
adds see-through white noise to an image, with the
glow fading from the center of a selection.
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Displace Uses an image, called a displacement
map, to determine how to distort a selection. For
example, using a parabola-shaped displacement
map, you can create an image that appears to be
printed on a cloth held at its corners.
This filter creates displacement maps, using a file
with flattened layers saved in Photoshop format
(except Bitmap mode images). You can also use the
files included with your software (search for the
Displacement maps folder).
To use Displace:
1Choose Filter > Distort > Displace, or use the
Filters palette to apply the Displace filter.
2Enter the scale for the magnitude of the
displacement.
When the horizontal and vertical scales are set
to 100%, the greatest displacement is 128 pixels
(because middle gray produces no displacement).
3If the displacement map is not the same size
as the selection, choose how the map will fit the
image—Stretch to Fit to resize the map, or Tile to
fill the selection by repeating the map in a pattern.
4Choose Wrap Around or Repeat Edge Pixels to
determine how undistorted areas of the image will
be treated. (See “Defining undistorted areas” on
page 191.)
5Click OK.
6Select and open the displacement map. The
distortion is applied to the image.
The Displace filter shifts a selection using a color
value from the displacement map—0 is the
maximum negative shift, 255 is the maximum
positive shift, and a gray value of 128 produces no
displacement.
Glass Makes an image appear as if it is being
viewed through different types of glass. You can
choose a glass effect or create your own glass
surface as a Photoshop file and apply it. You can
adjust scaling, distortion, and smoothness
settings. When using surface controls with a file,
follow the instructions for the Displace filter.
For more information about Glass filter controls,
see “Using texture and glass surface controls” on
page 191.
Ocean Ripple Adds randomly spaced ripples to
the image’s surface, making the image look as if it
were under water.
Pinch Squeezes a selection. A positive value up to
100% shifts a selection toward its center; a negative
value up to –100% shifts a selection outward.
Polar Coordinates Converts a selection from its
rectangular to polar coordinates, and vice versa,
according to a selected option. You can use this
filter to create a cylinder anamorphosis—art
popular in the 18th century—in which the
distorted image appears normal when viewed in
a mirrored cylinder.
Ripple Creates an undulating pattern on a
selection, like ripples on the surface of a pond.
For greater control, use the Wave filter. Options
include the amount and size of ripples.
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Shear Distorts an image along a curve. Specify the
curve by dragging the line in the box to form a
curve for the distortion. You can adjust any point
along the curve. Click Default to return the curve
to a straight line. In addition, you choose how to
treat undistorted areas. (See “Defining undis-
torted areas” on page 191.)
Spherize Gives objects a 3D effect by wrapping a
selection around a spherical shape, distorting the
image and stretching it to fit the selected curve.
Twirl Rotates a selection more sharply in the
center than at the edges. Specifying an angle
produces a twirl pattern.
Wave Works in a similar way to the Ripple filter,
but with greater control. Options include the
Number of Generators, Wavelength (distance
from one wave crest to the next), Amplitude, Scale
(the height of the wave), and Type: Sine (rolling),
Triangle, or Square. The Randomize option
applies random values. You can also define
Undefined Areas. (See “Defining undistorted
areas” on page 191.)
To replicate wave results on other selections,
click Randomize, set the Number of Generators
to 1, and set the minimum and maximum
Wavelength and Amplitude parameters to the
same value.
ZigZag Distorts a selection radially, depending on
the radius of the pixels in your selection.
The Ridges option sets the number of direction
reversals of the zigzag from the center of the
selection to its edge. You also choose how to
displace the pixels: Pond Ripples displaces pixels to
the upper left or lower right, Out From Center
displaces pixels toward or away from the center of
the selection, and Around Center rotates pixels
around the center.
Liquify filter
Lets you warp, twirl, expand, contract, shift, and
reflect areas of the image. (See “Using the Liquify
filter” on page 124.) The Liquify filter is accessible
in the Filters menu and in the Filters palette under
All filters and Distort filters.
Noise filter
The Noise filters add or remove noise, or pixels
with randomly distributed color levels. This helps
to blend a selection into the surrounding pixels.
Noise filters can create unusual textures or remove
problem areas, such as dust and scratches, from
an image.
Add Noise Applies random pixels to an image,
simulating the effect of shooting pictures on high-
speed film. The Add Noise filter can also be used to
reduce banding in feathered selections or
graduated fills or to give a more realistic look to
heavily retouched areas. Options include noise
distribution: Uniform distributes color values of
noise using random numbers between 0 and plus
or minus the specified value for a subtle effect;
Gaussian distributes color values of noise along a
bell-shaped curve for a speckled effect. The
Monochromatic option applies the filter to only
the tonal elements in the image without changing
the colors.
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Despeckle Detects the edges in an image (areas
where significant color changes occur) and blurs
all of the selection except those edges. This blur-
ring removes noise while preserving detail.
Dust & Scratches Reduces noise by changing
dissimilar pixels. To achieve a balance between
sharpening the image and hiding defects,
try various combinations of radius and threshold
settings. Or apply the filter on selected areas in
the image.
To use the Dust & Scratches filter:
1Choose Filter > Noise > Dust & Scratches, or
use the Filters palette to apply the Dust & Scratches
filter.
2If necessary, adjust the preview zoom ratio until
the area containing noise is visible.
3Drag the Threshold slider left to 0 to turn off the
value, so that all pixels in the selection or image
can be examined.
The Threshold determines how different the
pixels’ values should be before they are eliminated.
Note: The Threshold slider gives greater control for
values between 0 and 128—the most common range
for images—than for values between 128 and 255.
4Drag the Radius slider left or right, or enter a
value in the text box from 1 to 100 pixels. The
radius determines how far the filter searches for
differences among pixels.
Adjusting the radius makes the image blurry. Stop
at the smallest value that eliminates the defects.
5Increase the threshold gradually by entering a
value or by dragging the slider to the highest value
possible that eliminates defects.
6Click OK.
Median Reduces noise in an image by blending
the brightness of pixels within a selection.
The filter searches the radius of a pixel selection
for pixels of similar brightness, discarding pixels
that differ too much from adjacent pixels, and
replaces the center pixel with the median
brightness value of the searched pixels. This filter
is useful for eliminating or reducing the effect of
motion on an image.
Pixelate filters
The filters in the Pixelate submenu sharply define
a selection by clumping pixels of similar color
values in cells.
Color Halftone Simulates the effect of using an
enlarged halftone screen on the image. The filter
divides the image into rectangles and replaces each
rectangle with a circle. The circle size is propor-
tional to the brightness of the rectangle.
To use the Color Halftone filter:
1Choose Filter > Pixelate > Color Halftone,
or use the Filters palette to apply the Color
Halftone filter.
2Enter a value in pixels for the maximum radius
of a halftone dot, from 4 to 127.
3Enter a screen-angle value (the angle of the
dot from the true horizontal) for one or
more channels:
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•For Grayscale images, use only channel 1.
•For RGB images, use channels 1, 2, and 3, which
correspond to the red, green, and blue channels.
•Click Defaults to return all the screen angles to
their default values. Or press Alt (Windows) or
Option (Mac OS) to switch the Cancel button
to a Reset button.
4Click OK.
Crystallize Clumps pixels into a solid color in a
polygon shape.
Facet Clumps pixels of solid or similar colors
into blocks of like-colored pixels. You can use this
filter to make a scanned image look hand painted
or to make a realistic image resemble an abstract
painting.
Fragment Creates four copies of the pixels in the
selection, averages them, and offsets them from
each other.
Mezzotint Converts an image to a random pattern
of black-and-white areas or of fully saturated
colors in a color image. To use the filter, choose a
dot pattern from the Type menu in the Mezzotint
dialog box.
Mosaic Clumps pixels into square blocks. The
pixels in a given block are the same color, and the
colors of the blocks represent the colors in the
selection.
Pointillize Breaks up the color in an image into
randomly placed dots, as in a pointillist painting,
and uses the background color as a canvas area
between the dots.
Render filters
The Render filters create 3D shapes, cloud
patterns, refraction patterns, and simulated light
reflections in an image. You can also manipulate
objects in 3D space, create 3D objects (cubes,
spheres, and cylinders), and create texture fills
from grayscale files to produce 3D-like effects
for lighting.
3D Transform Maps images to cubes, spheres, and
cylinders, which you can then rotate in three
dimensions. (See “Transforming objects in three
dimensions” on page 130.)
Clouds Generates a soft cloud pattern using
random values that vary between the foreground
and the background color. To generate a more
stark cloud pattern, hold down Alt (Windows) or
Option (Mac OS) as you choose Filter > Render >
Clouds.
Difference Clouds Uses randomly generated
values that vary between the foreground and back-
ground color to produce a cloud pattern. The filter
blends the cloud data with the existing pixels in the
same way that the Difference mode blends colors.
The first time you choose this filter, portions of the
image are inverted in a cloud pattern. Applying the
filter several times creates rib and vein patterns
that resemble a marble texture.
Lens Flare Simulates the refraction caused by
shining a bright light into the camera lens. Specify
a location for the center of the flare by clicking
anywhere inside the Flare Center thumbnail or by
dragging its cross hair. Enter a value to control the
Brightness of the flare or specify a Lens Type to
adjust the shape of the flare.
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Lighting Effects Lets you produce myriad lighting
effects on RGB images by varying 17 light styles,
3 light types, and 4 sets of light properties. You can
also use textures from grayscale files (called bump
maps) to produce 3D-like effects and save your
own styles for use in other images. (See “Lighting
Effects filter” on page 207.)
Texture Fill Fills a selection with a grayscale file or
part of a file. To add the texture to the document
or selection, you open the grayscale document you
want to use as the texture fill.
Sharpen filters
The Sharpen filters focus blurry images by
increasing the contrast of adjacent pixels.
Sharpen and Sharpen More Focus a selection
and improve its clarity. The Sharpen More filter
applies a stronger sharpening effect than does the
Sharpen filter.
Sharpen Edges and Unsharp Mask Find the areas
in the image where significant color changes occur
and sharpen them. The Sharpen Edges filter
sharpens only edges while preserving the overall
smoothness of the image. Use this filter to sharpen
edges without specifying an amount. For profes-
sional color correction, use the Unsharp Mask
filter to adjust the contrast of edge detail and
produce a lighter and darker line on each side of
the edge. This process will emphasize the edge and
create the illusion of a sharper image. (See “Sharp-
ening images” on page 98.)
Sketch filters
Filters in the Sketch submenu add texture to
images, often for a 3D effect. The filters also are
useful for creating a fine-arts or hand-drawn look.
Many of the Sketch filters use the foreground and
background color as they redraw the image.
Bas Relief Transforms an image to appear carved
in low relief and lit to accent the surface variations.
Dark areas of the image take on the foreground
color, light areas use the background color.
Chalk & Charcoal Redraws an image’s highlights
and midtones with a solid midtone gray back-
ground drawn in coarse chalk. Shadow areas are
replaced with black diagonal charcoal lines. The
charcoal is drawn in the foreground color, the
chalk in the background color.
Charcoal Redraws an image to create a posterized,
smudged effect. Major edges are boldly drawn,
while midtones are sketched using a diagonal
stroke. Charcoal is the foreground color, and the
paper is the background color.
Chrome Treats the image as if it were a polished
chrome surface. Highlights are high points and
shadows are low points in the reflecting surface.
After applying the filter, use the Levels dialog box
to add more contrast to the image.
Conté Crayon Replicates the texture of dense dark
and pure white Conté crayons on an image. The
Conté Crayon filter uses the foreground color for
dark areas and the background color for light
areas. For a truer effect, change the foreground
color to one of the common Conté Crayon colors
(black, sepia, sanguine) before applying the filter.
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For a muted effect, change the background color
to white with some foreground color added to it
before applying the filter. (See “Using texture and
glass surface controls” on page 191.)
Graphic Pen Uses fine, linear ink strokes to
capture the details in the original image and is
especially striking with scanned images. The filter
replaces color in the original image, using the
foreground color for ink and background color
for paper.
Halftone Pattern Simulates the effect of a halftone
screen while maintaining the continuous range
of tones. There are line, circle, and dot options for
the pattern type.
Note Paper Creates an image that appears to be
constructed of handmade paper. The filter
simplifies an image and combines the effects of the
Stylize > Emboss and Texture > Grain filters. Dark
areas of the image appear as holes in the top layer
of paper, revealing the background color.
Photocopy Simulates the effect of photocopying
an image. Large areas of darkness tend to copy
only around their edges, and midtones fall away to
either solid black or white.
Plaster Molds an image from 3D plaster, and then
colorizes the result using the foreground and
background color. Dark areas are raised, light
areas are sunken.
Reticulation Simulates the controlled shrinking
and distorting of film emulsion to create an image
that appears clumped in the shadow areas and
lightly grained in the highlights.
Stamp Is best used with black-and-white images.
The filter simplifies the image to appear stamped
with a rubber or wood stamp.
Torn Edges Is particularly useful for images
consisting of text or high-contrast objects. The
filter reconstructs the image as ragged, torn pieces
of paper, and then colorizes the image using the
foreground and background color.
Water Paper Uses blotchy daubs that appear
painted onto fibrous, damp paper, causing the
colors to flow and blend.
Stylize filters
The Stylize filters produce a painted or impres-
sionistic effect on a selection by displacing pixels
and by finding and heightening contrast in an
image. After using filters like Find Edges and Trace
Contour that highlight edges, you can apply the
Invert command to outline the edges of a color
image with colored lines or to outline the edges of
a grayscale image with white lines. (See “Using the
Invert command” on page 96.)
Diffuse Shuffles pixels in a selection to make the
selection look less focused according to the
selected option: Normal moves pixels randomly,
ignoring color values; Darken Only replaces light
pixels with darker pixels; and Lighten Only
replaces dark pixels with lighter pixels.
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Emboss Makes a selection appear raised or
stamped by converting its fill color to gray and
tracing the edges with the original fill color.
Options include an embossing angle (from –360°
to lower (stamp) the surface, to +360° to raise the
surface), height, and a percentage (1% to 500%)
for the amount of color within the selection.
Extrude Gives a 3D texture to a selection or layer.
To use the Extrude filter:
1Choose Filter > Stylize > Extrude, or use the
Filters palette to apply the Extrude filter.
2Choose a 3D type:
•Blocks creates objects with a square front face
and four side faces.
•Pyramids creates objects with four triangular
sides that meet at a point.
3Enter a value in the Size text box to determine
the length of any side of the object’s base, from 2
to 255 pixels.
4Enter a value in the Depth text box to indicate
how far the tallest object appears to protrude from
the screen, from 1 to 255.
5Choose a depth option:
•Random to give each block or pyramid an
arbitrary depth.
•Level-based to make each object’s depth corre-
spond to its brightness—bright protrudes more
than dark.
6Select Solid Front Faces to fill the front face of
each block with an averaged color of the block.
Deselect Solid Front Faces to fill the front face of
each block with the image. This option is not
available for Pyramids.
7Select Mask Incomplete Blocks to hide any
object extending beyond the selection.
8Click OK.
Find Edges Identifies the areas of the image with
significant transitions and emphasizes the edges.
Like the Trace Counter filter, Find Edges outlines
the edges of an image with dark lines against a
white background and is useful for creating a
border around an image.
Glowing Edges Identifies the edges of color and
adds a neon-like glow to them.
Solarize Blends a negative and a positive image—
similar to exposing a photographic print briefly to
light during development.
Tiles Breaks up an image into a series of tiles, off-
setting the selection from its original position. You
can choose one of the following to fill the area
between the tiles: Background Color, Foreground
Color, Inverse Image, or Unaltered Image, which
puts the tiled version on top of the original and
reveals part of the original image underneath the
tiled edges.
Trace Contour Finds the transitions of major
brightness areas and thinly outlines them for an
effect similar to the lines in a contour map.
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To use the Trace Contour filter:
1Choose Filter > Stylize > Trace Contour, or use
the Filters palette to apply the Trace Contour filter.
2Choose an Edge option to outline areas in the
selection: Lower outlines where the color values of
pixels fall below the specified level, and Upper
outlines where the color values fall above.
3Enter a threshold (Level) for evaluating color
values (tonal level), from 0 to 255. Experiment
to see what values bring out the best detail in
the image.
Use the Info palette in Grayscale mode to identify
a color value that you want traced. Then enter the
value in the Level text box. (See “Using the Info
palette” on page 29.)
4Click OK.
Wind Creates tiny horizontal lines in the image to
simulate a wind effect. Methods include Wind;
Blast, for a more dramatic wind effect; and Stagger,
which offsets the wind lines in the image.
Texture filters
Use the Texture filters to give an image the
appearance of depth or substance, or to add an
organic look.
Craquelure Paints an image onto a high-relief
plaster surface, producing a fine network of cracks
that follow the contours of the image. Use this
filter to create an embossing effect with images
that contain a broad range of color or
grayscale values.
Grain Adds texture to an image by simulating
different kinds of grain—regular, soft, sprinkles,
clumped, contrasty, enlarged, stippled, horizontal,
vertical, and speckle. The sprinkles and stippled
options use the background color.
Mosaic Tiles Draws the image as if it were made
up of small chips or tiles and adds grout between
the tiles. (In contrast, the Pixelate > Mosaic filter
breaks up an image into blocks of different-
colored pixels.)
Patchwork Breaks up an image into squares
filled with the predominant color in that area of
the image. The filter randomly reduces or
increases the tile depth to replicate the highlights
and shadows.
Stained Glass Repaints an image as single-colored
adjacent cells outlined in the foreground color.
Texturizer Allows you to select a texture from a list
or select a file to use as a texture. (See “Using
texture and glass surface controls” on page 191.)
Video filters
The Video submenu contains the De-Interlace and
NTSC Colors filters.
De-Interlace Smooths moving images captured
on video by removing either the odd or even
interlaced lines in a video image. You can choose
to replace the discarded lines by duplication or
interpolation.
NTSC Colors Restricts the gamut of colors to those
acceptable for television reproduction to prevent
oversaturated colors from bleeding across
television scan lines.
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Other filters
Filters in the Other submenu let you create your
own filter effects, use filters to modify masks, offset
a selection within an image, and make quick color
adjustments.
Custom Lets you design your own filter effect.
With the Custom filter, you can change the
brightness values of each pixel in the image
according to a predefined mathematical operation
known as convolution. Each pixel is reassigned a
value based on the values of surrounding pixels.
You can save the custom filters you create and use
them with other Photoshop images.
To apply a Custom filter effect:
1Choose Filter > Other > Custom, or use the
Filters palette to apply the Custom filter.
2Select the center text box, which represents the
pixel being evaluated. Enter the value by which
you want to multiply that pixel’s brightness value,
from –999 to +999.
3Select a text box representing an adjacent pixel.
Enter the value by which you want the pixel in this
position multiplied.
For example, to multiply the brightness value of
the pixel to the immediate right of the current
pixel by 2, enter 2 in the text box to the immediate
right of the center text box.
Note: To avoid turning the image completely white
or black, the sum of the values in the matrix should
equal 1.
