Photoshop Cs2 Workflow Tutorial

Photoshop CS2 workflow tutorial
PHOTOSHOP TUTORIAL
BY DAVID PASTERN
I use Adobe Photoshop CS2; most of this tutorial should be similar for Photoshop CS I
suspect. I would highly recommend Scott Kelby’s “The Photoshop CS2 book for digital
photographers” – it’s a most excellent read and I firmly believe it’ll help you both become a
better Photoshop user, and more confident in your abilities in the realm of digital image
editing. Much of what I have learned is from this book. This tutorial is written with Microsoft
Windows XP professional in mind as well as the Windows version of Photoshop CS2.
The first thing is to set up Photoshop’s Auto Colour to be more accurate. This will probably
work well for 95% of your images from my experience. This is detailed in Kelby’s book on
pages 177-179. I’ll guide you through this process in this tutorial.
The first thing that I’d highly recommend that you do, although we won’t actually use it in this
tutorial, is to set up accurate auto colour. This step is optional, but can be sometimes be
handy in replacing the manual colour balancing steps via the thresholds/curves technique
described below if you’re in a hurry. It’s not quite as accurate as the manual way.
SETTING UP ACCURATE AUTO COLOUR
The first thing to do is to bring up the Levels dialog box. To do this, press Control + L for a
PC, or Command + L for a Mac. You will see the following window:
Copyright © David Pastern 2007 Version 1.0.0 1

Click on the Options button. You’ll now see the follow window:
Make sure to select both “Find Dark & Light Colours” and “Snap Neutral Midtones”. In the
“Target Colours && Clipping” section you will see Three options:
Shadows
Midtones
Highlights
We will need to click on each of these options individually and enter in our settings. Let’s start
with clicking on “Shadows” – you should see the following window:
You want to enter in the value of 20 for the R, G & B sections and then click the OK button.
Similarly, you will want to click on the “Midtones” and “Highlights” options. For “Midtones” you
will want to enter in the value of 133 for the R, G & B sections, and for the “Highlights” you will

want to enter in the value of 244 for the R, G & B sections. When you are done, you will want
to tick the “Save as defaults” checkbox and then click the OK button. We are done!
With the auto colour set to our custom settings for increased accuracy, we can now proceed
with the rest of the tutorial.
TUTORIAL
The first thing that we need to do is open the image in Photoshop CS2 and I then get rid of
any dust spots, etc. I use the spot healing tool, the clone tool, and sometimes even the patch
tool, depending on the image. I usually select the zoom tool, and then click on the Fit Screen
button, followed by the Actual Pixels button. This gives you a larger working area on the
main image canvas, making it easier to de-spot the image, with less having to drag the
zoomed area around the navigator window. For most dust spots, the spot healing tool does
just fine. Remember, you can change the size of the brush by using the [ and ] keys on your
keyboard.
For large areas where I’ve cloned, I’ll usually do a rough selection with the lasso tool, feather
it (usually around 30 pixels), and then add around 1% Gaussian blur, followed by 0.3% noise.
I find that this helps make the cloned area look a bit more natural. Feel free to experiment
with the amount of blur and noise, depending on the image etc.

Once you’ve done all of this, you can deselect the area by pressing the CTL and D keys on
your keyboard.

This is where the fun begins!
Our first real step is to colour balance the image. I do this by using a Thresholds layer and
curves as per page 152 of Scott Kelby's book. A tip - I find it's more accurate to zoom into
the very first black dot or white section and mark them with the colour sample tool. I do this
for both the darkest and lightest sections of the image. Once you have the highlight/darkest
sections marked, you’re half way there!
Default look of the threshold tool – note the triangular pointer is centred. We will adjust this
shortly, but for now, just take note of what it looks like by default.
When you select the threshold tool, your image will change, and will look roughly like the
image below:

