How Professional Photoshop
Compares to Corresponding
Chapters in PP4E
1. Color, Contrast, and
Channels. The introduction to color correction
its goals. 80% new content compared to last time.
2. The Steeper the Curve,
the More the Contrast. The basics of
3. Color By the Numbers. The simple rules for establishing proper color in
all images. 100% new.
4. Color, Contrast, Canyons,
and LAB. The introduction to LAB is overhauled
in light of what has been learned since Photoshop LAB
Color was released. 100%
5. The Key Is the K. Manipulating the black channel is the most potent weapon in
the CMYK arsenal. 50% new.
6. Sharpening with a
Stiletto. This section gets a complete makeover,
stressing proper use of all three fields of the USM
command, plus the
introduction of hiraloam (high Radius, low Amount)
sharpening. 90% new.
7. Keeping the Color in
Black and White. Look for the types of contrast
will be lost when the image's color vanishes, and find
a way to replace them
in advance. 60% new.
8. Keeping the Black and
White in Color. The completely revamped
channel blending to improve color images. 100% new.
9. Inferences, Illusions,
and When to Bet the Image. Successful color
correction requires detective work--looking for
internal clues that show what
the final color must be. 75% new.
10. Every File Has Ten
Channels. Being able to work in three
offers an abundance of tools to improve quality. 100%
11. Making Things Look
Alike. The second half of the book opens with a
philosophical chapter discussing what the goals of
calibration are. 80% new.
12. Managing Color Settings.
Recommended settings for various types of
output, discussion of how CMYK profiles handle out of
gamut colors, and the
impact of working with an RGB definition whose gamut is
too big. 85% new.
13. Politics, Printing, and
the Science of the Skosh. In response to
requests, this chapter is unabashedly about the
politics of the offset
printing process, complete with jabs at printers, photo
calibrationists. It offers sensible methods of taking
insurance against bad
results in a world where commercial printing is
horrendously variable. 100% new.
14. Resolution for the
Multimegapixel Era. The previous edition's
which discussed many forms of resolution, has been
consigned to the CD, in favor
of a new chapter that concentrates only on image
resolution, when it is
useful, and what to do when you have too little--or too
much. 100% new.
15. The Art of the False
Profile. If an image appears too dark, it
because your expectations are too light. 80% new.
16. What Comes Around, Goes
Around. The advantages of manipulating raw
and the areas to be steered clear of. The chapter uses
Camera Raw for three
in-depth examples of different subjects from different
cameras. 100% new
17. Blurs, Masks, and Safety
in Sharpening. This chapter further
the characteristics of hiraloam and conventional
sharpening, and shows methods
of bringing out the best of both in a single image.
18. Overlays, Hiraloam, and
Shadow/Highlight. Three closely related
of improving detail in shadows and/or highlights all
depend on managing a blur.
19. Color, Contrast, and
Safety in Masking. For various reasons,
and masks are more necessary with digital images than
they were in the age of
film. This chapter discusses some of the more common
scenarios, and how to find
the proper channel to use for the mask. 100% new.
20. There Are No Bad
Originals. We wrap up the series with a
process for how to approach an image, one old and one
new correction, and some
speculation about the future of our field. 75% new.