4Repeat steps 2 and 3 for all pixels to include in
the operation. You don’t have to enter values in all
the text boxes.
5For Scale, enter the value by which to divide the
sum of the brightness values of the pixels included
in the calculation.
6For Offset, enter the value to be added to the
result of the scale calculation.
7Click OK. The custom filter is applied to each
pixel in the image, one at a time.
Use the Save and Load buttons to save and reuse
custom filters.
DitherBox™Creates a custom dither pattern for a
selected RGB color. (See “Creating and applying
custom dither patterns” on page 237.)
High Pass Retains edge details in the specified
radius where sharp color transitions occur and
suppresses the rest of the image. (A radius of 0.1
pixel keeps only edge pixels.) The filter removes
low-frequency detail in an image and has an effect
opposite to that of the Gaussian Blur filter.
It is helpful to apply the High Pass filter to a
continuous-tone image before using Image >
Adjustment > Threshold or converting the image
to Bitmap mode. The filter is useful for extracting
line art and large black-and-white areas from
scanned images.
Minimum and Maximum Are useful for modifying
masks. The Minimum filter has the effect of
applying a spread—spreading out black areas and
shrinking white areas. The Maximum filter has the
effect of applying a choke—spreading out white
areas and choking in black areas. Like the Median
filter, the Maximum and Minimum filters look at
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individual pixels in a selection. Within a specified
radius, the Maximum and Minimum filters
replace the current pixel’s brightness value with
the greatest or least brightness value of the
surrounding pixels.
Offset Moves a selection a specified amount
horizontally to the right or vertically down,
leaving an empty space at the selection’s original
location. Depending on the size of the selection,
you can fill the empty area with a transparent
background, with the edge pixels, or with pixels
from the right or bottom edges of an image.
(See “Defining undistorted areas” on page 191.)
Lighting Effects filter
The Lighting Effects filter lets you produce myriad
lighting effects on RGB images. You can also use
textures from grayscale files (called bump maps) to
produce 3D-like effects and save your own styles
for use in other images.
Using the Lighting Effects filter
The Lighting Effects filter allows adjustment of
light styles, light types, light properties, and a
texture channel.
To use the Lighting Effects filter:
1Choose Filter > Render > Lighting Effects,
or use the Filters palette to apply the Lighting
Effects filter.
2For Style, choose a style. (See “Choosing a
Lighting Effects style” on page 209.)
3For Light Type, choose a type from the menu.
If you’re using multiple lights, select and deselect
On to turn individual lights on and off. (See
“Choosing a Lighting Effects type” on page 208.)
4To change the color of the light, click the color
box in the Light Type section of the dialog box.
The color picker chosen in the General Preferences
dialog box opens. For information on choosing a
color picker, see “Using the Adobe Color Picker”
on page 77, or “Using other color pickers” on
page 79.
5To set light properties, drag the corresponding
slider for the following options:
•Gloss determines how much the surface reflects
light (as on the surface of a piece of photographic
paper) from Matte (low reflectance) to Shiny
(high reflectance).
•Material determines whether the light or the
object on which the light is cast reflects more light.
Plastic reflects the light’s color, Metallic reflects the
object’s color.
•Exposure increases the light (positive values) or
decreases the light (negative values). A value of 0
has no effect.
•Ambience diffuses the light as if it were
combined with other light in a room, such as
sunlight or fluorescent light. Choose a value of 100
to use only the light source, or a value of –100 to
diffuse the light source. To change the color of the
ambient light, click the color box and use the color
picker that appears.
To duplicate a light, Alt-drag (Windows) or
Option-drag (Mac OS) the light within the
preview window.
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6To use a texture fill, choose a color in the
Texture Channel pop-up menu. (See “Using a
Lighting Effects texture” on page 210.)
7Click OK to apply the filter.
Choosing a Lighting Effects type
You can choose from several light types.
•Omni shines light in all directions from directly
above the image—like a light bulb over a piece of
paper.
•Directional shines light from one angle—like the
parallel light rays of the sun.
•Spotlight casts an elliptical beam of light. The
line in the preview window defines the light
direction and angle, and the handles define the
edges of the ellipse.
To adjust an Omni light:
1Choose Filter > Render > Lighting Effects,
or use the Filters palette to apply the Lighting
Effects filter.
2For Light Type, choose Omni.
3Adjust the light:
•To move the light, drag the center circle.
•To increase or decrease the size of the light (like
a light moving closer or farther away), drag one of
the handles defining the edges of the light.
4Click OK to apply the filter.
To adjust the angle and height of the Directional light
using the preview window:
1Choose Filter > Render > Lighting Effects,
or use the Filters palette to apply the Lighting
Effects filter.
2For Light Type, choose Directional.
3Adjust the light:
•To move the light, drag the center circle.
•To change the direction of the light, drag the
handle at the end of the line to rotate the light’s
angle. Ctrl-drag (Windows) or Command-drag
(Mac OS) to keep the light’s height (line length)
constant.
•To change the light’s height, drag the handle at
the end of the line. Shorten the line for a bright
light, lengthen it for a less intense one. A very short
line produces pure white light, a very long one no
light. Shift-drag to keep the angle constant and
change the light’s height (line length).
4Click OK to apply the filter.
To adjust the angle and height of the Spotlight using
the preview window:
1Choose Filter > Render > Lighting Effects,
or use the Filters palette to apply the Lighting
Effects filter.
2For Light Type, choose Spotlight.
3Adjust the light:
•To move the light, drag the center circle.
•To increase the light angle, drag the handle at the
end of the line to shorten the line. To decrease the
light angle, drag to lengthen the line.
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•To stretch the ellipse or rotate the light, drag one
of the handles. Shift-drag to keep the angle
constant and change only the size of the ellipse.
Ctrl-drag (Windows) or Command-drag
(Mac OS) to keep the size constant and change the
angle or direction of the spotlight.
•To set the light focus (or spotlight intensity) and
control how much of an ellipse is filled with light,
drag the Intensity slider: full intensity (a value of
100) is brightest; normal intensity is about 50;
negative intensity takes away light; and 0 intensity
produces no light. Use the Focus slider to control
how much of the ellipse is filled with light.
4Click OK to apply the filter.
Choosing a Lighting Effects style
Use the Style menu in the Lighting Effects dialog
box to choose from 17 light styles. You can also
create your own lighting style by adding lights to
any setting. The Lighting Effects filter requires at
least one light source. Only one light can be edited
at a time, but all added lights will be used to create
the effect.
2 o’clock Spotlight A yellow spotlight with
medium (17) intensity and wide (91) focus.
Blue Omni A blue overhead omni light with full
(85) intensity and no focus.
Circle of Light Four spotlights. White has full
(100) intensity and a concentrated (8) focus.
Yellow has strong intensity (88) and a concen-
trated focus (3). Red has medium (50) intensity
and a concentrated (0) focus. Blue has full (100)
intensity and medium (25) focus.
Crossing A white spotlight with medium (35)
intensity and a wide (69) focus.
Crossing Down Two white spotlights with
medium (35) intensity and wide (100) focus.
Default A white spotlight with a medium (35)
intensity and a wide (69) focus.
Five Lights Down/Five Lights Up Five white
spotlights down or up with full (100) intensity and
wide (60) focus.
Flashlight An omni yellow light with medium
(46) intensity.
Flood Light A white spotlight with medium (35)
intensity and wide (69) focus.
Parallel Directional A directional blue light with
full (98) intensity and no focus, or a white direc-
tional light with medium (50) intensity and
no focus.
RGB Lights Red, blue, and green lights that
produce a light of medium (60) intensity and wide
(96) focus.
Soft Direct Lights Two unfocused white and blue
directional lights. White has a soft (20) intensity.
Blue has a medium (67) intensity.
Soft Omni A soft omni light of medium
(50) intensity.
Soft Spotlight A white spotlight with full (98)
intensity and wide (100) focus.
Three Down Three white spotlights with medium
(35) intensity and wide (96) focus.
Triple Spotlight Three spotlights with medium
(35) intensity and wide (100) focus.
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To add a light:
In the Lighting Effects dialog box, drag the light
icon at the bottom of the dialog box into the
preview area. Repeat as desired for a maximum
of 16 lights.
To delete a light:
In the Lighting Effects dialog box, drag the light by
its center circle to the Trash button at the bottom
right of the preview window.
To create a new style:
1In the Lighting Effects dialog box, choose any
style from the Style menu.
2Drag the light icon at the bottom of the dialog
box into the preview area. The light source can be
placed outside the image area. Repeat as desired
for a maximum of 16 lights.
To save a style:
1In the Lighting Effects dialog box, click Save.
2Name the style, and click OK.
Saved styles include all of the settings for each light
and appear in the Style menu whenever you open
an image in Photoshop Elements.
To delete a style:
In the Lighting Effects dialog box, choose a style,
and then click Delete.
Note: Default style cannot be deleted.
Using a Lighting Effects texture
The Texture Channel control in the Lighting
Effects dialog box lets you manipulate how light
reflects off an image. You can create a texture effect
based on the light and dark areas of the red, green,
and blue color information in your image. You can
also choose to use the layer transparency of the
active layer to create a texture effect.
To use the Texture Channel in the Lighting Effects
dialog box:
1In the Lighting Effects dialog box, choose a
color from the Texture Channel pop-up menu.
2Select White is High to raise the light parts of
the channel from the surface. Deselect this option
to raise the dark parts.
3Drag the Height slider to vary the depth of the
texture from Flat (0) to Mountainous (100).
4Click OK.
About plug-in filters
You can install plug-in filters developed by non-
Adobe software developers. Once installed, the
plug-in filters should appear at the bottom of the
Filter menu unless specified by the developer.
Plug-in filters must be created and installed by the
filter developer especially for Photoshop Elements
for previews to appear in the Filters browser.
If you are interested in creating plug-in modules,
contact Adobe Systems Developer Support.
(See “Using plug-in modules” on page 40.)
Note: If you have problems or questions about a
third-party plug-in, contact the plug-in’s manufac-
turer for support.
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Chapter 10: Using Type
dobe Photoshop Elements lets you
add type to images with flexibility and
precision. You can create and edit type
directly on-screen (instead of in a dialog box) and
quickly change the font, style, size, and color of
the type.
About type
Type consists of mathematically defined shapes
that describe the letters, numbers, and symbols of
a typeface. Many typefaces are available in more
than one format, the most common formats being
Type 1 (also called PostScript fonts), TrueType,
and OpenType.
Creating type
In Photoshop Elements, you create and edit type
directly on-screen (instead of in a dialog box). This
is advantageous because you can always see how
the type fits into your composition.
When you select a type tool, the options bar
displays a variety of options for creating type. You
can choose to create type on a new type layer, or
you can create a selection border in the shape of
the type. You can also set the font, style, size, and
color of the type in the options bar.
Note: Bitmap mode and Indexed Color mode do not
support layers. In these image modes, type appears
on the background and cannot be edited with the
type tool.
About using the type tools
Clicking in an image with a type tool puts the
type tool in edit mode. You can enter and edit
characters when the tool is in edit mode; however,
you must commit changes to the type layer before
you can perform other operations. For example,
you cannot select a command from the Layer
menu while the type tool is in edit mode. To
determine if the type tool is in edit mode, look
in the options bar—if you see the OK button ( )
and Cancel button ( ), the type tool is in
edit mode.
To commit changes to a type layer:
Do one of the following:
•Click the OK button ( ) in the options bar.
•Press the Enter key on the numeric keypad.
•Press Ctrl+Enter on the main keyboard
(Windows) or Command+Return (Mac OS).
•Click in the image, select a tool in the toolbox,
or click in a palette.
Entering type
You can enter type horizontally or vertically,
depending on which type tool you select. Each line
of type you enter is independent—the length of a
line grows or shrinks as you edit it, but it doesn’t
wrap to the next line.
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To enter type:
1Select the horizontal type tool ( ) or the
vertical type tool ( ).
2Make sure that the Create a text layer button ( )
in the options bar is selected.
3Click in the image to set an insertion point for
the type. The small line through the I-beam marks
the position of the type baseline. For horizontal
type, the baseline marks the line on which the type
rests; for vertical type, the baseline marks the
center axis of the type characters.
4Select additional type options in the options
bar. (See “Formatting characters” on page 217.)
5Enter the characters you want. Press Enter on
the main keyboard (Windows) or Return
(Mac OS) to begin a new line.
6Commit the type layer. (See “About using the
type tools” on page 213.)
The type you entered appears in a new type layer.
Note: Clicking the Cancel button () discards the
type layer.
Creating a type selection border
You can use a type tool to create a selection in
the shape of type. Type selections appear on the
active layer instead of creating a type layer. The
selections can be moved, copied, filled, or stroked
just like any other selection. For example, you can
use the paint bucket tool to fill the type selection
with a pattern.
To create a type selection border:
1Select a layer in the Layers palette. For best
results, create the type selection border on a
normal image layer, not on a type layer.
2Select the horizontal type tool ( ) or the
vertical type tool ( ).
3Click the Create a selection button ( ) in the
options bar.
4Select additional type options in the options
bar. (See “Formatting characters” on page 217.)
5Enter type in the document window. A red
background appears to help you see the selected
areas created by the type tool. (See “Entering type”
on page 213.)
6Commit the type entry. The text appears as a
selection on the active layer.
Working with type layers
Once you create a type layer, you can edit the type
and apply layer commands to it. You can change
the orientation of the type, apply anti-aliasing, and
warp the type into a variety of shapes. You can
move, restack, copy, and change the layer options
of a type layer as you do for a normal layer. You can
also make the following changes to a type layer and
still edit its text:
•Apply transformation commands, except for
Perspective and Distort.
Note: To apply the Perspective or Distort commands,
or to transform part of the type layer, you must
simplify the type layer, making the type uneditable.
•Use layer styles.
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•Use fill shortcuts. To fill with the foreground
color, press Alt+Backspace (Windows) or
Option+Delete (Mac OS); to fill with the
background color, press Ctrl+Backspace
(Windows) or Command+Delete (Mac OS).
Note: After committing a type layer, clicking in the
text area with the move tool () will select the type
layer. A bounding box appears around the selected
text if Show Bounding Box is selected in the options
bar. Clicking outside the bounding box will deselect
the type layer if Auto Select Layer is selected in the
options bar. You can always click in the text area to
select a type layer if the Relaxed Text Selection
preference is selected. If this preference is not selected,
you need to click the actual type strokes to select a
type layer.
Editing text in type layers
You can insert new text, change existing text, and
delete text in type layers. If any styles are applied to
a type layer, all text will inherit the style attributes.
To edit text in a type layer:
1Select the horizontal type tool ( ) or the
vertical type tool ( ). If you click in an active type,
the type tool changes at the insertion point to
match the orientation of the layer.
2Select the type layer in the Layers palette,
or click in the text flow to automatically select a
type layer.
3Position the insertion point in the text, and do
one of the following:
•Click to set the insertion point.
•Select one or more characters you want to edit.
4Enter text as desired.
5Commit the changes to the type layer. (See
“About using the type tools” on page 213.)
Changing type layer orientation
The orientation of a type layer determines the
direction of type lines in relation to the document
window. When a type layer is vertical, the type
lines flow up and down; when a type layer is
horizontal, the type lines flow from left to right.
To change the orientation of a type layer:
1Select the type layer in the Layers palette.
2Do one of the following:
•Select a type tool, and click the Flip Orientation
button ( ) in the options bar.
•Choose Layer > Type > Horizontal, or choose
Layer > Type > Vertical.
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Specifying anti-aliasing
Anti-aliasing lets you produce smooth-edged type
by partially filling the edge pixels. As a result,
the edges of the type blend into the background.
Anti-aliasing off, and anti-aliasing on
When creating type for online use, consider that
anti-aliasing greatly increases the number of colors
in the original image. This limits your ability to
reduce the number of colors in the image and thus
reduce the optimized file size, and may cause stray
colors to appear along the edges of the type. When
file size and limiting the number of colors are most
important, leaving type without anti-aliased edges
may be preferable, despite the jagged edges.
To apply anti-aliasing to a type layer:
Select the type layer in the Layers palette and do
one of the following:
•Choose Layer > Type > Anti-Alias On, or choose
Layer > Type > Anti-Alias Off.
•Select the Anti-aliased option in the options bar.
Warping type layers
Warping allows you to distort type to conform to a
variety of shapes; for example, you can warp type
in the shape of an arc or a wave. Warping applies to
all characters on a type layer—you cannot warp
individual characters. The warp style you select
determines the basic shape of the warped layer,
while warping options let you control the orien-
tation and perspective of the warp effect.
Original image, and type layer with warp applied
Note: You cannot apply warp to Faux Bold
formatting.
To warp type:
1Select a type layer.
2Do one of the following:
•Select a type tool, and click the Warp button
( ) in the options bar.
•Choose Layer > Type > Warp Text.
3Choose a warp style from the Style pop-up
menu.
4Select an orientation for the warp effect—
Horizontal or Vertical.
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5If desired, specify values for additional
warping options:
•Bend to specify how much warp is applied to
the layer.
•Horizontal Distortion and Vertical Distortion to
apply perspective to the warp.
6Click OK.
To unwarp type:
1Select a type layer that has warping applied to it.
2Select a type tool, and click the Warp
button ( ) in the options bar; or choose Layer >
Type > Warp Text.
3Choose None from the Style pop-up menu,
and click OK.
Simplifying type layers
Simplifying a type layer converts it to a regular,
raster layer. Simplifying a type layer is necessary
when you want to paint on type or apply filters to
it. Once you simplify a type layer, you can no
longer edit its text.
To simplify a type layer:
1Select a type layer in the Layers palette.
2Choose Layer > Simplify Layer.
The T icon ( ) no longer shows in the simplified
layer in the Layers palette. Instead, a thumbnail of
the simplified text appears in the layer.
Formatting characters
Photoshop Elements gives you precise control over
individual characters in type layers, including
font, size, and color. You can set type attributes
before you enter characters or reset them to
change the appearance of selected characters in a
type layer.
Selecting characters for formatting
Before you can format individual characters,
you must select them. You can select one character,
a range of characters, or all characters in a
type layer.
To select characters:
1Select a type tool.
2Select the type layer in the Layers palette,
or click in the text flow to automatically select a
type layer.
3Position the insertion point in the text, and do
one of the following:
•Drag to select one or more characters.
•Double-click to select a single word.
•Triple-click to select an entire line of text.
•Click in the text and then Shift-click to select a
range of characters.
•Choose Select > All to select all the characters in
the layer.
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•To use the arrow keys to select characters,
hold down Shift and press the Right Arrow or Left
Arrow key. To use the arrow keys to select words,
hold down Shift+Ctrl (Windows) or
Shift+Command (Mac OS) and press the Right
Arrow or Left Arrow key.
Note: You cannot select a paragraph by quadruple-
clicking in the text.
4To select all the characters in a layer without
positioning the insertion point in the text flow,
select the type layer in the Layers palette, and then
double-click the layer’s type icon ( ).