Don’t be alarmed by this, it’s normal. Now, drag this triangular marker all the way to the left.
The threshold tool will look like the image below:
The image canvas will probably be White now. What you want to do is to now slide the
triangular marker slowly back in towards the first black section of the histogram. You can use
the mouse for this, but I don’t recommend it, as it’s not very accurate from my experience.
You are much better to use the up/down cursor keys on your keyboard. Drag the marker in
until you see your very first Black dot on the main canvas. When you have done this, you can
click on the OK button to close the threshold tool for now. We will now use the colour
sampler tool to select this black dot.
The shortcut keys for cycling through this group of tools and selecting the colour sample tool
are Shift + I. You will see the cursor in Photoshop change accordingly. When you’ve
selected the colour sampler tool, you can either click on the black dot to mark it, or, as I said
earlier, zoom in and click on it. I find zooming in is much more accurate. I usually zoom into
actual size, but sometimes you will need to zoom in even tighter.
When you’ve marked the darkest part of the image, you can repeat this process to select the
lightest part. Double click on the Threshold layer in the layers palette. This will bring up the
Threshold tool again. Drag the triangular marker all the way to the right. Now, you can slowly
drag the marker back in towards the centre by using the down cursor key on your keyboard
until you see the first White dot on the main Photoshop canvas. Then simply click the OK
button and use the colour sampler tool to mark it. Again, use the zoom tool as needed.
Another tip – if you don’t mark the spots quite properly the first time, you can use the Undo
option (shortcut keys are CTL & Z) to undo it and try again. When you’ve done this, you’ll
note that both spots are now marked:

OK, now that’s the halfway point reached. Do not delete the Threshold layer, we still need it.
Our next step is to mark our mid tone point. You can try and do this by eye, or do it via a
method that I’ll show you below. We are going to create a new layer, by clicking on the
create new layer button at the bottom of the layers palette.
You will now have a new layer added to the top of your layer stack. We now need to fill this
with 50% grey. Make sure that the new layer is selected. Hold the Shift button down and
press the F5 button on your keyboard. This will bring up the Fill window:

Make sure to change your settings to match the image above, otherwise this step will NOT
work correctly. The new layer will now be filled with grey. Our next step is to change the
blending mode from Normal to Difference.
Now, the trick is to drag the new layer (called Layer 1) below the Threshold layer, but above
the Background layer. Your layer stack should look similar to this:
Note that the Layer 1 is still selected, and the blend mode is now showing Difference. Now,
simply double click on the Threshold layer to bring up the Threshold tool again. It will
probably look similar to this:

Note that the triangular marker is all the way to the right. Drag it all the way to the left. Now,
slowly drag it towards the left hand edge of the histogram, until you start to see some Black
sections on the Photoshop canvas. I usually get a small amount of Black showing.
I then use the colour sampler tool to select the mid tone area. Once you’ve done this, you
can delete both Layer 1 and the Threshold layer, as we no longer need them.
Now – we’ll actually apply our selections to a Curve layer to help balance the image. If you’ve
zoomed in to mark any of the spots, zoom in first. Make sure you can see the selection in the
Photoshop canvas. I usually do the darkest section first, then the lightest, and then the mid
tone. To make our changes, you now need to open up a Curves adjustment layer.

The Curves tool looks like this:
You will notice the three pickers near the bottom Right hand corner. From left to right, dark,
mid tone and highlight. Use the droppers to select the corresponding marks on the
Photoshop canvas. An example image below illustrates the process:
Note: You cannot move to new parts of the image whilst the Curves tool is open. Once
you’ve marked the darkest section of the image, click the OK button. You are now free to
move around the image and select the lightest marker. Double click on the curves layer in the
layers palette to bring up the curve tool again. Now select the lightest picker, and then use it
to mark the corresponding marker on the Photoshop canvas. Repeat this process to mark the
mid tone selection. Once done, click the OK button. You should have noticed the image
change appropriately. In most cases, this technique works wonders, and removes unwanted
colour casts, correctly balancing the image. Sometimes, though, it will not work, and you
might end up with a slight colour cast. Don’t panic, there is a way to fix this as well.

If there's a slight colour cast from earlier steps, I usually add a colour balance adjustment
layer. Before we go through this process, I would like to mention that I have my monitor
calibrated now after recently buying a Pantone Huey Pro, so that it's pretty accurate. This
allows me to accurately gauge colours in the image, and hence any potential unwanted colour
casts.
I also have the camera set to Adobe RGB, and my working space in Photoshop is set to
Adobe RGB as well. I’m using Adobe RGB because it offers a wider colour gamut over the
sRGB workspace.
You don't have to do any of this, just as long as your monitor is reasonably set up by eye (for
example using Adobe Gamma), and you're shooting sRGB, you should be mostly OK for web
based image displays. Since I'm trying to work on making my images both more accurate,
and consistent, colour management has become an important part of my workflow. I would
strongly suggest that you consider purchasing some form of hardware calibrator for your
monitor. Your images will improve.
Anyways, that out of the way, I’ll walk you through adding an adjustment layer. You will want
to click on the create new fill or adjustment button at the bottom of your layers palette and
select Colour Balance from the menu:
The Colour balance tool looks like:

I usually leave the Tone Balance option set to Midtones, and simply adjust the
corresponding slider as appropriate. I make all adjustments by eye. You usually don’t need
to make too drastic an adjustment, just keep an eye on the screen, when it looks right, it
usually is. Once this is done, I flatten the image (Layer > Flatten Image), ready for the next
step.
Now, this next step is optional – for most images I don’t do it as I find that it generally makes
the image too contrasty and dark. Use as you feel appropriate. Basically, I’ll add a Levels
adjustment layer:
You will now have the Levels tool showing:
Note that the Channel is set to RGB by default. You can adjust the RGB layer, but I prefer to
adjust each layer separately.

Select Red from the drop down menu, instead of RGB. You should see something similar to
this:
You will notice the histogram, and where it starts and finishes, etc. You will also note that
there are 3 triangular markers – Black, Grey and White. As you can probably imagine, they
represent the dark, mid tone and highlight points. I usually don’t touch the mid tone marker,
but I do make adjustments to the Black and White markers. You can simply grab them with
your mouse and drag them along until you reach the start (or edge) of the histogram.
As an example, with the above histogram, my White point needs no adjustment – it goes all
the way to the right hand edge of the histogram window (i.e. clipping in the brightest sections
of the Reds). However, the Black marker can be dragged in slightly. After you’ve made the
adjustment, the Red channel would look something like this:
Repeat this process for the Blue and Green channels. When done, click on the OK button.
That’s it. We’re done with this stage of the workflow. Remember, this stage is optional, most
of the time I don’t use this step. As you get a feel for things, you’ll know when to use it.
When done, flatten the layers, so that you are ready for the next stage of my workflow.

The next step in my workflow is to add some contrast to the image. I don't do it via the
traditional Brightness/Contrast adjustment layer, well not quite.
I start by duplicating the layer (the shortcut keyboard command is CTL + J). I then select the
duplicated layer (it should be called Layer 1) and desaturate it (Image > Adjustments >
Desaturate). I then invert the image (Image > Adjustments > Invert). I then apply a
Gaussian blur of 10.5% to this adjustment layer.
The next thing is to change the blending mode for this layer from Normal to Overlay. I then
change the Opacity to 25% (seems to be a value that works well for most images). You can
adjust this to suit of course. It should look like the image below:
Once this is done, I do add a separate Brightness/Contrast adjustment layer, usually with
contrast set to +3. Again you can vary this if you think you need to.

Once this is done, I again, flatten the image.
The next stage of my workflow is to adjust the Hue/Saturation of the image. Again, I do not
use a standard Hue/Saturation adjustment layer.
I start by duplicating the layer (the shortcut keyboard command is CTL + J). I then select the
duplicated layer (it should be called Layer 1) and apply a Gaussian blur of 3% to this
adjustment layer.
The next thing is to change the blending mode for this layer from Normal to Colour. You do
NOT need to change the opacity of this layer, leave it at 100%. It should look like the image
below:
Now, you can add a standard Hue/Saturation adjustment layer:

I typically only adjust the Saturation slider for the Master channel. On the odd occasion, I will
select one of the other channels as appropriate, and make any necessary adjustments. Most
times, the Master channel will be the only thing you’ll adjust. I again adjust by eye, if it looks
right on screen, it usually is. A word of warning – don’t overdo saturation, or you’ll “block” the
colour. I’ll show you an example of what I mean by a blocked colour below:
Unblocked Greens
Blocked Greens
See how it looks “clumpy”? I usually adjust the Hue/Saturation by no more than probably 8
points. Sometimes, depending on the image, I’ll decrease the Saturation as needed. Just
remember not to overdo it, I can’t stress that point enough.
I adjust the Hue/Saturation via this particular technique, as I feel that it tends to make it harder
to block out colours, than if you were adjusting it via the standard method. It also tends to just
look better.

