Training: How to Wow - Best of Photoshop CS3 - Let one of the greatest teachers of Photoshop give you a tour of Photoshop CS3. This training is packed with indispensable insights, techniques and time-savers to make your experience in Photoshop CS3 more productive.
Jack will demonstrate the Adobe Bridge, Camera Raw, Smart Filters, Quick Select Tools, Photomerge and more.
- Session 01 : Essentials of the New Bridge
- An overview of the CS3 Bridge, including the workflow time-saver Photo Downloader, the indispensable Filter Panel, the Loupe, Compare and Stacks Views, Customized Workspace options, and even some essential lifesavers hidden away in Preferences
- Session 02 : Essentials of Camera Raw 4
- This session showcases the incredible breakthroughs pertaining to a streamlined, nondestructive workflow that have come to us in Adobe Camera Raw 4, including the indispensable Healing Brush, Highlight and Shadow Recovery sliders, Vibrance and targeted HSL controls, and the best Black & White and Split Tone features to be found anywhere. Plus more essentials hidden away in Preferences
- Session 03 : Maximizing the Photoshop CS3 Interface
- Like a new pair of shoes, some things just need to be to be stretched a bit to fit right and feel comfortable - and how to "stretch" Photoshop the CS3 interface (and some features found in it's Preferences) for a speedier and more personalized workflow.
- Session 04 : Smart Filters, Objects and Adjustments
- The most powerful, most flexible, most nondestructive workflow imaginable? It's the CS3 application of the Smart Objects technology that came in with CS2; the new Smart Filters options. And even though many of it's capabilities (that go way beyond simply applying filters) are buried in multiple dialogs, it will give you the ability to do virtually everything in one layered file; from raw tonal adjustments, to retouching, to collaging: without ever permanently altering a single pixel
- Session 05 : Quick Select, Refine Edge and Masking Secrets
- The CS3 great Quick Select tool, and it's partner, the Refine Edge dialog, are going to be your new best friends when it comes to selecting - If you know how to navigate the options, and use the resulting "marching ants" as a basis for your nondestructive Layer Masking. And if you know a little trick to help with those pesky little edge details (like flyaway hair) then your life will be complete
- Session 06 : Photomerge, Auto Align and Auto Blend
- Some mind-bendingly cool technology has been embedded into CS3; specifically the Auto-Align and Auto-Blend features. Both of these are at the heart of the phenomenally enhanced Photomerge panorama utility, but these Auto miracles are also invaluable for image compositing and exposure combining, as you will see in this session
- Session 07 : Optimized Black & White Conversion in ACR and Photoshop
- Photoshop CS3 has a sexy Black & White adjustment layer feature - but is it really the Holy Grail of creating monochromatic masterpieces? In this session they'll compare what can be done to any image in Camera Raw (since ACR can now open JPEG's and TIFF's) with what can be done in Photoshop - using both the Black and White, as well as the tried-and-true Channel Mixer Adjustment Layers. You will be surprised.
- Session 08 : New Vanishing Point Tips & Tricks
- The updated Vanishing Point filter now has the capability to retouch in perspective at any angle (not just at 90°). But how to both ADD textural and graphic elements to an image, as well as remove annoying distractions in perspective, that's the secret that will be revealed here
- Session 09 : Soft Proofing and Print Previewing in CS3
- CS3 has enhanced it's Print options, including the ability to get a color managed Preview of what an image will look like before committing the print to paper. But what if you don't like what you see? This session covers the essentials of on-screen Soft Proofing within Photoshop (including the whole concept of the different RGB Color Spaces and using custom Color Profiles) where you'll be able to not only see what happens when you choose a specific output option (whether for your own desktop printer, or some other photographic or commercial printer), but more importantly, adjust your work non-destructively to bring it back to your vision