Note: Selecting and formatting characters in a type
layer puts the type tool into edit mode. You must
commit the changes before you can perform other
operations. (See “About using the type tools” on
page 213.)
Choosing a typeface
A typeface is a set of characters— letters, numbers,
or symbols—that share a common weight, width,
and style. When you select a font, you can select
the font family and its type style independently. The
font family is a collection of fonts sharing an
overall typeface design; for example, Times. A type
style is a variant version of an individual font in
the font family, for example, Regular, Bold, or
Italic. The range of available type styles varies with
each font. If a font doesn’t include the style you
want, you can apply faux (fake) versions of bold
and italic.
Note: A faux font is a computer-generated version of
a font that approximates an alternative typeface
design, used only if no corresponding font for a given
faux treatment is available.
To choose a font family and style:
1If you’re working with an existing layer, select
one or more characters whose font you want to
change. To change the font of all characters in a
layer, select the type layer in the Layers palette, and
then select a type tool.
2In the options bar, choose a font family from
the Font Family pop-up menu.
You can choose a font family and style by typing
the desired name in the text box. As you type,
the name of the first font or style beginning with that
letter appears. Continue typing until the correct font
or style name appears. Be sure to deselect the font
name before entering new type in the image.
3Do one of the following:
•Choose a font style from the Font Style pop-up
menu in the options bar.
•If the font family you chose does not include a
bold or italic style, click the Text Options button
( ) in the options bar. Choose Faux Bold, Faux
Italic, or both; then click OK.
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Choosing a type size
The type size determines how large the type
appears in the image. The default unit of
measurement for type is points, which is approxi-
mately 1/72 of an inch in a 72-ppi image. However,
you can change the default unit of measurement in
the Units & Rulers section of the Preferences
dialog box. You can also choose which point size
definition to use—PostScript or Traditional.
Note: Choose PostScript (72 points per inch) if you
are printing on a PostScript device, otherwise choose
Traditional (72.27 points per inch).
The physical size of the font depends on the
resolution of the image. 72-point text is approxi-
mately 1-inch high in an image that is 72 dpi.
Higher resolutions reduce the effective size of a
given text point size because the pixels are packed
tighter in higher resolution images.
To choose a type size:
1If you’re working with an existing layer, select
one or more characters whose size you want to
change. To change the size of all characters in a
layer, select the type layer in the Layers palette, and
then select a type tool.
2In the options bar, enter or select a new
value for Size ( ). To use an alternate unit of
measurement, enter the unit (in, cm, pt, px, or
pica) after the value in the Size text box. The value
you enter is converted to the default unit of
measurement. You can enter a size larger than
72 points.
To specify the default unit of measurement for type:
1Choose Edit > Preferences > Units & Rulers.
2Select a unit of measurement for Type.
To specify the point size definition:
1Choose Edit > Preferences > Units & Rulers.
2Select an option for Point/Pica Size. Traditional
points are slightly smaller than PostScript points.
Changing the type color
The type you enter gets its color from the current
foreground color; however, you can change the
type color before or after you enter type. When
editing existing type layers, you can change the
color of individual characters or all type in a layer.
You can also apply a gradient to text in a type layer.
(See “Applying gradient fill to text” on page 153.)
To change the type color:
1If you’re working with an existing layer, select
one or more characters whose color you want to
change. To change the color of all characters in a
layer, select the type layer in the Layers palette, and
then select a type tool.
2In the options bar, click the Color selection box,
and select a color using the color picker.
Applying underline and strikethrough
You can apply a line under horizontal type or to
the right side of vertical type. You can also apply a
line through horizontal or vertical type. The line is
always the same color as the type color.
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To apply an underline or strikethrough:
1If you’re working with an existing layer, select
one or more characters whose font you want
to change.
2Click the Text Options button ( ) in the
options bar.
3Do one or both of the following:
•Select Underline to apply a line below horizontal
type or on the right side of vertical type.
•Select Strikethrough to apply a line through the
middle of the type.
Aligning type
You can align type to change its relationship to the
initial cursor position (where you clicked when
you first entered the type). Alignment affects all
type on a layer—you cannot align some characters
on a layer, but not others.
To specify alignment:
1If you’re working with an existing layer, select
the type layer in the Layers palette and then select
a type tool.
2In the options bar, click an alignment option.
The options for horizontal type are:
( ) Aligns the left edge of each type line in the
layer to the initial cursor position.
( ) Aligns the center of each type line in the layer
to the initial cursor position.
( ) Aligns the right edge of each type line in the
layer to the initial cursor position.
The options for vertical type are:
( ) Aligns the top edge of each type line in the
layer to the initial cursor position.
( ) Aligns the center of each type line in the layer
to the initial cursor position.
( ) Aligns the bottom edge of each type line in
the layer to the initial cursor position.
Setting options for Asian type
Photoshop Elements provides several options for
working with Asian type. Asian fonts are often
referred to as double-byte fonts or CJK fonts. CJK
fonts means Chinese, Japanese, and Korean fonts.
Displaying Asian text options
In order to view and set options for working with
Chinese, Japanese, and Korean type, you must
select Show Asian Text Options in the Preferences
dialog box. You can also control how font names
are displayed—in English or in the native
language.
To display Asian type options:
Choose Edit > Preferences > General, and select
Show Asian Text Options.
To display Asian font names in English:
Choose Edit > Preferences > General, and select
Show Font Names in English.
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Adjusting tsume
Tsume reduces the space around a character by a
specified percentage value. The character itself is
not stretched or squeezed as a result. Instead, the
space around the character is compressed. When
tsume is added to a character, spacing around both
sides of the character is reduced by an equal
percentage.
To reduce spacing between characters:
1If you’re working with an existing layer, select
the type layer in the Layers palette and then select
a type tool.
2Select the characters you want to adjust.
3Click the Text Options button ( ) in the
options bar.
4Enter or select a percentage for Tsume ( ), and
click OK. The greater the percentage, the tighter
the compression between characters. At 100% (the
maximum value), there is no space between the
character’s bounding box and its em box.
Note: An em box is a space whose height and width
roughly correspond to the width of the letter “M,”
also called a mutton.
Using tate-chuu-yoko
Tate-chuu-yoko (also called kumimoji and renmoji)
is a block of horizontal type laid out within a
vertical type line.
Before and after tate-chuu-yoko applied
To turn on or turn off tate-chuu-yoko:
1If you’re working with an existing layer, select
the type layer in the Layers palette and then select
a type tool.
2Select the characters that you want to rotate.
3Click the Text Options button ( ) in the
options bar.
4Select Tate-Chuu-Yoko, and click OK.
Note: Using tate-chuu-yoko does not prevent you
from editing and formatting type; you can edit and
apply formatting options to rotated characters as you
do to other characters.
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Using mojikumi
Mojikumi determines spacing between punctu-
ation, symbols, numbers, and other character
classes in Japanese type. When mojikumi is off,
full-width spacing is applied to these characters.
When mojikumi is on, half-width spacing is
applied to these characters.
Mojikumi on, and Mojikumi off
To turn on or turn off mojikumi:
1If you’re working with an existing layer, select
the type layer in the Layers palette and then select
a type tool.
2Click the Text Options button ( ) in the
options bar.
3Select Mojikumi, and click OK.
11
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Chapter 11: Optimizing Images for
the Web
dobe Photoshop Elements lets you
optimize the display and file size of your
images for effective Web publishing
results. In general, the file size of an image should
be small enough to allow reasonable download
times from a Web server but large enough to
represent desired colors and details in the image.
About optimization
Optimization is the process of fine-tuning an
image for use on the Web and is an important step
in producing an image with good display quality
and a small file size for use on the Web. Creating
small graphic files is key to distributing images on
the World Wide Web. With smaller files, Web
servers can store and transmit images more
efficiently, and users can view and download
images more quickly.
There are three major graphic file formats used on
the Web: GIF (Graphics Interchange Format),
JPEG (Joint Photographic Experts Group), and
PNG-8 or PNG-24 (Portable Network Graphics,
with 8-bit or 24-bit color). You can optimize
images in these formats using one of the
following methods:
•For precise optimization, you can use the Save
for Web command to preview optimized images in
different file formats. You can view the original
image and the optimized image simultaneously
and modify optimization settings to select the
best combination of settings for your needs. You
can also use the layers in your original image to
generate an animated GIF. When you save the
optimized file, you can choose to generate an
HTML file for the image. This file contains all
the necessary code to display your image in a
Web browser.
•For basic optimization, the Save As command
lets you save an image as a GIF, JPEG, or PNG file.
Depending on the file format, you can specify
image quality, background transparency or
matting, color display, and downloading method.
For complete information on using the Save As
command to save an image as a GIF, JPEG, or PNG
file, see “About file formats” on page 245.
Using the Save For Web dialog
box
You use the Save For Web dialog box to select
optimization options and view optimized images.
To display the Save For Web dialog box:
Choose File > Save for Web, or click the Save for
Web button ( ) in the shortcuts bar.
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Viewing images during optimization
You use a dual image window to view both the
original and optimized images in the Save For Web
dialog box. This lets you compare the two images
and determine which optimization settings work
the best. If the entire image is not visible in the
view area, you can use the hand tool to bring
another area of the image into view. You can also
use the zoom tool to magnify or reduce the view.
To navigate in a view:
1Select the hand tool ( ) in the Save For Web
dialog box, or hold down the spacebar.
2Drag in the view area to pan over the image.
To zoom in or zoom out:
Do one of the following:
•Select the zoom tool ( ) in the Save For Web
dialog box, and click in a view to zoom in.
•Hold down Alt (Windows) or Option (Mac OS)
and click in a view to zoom out.
•Choose a magnification level from the Zoom
menu or enter a value in the Zoom text box, then
press tab.
Viewing optimization information
The annotation area in the Save For Web dialog
box provides valuable optimization information.
The annotation for the original image shows the
file name and file size. The annotation for the
optimized image shows the current optimization
options, the size of the optimized file, and the
estimated download time using the selected
modem speed. You can select a modem speed in
the Preview pop-up menu.
To select a modem speed:
1Click the triangle ( ) to the right of the
optimized image to view the Preview pop-up
menu.
2Choose a modem speed: 14.4 Kbps Download
Rate, 28.8 Kbps Download Rate, 56.6 Kbps
Download Rate, 128 Kbps Download Rate, or 256
Kbps Download Rate.
When you change the modem speed, the estimated
download time in the annotation area is updated.
Adjusting color display for cross-platform
variations
How an image appears on different monitors is an
important consideration when optimizing the
image for the Web. In general, an image appears
darker on a Windows system than on a Mac OS
computer. You can simulate cross-platform display
differences in the Save For Web dialog box.
To adjust color display for cross-platform variations:
1Click the triangle ( ) to the right of the
optimized image to view the Preview
pop-up menu.
2Choose a display option:
•Uncompensated Color (the default option) to
view the image with no color adjustment.
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•Standard Windows Color to view the image
with color adjusted to simulate a standard
Windows monitor.
•Standard Macintosh Color to view the image
with color adjusted to simulate a standard
Macintosh monitor.
•Photoshop Compensation to view the image
with color adjusted as it appears in a Photoshop
Elements document window, which is different
from the Save For Web dialog box. No color profile
information is applied to the display in Save
For Web.
Note: These options adjust color display only.
No changes are made to pixels in the image.
Choosing a file format for
optimization
The file format you choose for an optimized image
is determined by the color, tonal, and graphic
characteristics of the original image. In general,
continuous-tone images, such as photographs,
should be compressed as JPEG files. Illustrations
with flat color or sharp edges and crisp detail,
such as type, should be compressed as GIF or
PNG-8 files.
PNG-24 file format is suitable for continuous-tone
images. However, PNG-24 files are often much
larger than JPEG files of the same image. PNG-24
format is recommended only when working with a
continuous-tone image that includes multilevel
transparency. (Multilevel transparency is
supported by the PNG-24 format but the JPEG
format does not support any transparency. See
“Making transparent and matted images” on
page 233.)
A photograph suitable for compression as a JPEG or PNG-24
image, and artwork suitable for compression as a GIF or
PNG-8 image
Choose a format that contains sufficient pixel
depth to display the color information in the
image. PNG-8 and GIF files support 8-bit color,
which means that they can display up to 256 color
values. JPEG and PNG-24 files support 24-bit
color, which means that they can display roughly
16 million color values. Depending on the format,
you can specify image quality, background trans-
parency or matting, color display, and
downloading method.
The appearance of an image on the Web also
depends on the computer platform, color display
system, operating system, and browser used to
display the image. Preview images in different
browsers on different platforms to see how the
images will appear on the Web.
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About JPEG format
The JPEG format supports 24-bit color and
preserves the broad range and subtle variations in
brightness and hue found in photographs and
other continuous-toned images. JPEG is
supported by most browsers.
JPEG compresses file size by selectively discarding
data. Because it discards data, JPEG compression
is referred to as lossy. A higher quality setting
results in less data being discarded, but the JPEG
compression method can degrade sharp detail in
an image, particularly in images containing type
or vector art.
Note: Artifacts, such as wave-like patterns or blocky
areas of banding, are created each time you save an
image in JPEG format. These artifacts accumulate
each time you resave the image as the same JPEG file;
therefore, you should always save JPEG files from the
original image, not from a previously saved JPEG.
Original image, and JPEG with Low quality setting
You can create a progressive JPEG file, in which a
low-resolution version of the image appears in a
browser while the full image is downloading.
The JPEG format does not support transparency.
When you save an image as a JPEG file, transparent
pixels are filled with the Matte color, as specified in
the Optimize palette. If you know the background
color of the Web page where you will place the
image, you can match the Matte color to the Web
page background color to simulate the effect of
background transparency. If your image contains
transparency and you do not know the Web page
background color, or if the background will be a
pattern, you should use a format that supports
transparency (GIF, PNG-8, or PNG-24).
About GIF format
The GIF format uses 8-bit color and efficiently
compresses solid areas of color while preserving
sharp detail, such as that in line art, logos,
or illustrations with type. You also use the GIF
format to create animated images. GIF is
supported by most browsers.
The GIF format uses LZW compression, which is a
lossless compression method. However, because
GIF files are limited to 256 colors, optimizing an
original 24-bit image as an 8-bit GIF can result in
the loss of color information.
GIF image with 0% dither, and with 100% dither
You can reduce the number of colors in a GIF
image and choose options to control the way
colors dither in the application or in a browser.
GIF supports background transparency and
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background matting, in which you blend the edges
of the image with a Web page background color.
(See “Previewing and controlling dithering” on
page 235.)
About PNG-8 format
The PNG-8 format uses 8-bit color. Like the GIF
format, PNG-8 efficiently compresses solid areas
of color while preserving sharp detail, such as that
in line art, logos, or illustrations with type.
Because PNG-8 is not supported by all browsers,
it may be advisable to avoid this format for situa-
tions in which your image must be accessible to the
widest possible Web viewing audience. For more
information on browser support for PNG,
see your browser’s documentation.
PNG-8 files use more advanced compression
schemes than GIF, and can be 10–30% smaller
than GIF files of the same image, depending on the
image’s color patterns. Although PNG-8
compression is considered lossless, optimizing an
original 24-bit image as an 8-bit PNG file can
result in the loss of color information.
Note: With certain images, especially those with very
few colors and very simple patterns, GIF
compression can create a smaller file than PNG-8
compression. View optimized images in GIF and
PNG-8 format to compare file size.
As with the GIF format, you can reduce the
number of colors in the image and choose options
to control the way colors dither in the application
or in the browser. The PNG-8 format supports
background transparency and background
matting, in which you blend the edges of the image
with a Web page background color. (See
“Previewing and controlling dithering” on
page 235.)
PNG-8 with 0% dither, and with 100% dither
About PNG-24 format
The PNG-24 format supports 24-bit color. Like
the JPEG format, PNG-24 preserves the broad
range and subtle variations in brightness and hue
found in photographs. Like the GIF and PNG-8
formats, PNG-24 preserves sharp detail, such as
that in line art, logos, or illustrations with type.
The PNG-24 format uses the same lossless
compression method as the PNG-8 format.
For that reason, PNG-24 files are usually larger
than JPEG files of the same image. PNG-24
browser support is similar to that for PNG-8.
In addition to supporting background trans-
parency and background matting, the PNG-24
format supports multilevel transparency. Multi-
level transparency allows you to preserve up to
256 levels of transparency to blend the edges of an
image smoothly with any background color.
However, multilevel transparency is not supported
by all browsers.
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Optimizing images
Optimization options appear on the right side of
the Save For Web dialog box. You can choose a
predefined setting for quick optimization, or select
format-specific options to fine-tune the optimi-
zation to your image.
Using predefined optimization settings
The easiest way to optimize an image is to choose
a predefined optimization setting. Predefined
settings are tailored to meet the optimization
needs of different types of images. (See “Choosing
a file format for optimization” on page 227.)
The name of each predefined setting reflects its
function. For example, choose JPEG High if you
want to optimize an image in JPEG file format
with High compression quality. Choose GIF 32
Dithered if you want to optimize an image in GIF
file format, reduce the colors in the image to 32,
and apply dithering.
You can change the options in a predefined setting;
however, when the options no longer match the
predefined setting, the Settings menu displays the
term “Custom.” You cannot save a custom setting.
To apply a predefined optimization setting to
an image:
Choose a setting name from the Settings
pop-up menu.
Setting optimization options for JPEG
format
JPEG is the standard format for compressing
continuous-tone images such as photographs.
(See “About JPEG format” on page 228.)
Optimization options for JPEG format:
A. Optimization format B. Compression quality
To optimize an image in JPEG format:
1Choose JPEG for the optimization format.
2Do one of the following to specify the
compression quality:
•Choose an option from the Quality
pop-up menu.
•Drag the Quality pop-up slider. (See “Using
pop-up sliders” on page 24.)
•Enter a value in the Quality text box.
The higher the Quality setting, the more detail
is preserved in the optimized image. However,
using a high Quality setting results in a larger file
size than using a low Quality setting. View the
optimized image at several quality settings to
determine the best balance of quality and file size.
A
B
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3To create an enhanced JPEG with a slightly
smaller file size, select Optimized. The Optimized
JPEG format is recommended for maximum file
compression; however, some older browsers do
not support this feature.
4Select Progressive to create an image that
displays progressively in a Web browser. The image
will display as a series of overlays, enabling viewers
to see a low-resolution version of the image before
it downloads completely.
Progressive JPEGs require more RAM for viewing,
and are not supported by some browsers.
5To preserve the ICC profile of the image with
the file, select ICC Profile.
ICC profiles are used by some browsers for color
correction. The ICC profile preserved depends on
your current color setting. (See “Using color
management” on page 65.)
6If the original image contains transparency,
select a Matte color that matches the background
of your Web page. (See “Making transparent and
matted images” on page 233.)
Setting optimization options for GIF and
PNG-8 formats
GIF is the standard format for compressing images
with flat color and crisp detail, such as line art,
logos, or illustrations with type. (See “About GIF
format” on page 228.) Like the GIF format, PNG-8
efficiently compresses solid areas of color while
preserving sharp detail; however, not all Web
browsers can display PNG-8 files. (See “About
PNG-8 format” on page 229.)