When this is all done, you need to “clip” the two layers together. The horizontal Black line that
separates the Hue/Saturation layer and duplicated layer (Layer 1) from each other is what
you're after. Hold the Alt key down on your keyboard, and click on this line. You will see
what looks like a tiny icon – Two overlapping circles, one black, and one Grey.
Unfortunately, there’s no way to do a screen dump to show this tiny icon, so I’ve circled where
you need to click Red. Remember to hold down the ALT key when doing this.
It will link the 2 layers together and should look like the image below:
See how Layer 1 is now underlined? And the description for the Hue/Saturation layer is
subtly different?
When this is all done, flatten the layers. We’re ready for the next step – sharpening the
image.
Now, the sharpening that we’re applying in this step is typically called “creative sharpening”,
as opposed to “output sharpening”, which would generally be the very last step after you’ve
resized the image for printing or web display, etc. I’ll deal with the “output sharpening” later.
There are many ways to apply sharpening to an image – the traditional USM (Unsharp mask)
filter, the Smart Sharpen filter, high pass filter sharpening, etc.
Each method has its own advantage:
USM – quick and easy

Smart Sharpening – More powerful and flexible, generally only sharpens areas with detail in
them. Areas such as sky etc are not generally sharpened, avoiding artefacts
High pass filter sharpening – can result in aggressive sharpening with few artefacts
Each method has its own disadvantage:
USM – affects everything in the image, less flexible than other options
Smart Sharpening – more complicated (potentially)
High pass filter sharpening – can lead to over aggressive sharpening if not used carefully
(true for any sharpening method though in all honesty)

These are my personal thoughts, based on my experiences, and a fair amount of reading and
experimentation on the subject. Feel free to try whatever methods you like. In this tutorial,
I’m going to cover using the smart sharpening filter, because that’s what I use in my workflow
for creative sharpening.
Now, I just don’t use a standard technique for the Smart Sharpen filter and there are good
reasons for this. I actually convert my image from RGB mode (default for colour images) to
LAB mode. The reason for doing this is simple – it helps avoid colour fringing etc as it only
sharpens the detail in the image, not the colour data. Some Photoshop gurus such as Martin
Evening advise you not to use the LAB mode technique, as they feel that it damages the
image more than it helps it. Others recommend it as a solid technique. I guess everyone can
make their own decision in regards to this.
Firstly, you can find the Smart Sharpen filter via Filter > Sharpen > Smart Sharpen.
When opened, the Smart Sharpen tool looks similar to this (depending on how you set it up to
look of course):

These are my settings, and from my experience they seem to work well:
Advanced
Preview: On
Sharpen Tab: Amount 53%; Radius 0.3 pixels; Remove: Lens Blur; More accurate
I leave the Shadow and Highlight tabs at their defaults, but feel free to experiment with any of
the settings to suit your own needs. As an aside, the traditional USM tool uses Gaussian blur,
which as I stated earlier, doesn’t deal with empty areas like the sky as well as Lens Blur does.
Now, that’s the basics of the Smart Sharpening tool. Before we actually use it, we need to
convert our image from RGB mode to LAB mode. You can do this via Image > Mode > LAB
Colour.
The image will still look the same in the main Photoshop canvas. We now need to select the
Lightness channel which is available via the Channels tab. Look at the layers palette:
You can see that I’ve circled the Channels tab. You need to click on the Channels tab. You
should then see something similar to the image below:
You now need to click on the Lightness channel, so that it is the only channel that’s
highlighted Blue.

You will see that your image in the main Photoshop canvas turns into a greyscale image.
This is only temporary, so do not panic. Now you can apply the Smart Sharpen filter.
Once this is done, you need to re-activate the Lab channel; you can do this by clicking in the
box to the left of the channel preview image (which I’ve circled in Red for you):
Once this is done, the image should return back to colour. Now click on the Layers tab which
is just to the left of the Channels tab, so that you can see your layers again. You can now
convert the image back to RGB mode via Image > Mode > RGB Colour. That’s it, pretty
simple isn’t it? Out of curiosity, click on the Channels tab now and see what channels are
available.
We’re now ready to clean up our image, using Noise Reduction software. Some people shoot
at lower ISO speeds and avoid this type of software; others use it on a regular basis. I fall
into the latter group – I pretty much apply noise reduction to every image, irrespective of the
shooting ISO. I use Neat Image Pro+, which allows me to use Neat Image as a filter within
Photoshop.
The standard free version of Neat Image only works in stand alone mode; it does not offer a
Photoshop plug-in. Also, the standard free version does not work with TIFF files – only
JPEGs. Since I shoot in RAW mode and convert to 16 bit TIFF files for Photoshop, the
standard Neat Image is no good to me. I strongly suggest shooting in RAW mode, the degree
of flexibility that it offers in post production can be a life saver. You can download Neat Image
from their website:
http://www.neatimage.com/
If you shoot in JPEGs, don’t panic – save the image in Photoshop as a high quality JPEG (I
recommend quality 12). Open the image in Neat Image standard and follow the noise
reduction steps outlined below. I find that the main drawback to using the free version is that
it slows me down – it’s much quicker to access Neat Image via the Filter menu. Once you’ve
done with cleaning up the image and removing any noise, simply save the file. You can then
scroll down in this document and continue with the section on resizing the image and output
sharpening for printing and web use.
For those that use other Noise Reduction software, apply the noise as you usually would. I
don’t use Noiseware or Noise Ninja, and I don’t have their software on my PC, so I cannot
describe the process in detail.