Optimization options for GIF format:
A. Optimization format B. Color reduction
algorithm C. Dither algorithm
GIF format and PNG-8 format can use up to 256
colors to describe an image. The process of deter-
mining which colors to use is called indexing
(which is why images in GIF and PNG-8 formats
are sometimes called indexed color images). To
convert an image to indexed color, Photoshop
Elements builds a color lookup table, which stores
and indexes the colors in the image. If a color in
the original image does not appear in the color
lookup table, the program chooses the closest one
or simulates the color using available colors.
To optimize an image in GIF or PNG-8 format:
1Choose GIF or PNG-8 for the optimization
format.
A
B
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2Choose a color reduction algorithm for gener-
ating the color lookup table:
•Perceptual to create a custom color table by
giving priority to colors for which the human eye
has greater sensitivity.
•Selective to create a color table similar to the
Perceptual color table, but favoring broad areas
of color and the preservation of Web colors.
This color table usually produces images with
the greatest color integrity. Selective is the
default option.
•Adaptive to create a custom color table by
sampling colors from the spectrum appearing
most commonly in the image. For example, an
image with only the colors green and blue
produces a color table made primarily of greens
and blues. Most images concentrate colors in
particular areas of the spectrum.
•Web to use the standard 216-color color table
common to the Windows and Mac OS 8-bit
(256-color) palettes. This option ensures that no
browser dither is applied to colors when the image
is displayed using 8-bit color. (This palette is also
called the Web-safe palette.) If your image has
fewer colors than the total number specified in the
color palette, unused colors are removed. Using
the Web palette can create larger files, and is
recommended only when avoiding browser dither
is a high priority. (See “Previewing and controlling
dithering” on page 235.)
•Custom to preserve the current color table as a
fixed palette that does not update with changes to
the image.
3To specify the maximum number of colors in
the color palette, select a number from the Colors
pop-up menu, enter a value in the text box, or use
the arrows to change the number of colors. If the
image contains fewer colors than the number
specified, the color table will contain only the
number of colors in the image.
You can choose the Auto option when working
with a fixed color palette. This option determines
the number of colors in the color table based on
the frequency of colors in the image. Choose Auto
if you want Photoshop Elements to determine the
optimal number of colors in the color table.
4Choose a dithering algorithm option, and
specify a percentage for Dither. (See “Previewing
and controlling dithering” on page 235.)
5If the image contains transparency, select
Transparency to preserve transparent pixels as
transparent; deselect Transparency to fill fully and
partially transparent pixels with the Matte color.
(See “Making transparent and matted images” on
page 233.)
6Select Interlaced to create an image that displays
as low-resolution versions in a browser while the
full image file is downloading. Interlacing can
make downloading time seem shorter and assures
viewers that downloading is in progress.
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Setting optimization options for PNG-24
format
PNG-24 format is suitable for compressing
continuous-tone images. However, PNG-24 files
are often much larger than JPEG files of the same
image. PNG-24 format is recommended only
when working with a continuous-tone image that
includes multilevel transparency. (See “About
PNG-24 format” on page 229.)
To optimize an image in PNG-24 format:
1Choose PNG-24 for the optimization format.
2Select Interlaced to create an image that displays
low-resolution versions in a browser while the full
image file is downloading. Interlacing can make
downloading time seem shorter, and assures
viewers that downloading is in progress.
3If the image contains transparency, select Trans-
parency to preserve transparent pixels as trans-
parent; deselect Transparency to fill fully and
partially transparent pixels with the Matte color.
(See “Making transparent and matted images” on
page 233.)
Making transparent and matted
images
Transparency makes it possible to place a nonrect-
angular graphic object against the background of a
Web page. Background transparency, supported
by GIF and PNG formats, preserves transparent
pixels in the image. These pixels allow the Web
page background to show through in a browser.
Background matting, supported by GIF, PNG, and
JPEG formats, simulates transparency by filling or
blending transparent pixels with a matte color that
you choose to match the Web page background on
which the image will be placed. Background
matting works better if the Web page background
will be a solid color, and if you know what that
color will be.
The original image must contain transparent
pixels in order for you to create background trans-
parency or background matting in the optimized
image. You can create transparency when you
create a new layer.
Note: You can use the magic eraser tool or the
background eraser tool to easily create transparency
in an image. (See “Using the magic eraser tool” on
page 140 and “Using the background eraser tool” on
page 141.)
Preserving transparency in GIF and PNG
images
GIF format and PNG-8 format support one level
of transparency—pixels can be fully transparent or
fully opaque, but not partially transparent.
PNG-24 format, on the other hand, supports
multilevel transparency, letting you preserve up to
256 levels of transparency in an image.
To preserve background transparency in a GIF or
PNG image:
1Open or create an image that contains
transparency, and choose File > Save for Web.
2In the Save For Web dialog box, select GIF,
PNG-8, or PNG-24 as the optimization format.
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3Select Transparency.
4For GIF and PNG-8 format, decide how you
want to treat partially transparent pixels in the
original image. You can blend partially transparent
pixels with a matte color, or you can create hard-
edged transparency. (See “Creating background
matting in GIF and PNG images” on page 234 and
“Creating hard-edged transparency in GIF and
PNG-8 images” on page 234.)
Creating background matting in GIF and
PNG images
When you know the Web page background color
on which an image will be displayed, you can use
the matting feature to fill or blend transparent
pixels with a matte color that matches the Web
page background.
The results of matting GIF and PNG-8 images
depend on the Transparency option. If you select
Transparency, only the partially transparent pixels,
such as those at the edge of an anti-aliased image,
are matted. When the image is placed on a Web
page, the Web background shows through the
transparent pixels, and the edges of the image
blend with the background. This feature prevents
the halo effect that results when an anti-aliased
image is placed on a background color that differs
from the image’s original background. This feature
also prevents the jagged edges that result with GIF
hard-edged transparency.
If you deselect Transparency, fully transparent
pixels are filled with the matte color, and partially
transparent pixels are blended with the
matte color.
GIF with Transparency option selected, and with Trans-
parency option deselected
To create a matted GIF or PNG image:
1Open or create an image that contains
transparency, and choose File > Save for Web.
2In the Save For Web dialog box, select GIF,
PNG-8, or PNG-24 as the optimization format.
3For GIF and PNG-8 format, select or deselect
the Transparency option as desired.
4Select a color from the Matte pop-up menu:
Eyedropper (to use the color in the eyedropper
sample box), White, Black, or Other (to select a
color using the color picker).
Creating hard-edged transparency in GIF
and PNG-8 images
When working with GIF or PNG-8 files, you can
create hard-edged transparency, in which all pixels
that are more than 50% transparent in the original
image are fully transparent in the optimized
image, and all pixels that are more than 50%
opaque in the original image are fully opaque in
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the optimized image. Use hard-edged trans-
parency when you don’t know the background
color of a Web page or when the Web page
background is a pattern. However, keep in mind
that hard-edged transparency can cause jagged
edges in the image.
GIF with hard-edged transparency, and displayed in
browser (inset at 300% magnification)
To create hard-edged transparency in a GIF or PNG-8:
1Open or create an image that contains
transparency, and choose File > Save for Web.
2In the Save For Web dialog box, select GIF or
PNG-8 as the optimization format.
3Select Transparency.
4Select None from the Matte pop-up menu to
make all pixels with greater than 50% trans-
parency fully transparent, and all pixels with 50%
or less transparency fully opaque.
Creating background matting in JPEG
images
When creating a JPEG from an original image that
contains layer transparency, you must matte the
image against a matte color. Since the JPEG format
does not support transparency, blending with a
matte color is the only way to create the
appearance of background transparency in a
JPEG. Fully transparent pixels are filled with the
matte color, and partially transparent pixels are
blended with the matte color. When the JPEG is
placed on a Web page with a background that
matches the matte color, the image appears to
blend with the Web page background.
To create a matted JPEG image:
1Open or create an image that contains
transparency, and choose File > Save for Web.
2In the Save For Web dialog box, select JPEG as
the optimization format.
3Select a color from the Matte pop-up menu:
None, Eyedropper (to use the color in the
eyedropper sample box), White, Black, or Other
(to select a color using the color picker).
Note: When you select None, white is used as the
matte color.
Previewing and controlling
dithering
Most images viewed on the Web are created using
24-bit color displays (millions of colors mode),
but many Web browsers are used on computers
using only 8-bit color displays (256-color mode),
so that Web images often contain colors not
available to many Web browsers. Computers use a
technique called dithering to simulate colors not
available in the color display system. Dithering
creates adjacent pixels of different colors to give
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the appearance of a third color. For example, a red
color and a yellow color may dither in a mosaic
pattern to produce the illusion of an orange color
that does not appear in the color palette.
When optimizing images, keep in mind that two
kinds of dithering can occur:
•Application dither occurs in GIF and PNG-8
images when Photoshop Elements attempts to
simulate colors that appear in the original image
but not in the color lookup table. You can choose
a dithering pattern to be applied to the image. In
addition, you can create customized dither
patterns for GIF or PNG-8 images using the
DitherBox™ filter. (See “Creating and applying
custom dither patterns” on page 237.)
•Browser dither occurs when a Web browser using
an 8-bit color display (256-color mode) attempts
to simulate colors that appear in an optimized
image but not in the color palette used by the
browser. Browser dither can occur with GIF, PNG,
or JPEG images and can occur in addition to appli-
cation dither in GIF or PNG-8 images. You can
control the amount of browser dither by shifting
selected colors in the image to Web-safe colors.
Options in the color picker let you specify Web-
safe colors when choosing a color.
Previewing and controlling application
dither
You can preview application dither in GIF and
PNG-8 images. The Dither Algorithm pop-up
menu lets you choose a dithering method for the
image. Images with primarily solid colors may
work well with Dither set to none. Images with
continuous-tone color (especially color gradients)
may require dithering to prevent color banding.
To control application dither:
1Choose an option from the Dither Algorithm
pop-up menu:
•No Dither to apply no application dither to
the image.
•Pattern to apply a halftone-like square pattern to
simulate any colors not in the color table.
•Diffusion to apply a random pattern that is
usually less noticeable than Pattern dither.
The dither effects are diffused across
adjacent pixels.
• Noise to apply a random pattern similar to the
Diffusion dither method, but without diffusing
the pattern across adjacent pixels. No seams
appear with the Noise dither method.
2If you chose Diffusion as the dithering
algorithm, drag the Dither slider or enter a value to
select a dithering percentage.
The Dither percentage controls the amount of
dithering that is applied to the image. A higher
dithering percentage creates the appearance of
more colors and more detail in an image,
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but can also increase the file size. For optimal
compression, use the lowest percentage of
application dither that provides the color detail
you require.
Previewing browser dither
You can preview browser dither directly in
Photoshop Elements or in a browser that uses an
8-bit color display (256-color mode).
To preview browser dither:
Choose Browser Dither from the document panel
menu in the Save For Web dialog box. (To view the
menu, click on the triangle near the upper right
corner of the document panel.)
To preview browser dither in a browser:
1Set your computer’s color display to 8-bit color
(256 colors). See your computer operating
system’s documentation for information on
changing the color display.
2Select a browser from the Preview pop-up
menu in the Save For Web dialog box.
Minimizing browser dither
Using colors in the Web palette ensures that colors
won’t dither when displayed in browsers on either
Windows or Macintosh operating systems capable
of displaying at least 256 colors. When creating an
original image, you can use the color picker to
choose Web-safe colors. (See “Using Web-safe
colors” on page 78.)
Creating and applying custom dither
patterns
You can use the DitherBox™ filter to create a
custom dither pattern for a selected RGB color.
You can then fill a selection or a layer in an image
with the dither pattern regardless of the RGB
colors within the selection. You can save custom
dither patterns in groups called collections, and use
the dither patterns with other images.
To create and apply a custom dither pattern:
1With an image displayed in the document
window, use the eyedropper tool ( ) to select a
foreground color that you want to simulate with a
customized dither pattern. (The foreground color
becomes the basis for the custom dither pattern in
DitherBox™.)
Note: You create custom dither patterns while in the
main Photoshop Elements work area (not in the
Save For Web dialog box). Make sure the image is in
RGB color mode.
2Use the selection tools or the Layers palette to
select an area or a layer in the image that you want
to fill with the custom dither pattern.
3Choose Filter > Other > DitherBox, or use the
Filters palette to apply the DitherBox filter.
The RGB swatch in the DitherBox dialog box
displays the current foreground color. To choose
another RGB color on which to base the dither
pattern, click the RGB swatch, select a new color in
the color picker, and then press the Arrow
button ( ) to transfer it to the pattern box.
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4Choose one of the following from the color
palette pop-up menu in the DitherBox dialog box:
•Web Safe Colors to create a dither pattern using
colors from the Web palette.
•Load to load another color palette and create a
dither pattern using those colors. Then navigate to
the color palette and open it.
Note: If you use non-Web palette colors in a custom
dither pattern, the colors will dither in a browser
using an 8-bit color display. Using non-Web colors is
recommended only for non-Web display.
By default, a new dither pattern you create is saved
in the current dither pattern collection.
5Select a pixel pattern for the custom dither
pattern from the pattern list, between 2 and
8 pixels square.
6Click the Arrow button ( ) to display the dither
pattern that most closely matches the selected RGB
color in the Pattern preview box. If no dither
patterns are currently saved in a collection in the
DitherBox filter, the Pattern preview box displays
the dither pattern that matches the RGB color.
Dither pattern
7To edit the custom dither pattern, do one of
the following:
•To add a color to the dither pattern, click a color
in the color palette. Then select the pencil tool ( )
in the DitherBox dialog box and click in the dither
pattern grid to add the color.
•To delete a color from the dither pattern, select
the eraser tool ( ) in the DitherBox dialog box
and click the color in the dither pattern grid.
The Pattern preview box displays the changes you
make to the dither pattern.
8When you are satisfied with the dither pattern,
click Fill to fill the selected area or layer in the
current image.
The custom dither pattern is applied to the image,
and the DitherBox dialog box closes.
To apply a previously saved custom dither pattern to
an image:
1Select an area or a layer in the image that you
want to fill with the custom dither pattern.
2Choose Filter > Other > DitherBox.
3Select the collection containing the dither
pattern you want to use from the Collection
pop-up menu.
4Select the dither pattern you want to use from
the Collection contents list.
5Click Fill.
The dither pattern is applied to the image, and the
DitherBox dialog box closes.
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To edit dither pattern collections:
Do one of the following in the DitherBox
dialog box:
•(Windows) To rename a collection, select the
collection from the Collection pop-up menu.
Then select Rename from the Collection pop-up
menu. Enter a new name for the collection, and
click OK.
•To create a new collection, select New from the
Collection pop-up menu. Enter a name for the
collection, and click OK.
•To delete a collection and all of its contents,
select the collection from the Collection pop-up
menu, and then select Delete from the Collection
pop-up menu.
Creating animated GIFs
Animations that you view in a Web browser are
called animated GIFs. Animated GIFs create the
illusion of movement by displaying a sequence of
images, or frames, over time. Photoshop Elements
provides a powerful, easy way to create animated
GIFs from a multiple-layer image.
Setting up animated GIFs
Working with layers is an essential part of creating
an animated GIF. Placing the contents of each
frame on its own layer enables Photoshop
Elements to generate an optimized animation.
To set up an animated GIF:
1Place the image you want to appear in each
frame of the animation on a separate layer.
2Choose File > Save for Web, or click the Save for
Web button ( ) in the shortcuts bar.
3Optimize the image in GIF format. (See “Using
predefined optimization settings” on page 230 or
“Setting optimization options for GIF and PNG-8
formats” on page 231.)
4Select the Animate option.
5Set additional options in the Animation palette:
•Loop to continuously repeat the animation
when it is viewed in a Web browser.
•Frame Delay to specify the number of seconds
that each frame is displayed when the animation is
viewed in a Web browser. Use a decimal value to
specify fractions of a second. For example, one-
quarter second is specified as .25.
Note: Saving a multilayer image by choosing Save As
GIF and selecting the Layers as Frames option will
open the Save GIF dialog box, which has the same
animation options as the Save for Web dialog box.
Previewing animated GIFs
You can preview an animation in the Save For Web
dialog box or in a Web browser. The Save For Web
dialog box shows the animation as still frames. You
must preview the animation in a browser to view
the frames in timed sequence.
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To preview an animation in the Save For Web
dialog box:
Do one of the following:
•Click the Next Frame button ( ) to view the
next frame in the animation.
•Click the Previous Frame button ( ) to view the
previous frame in the animation.
•Click the Last Frame button ( ) to view the last
frame in the animation.
•Click the First Frame button ( ) to view the
first frame in the animation.
To preview an animation in a Web browser:
1Choose a browser from the Preview pop-up
menu, or click the browser icon to launch your
default Web browser.
2Use the browser’s Stop and Reload commands
to stop or replay the animation.
Opening animated GIFs
You can open an existing animated GIF in
Photoshop Elements using the Open command.
The file is opened as a stack of layers. Each layer
corresponds to one frame. If you want to view a
specific frame in the document window, make the
layer for that frame visible in the Layers palette and
hide all the other layers in the Layers palette.
Opening existing animated GIF files in Photoshop
Elements is useful primarily for applying optimi-
zation settings to the files. The one-layer-per-
frame structure of imported animated GIF files
may make it impractical to edit animation frames
in other ways.
Previewing an image in a
browser
You can preview an optimized image in any
browser installed on your system. The browser
displays the image with a caption listing the
image’s file type, pixel dimensions, file size, and
compression specifications in the first paragraph,
and filename and other HTML information in the
second paragraph.
To preview an optimized image in a browser:
In the Save For Web dialog box, choose a browser
from the Preview In pop-up menu, or click the
browser icon to launch your default Web browser.
To add a browser to the Preview pop-up menu:
1Create a shortcut (windows) or an alias (Mac
OS) for the browser you want to add to the menu.
2Drag the icon for the shortcut or alias into the
Preview In folder, located in the Helpers folder in
the Photoshop Elements program folder.
3Restart Photoshop Elements.
Saving optimized images
You must save an optimized image before you can
use it on the Web.
To save an optimized image:
1Apply optimization settings in the Save For Web
dialog box, and click OK. (See “Optimizing
images” on page 230.)
2Type a filename, and choose a location for the
resulting file or files.
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3Select Save HTML File to generate an HTML
file that contains code for displaying the optimized
image on the Web. Deselect Save HTML File if you
want to save only an image file.
4Click Save.
Creating Web photo galleries
You use the Web Photo Gallery command to
automatically generate a Web photo gallery from a
set of images. A Web photo gallery is a Web site
that features a home page with thumbnail images
and gallery pages with full-size images. Each page
contains links that allow visitors to navigate the
site. For example, when a visitor clicks a thumbnail
image on the home page, a gallery page with the
associated full-size image loads.
Photoshop Elements provides a variety of styles
for your gallery, which you can select using the
Web Photo Gallery command. If you are an
advanced user who has knowledge of HTML, you
can also customize a style by editing a set of HTML
template files or create a new style.
To create a Web photo gallery:
1Choose File > Automate > Web Photo Gallery.
2Under Files, click Source. Then select the folder
containing the images that you want to appear in
the gallery, and click OK. Select Include All Subdi-
rectories to include images inside any subfolders of
the selected folder.
3Click Destination. Then select the destination
folder that you want to contain the images and
HTML pages for the gallery, and click OK.
4For Styles, choose a style for the gallery.
A preview of the home page for the chosen style
appears in the dialog box.
5To set options for the banner that appears on
each page in the gallery, choose Banner from the
Options pop-up menu. Then do the following:
•For Site Name, enter the title of the gallery.
•For Photographer, enter the name of the person
or organization that deserves credit for the photos
in the gallery.
•For Date, enter the date that you want to appear
on each page of the gallery. By default, Photoshop
Elements uses the current date.
•For Font and Font Size, choose options for the
banner text.
6To set options for the gallery pages, choose
Gallery Images from the Options pop-up menu.
Then do the following:
•For Border Size, enter the width of the border
around the image in pixels.
•To have Photoshop Elements resize the source
images for placement on the gallery pages, select
Resize Images. Then choose an option for the
image size from the pop-up menu or enter a size in
pixels. For JPEG Quality, choose an option from
the pop-up menu, enter a value between 0 and 12,
or drag the slider. A higher value results in better
image quality but larger file size.
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7To set options for the home page, choose
Gallery Thumbnails from the Options pop-up
menu. Then do the following:
•For Caption, select Use Filename to display the
filename under each thumbnail.
•Select Use File Info Caption to display caption
text from the File Info dialog box under each
thumbnail and on each gallery page.
•For Font and Font Size, choose options for the
thumbnail text.
•For Size, choose an option for the thumbnail size
from the pop-up menu or enter a value in pixels
for the width of each thumbnail.
•For Columns and Rows, enter the number of
columns and rows that you want to be used to
display the thumbnails on the home page.
This option doesn’t apply to galleries that use the
Horizontal Frame Style or Vertical Frame Style.
•For Border Size, enter the width of the border
around each thumbnail in pixels.
8To set options for colors of elements in the
gallery, choose Customize Colors from the
Options pop-up menu. To change the color
of a particular element, click its color swatch,
and then select a new color using the color picker.
The Background option lets you change the
background color of each page. The Banner
option lets you change the background color
of the banner.
9Click OK to create the gallery.
Photoshop places the following HTML and JPEG
files in your destination folder:
•A home page for your gallery named index.htm.
Open this file in any Web browser to preview
your gallery.
•JPEG images inside an images subfolder.
•HTML pages inside a pages subfolder.
•JPEG thumbnail images inside a thumbnails
subfolder.
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dobe Photoshop Elements supports a
variety of file formats to suit a wide
range of output needs. You can save or
export your image to any of these formats. You
can also use special Photoshop Elements features
to add information to files, and set up multiple
image layouts.
About file formats
You can use various file formats to get images
into and out of Photoshop Elements. Graphic file
formats differ in the way they represent graphic
information, in how they compress image data,
and in which Photoshop Elements features
they support.
Note: If a supported file format does not appear in
the appropriate dialog box or submenu, you may
need to install the format’s plug-in module. (See
“Using plug-in modules” on page 40.)
Choosing a file format
Different file formats cater to the needs of different
applications. The file format you choose depends
on the content of your image and how you plan to
use it. For example, if you’re saving an image for
use in a page-layout application, TIFF format and
Photoshop EPS format are your best bets. If you’re
saving an image for use on the Web, you should
choose JPEG, GIF, or PNG format. Then there are
the specialized formats for use in specific applica-
tions, such as Filmstrip, PCX, Pixar, and Targa.
Until you’ve finished creating an image and have
decided how you want to use it, you should save
the image in Photoshop format or Photoshop PDF
format. Photoshop format (PSD) is the default file
format for newly created images and supports all
image data that Photoshop Elements is capable of
producing—layers, shapes, editable type, and so
on. Photoshop PDF format (PDP) also supports
all of Photoshop Elements’ features and is portable
to other Adobe applications, such as Adobe
Acrobat and Adobe Illustrator. Saving your image
in either of these formats guarantees that you will
be able to access all of the image data when you
reopen the image.
Note: If you choose a format that does not support all
of the data in an image, a warning appears at the
bottom of the Save As dialog box. If you see this
warning, it is recommended that you save a copy of
the file in Photoshop format or Photoshop PDF
format in order to support all of the image data.
For more information about specific file formats,
see “Saving images in specific formats” on
page 247.
Understanding file compression
Many image file formats use compression
techniques to reduce the storage space required by
bitmap image data. Compression techniques are
distinguished by whether they remove detail and
color from the image. Lossless techniques
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compress image data without removing detail;
lossy techniques compress images by removing
detail. The following are commonly used
compression techniques:
RLE Run Length Encoding is a lossless
compression technique supported by Photoshop
and some common Windows file formats. In
images with multiple layers containing trans-
parency, RLE compression will compress the
transparent portions of each layer.
LZW Lemple-Zif-Welch is a lossless compression
technique that provides the best results in
compressing images that contain large areas of
single color, such as screenshots or simple
paint images.
JPEG Joint Photographic Experts Group is a
lossy compression technique that provides the
best results with continuous-tone images, such
as photographs. When you choose JPEG
compression, you specify the image quality by
choosing an option from the Quality menu,
dragging the Quality pop-up slider, or entering
a value between 1 and 12 in the Quality text box.
For the best printed results, choose maximum-
quality compression.
CCITT CCITT encoding is a family of lossless
compression techniques for black-and-white
images. CCITT is an abbreviation for the French
spelling of International Telegraph and Telekeyed
Consultive Committee.
ZIP ZIP encoding is a lossless compression
technique. Like LZW, ZIP compression is most
effective for images that contain large areas of a
single color.
Saving images
You can use the following commands to
save images:
•Save to save changes you’ve made to the current
file in the current format.
•Save As to save an image with a different
location, filename, and/or format. The available
options vary depending on the format you choose.
•Save for Web to save an optimized image for the
Web. (See “Saving optimized images” on
page 240.)
To save changes to the current file:
Choose File > Save, or click the Save button ( ) in
the shortcuts bar.
To save an image with a different name and location:
1Choose File > Save As.
2Type a filename, and choose a location for
the file.
3Click Save.
To save an image in a different file format:
1Choose File > Save As, and choose a format
from the Format pop-up menu.
If you choose a format that does not support all of
the data in an image, a warning appears at the
bottom of the Save As dialog box. If you see this
warning, it is recommended that you save a copy
of the file in Photoshop format or Photoshop PDF
format in order to support all of the image data.
2Specify a filename and location.
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3Select saving options, and click Save. With some
image formats, a format-specific dialog box
appears. (See “Saving images in specific formats”
on page 247.)
To set file saving options:
In the Save As dialog box, select one or more of the
following options:
As a Copy Saves a copy of the file while keeping the
current file open on your desktop.
Layers Preserves all layers in the image. If this
option is disabled or unavailable, all visible layers
are flattened or merged (depending on the
selected format). The Layers As Frames option is
available, when saving your file in GIF format.
This option preserves the layers used as frames in
an animated GIF and opens the Save for Web
dialog box.
ICC Profile (Windows), or Embed Color Profile
(Mac OS) Embeds a color profile in the image.
This option is available on certain formats only.
(See “Using color management” on page 65.)
Thumbnail (Windows) Saves thumbnail data for
the file. In order to select or deselect this option,
you must choose Ask When Saving for the Image
Previews option in the Preferences dialog box.
(See “Setting preferences for saving files” on
page 254.)
Image Previews options (Mac OS) Saves
thumbnail data for the file. Thumbnails display in
the Open dialog box. You can set these image
preview options: Icon to use the preview as a file
icon on the desktop, Full Size to save a 72-ppi
version for use in applications that can only open
low-resolution Photoshop Elements images,
Macintosh Thumbnail to display the preview in
the Open dialog box, and Windows Thumbnail
to save a preview that can display on Windows
systems. Keep in mind that Windows thumbnails
increase the size of files as delivered by Web
servers.
Use Lower Case Extensions (Windows) Makes the
file extension lowercase.
File Extension options (Mac OS) Specifies the file
extension for the selected file format. Select
Append to add the format’s extension to the
filename and Use Lower Case to make the
extension lowercase. Some Unix file servers do not
recognize uppercase extensions.
Important: To display image preview and file
extension options in the Save As dialog box in Mac
OS, select Ask When Saving for the Image Previews
option and the Append File Extension option in the
Preferences dialog box. (See “Setting preferences for
saving files” on page 254.)
Saving images in specific formats
Photoshop Elements can save images to various
file formats. (See “About file formats” on
page 245.) While you’re developing an image, you
should always save your work in Photoshop (PSD)
format. This practice ensures that all of the image
data is saved.
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When you’re finished developing an image, you
can save it in an alternate format. The format you
choose depends on how you plan to use the image.
To save an image in one of the following formats,
choose File > Save As, and choose the format from
the Format pop-up menu. After you click Save,
additional options may appear.
BMP format
BMP is a standard Windows image format on DOS
and Windows-compatible computers. You can
specify either Microsoft® Windows or OS/2®
format and a bit depth for the image. For 4-bit and
8-bit images using Windows format, you can also
specify RLE compression.
Filmstrip format
Filmstrip format lets you open, edit, and save
movie files created by Adobe Premiere®. The Save
As Filmstrip option is only available for Filmstrip
format files. If you resize, resample, change the
color mode, or change the file format of a
Filmstrip file in Photoshop Elements, you won’t be
able to save it back to Filmstrip format. For further
guidelines, see the Adobe Premiere User Guide.
GIF format
Graphics Interchange Format (GIF) is the file
format commonly used to display indexed-color
graphics and images in hypertext markup
language (HTML) documents over the World
Wide Web and other online services. GIF is an
LZW-compressed format designed to minimize
file size and electronic transfer time.
You can save an image as one or more GIF files
using the Save for Web command. (See
“Optimizing images” on page 230.)
To save a file in GIF format:
1Choose File > Save As, and choose
CompuServe GIF Format from the format list.
2If necessary, deselect the Layers as Frames
option.
3Specify a filename and location, and click Save.
4For RGB images, the Indexed Color dialog box
appears. Specify conversion options as described
in “Choosing a color mode” on page 68, and
click OK.
5Select a row order for the GIF file and click OK:
•Normal to create an image that displays in a
browser only when it is fully downloaded.
•Interlaced to create an image that displays as
low-resolution versions in a browser while the full
image file is downloading. Interlacing can make
downloading time seem shorter and assures
viewers that downloading is in progress. However,
interlacing also increases file size.
To save an animated GIF file:
1Choose File > Save As, and choose
CompuServe GIF from the format list.
2Select the Layers as Frames option, specify a
filename and location, and click Save.
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When the Save GIF dialog box appears, set optimi-
zation options as described in “Optimizing
images” on page 230. If necessary, select Animate.
Then set the animation options as described
in“Creating animated GIFs” on page 239.
3Click OK to save the file.
JPEG format
Joint Photographic Experts Group (JPEG) format
is commonly used to save photographs and other
continuous-tone images. JPEG format retains all
color information in an image but compresses file
size by selectively discarding data. You can choose
what level of compression you want when you save
a JPEG file. A higher level of compression results in
lower image quality and a smaller file size; a lower
level of compression results in better image quality
and a larger file size. In most cases, the Maximum
quality option produces a result indistinguishable
from the original.
JPEG is one of the standard formats for displaying
images over the World Wide Web and other online
services. You can save an image as a JPEG file. (See
“Optimizing images” on page 230.)
To save a file in JPEG format:
1Choose File > Save As, and choose JPEG from
the format list.
2Specify a filename and location, select saving
options (as described in “Saving images” on
page 246), and click Save, which opens the JPEG
Options dialog box.
3If the image contains transparency, select a
Matte color to simulate the appearance of
background transparency. (See “Making trans-
parent and matted images” on page 233.)
4Do one of the following to specify the
image quality:
•Choose an option from the Quality menu.
•Drag the Quality pop-up slider.
•Enter a value between 1 and 12 in the Quality
text box.
5Select a format option:
•Baseline (“Standard”) to use a format that is
recognizable to most Web browsers.
•Baseline Optimized to optimize the color quality
of the image and produce a slightly smaller file
size. This option is not supported by all Web
browsers.
•Progressive to create an image that displays
gradually as it is downloaded to a Web browser—
in a series of scans (you specify how many)
showing increasingly detailed versions of the
entire image. Progressive JPEG images files are
slightly larger in size, require more RAM for
viewing, and are not supported by all applications
and Web browsers.
6To view the estimated download time of the
image, select a modem speed from the Size pop-up
menu. (The Size preview is only available when
Preview is selected.)
Note: If you find that a Java application cannot read
your JPEG file (in any color mode), try saving the file
without a thumbnail preview.
7Click OK.
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PCX format
PCX format is commonly used by IBM PC-
compatible computers. Most PC software
supports version 5 of PCX format. A standard
VGA color palette is used with version 3 files,
which do not support custom color palettes. PCX
supports the RLE compression method. Images
can have a bit depth of 1, 4, 8, or 24.
Photoshop format
Photoshop format (PSD) is the default file format
for newly created images. You can open PSD files
that were created in Adobe Photoshop; however,
you may not be able to access all file data. For
example, Photoshop Elements does not support
layer sets, layer color coding, paragraph type,
advanced type formatting, or annotations. No
data is discarded when you resave a file that
contains unsupported features from Photoshop
Elements.
Photoshop 2.0
(Mac OS) You can use this format to open an
image in Photoshop version 2.0 format or to
export an image to an application supporting only
Photoshop 2.0 files. Saving in Photoshop 2.0
format flattens your image and discards layer
information.
Photoshop EPS format
You can use Encapsulated PostScript (EPS) format
to share Photoshop files effectively with many
graphic, illustration, and page-layout programs.
For best results, print documents with EPS images
to PostScript-enabled printers.
To save a file in Photoshop EPS format:
1Choose File > Save As, and choose Photoshop
EPS from the format list.
2Specify a filename and location, select saving
options (as described in “Saving images” on
page 246), and click Save.
3For Preview, choose a low-resolution preview
type. To share an EPS file between Windows and
Mac OS systems, use a TIFF preview. The 8-bit
preview option results in better display quality but
larger file size than does the 1-bit preview option.
You must save a preview of an EPS image to view
the image in the destination application.
Note: To use the JPEG preview option in Mac OS,
you must have QuickTime installed.
4For Encoding, choose an encoding method:
ASCII, Binary, or a JPEG option. ASCII-encoded
files contain about twice as many characters as
binary files and may be slower to work with. JPEG-
encoded files are smaller than binary files;
however, using JPEG encoding decreases the
image quality. (See “Choosing a print encoding
method” on page 263.)
5To display white areas in the image as trans-
parent, select Transparent Whites. This option is
available only for images in Bitmap mode.
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6If you are saving to EPS format, select
PostScript Color Management to instruct a
PostScript printer to convert the file data to the
printer’s color space. Do not select PostScript
Color Management if you’re planning to place the
image into another color-managed document.
Doing so may disrupt color management in your
page-layout application.
7Select Image Interpolation if you want
to anti-alias the printed appearance of a
low-resolution image.
8Click OK.
Photoshop PDF format
Portable Document Format (PDF and PDP) is a
flexible, cross-platform, cross-application file
format. PDF files accurately display and preserve
fonts, page layouts, and both vector and bitmap
graphics.
Note: PDF and PDP are the same except that PDPs
are opened in Photoshop and PDFs are opened
in Acrobat.
To save a file in Photoshop PDF format:
1Choose File > Save As, and choose Photoshop
PDF from the format list.
2Specify a filename and location, select saving
options (as described in “Saving images” on
page 246), and click Save.
3Select an encoding method. (See “About file
formats” on page 245.)
Note: Bitmap-mode images are automatically
encoded using CCITT compression—the PDF
Options dialog box does not appear.
4Select Save Transparency if you want to preserve
transparency when the file is opened in another
application that supports PDF transparency.
When reopening the file in Photoshop Elements,
transparency is always preserved, regardless of
whether you select or deselect this option.
5Select Image Interpolation if you want
to anti-alias the printed appearance of a
low-resolution image.
6Click OK.
PICT File format
PICT File format is widely used among Mac OS
graphics and page-layout applications as an inter-
mediary file format for transferring images
between applications. PICT File format is
especially effective at compressing images with
large areas of solid color.
When saving an RGB image in PICT File format,
you can choose either a 16-bit or 32-bit pixel
resolution. For a grayscale image, you can choose
from 2, 4, or 8 bits per pixel. In Mac OS with
QuickTime installed, four JPEG compression
options are available.
PIXAR format
PIXAR format is designed specifically for
exchanging files with PIXAR image computers.
PIXAR workstations are designed for high-end
graphics applications, such as those used for three-
dimensional images and animation. PIXAR
format supports RGB and grayscale images.
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PNG format
Developed as a patent-free alternative to GIF,
Portable Network Graphics (PNG) format is used
for lossless compression and for display of images
on the World Wide Web. Unlike GIF, PNG
supports 24-bit images and produces background
transparency without jagged edges; however, some
Web browsers do not support PNG images. PNG
preserves transparency in grayscale and RGB
images. For information on when to use PNG
format to optimize images, see “Choosing a file
format for optimization” on page 227.
To save a file in PNG format:
1Choose File > Save As, and choose PNG from
the format list.
2Specify a filename and location, select saving
options (as described in “Saving images” on
page 246), and click Save.
3Select an Interlace option, and click OK:
•None to create an image that displays in a Web
browser only after downloading is complete.
•Interlaced to create an image that displays
low-resolution versions in a browser while the
full image file is downloading. Interlacing can
make downloading time seem shorter and assures
viewers that downloading is in progress. However,
interlacing also increases file size.
Raw format
Raw format is a flexible file format for transferring
images between applications and computer
platforms. Raw format consists of a stream of bytes
describing the color information in the image.
Each pixel is described in binary format, with 0
representing black and 255 white. You can specify
the file extension (Windows), file type (Mac OS),
file creator (Mac OS), and header information.
In Mac OS, the file type is generally a four-
character ID that identifies the file—for example,
TEXT identifies the file as an ASCII text file. The
file creator is also generally a four-character ID.
Most Mac OS applications have a unique file
creator ID that is registered with the Apple
Computer Developer Services group.
You can save the image in an interleaved or nonin-
terleaved format. If you choose interleaved, the
color values (red, green, and blue, for example) are
stored sequentially. Your choice depends on
requirements of the application that will open
the file.
The header parameter specifies how many bytes of
information appear in the file before actual image
information begins. This value determines the
number of zeros inserted at the beginning of the
file as placeholders. By default, there is no header
(header size = 0). You can save the file without a
header and then use a file-editing program, such as
HEdit (Windows) or Norton Utilities® (Mac OS),
to replace the zeros with header information.