The rest of my tutorial will deal with using Neat Image Pro+ as a filter step.
Select the Neat Image filter via Filter > Neat Image > Reduce Noise.
You will now see the main Neat Image window – note that it has 2 tabs – Device Noise
Profile & Noise Filter Settings:

You want to select the Device Noise Profile tab (which it does by default). You will see a
button called Auto Profile (marked with a Red circle in the above image) – click on it. Neat
Image will now attempt to find a suitable section of your image to use as a profile – this works
probably 95% of the time. Once this is done, you’ll see a Blue square where Neat Image
decided was the best part of the image for profiling. Now click on the Noise Filter Settings
tab. The Neat Image window will look similar to the image below:
Now, I use Neat Image with its defaults, which work fine for the vast amount of images. You
can see the adjustments palette over near the top right hand corner of the window if you want
to make any adjustments to the defaults.

I simply click the Apply button (circled in Red) to apply the default noise reduction. Feel free
to make adjustments to Neat Image as you desire. Once done, save the changes to the
image.
By this stage, whether you’ve applied the noise reduction as a filter within Photoshop, or via
the stand alone version of Neat Image, or even some other noise reduction software, your
image should be cleaned up. If you worked on the image within Photoshop, you’re ready to
go to the next step. If you worked on the image from outside of Photoshop, open the image
back up into Photoshop.
Our next step is optional. If your image is saved in the sRGB workspace, ignore this step. If
like me however, your working space is Adobe RGB (or something else like proRGB), you are
best to convert the image to a sRGB profile. sRGB works best for both printing to a local
photo printer, or for saving for the web. You can do this via Edit > Convert to Profile (circled
in Red):
You will now see the Convert to Profile window, which will look like the image below:

I recommend the following settings be set:
Profile: sRGB IED61966-2.1

Engine: Adobe (ACE)
Intent: Relative Colorimetric
Use Black Point Compensation
Preview: On
Then simply click on the OK button. That’s it; the image is converted from Adobe RGB (or
any other non sRGB working space) to sRGB. As I said earlier, you can ignore this step if
you work in the sRGB working space – which is probably most people. If you want to learn
more about colour management and working spaces, etc, I would highly recommend that you
seek out René Damkot’s excellent posts on the subject. Thanks René.
With that all done, we’re onto our second last step – image resizing. You can do this via the
Image > Image Size menu, or via the keyboard shortcut – CTL + ALT + I. When you’re
doing this a lot of times, the keyboard shortcut, as with any shortcut, are much quicker. I
really suggest that you take the time to learn Photoshop’s shortcut key combinations, at least
for the most common tools.
You will then see the Image Size window, which should look similar to the image below:

Now, many online forums limit your image size to the longest dimension being no more than
800 pixels, including photography-on-the.net (POTN). This is pretty easy to do – simply enter
800 as the pixel size for the largest dimension in your image, i.e. where it says width and
height. In my example image above, my longest dimension are 3072 pixels, so I would
change this to 800 pixels. This will automatically reduce the height and keep the dimensions
the same as the original image size, provided you have both Scale Styles and Constrain
Proportions selected. You also should have the Resample Image option selected. I
recommend that you choose Bicubic Sharper as your re-sampling method. When done,
click the OK button and you will see your image resized on screen.
Our final step is to apply the output sharpening. For this stage, I use the unsharp mask
(USM). If you prefer to use the Smart Sharpen filter, or some other method, go ahead and
use it.
You can see my typical settings in the above image – I always keep the preview option
turned on, and the Radius set at 0.3 pixels. I adjust both the Threshold and Amount
settings on a per image basis. The higher the number in the Threshold setting, the less affect
the sharpening will have on the image. 0 Threshold applies the maximum threshold effect. I
generally avoid using 0 as my threshold.
I tend not to over sharpen my images; I know many users typically use settings like 100%, 1
pixel, and 0 levels. I find that this really over sharpens the images in all honesty. Again,
adjust as you see fit for your images. Remember that you can see the before and after
effects of the filter by clicking on the preview window. I recommend leaving the image
preview at 100%, but, if you want to change it, go ahead.
With everything done, we’re now ready to save the image as a JPEG for printing or web
usage. There are two ways of doing this – via the File > Save As option, or via the File >
Save for Web option. I will cover both methods in this tutorial. I primarily use the Save for
Web option, although many prefer not to use it as it strips the EXIF information from the
image. See the image on the next page:

I’ll deal with the Save As option first. For most people, who probably shoot JPEGs, they can
simply select the save as option and save the image. For those that use TIFF files in
Photoshop, there can be minor complications, depending on if you shoot 8 bit or 16 bit TIFF
files. If you shoot 8 bit, there should be no issues and you can select the save as option from
the file menu. However, if you shoot 16 bit TIFF files, you must convert the image to an 8 bit
format first. You can do this via Image > Mode > 8 Bits/Channel. This is because the JPEG
format is only 8 bits. You cannot have 16 bit JPEGs!
If you try and use the save as option with a 16 bit TIFF file, you will notice that JPEG is not an
option to save to. Since I shoot in 16 bit mode, this is a nuisance, although one that I could
easily fix with a Photoshop action if I really wanted to. Note that this problem does not apply
to the Save for Web option.

The Save As window looks like:
You can see that the JPEG option has been highlighted as I selected it. Simply click on the
Save button. You will see the following window:

To change the size of the file, simply drag the triangular marker between the large file and
small file ends (indicated by the topmost Red circle and Red double sided arrow), until you
reach a file size under 100kb (if posting as an attachment on the POTN servers), or reach a
suitable file size (if hosting the image yourself and inserting the image into a POTN post).
You can see that I’ve also circled the size indicator in Red. Once you’ve done this, click on
the OK button. You’re finished, unless…
Now, let’s look at the Save for Web option. File > Save for Web will bring up the Save for
web window. An alternative is the keyboard shortcut CTL + ALT + Shift + S.
You can dictate the file size by selecting High, Very High, etc from the relevant drop down
menu (leftmost Red circle), and you can fine tune it by manually entering in a number in the
Quality section (the second Red circle), so that you can keep it under 100kb in size if you are
attaching it to a thread on POTN.
Why do I prefer the Save for Web option? Quite simply, the size estimation feature for Save
As is horridly inaccurate. It’s also slower for me, since I work with 16 bit TIFF files.
That's, pretty much my workflow. It sounds hard, and time consuming, but it isn't. When
you're confident, and have it down to pat, you'll be fine, and this entire process will probably
take you no more than a few minutes at most for each image. And, as I said earlier, you
could create Photoshop actions to speed some parts of the process up if you wanted to.
I hope this workflow tutorial has helped you.
Many thanks for taking the time to read it.
Dave W Pastern
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Copyright © David Pastern 2007
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This Photoshop tutorial document can be found in electronic format (MS Word format
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Warning and disclaimer:
This document is designed to provide a basic tutorial on my Photoshop workflow. I have

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SETTING UP ACCURATE AUTO COLOUR

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This is where the fun begins!

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The Curves tool looks like this:

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The Colour balance tool looks like:

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You will now have the Levels tool showing:

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Once this is done, I again, flatten the image.

Now, you can add a standard Hue/Saturation adjustment layer:

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Each method has its own advantage:

USM – quick and easy

Each method has its own disadvantage:

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I recommend the following settings be set:

Profile: sRGB IED61966-2.1

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The Save As window looks like:

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I hope this workflow tutorial has helped you.

Many thanks for taking the time to read it.

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Copyright © David Pastern 2007

Permission is granted to copy, distribute and/or modify this document

Photoshop is a registered trademark of Adobe Systems, Inc.

Warning and disclaimer:

This document is designed to provide a basic tutorial on my Photoshop workflow. I have

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