Targa format
TGA (Targa®) format is designed for systems using
the Truevision® video board and is commonly
supported by MS-DOS color applications. When
saving an RGB image in this format, you can
choose a pixel depth of 16, 24, or 32 bits per pixel.
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TIFF format
Tagged-Image File Format (TIFF) is used to
exchange files between applications and computer
platforms. TIFF is a flexible bitmap image format
supported by virtually all paint, image-editing,
and page-layout applications. Also, virtually all
desktop scanners can produce TIFF images.
To save a file in TIFF format:
1Choose File > Save As, and choose TIFF from
the format list.
2Specify a filename and location, select saving
options, and click Save.
3Select a byte order to determine file compati-
bility with IBM PC or Macintosh computers.
4Select LZW Compression to compress the
image and reduce the file size.
5Click OK.
To save a file with advanced TIFF options:
1Choose Edit > Preferences > Saving Files, and
select Enable advanced TIFF save options.
2Choose File > Save As, and choose TIFF from
the format list.
3Specify a filename and location, select saving
options (as described in “Saving images” on
page 246), and click Save.
4Select a compression method. (See “Under-
standing file compression” on page 245.) Keep in
mind that some applications cannot open TIFF
files that are saved with JPEG or ZIP compression.
If you plan to open the TIFF file in an application
other than Photoshop Elements, LZW
compression is recommended.
5Select a byte order to determine file compati-
bility with IBM PC or Macintosh computers.
6Select Save Image Pyramid to create a pyramid
data structure that contains multiresolution infor-
mation. The highest resolution is the image’s
resolution when you save it.
Note: Photoshop Elements doesn’t provide options
for opening multiresolution files such as PNG format
or Photo CD; however, Adobe InDesign and some
image servers provide support for opening multires-
olution formats.
7Select Save Transparency if you want to preserve
transparency when the file is opened in another
application that supports PDF transparency.
When reopening the file in Photoshop Elements,
transparency is always preserved, regardless of
whether you select this option.
8Click OK.
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Adding file information
In Windows, you can add file information to files
saved in Photoshop, TIFF, JPEG, EPS, and PDF
formats. In Mac OS, you can add file information
to files in any format.
Note: File information cannot be saved in GIF
format, when converting a file from a different
format.
To enter information about a file:
1Choose File > File Info.
2For Section, choose an attribute. To move
forward through the sections, click Next; to move
backward, click Previous.When you’ve finished,
click OK.
You can choose the following sections:
•Caption to enter text that can be printed under
an image or displayed in a Web browser’s title bar.
To print the caption, choose File > Print Preview,
and select Caption. Then print as usual. (See
“Setting output options” on page 262 for more
information.)
•Copyright & URL to enter copyright infor-
mation. Select Mark as Copyrighted to display a
copyright symbol in the image window’s title bar.
Enter the desired text in the Copyright Notice text
box. Specify a URL in the Image URL text box if
information about an image can be found on a
Web site. Click Go To URL to test the link.
Note: If Photoshop Elements detects a Digimarc
watermark in the image, the Copyright & URL
section is automatically updated.
•EXIF to view information imported from your
digital camera, such as the date and time the
picture was taken, resolution in ppi, the ISO speed
rating, f/stop, compression, and exposure time.
For more information about EXIF annotations,
see your digital camera documentation.
Setting preferences for saving
files
In Photoshop Elements, you can set preferences
for saving image previews, using file extensions,
and maximizing file compatibility.
To set file saving preferences:
Choose Edit > Preferences > Saving Files, and set
the following options:
Image Previews Choose an option for saving
image previews: Never Save to save files without
previews, Always Save to save files with specified
previews, or Ask When Saving to assign previews
on a file-by-file basis.
In Mac OS, you can also select one or more of the
following preview types (to speed the saving of
files and minimize file size, select only the previews
you need):
•Icon to use the preview as a file icon on
the desktop.
•Macintosh Thumbnail to display the preview in
the Open dialog box.
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•Windows Thumbnail to save a preview that can
display on Windows systems.
•Full Size to save a 72-ppi version of the file for
use in applications that can only open low-
resolution Photoshop Elements images. For non-
EPS files, this is a PICT preview.
File Extension (Windows) Choose an option
for the three-character file extensions that indicate
a file’s format: Use Upper Case to append file
extensions using uppercase characters or Use
Lower Case to append file extensions using
lowercase characters.
Append File Extension (Mac OS) File extensions
are necessary for files that you want to use on or
transfer to a Windows system. Choose an option
for appending extensions to filenames: Never to
save files without file extensions, Always to append
file extensions to filenames, or Ask When Saving to
append file extensions on a file-by-file basis. Select
Use Lower Case to append file extensions using
lowercase characters.
In Mac OS, to append a file extension to the
current file, hold down Option as you choose a
file format from the Save As dialog box.
Maximize Backwards Compatibility in Photoshop
Format Select this option to maximize file
compatibility with earlier versions of Photoshop
and with other applications. This includes saving
merged data for applications that don’t support
layers and saving a rasterized version of each layer
for applications that don’t support vector data.
Note: Selecting Maximize Backwards Compatibility
results in larger file sizes and increases the length of
time required to save files.
Enable Advanced TIFF Save Options Select this
option if you want to set advanced options when
saving a file in TIFF format. (See “TIFF format” on
page 253.)
Recent File List Contains: _ Files Enter a value
from 0 to 30 to specify how many files are available
in the File > Open Recent submenu. (See
“Opening files” on page 55.)
To display a preview file icon (Windows only):
1Save the file in Photoshop format with a
thumbnail preview.
2Right-click the file on the desktop (or in any
Windows or Photoshop Elements dialog box that
displays a file list), and choose Properties from the
context menu that appears.
3Click the Photoshop Image tab.
4Select an option for generating thumbnails,
and click OK.
Preview icons appear on the desktop and in file
lists (when the view is set to Large Icons).
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Using the Batch command
You can automatically convert multiple images to
the same file format, size, and resolution using the
Batch command. This is especially useful when
importing images from a digital camera or
scanner, or when processing images for use on
the Web.
Note: If the plug-in module for your camera or
scanner does not support importing multiple images,
it may not work optimally during batch-processing.
Contact the plug-in’s manufacturer for further
information.
To batch-process files using the Batch command:
1Choose File > Automate > Batch.
2For Files to Convert, specify which files you
want to process:
•Folder to process files already stored on your
computer. Click Source to locate and select the
folder. Select Include All Subfolders to process files
in subfolders.
•Import to import and process images from a
PDF file, a digital camera, or a scanner. Select an
import option from the From pop-up menu. The
available options depend on the plug-in modules
that are installed on your computer. (See “Using
plug-in modules” on page 40.)
•Opened Files to play the action on all open files.
3For Conversion Options, choose the format to
which you want to convert files. For more infor-
mation about file formats, see “Saving images in
specific formats” on page 247.
4To change the size and/or resolution of
processed images, select Convert Image Size. Then
choose the resolution to which you want to
convert the images. Additionally, you can specify
the width and height of the processed images.
However, entering values for Width and Height
may change the aspect ratio of the images,
resulting in distorted final images.
5To save modified versions of the files with new
names (leaving the originals unchanged), select
Rename Files and set naming options:
•Select items from the pop-up menus or enter text
into the fields to be combined into the default
names for all files. Elements include document
name, serial number or letter, file creation date,
and file extension. The fields let you change the
order and formatting of the filename parts. You
must include at least one field that is unique for
every file (for example, filename, serial number,
or serial letter) to prevent files from overwriting
each other.
•For File Name Compatibility, choose
Windows, Mac OS, and UNIX to make filenames
compatible with Windows, Mac OS, and UNIX
operating systems.
6Click Destination to locate and select a desti-
nation folder for the processed files.
7Click OK.
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Creating multiple-image layouts
You can export multiple images automatically as
contact sheets and picture packages using
Automate commands.
Creating contact sheets
By displaying a series of thumbnail previews on a
single page, contact sheets let you easily preview
and catalog groups of images. You can automati-
cally create and place thumbnails on a page using
the Contact Sheet II command.
Note: Make sure that the images are closed before
applying this command.
To create a contact sheet:
1Choose File > Automate > Contact Sheet II.
2Click Choose to specify the folder containing
the images you want to use. Select Include All
Subdirectories to include images inside any
subfolders of the chosen folder.
3Under Document, specify the dimensions,
resolution, and color mode for the contact sheet,
using the menus to specify measurement units.
4Under Thumbnails, specify layout options for
the thumbnail previews:
•For Place, choose whether to arrange thumbnails
across first (from left to right, then top to bottom)
or down first (from top to bottom, then left
to right).
•Enter the number of columns and rows that you
want per contact sheet. The maximum dimensions
for each thumbnail are displayed to the right,
along with a visual preview of the specified layout.
•Select Use Filename As Caption to label the
thumbnails using their source image filenames.
Use the menu to specify a caption font.
5Click OK to create the contact sheet.
Creating picture packages
With the Picture Package command, you can place
multiple copies of a source image on a single page,
similar to the photo packages traditionally sold by
portrait studios. You can choose from a variety of
size and placement options to customize your
package layout.
To create a picture package from a single image:
1Choose File > Automate > Picture Package.
2Specify the source image you want to use:
•Click Choose to specify a saved image file as
the source.
•Select Use Frontmost Document to use the
image currently active in Photoshop Elements as
the source.
3For Layout, choose a preset layout option.
Layout dimensions are measured in inches,
and a preview of the chosen layout appears in
the dialog box.
4Enter a resolution value for the package layout,
using the menu to specify resolution units.
5Choose a color mode appropriate to the
package layout.
6Click OK to create the package layout.
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Saving Images
Customizing picture package layouts
You can customize existing layouts or create new
layouts using a text-editing application. The layout
options in the Picture Package dialog box are
determined by text files that are stored in the
Layouts folder (inside the Presets folder).
For example, the following text describes a layout
with two 5 x 7 images:
I 8 10
(2) 5x7
0.5 0 7 5
0.5 5 7 5
First line Defines the unit of measurement and the
document size.
Second line Contains the name of the layout as it
appears in the Picture Package dialog box.
Subsequent lines Define the position and dimen-
sions of each image in the layout.
To customize a new picture package layout:
1In a text-editing application, create a new file,
or open an existing file in the Layouts folder
(inside the Presets folder).
2In the first line of the file, enter the following
elements (separated by a space):
•A letter for the unit of measurement: i or I
(for inches), p or P (for pixels), or c or C (for
centimeters). All numbers in the file use the
specified unit.
•The width of the document.
•The height of the document.
Note: The width and height of the document should
not exceed the printable area of the paper. For
example, if you plan to print on 11 x 17 paper,
specify 10 x 16 as the document size.
3In the second line of the file, enter the name of
the layout as you want it to appear in the Picture
Package dialog box. You can enter up to 75
characters.
4In the subsequent lines of the file, enter the
position and dimensions for images in the layout
using the following elements (separated by a
space):
•The position of the image in relation to the
left edge of the document (the x position of
the image).
•The position of the image in relation to the
top edge of the document (the y position of
the image).
•The width of the image.
•The height of the image.
Enter the position and dimensions for each image
in the layout on a separate line. You can specify up
to 50 images per layout.
5To add comments to the file, start the line with
a semicolon (;). Lines beginning with a semicolon
are ignored, as are blank lines.
6Save the file in the Layouts folder.
13
261
Chapter 13: Printing
etting up your image files for printing is
easy using Adobe Photoshop Elements. You
can adjust the positioning, scaling, and
output options for your image. You can also use
color management to help ensure a close match
between on-screen and printed colors.
Printing images
To print any type of image, you first select general
printing options and then specify settings for a
particular image type. You can preview how the
image and selected options will appear on the
printed page and adjust the position and scale of
the image.
Photoshop Elements provides three printing-
related dialog boxes: Print Preview, Page Setup,
and Print. Some printing options may appear in
multiple dialog boxes depending on your printer,
the print drivers, and your computer’s operating
system. For example, you may be able to access
output options in both the Print Preview and Page
Setup dialog boxes.
To print an image with its current print options:
Do one of the following:
•Choose File > Print, or click the Print button
( ) in the shortcuts bar. Then click Print or OK.
•Hold down Alt (Windows) or Option (Mac OS)
and choose File > Print One.
Note: By default, Photoshop Elements prints a
composite of all visible layers. To print an individual
layer, make it the only visible layer in the Layers
palette before choosing the Print command. (See
“Viewing layers” on page 168.)
To select print options:
1Choose File > Page Setup, and select an installed
printer from the pop-up menu at the top of the
dialog box. (You can also select an installed printer
in the Print dialog box.)
2Select a paper size and orientation, and
click OK.
3Choose File > Print Preview, or click the Print
Preview button ( ) in the shortcuts bar, to do
the following:
•Adjust the position and scale of the image in
relation to the selected paper size and orientation.
(See “Positioning and scaling images” on
page 262.)
•Set output options. (See “Setting output
options” on page 262.)
•Set other printing options. (See “Printing part of
an image” on page 263 and “Choosing a print
encoding method” on page 263.)
•Set color management options. (See “Using
color management when printing” on page 264.)
S
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Printing
4Click OK to save the print options for the
image, or click Print to print the image. Hold
down Alt (Windows) or Option (Mac OS) and
click Print One to print the image without
displaying the Print dialog box.
Positioning and scaling images
You can adjust the position and scale of an
image in the Print Preview dialog box and preview
how the image will be printed on the selected
paper. The shaded border at the edge of the paper
represents the margins of the selected paper;
the printable area is white. Photoshop Elements
cannot override the borders settings for your
printer’s unprintable areas. Inkjet printers
commonly have a 1/8- to 1/4-inch border around
the perimeter of all printed pages onto which the
printers cannot print.
The base output size of an image is determined by
the document size settings in the Image Size dialog
box. (See “Changing the print dimensions and
resolution of an image” on page 50.) Scaling an
image in the Print Preview dialog box changes the
size and resolution of the printed image only. For
example, if you scale a 72-ppi image to 50% in the
Print Preview dialog box, the image will print at
144 ppi; however, the document size settings in the
Image Size dialog box will not change.
Important: The Print Preview dialog box may not
reflect accurate values for Scale, Height, and Width if
you set a scaling percentage in the Page Setup dialog
box. To avoid inaccurate scaling, specify scaling in
the Print Preview dialog box rather than the Page
Setup dialog box; do not enter a scaling percentage in
both dialog boxes.
To reposition an image on the paper in the Print
Preview dialog box:
Do one of the following:
•Click Center Image to center the image in the
printable area.
•Enter values for Top and Left to position the
image numerically.
•Select Show Bounding Box, and drag the image
in the preview area.
To scale the print size of an image in the Print Preview
dialog box:
Do one of the following:
•Click Scale to Fit Media to fit the image within
the printable area of the selected paper.
•Enter values for Height and Width to rescale the
image numerically.
•Select Show Bounding Box, and drag a bounding
box handle in the preview area to achieve the
desired scale.
Setting output options
Output options let you select items that print in
addition to the image. For example, you can
choose to print a border around the image, or you
can choose to print crop marks. The output
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ADOBE PHOTOSHOP ELEMENTS
User Guide
options aren’t visible by default in the Print
Options dialog box; you must select Show More
Options (located below the image preview area) in
order to see them.
Note: Depending on your printer and print drivers,
output options may also appear in the Page Setup
dialog box. The advantage of using the Print Preview
dialog box to set output options is that you can
preview the selected options prior to printing.
To set output options:
1Choose File > Print Preview, or click the Print
Preview button ( ) in the shortcuts bar.
2Click Show More Options and choose Output
from the pop-up menu.
3Select one or more of the following options.
Options not supported by the designated printer
are dimmed.
Background Lets you select a background color to
be printed on the page outside the image area.
For example, a black or colored background may
be desirable for slides printed to a film recorder.
To use this option, click Background, and then
select a color from the Color Picker dialog box.
This is a printing option only; it does not affect the
image itself.
Border Lets you print a black border around an
image. Type in a number and choose a unit value
to specify the width of the border.
Caption Prints any caption text entered in the File
Info dialog box. (See “Adding file information” on
page 254.) Caption text always prints as 9-point
Helvetica plain type.
Corner Crop Marks Prints crop marks where the
page is to be trimmed.
Printing part of an image
You can use the Print Selected Area option to print
a specific part of an image.
To print part of an image:
1Use the rectangle marquee tool to select the part
of an image you want to print.
2Choose File > Print Preview, or click the Print
Preview button ( ) in the shortcuts bar.
3Select Print Selected Area, and click Print.
Choosing a print encoding
method
By default, the printer driver transfers binary
information to printers; however, you can
choose to transfer image data using JPEG or
ASCII encoding.
JPEG-encoded files are smaller than binary files,
and therefore require less time to print; however,
using JPEG encoding decreases the image quality.
Only PostScript Level 2 (or higher) printers
support JPEG encoding; sending a JPEG-encoded
file to a PostScript Level 1 output device may result
in PostScript language errors.
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Printing
Some print spooler programs, computer
networks, and third-party printer drivers don’t
support files that are binary or JPEG-encoded, and
some PostScript output devices accept binary and
JPEG-encoded image data only through their
AppleTalk and Ethernet ports, not their parallel or
serial ports. In these situations, you can select the
ASCII encoding method. However, ASCII files
contain about twice as many characters and
require about twice as much time to transfer as
binary files. (See “Photoshop EPS format” on
page 250.)
To change the encoding method:
1Choose File > Print Preview, or click the Print
Preview button in the shortcuts bar.
2Select an option from the Encoding menu.
Using color management when
printing
Understanding when to use color management
requires an understanding of how colors are repre-
sented in digital images. Photoshop Elements uses
a grid of elements known as pixels to represent
images. When you view an image on your monitor,
pixels are displayed using red, green, and blue
light. When you print an image on a desktop
printer, pixels are reproduced using colored inks.
The number of inks used in the printing process,
as well the exact color value of each ink and the size
of the dots printed, are determined by the printer
manufacturer.
Because your monitor operates in a different color
space than your printer, and different printers
have different color spaces, the colors you see on
your monitor can vary drastically from those in
the printed image. Color management provides a
solution to this dilemma. In a color-managed
workflow, you use color profiles to ensure that the
colors remain consistent. (See “About color and
computer graphics” on page 65.)
Converting colors to a different color space usually
involves an adjustment of the source or image
colors to accommodate the gamut of the desti-
nation printer or output device color space.
Different translation methods use different rules
to determine how the source colors are adjusted;
for example, colors that fall inside the destination
gamut may remain unchanged, or they may be
adjusted to preserve the original range of visual
relationships as translated to a smaller destination
gamut. These translation methods are known
as rendering intents because each technique is
optimized for a different intended use of
color graphics.
To determine if you need to use color management
when printing:
1Print an image without color management.
2Compare the colors in the printed image with
those on your monitor. If the color fidelity is not
acceptable, use color management.
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ADOBE PHOTOSHOP ELEMENTS
User Guide
To color-manage an image while printing:
1Choose File > Print Preview, or click the Print
Preview button ( ) in the shortcuts bar.
2Select Show More Options (located below the
image preview area), and choose Color
Management from the pop-up menu.
The Source Space section of the dialog box displays
the image’s color profile. (See “Using color
management” on page 65.)
3In the Print Space section of the dialog box,
choose an option for Profile:
•Choose Same As Source if you want the printer
to output color based only on the image’s color
profile. No additional conversions will be
performed on the colors of the document when
it is printed. This option will not take any printer
profiles into account.
•Choose Printer Color Management or PostScript
Color Management if you want to manage color
conversions using the print driver. PostScript
Color Management is only available when printing
to a PostScript device.
•If available, choose a predefined color profile for
your printer. These profiles are installed with
graphics applications and print drivers. Choosing
a predefined profile will result in an automatic
color conversion when printing.
4Under Print Space, for Intent, choose a
rendering intent to use when converting colors to
the destination profile space:
Perceptual Known as the Image intent in Adobe
PageMaker and Illustrator 9, Perceptual aims to
preserve the visual relationship between colors
in a way that is perceived as natural to the human
eye, although the color values themselves may
change. This intent is most suitable for photo-
graphic images.
Saturation Known as the Graphics intent in
Adobe PageMaker and Illustrator 8, Saturation
aims to create vivid color at the expense of
accurate color. It scales the source gamut to the
destination gamut, but preserves relative
saturation instead of hue, so when scaling to a
smaller gamut, hues may shift. This rendering
intent is suitable for business graphics, where the
exact relationship between colors is not as
important as having bright saturated colors.
Absolute Colorimetric Leaves colors that fall
inside the destination gamut unchanged. This
intent aims to maintain color accuracy at the
expense of preserving relationships between
colors. When translating to a smaller gamut,
two colors that are distinct in the source space may
be mapped to the same color in the destination
space. Absolute Colorimetric can be more accurate
if the image’s color profile contains correct white
point (extreme highlight) information. This
rendering intent is suitable when you want to
match the color of one substrate on another
substrate, in addition to matching the non-black
ink, and have all the colors give the most accurate
match possible. One example would be when
reproducing the appearance of a printed sheet of
CHAPTER 13
266
Printing
newsprint onto a sheet of bright white inkjet
paper. The substrate of the bright white inkjet
paper would be printed over with a dingy gray to
simulate the actual newsprint appearance.
Relative Colorimetric This intent is identical
to Absolute Colorimetric except for the following
difference: Relative Colorimetric compares the
white point of the source color space to that of
the destination color space and shifts all colors
accordingly. When used in the Absolute Colori-
metric example given, the Relative Colorimetric
rendering intent would match the colors and the
black ink printed on the newsprint, but not the
substrate color of the newsprint. So the substrate
of the bright white inkjet paper would show
through as bright white.
Printing over the Web
If you don’t have a printer or want to get
high-quality reproductions, you can send images
from Photoshop Elements to an online service
for printing.
To use an online service for printing:
1Choose File > Online Services.
2Choose a service from the list, and click Next.
3Specify which images you want to print, and
provide login information as prompted. If this is
your first time using the online service, you may
need to sign up before proceeding; a Sign-Up
button is provided.
267
Index
A
Absolute Colorimetric rendering
intent 265
Accented Edges filter 197
active layer 166, 167
Actual Pixels command 26
Adaptive color table 232
add anchor point tool 131
Add Noise filter 199
additive colors 68
Adjust Backlighting command 86
adjustment layers 181
creating 182
editing 184
for color corrections 182
for filters 190
Adobe Acrobat Reader 1
Adobe Color picker 79
Adobe Gamma utility 66
Adobe Illustrator
files, opening 56, 57
files, placing 60
Adobe Online 3
Adobe Photomerge 9
Adobe Photoshop Elements CD 1
Adobe Premiere 248
Advanced Blending for
Photomerge command 123
airbrush tool 139
Aligned option 133
aligning type 220
Angled Strokes filter 197
angular gradient tool 150
animated GIF files. See GIF format
anti-aliasing
3D rendering 132
Adobe Illustrator files 58
EPS files 58
PDF files 57
placed artwork 61
selections 108
type 216
Apple Color Picker 79
application dither. See dithering
Arrange command 169
Arrange Icons command 24
arrowhead options 157
Artistic filters 195
See also individual names of
filters
ASCII encoding 263
Asian type. See CJK type
aspect ratio 104
aspect ratio, constraining
when placing files 60
Auto Erase option 140, 142
Auto Levels command 86, 88
Auto Select Layer option 215
automating
batch-processing 256
multiple image layouts 257
average-key images 84, 89, 95
B
background color
choosing 74, 76
filling selections with 160
printing 263
selecting with eyedropper
tool 75
setting in new images 54
background eraser tool 141
background matting
for Web 233
in GIF or PNG format 234
in JPEG format 235
background transparency 233
backgrounds
converting to layer 171
from filter effects 193
moving 169
Bas Relief filter 202
base layer 180
Batch command 256
Bicubic interpolation 49
Bilinear interpolation 49
binary encoding 263
bitmap images, about 45
See also images
Bitmap mode
about 69
converting to 70
paint bucket tool 155
type in 213
INDEX
268
black and white points,
scanning 52
black-and-white images,
creating 96
blending modes 147
bloat tool 125
Blur and Blur More filters 196
Blur filters 194, 196
See also individual names of
filters
blur tool 135
BMP format 248
borders, printing 263
brightness
adjusting 87
defined 68
equalizing 96
Brightness/Contrast command 87
Bring Forward command 169
Bring to Front command 169
browser dither. See dithering
Brush Stroke filters 194, 197
See also individual names of
filters
brushes
angle options 146
creating 144
creating preset 145
customizing libraries 143
Define Brush command 144
deleting 144
Diameter option 145
dynamics 143
Fade option 150
fading strokes 140
Hardness option 146
impressionist brush tool 142
libraries 143
New Brush command 143
options 145
pointer options 39
presets 37
Roundness option 146
selecting 139
simulating strokes 149
Spacing option 146
stylus pressure 149
bump maps 210
burn tool
about 135
adjusting highlights 136
adjusting midtones 136
adjusting shadows 136
C
calibrating monitors 67
canceling operations 31
canvas
filling 160
resizing 118
transparency 118
Canvas 180° command 126
Canvas 90° Left command 125
Canvas 90° Right command 126
Canvas Custom command 126
Canvas Size command 118
captions
creating 254
printing 263
Cascade command 24
CCITT compression 246
Chalk & Charcoal filter 202
Change Layer Content
command 184
characters. See type
Charcoal filter 202
Choose 23
chroma 68
Chrome filter 202
CJK type
composition options 222
showing options for 220
tate-chuu-yoko 221
tsume 221
Clear command 113
Clipboard
clearing 33
copying between
applications 112
Export Clipboard option 112
preferences 112
rasterizing images from 113
clone stamp tool
about 132
retouching with 132
Close All command 25, 42
Close command 25, 42
closing files 42
Clouds filter 201
color
about 65
additive 68
adjustment layers 182
adjustments 83
Bitmap mode 69
color cast 86
color tables 69
converting 96
devices 65
fill layers 183
for type 219
Grayscale mode 69
HSB model 67
inverting in images 96
269
management 65
profiles 65
RGB mode 68
RGB model 68
specifying number of 232
See also background color
color balance
adjusting automatically 86
generalized adjustments 95
Hue/Saturation
command 92, 94
scanning and 52
Color Burn mode 148
Color Cast command 92
Color Dodge mode 148
Color Halftone filter 200
color management
profiles 65
using 65, 264
Color mode option 148
color modes
about 68
color tables 69
converting images
between 69, 70, 71
Indexed Color mode 71
setting in new images 54
Color Picker option 79
color pickers
Adobe 77, 79
Apple 79
choosing 79
plug-in 79
Windows 79
color profiles 31, 65, 264
Color Settings command 65
color slider 77
Color Table command 73
color transitions, quality of 47
color values
clipping 95
specifying 78
color wheel 67
about 79
color adjustments and 91
definition 91
Colored Pencil filter 195
column width, setting 28
compression
about 245
choosing a file format 227
GIF format 228
JPEG format 228
PNG-8 format 229
PNG-24 format 229
CompuServe GIF format. See GIF
format
Contact Sheet II command 257
Conté Crayon filter 191, 202
context menus 32
context-sensitive help 2
Contiguous option 141
continuous-tone images
about 45
choosing a compression format
for 227
contrast
adjusting 87
adjusting automatically 86
convert anchor point tool 131
convolution 206
copying
and pasting 110
between applications 112
layers between images 171
PostScript artwork from
Clipboard 113
selections 110, 111
See also duplicating
copyright information 31
correcting mistakes 32
Craquelure filter 205
Create a selection button 214
creating layers 170
Crop command 117
crop marks, printing 263
crop tool 117
cropping images
about 117
crop tool marquee 117
Shield option 117
Crosshatch filter 197
cross-platform variations
adjusting for 226
Photoshop Compensation 227
Standard Macintosh Color
display 227
Standard Windows Color
display 227
Uncompensated Color 226
Crystallize filter 201
cursors 39
Curves command, setting target
values with 89
Custom color table 232
Custom filter 206
custom shape tool 156
Cut command 113
Cutout filter 195
cylindrical mapping 123
INDEX
270
D
Dark Strokes filter 197
Darken mode 148
Define Brush command 144
Define Pattern command 161, 162
De-Interlace filter 205
delete anchor point tool 131
Delete Layer command 173
deleting
colors from swatch sets 77
layers 173
locked selections 113
selections 110, 113
Desaturate command 94
Deselect command 103
deselecting selections 103
See also selecting
Despeckle filter 200
diamond gradient tool 150
Difference Clouds filter 201
Difference mode 148
Diffuse filter 203
Diffuse Glow filter 197
diffusion dithering 73, 236
Digimarc filter 31, 195
directional light effect 208
Displace filter
about 198
defining undistorted areas 191
displacement maps 198
Display Background option 132
Dissolve mode 179
Distort filters 194, 197
See also individual names of
filters
distorting a layer 128
DitherBox filter 206, 237
dithering
about 70, 73, 235
application dither, previewing
and controlling 236
browser dither, previewing and
minimizing 237
choosing a dithering
algorithm 236
creating and applying custom
dither patterns 237
setting percentage of 236
using the DitherBox filter 237
document size 31, 50
adjusting during printing 262
documentation overview 2, 3
dodge tool
about 135
adjusting highlights 136
adjusting midtones 136
adjusting shadows 136
Dolly Camera option 131
downsampling 49
dpi (dots per inch) 48
drawing
constraining shapes 156
shapes 156
drivers
scanner 51
stylus 149
Dry Brush filter 195
Duplicate Image command 28
Duplicate Layer command 171
duplicating
images 28
layers 171
selections in an image 111
See also copying
Dust & Scratches filter 200
dynamic range 52
E
edge effects 193
editing
blending modes 147
layers 177
See also copying, correcting
mistakes, deleting, pasting
selections, restoring images,
transformations, and names of
individual editing tools
Effects palette 192
efficiency 31
elliptical marquee tool 104
Embed Color Profile. See also color
profiles
Emboss filter 204
encoding methods 263
EPS files
opening 57
placing 60
saving 250
EPS PICT Preview format 59
EPS TIFF Preview format 59
eraser tool 140
erasing
about 140
fading strokes 140
lasso segments 105
See also deleting
Exclusion mode 148
EXIF 254
Exit command 42
Export Clipboard option 112
exposure setting 149
Extrude filter 204
eyedropper tool
about 89
selecting colors with 75
271
F
Facet filter 201
fade rate
for brush strokes 140
for eraser strokes 140
painting 149
fastening point 105
feathering selections 109
Field of View option 131
File Browser palette 56
file compression. See compression
file extensions, preferences for
saving 255
file formats
about 245
animation and movie 248
choosing 245
choosing for optimization 227
for nonsupported previews 59
specifying when opening 55
See also compression, Save For
Web dialog box, and names of
individual formats
File Info command 31, 254
Caption option 254
Copyright & URL option 254
EXIF option 254
files
batch-processing 256
closing 42
extensions for 247
opening 55
size 48
Fill command 160
Fill Flash command 87
fill layers 181
Fill with Neutral Color option 180
filling
layers 159
selections 159
with background color 160
with foreground color 160
with gradients 151
with patterns 155
Filmstrip format 248
filters
about 189
applying 190
applying backgrounds 193
Artistic 193, 195
Blur 194, 196
Brush Stroke 194, 197
Digimarc 195
Distort 191, 194, 197
improving performance
with 193
Lighting Effects 207
Liquify 124, 199
Noise 194, 199
Other 195, 206
Pixelate 194, 200
plug-ins 210
previewing 190
Render 194, 201
Sharpen 194, 202
Sketch 194, 202
special filter effects 192
Stylize 194, 203
Texture 195, 205
using adjustment layers 190
Video 195, 205
See also names of individual
filters
Filters palette 189
Find Edges filter 204
Fine Grain filter 195
Finger Painting option 134
Fit on Screen command 26
Fixed Size option 104
Flatten Image command 175
flattening images 174–175
Flip Canvas Horizontal
command 126
Flip Canvas Vertical command 126
flipping images 125
floating selections 173
focus tools
about 135
blur tool 135
sharpen tool 135
fonts, selecting 218
foreground color
choosing 74, 76
filling selections with 160
selecting with eyedropper
tool 75
Fragment filter 201
Free Rotate command 127
Free Transform command 130
3D transform 130
about 129
Display Background option 132
rendering options 132
Resolution option 132
wire frame 130
Free Transformation command
add anchor point tool 131
convert anchor point tool 131
delete anchor point tool 131
freehand selection 104
Fresco filter 195
INDEX
272
G
gamut 65
Gaussian Blur filter 196
GIF format
about 228, 248
Adaptive color table 232
animated GIFs 239
background matting 234
Custom color table 232
hard-edged transparency 234
optimization settings for 231
Perceptual color table 232
preserving transparency 233
saving files in 248
Selective color table 232
Web-safe color table 232
Glass filter 191, 198
Glowing Edges filter 204
Gradient Editor dialog box 151
Gradient Map command 98
gradients
angle of 29
angular gradient tool 150
applying 151
creating 151
creating presets 152
deleting 155
diamond gradient tool 150
editing 151
fill layers 183
filling 151
libraries 155
linear 150
mapping tonal range to 98
noise 154
opacity 153
presets 37
radial gradient tool 150
Randomize option 154
reflected gradient tool 150
saving and loading 155
tools 150
transparency 153
Grain filter 205
Graphic Pen filter 203
grayscale images
colorizing 94
converting to Bitmap-mode
images 70
converting to high-contrast
black-and-white images 96
converting to indexed-color
images 71
creating from color images 94
definition of 69
Grayscale mode 69, 70
grid 27
H
Halftone Pattern filter 203
hand tool 26
Hard light mode 148
hard-edged transparency 234
Help 2
hidden tools 19
hiding and showing layers 168
hiding palettes 22
High Pass filter 206
high-key images 84, 90
highlights
adjusting 95, 136
printable 89
settings target values 89
specular 89
Hints 2
Hints palette 29
Histogram command 85
histograms
about 84, 91
key type 84
Levels display of 89
preferences 85
Use Cache for Histograms
preference 85
Histories command 35
History palette 33
history states 33
using 33
horizontal type tool 214
HSB
color mode 77
color model 67
selecting color in 78
hue 67, 92
Hue mode 148
Hue/Saturation command 92
I
ICC (International Color
Consortium) 65
scanning 52
workflow 65
ICC profiles. See color profiles
Image Interpolation option 251
image previews. See thumbnails
image resolution. See resolution
Image Size command 110
changing document size 50
changing pixel dimensions 50
images
about 45
contact sheets 257
273
converting between color
modes 69, 71
copying layers between 171
copying selections between 111
creating new 54
cropping 117
displaying size of 48
distorting 124
duplicating 28
flattening 174–175
importing 52, 53
importing from PDF files 57
loading 190
maximum size 48
multiple-image layouts 257
opening 55
opening with File Browser 56
pixel dimensions 46, 49
placing 60
positioning and scaling 262
print dimensions 50
printing 261
retouching 132
reverting to any state 33
rotating and flipping 125
sampling 132
scanning 51, 53
straightening 126
viewing 24
imagesetters 48
Import command 52, 57, 59
importing
anti-aliased PICT files 59
artwork by dragging 112
PDF images 57
PICT resources 59
See also scanning
importing images
digital camera with WIA
support 53
from a digital camera 52
from a scanner 52
scanning with WIA support 53
WIA support 53
impressionist brush tool 142
Indexed Color mode
about 71
converting RGB and grayscale
images to 71
type and 213
indexed-color images 69
Info palette 29
information box 48
inkjet printers 48
Ink Outlines filter 197
installing software 1
Interlace option
for GIF and PNG-8 232
for PNG-24 233
interpolation methods 49
Inverse command 108
Invert command 96
J
JPEG format
about 228, 249
background matting in 235
compression 246
encoding 263
optimization settings for 230
saving files in 249
K
kumimoji 221
L
laser printers 48
lasso tool
detection width 106
edge sensitivity 106
Width option 106
lasso tools 103, 104
layer styles 175
palette 175
type layers 214
Layer Via Cut command 170
layers
adjustment 181
applying filters 193
applying perspective 128
blending modes 180
copying between images 171
creating 170
deleting 173
distorting 128
duplicating 171
editing 177
fill 181
filling 159
filling with neutral color 180
flattening 174–175
hiding and showing 168
locking 178
merging 174
moving 172
opacity 179, 180
options 179
painting transparency 147
printing 261
reordering 169
rotating 127
sampling 178
INDEX
274
saving 247
scaling 127
selecting 168
shape 156
skewing 128
stroking 159
thumbnails 168
type 213
ungrouping 181
viewing 168, 169
See also type layers
Layers palette 166–168
Lemple-Zif-Welch (LZW)
compression 246
Lens Flare filter 201
Levels command
about 87
adjusting color balance with 89
Auto option 86, 88
setting target values with 89
Threshold mode 90
libraries 37
Lighten mode 148
Lighting Effects filter
about 202, 207
adding a light 210
creating styles 210
deleting a light 210
deleting styles 210
dialog box 210
directional light 208
omni light 208
saving styles 210
spotlight 208
Lighting Effects filter styles
2 o’clock Spotlight 209
Blue Omni 209
Crossing 209
Crossing Down 209
Default 209
Five Lights Down 209
Five Lights Up 209
Flashlight 209
Flood Light 209
Parallel Directional 209
RGB Lights 209
Soft Direct Lights 209
Soft Omni 209
Soft Spotlight 209
Three Down 209
Triple Spotlight 209
linear gradient tool 150
lines
angle 29
drawing 140
Liquify filter
about 124, 199
bloat tool 125
pucker tool 125
reconstruct tool 125
reflection tool 125
restoring an image 125
shift pixels tool 125
twirl clockwise tool 124
twirl counterclockwise tool 125
warp tool 124
Load Swatches command 76
loading
brushes 36
gradients 36
pattern libraries 161
patterns 36
swatches 76
Lock Transparency option 113
locking layers 178
lossless compression
CCITT 246
GIF format 228
LZW 246
PNG-24 format 229
PNG-8 format 229
RLE 246
ZIP 246
lossy compression, in JPEG
format 228, 246
low-key images 84, 90
Luminosity mode 148
M
Macintosh Drag Manager 112
magic eraser tool 140
magic wand tool 106
Contiguous option 107
Tolerance values 106
magnetic lasso tool 104
magnifying images 25
manipulating objects in three
dimensions 130
marquee tools 103
masks for type 214
Median filter 200
memory, freeing 33
menu bar 19
Merge Down command 174
Merge Visible command 174
merging
adjustment or fill layers 185
layers 174
Mezzotint filter 201
Microsoft® Internet Explorer 2
275
midtones
adjusting 95, 136
adjusting with Levels 89
Minimum and Maximum
filter 206
Mode commands 70
modes. See blending modes or
color modes
Mojikumi option 222
monitors
calibrating 67
default color 68
resolution 47
Mosaic filter 201
Mosaic Tiles filter 205
Motion Blur filter 196
move tool 110
moving
change in position 29
selection borders 107
selections 110
Multichannel mode, type in 213
multilevel transparency, in
PNG-24 format 233
multiple copies. See duplicating
multiple-image layouts 257
contact sheets 257
picture packages 257
Multiply mode 147
N
Nearest Neighbor interpolation 49
negatives, creating 96
Neon Glow filter 195
Netscape Communicator 2
New Brush command 143
New command 54
New Layer button 170
New View command 24
Noise dither 236
Noise filters 194, 199
See also individual names of
filters
noise gradients, creating 154
Normal mode 179
Note Paper filter 203
NTSC Colors filter 205
number of colors in image 232
numeric values, specifying colors
with 78
O
Ocean Ripple filter 198
Offset filter 207
defining undistorted areas 191
omni light effect 208
online Help 2
online images
changing size of 49
resolution of 47
Online Services command 266
opacity
gradients 153
layers 179, 180
painting and editing tools 149
See also transparency
Open As command 56, 58
Open command 55, 57, 58
Open Recent command 55
opening
EPS files 57
images 55
PDF files 56
Photo CD files 58
Raw files 58
See also placing, importing
OpenType fonts 213
Optimized option, for JPEG 231
optimizing images
about 225
file formats for 227
GIF format 228, 231
JPEG format 228, 230
PNG-24 format 229, 233
PNG-8 format 229, 231
predefined optimization
settings 230
preserving background
transparency 233
previewing and controlling
dithering 235
using background matting 234
viewing information 226
options bar 19, 20
collapse 20
moving 20
pop-up palettes in 35
using 20
Other filters 195, 206
See also individual names of
filters
Overlay mode 147
P
page marks, printing 262
Page Setup command 261
paint bucket tool 155
Paint Daubs filter 195
paintbrush tool 139
painting
base color 147
Behind mode 147
blend color 147
INDEX
276
blending modes 147
Color Burn mode 148
Color Dodge mode 148
Color mode 148
Darken mode 148
Difference mode 148
Dissolve mode 147
Exclusion mode 148
fade rate 149
Hard light mode 148
Hue mode 148
Lighten mode 148
Luminosity mode 148
multiple copies 133
Multiply mode 147
Normal mode 147
opacity 149
options 147
Overlay mode 147
result color 147
Saturation mode 148
Screen mode 147
selecting a brush 139
Soft light mode 148
tools 139
transparency 147
with patterns 133
Palette Knife filter 195
palette menus 23
palette well 19, 21, 22
palettes 19
File Browser 56
layer styles 175
Recipes 29
restoring positions 23
storing in palette well 21
using 22
See also names of individual
palettes
pan camera tool 131
panoramas, creating 118
Paste Into command 110, 111
pasting
PostScript artwork 112
selections 111
Patchwork filter 205
pattern dithering 73, 236
pattern stamp tool 161
about 133
Aligned option 133
retouching with 132
patterns
fill layers 183
filling selections with 155, 160
libraries 162
painting with 133
PostScript Pattern folder 162
presets 37
saving 162
PCD format 58
PCX format 250
PDF files
opening 56
placing 60
saving 251
viewing with Acrobat Reader 1
PDF Image command 57
PDP. See also Photoshop PDF
format
pencil tool 139, 142
Perceptual color table 232
Perceptual rendering intent 265
perspective, applying 129
Photo CD files 58
Photocopy filter 203
Photomerge command
about 118
adjusting perspective 122
advanced blending 123
cylindrical mapping 123
dialog box 120
editing a composition 121
previewing a composition 122
rotate tool 122
saving and opening
compositions 123
select image tool 121
setting up 119
source photographs 118
vanishing point tool 122
Photoshop 2.0 format 250
Photoshop compensation 227
Photoshop Elements 1
Photoshop EPS format. See EPS
format
Photoshop format 250
Photoshop PDF format 245, 251
Image Interpolation option 251
saving in 251
Transparency option 251
picas 219
PICT File format 251
PICT files 59
PICT resources 59
Picture Package command 257
customizing layouts 258
Pinch filter 198
PIXAR format 251
pixel dimensions
changing 49
277
display of 46
maximum 48
new images and 54
resampling and 49
viewing 48
Pixelate filters 194, 200
See also individual names of
filters
pixelation 47
pixels
about 45
histogram display of 85
selecting 103
Place command 60
Plaster filter 203
Plastic Wrap filter 195
plug-ins
file format 245
filters 210
modules 40
scanner 51
PNG format
about 252
background matting in 234
Interlace option 252
saving in 252
See also PNG-8 format, PNG-24
format
PNG-8 format
about 229
Adaptive color table 232
Custom color table 232
hard-edged transparency 234
optimization settings for 231
Perceptual color table 232
preserving transparency 233
Selective color table 232
Web-safe color table 232
See also PNG format
PNG-24 format
about 229
optimization settings for 233
preserving transparency 233
point type. See type
pointers. See tool pointers
Pointillize filter 201
points 219
Polar Coordinates filter 198
polygon lasso tool 103, 105
pop-up palettes 35
brushes 35
using 35
pop-up sliders 24
Portable Document Format
(PDF) 1
positives, creating 96
Poster Edges filter 196
Posterize command 97
posterizing images 97
PostScript
fonts 213
point size 28, 219
ppi (pixels per inch) 47
See also resolution
predefined optimization
settings 230
preferences
Append File Extension 255
Asian text 220
Beep When Done 31
Clipboard 112
color picker 79
Display & Cursors 39
Enable Advanced TIFF Save
Options 255
File Extension 255
Grid 28
Gutter 28
History States 33
Image Previews 254
Keyboard Zoom Resizes
Windows 26
Maximize Backwards
Compatibility 255
Other Cursors 39
Paintings Cursors 39
Plug-Ins & Scratch Disks 40, 41
Point/Pica Size 219
Recent File List 255
recent file list 55
regenerating 38
Relaxed Text Selection 215
Reset All Tools 20
Reset All Warning Dialogs 39
restoring to default settings 38
Rulers 28
Saving Files 254
setting 38
settings 38
Show Tool Tips 20
Step Back/Fwd 34
tool 20
transparency display 169
unit of measurement for
type 219
Units & Rulers 28
Use Cache for Histograms 85
Use Pixel Doubling 39
Use Shift Key for Tool Switch 20
Width 28
Preserve Transparency option 140
Preset Manager 37
INDEX
278
presets
gradients 152
patterns 162
swatches 76
pressure setting 149
preview
browser dithering 237
printing 261
saving 247
previewing
layers 168, 169
printed image 51
previews, displaying quickly 39
print dimensions, changing 50
Print Preview command 261
print space 264
printer resolution 48
printer’s points 28
printing
about 261
about dpi 48
background color 263
borders 263
captions 263
color management options 264
crop marks 263
encoding methods 263
images 261
layers 261
online services for 266
output options 262
page setup 261
previewing image size 51
previews 261
Print One command 262
Print Selected Area option 263
resizing and repositioning
images 262
profiles for JPEG optimization 231
profiles. See color profiles
Progressive option, for JPEG 231
PSD format. See Photoshop format
pucker tool 125
Purge command 33
pyramid data structure 253
Q
Quality option, for JPEG 230
Quick Start screen 7
Quick Start window 32
Quit command 42
R
Radial Blur filter 196
radial gradient tool 150
Randomize option 154
raster images. See bitmap images
rasterizing 112
Adobe Illustrator artwork 113
PDF files 57, 60
PostScript artwork 57, 60
vector graphics 112
Raw files 58
Raw format 252
Read Watermark command 31
Recipes 2
Recipes palette 29
reconstruct tool 125
rectangular marquee tool 104
red eye brush
about 134
setting tolerance 134
specifying target color 134
Redo command 33
reference point 126
reflected gradient tool 150
reflection tool 125
registering software 1
Relative Colorimetric rendering
intent 266
Relaxed Text Selection
preference 215
Render filters 194, 201
3D Transform 201
Lighting Effects 202
See also individual names of
filters
rendering intents 264
rendering options 132
renmoji 221
Repeat Edge Pixels option 191
Replace Color command 94
Replace Swatches command 77
Resample Image option 50
resampling
interpolation methods 49
See also resizing
Reselect command 103
Reset All Tools command 20
Reset Palette Locations
command 23
Reset Swatches command 77
Reset Tool command 20
Resize Window to Fit command 26
resizing
about 49
canvas 118
images 48
images during printing 262
placed artwork 61
279
resolution
about 47
changing 49
displaying 48
document size 50
dpi 48
file size and 48
monitor 47
printer 48
Resolution option 132
restoring images 33
Reticulation filter 203
retouching images 132
Revert command 33
RGB
color model 68, 77
converting to indexed-color
images 71
mode 68
selecting color 78
specifying colors numerically 78
Ripple filter 198
Rotate command 127
rotate tool 122
rotating
images 125, 129
layers 127
layers and selections 129
placed artwork 61
rotation
angle of 29
Rough Pastels filter 191, 196
rulers 27
Run Length Encoding (RLE)
compression 246
S
sampling
from layers 178
image with clone stamp tool 132
saturation
about 68
adjusting 92, 95, 136
Saturation mode 148
Saturation rendering intent 265
Save As command 225, 246
Save command 246
Save for Web command 225
Transparency option 234
Save Swatches command 77
saving
file extensions 255
thumbnails 254
See also names of individual
formats
Scale command 128
scaling
about 126
images during printing 262
layers 127
percentage of change 29
scanning 53
about 51
color balance 52
dynamic range 52
images 52
quality check of images 84
scratch disks 31, 41
about 41
assigning 41
preferences 41
Screen mode 147
scrolling 26
select image tool 121
selecting
contiguous pixels 107
layers 168
pixels 103
type 217
unselected areas 108
selection borders
anti-aliasing 108
closing 105
feathering 108
for type 214
moving 107
selections
adding to 108
adjusting 107
anti-aliasing 104
applying edge effects with 193
converting to layer 170
copying 110, 111
copying between
applications 112
copying within Photoshop
Elements 110
customizing 104, 106, 107
deleting 110, 113
deselecting 103
dragging between
documents 111
feathering 109
filling 159
filling with patterns 155
freehand 104
intersecting 108
making 103
moving 110
pasting 111
repositioning 104
INDEX
280
softening edges of 108
stroking 159
subtracting from 108
tools 103
See also floating selections
Selective color table 232
Send Backward command 169
Send to Back command 169
shadows
adjusting 95, 136
adjusting with Levels 88
settings target values 90
Shape Selection tool 158
shapes
applying layer styles to 158
arrowheads 156
changing the color of 158
custom shape tool 156
drawing 156
drawing constrained 156
editing 157
layers 156
options 156
selecting 158
shape selection tool 158
simplifying 158
tool options 156
tools 139
transforming 158
width and height 29
Sharpen Edges filter 202
Sharpen filters 194, 202
See also individual names of
filters
Sharpen More filter 202
sharpen tool 135
sharpening images 98
Shear filter 199
defining undistorted areas 191
shift pixels tool 125
shortcuts bar 21
Show Bounding Box option 215
showing palettes 22
Simplify layer command 173
simplifying shape layers 158
Sketch filters 194, 202
See also individual names of
filters
skewing
about 129
angle of 29
layers 128
placed artwork 61
Smart Blur filter 197
Smudge Stick filter 196
smudge tool
about 134
Finger Painting option 134
Soft light mode 148
Solarize filter 204
source space 264
special filter effects 192
specular highlights 89
Spherize filter 199
Splatter filter 197
Sponge filter 196
sponge tool
about 136
adjusting saturation 136
spotlight effect 208
Sprayed Strokes filter 197
Stained Glass filter 205
Stamp filter 203
Standard Macintosh Color
display 227
Standard Windows Color
display 227
status bar 30
straight-edged selection
border 104
Straighten and Crop Image
command 126
Straighten Image command 126
strikethrough type 219
Stroke command 161
stroking
selections 159
styles
applying to layers 176
Stylize filters 194, 203
See also individual names of
filters
stylus
pressure options 143
setting fade rate 143
stylus pressure options 149
stylus tablet 106
Sumi-e filter 197
swatches
customizing 76
deleting 77
libraries 76
presets 37
Swatches palette 76
T
Tagged-Image File Format (TIFF).
See TIFF format
Targa format 252
target values, setting with Levels or
Curves 89
Tate-Chuu-Yoko command 221
281
text. See type
Texture Channel 210
Texture Fill filter 202
Texture filters 195, 205
See also individual names of
filters
textures
for special effects 190
in Lighting Effects filter 210
loading 190
Texturizer filter 191, 205
TGA format 252
Three-dimensional (3D)
Transform filter 201
Threshold command 96
Threshold slider 200
thumbnails
displaying in Windows
desktop 255
layer 168
preferences for saving 254
saving 247
viewing in Open dialog box 55
TIFF format
about 253
file saving preference 255
Save Image Pyramid 253
saving in 253
Transparency option 253
Tile command 24
Tiles filter 204
timing 31
Tolerance values 155
tonal and color adjustment
adjustment layers 182
tonal and color adjustments
Adjust Backlighting 86
Auto Contrast command 86
automatic 86
automatic adjustments 86
Brightness/Contrast
command 87
Color Cast 92
Fill Flash 87
generalized adjustments 95
Hue/Saturation
command 92, 94
overview 83
sharpening images 98
special-purpose tools for 95
tonal range check 84
tonal range
adjustment layers 182
brightness and contrast
adjustments 87
generalized adjustments 95
quality check in histogram 84
remapping pixels in channel 97
scanning and 52
toning tools
about 135
adjusting highlights 136
adjusting midtones 136
adjusting shadows 136
burn tool 135
dodge tool 135
tool pointers
appearance 39
position of 29
tool tips 3, 19
toolbox 19
tools
custom shape 156
eyedropper 89
focus 135
hand 26
hidden tools 19
layer sampling 178
magic eraser 140
magic wand 106
magnetic lasso 104
marquee 103
move 110
opacity 149
options for 20
painting 139
pointers for 39
polygon lasso 103, 105
preferences 20
restoring default settings 20
retouching 132
selecting 20
shape 139
shape selection 156, 158
toning 135
zoom 25
Torn Edges filter 203
Trace Contour filter 204
trackball tool 131
Traditional point size 219
transformations
objects in three dimensions 130
reference point 126
type layers 214
See also individual transform
commands
transforming shapes 158
transparency
canvas 118
creating in new images 55
document display 169
gradients 153
hard-edged 234
INDEX
282
in EPS files 250
option for PNG-24 232, 233
option in Save for Web 234
preserving in optimized
images 233
saving in PDF format 251
saving in TIFF files 253
See also opacity
Transparency & Gamut option 169
TrueType fonts 213
Tsume option 221
tutorials 2
TWAIN 51
twirl clockwise tool 124
twirl counterclockwise tool 125
Twirl filter 199
type
about 213
aligning 220
anti-aliasing 216
choosing a font 218
choosing a size 219
color
committing 213
creating 213
editing 215
entering 214
formatting characters 217
orientation 215
point type 213
selecting 217
selection border 214
size 219
strikethrough 219
tool options bar 213
underlining 219
warping 216
See also CJK type, type layers
type layers
about 214
anti-aliased 216
Auto Select Layer 215
changing orientation 215
Show Bounding Box 215
transforming 214
warping 216
type tool options bar 213
U
Uncompensated Color option 226
underlining type 219
Underpainting filter 191, 196
Undo command 33
Ungroup command 181
Unsharp Mask filter 98
after resampling 49
unsharp masking 98
Unsharpen Mask filter 202
Use All Layers option 107, 179
USM. See unsharp masking
V
vanishing point tool 122
Variations command 95
vector graphics 112
about 45
resizing 48
vector shapes. See shapes
vertical type tool 214
VGA color palette 250
Video filters
about 195, 205
De-Interlace 205
NTSC Colors 205
viewing
layers 169
See also showing, hiding,
previewing
viewing layers 168
viewing palettes 22
virtual memory 41
W
Wacom tablet 149
warning dialogs 39
Warp Text command 216
warp tool 124
warping type layers 216
Water Paper filter 203
Watercolor filter 196
watermarks 31
Wave filter
about 199
defining undistorted areas 191
Web
creating photo galleries 241
optimizing images for 225
283
Web documentation overview 3
Web Photo Gallery command 241
Web-safe color table 232
Wet Edges option 140
WIA support 53
importing with digital
camera 53
scanning 53
Wind filter 205
Windows Color Picker 79
wire frame 130
wire frame. See transformations
work area
about 19
components 19
options bar 19
palette well 19
shortcuts bar 19
toolbox 19
work space, adding or
removing 118
Wrap Around option 191
Z
ZigZag filter 199
ZIP compression 246
zoom tool 25
zooming 25
Production Notes
This book was created electronically using Adobe
FrameMaker®. Art was produced using Adobe
Illustrator and Adobe Photoshop. The Minion®
and Myriad® families of typefaces are used
throughout this book.
Photography
The following photographers and stock agencies
have supplied the photographs and artwork seen
throughout this book.
Adobe Image Library
Horse (page 141)
CMCD, Inc.
Bike (page 45)
Definitive Stock
Cactus (page 195)
Eyewire Photography
Filter and effects gallery; Sailboat (page 189)
George Matthews
Chicago skyline (page 9)
John Peterson
Lakeview (page 123)
Julieanne Kost
Business woman (page 10), Butterfly (page 21),
Orange (page 26), Grapes (page 71), Archway
(page 84), Glacier (page 84), Southwest ruins
(page 84), Lion door knocker (page 84), Star and
clouds (page 109,), Pear (page 145), Lion and
zebra (page 165), Paint brushes (page 227),
Paint roller (page 228), Bolts (page 234)
Kaoru Hollin
Bicycle illustration (page 46)
Karen Tenenbaum
Clock (page 49), Coin (page 118)
Lisa Milosevich
Greek porch (page 7), Swiss alps (page 86),
Loire valley (page 142)

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