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A brief overview of Photoshop CS3
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Photoshop CS3 introduces some new features that are heading to the head and several fixes for old ones.
This review will focus on the standard Photoshop CS3 version. You may have heard that Photoshop CS3 also comes in an 'extended' version, which includes additional high-quality features aimed at video and film users, and for scientific applications. For example, with the Extended version, you can use the Clone Stamp tool to clone across multiple video frames.
The extended version also provides extensive 3D support, allowing you to import 3D objects for compositing and compositing. Special 2D and 3D measurement tools, as well as extensive support for MATLAB, will appeal to research professionals and others who need image analysis. In general, it is safe to say that photographers, designers and other 'creative professionals' will not need to appear in the extended version. That's particularly welcome given its price: $999 for the full version and $349 to upgrade, compared to the full $649/$199 upgrade for the standard Photoshop.
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Almost invisible improvements
Peppier Performance
For Mac users, one of the most significant changes in CS3 will be the original Intel code, which allows Intel Macs to run Photoshop at full speed. The differences in speed are not overwhelming, but they are noticeable. Even more important than speed is stability. Photoshop CS3 is less prone to crashes on Intel Macs, and Bridge CS3 (which comes with all Photoshop packages) is more stable than the previous version. (Read the bridge side bridge, 'Captain, please report to the bridge,' for more information.)
Improved performance is not limited to Intel Mac users. Windows users and PowerPC Mac users will also notice differences in speed, as the software is optimally optimized. You'll find more complex performance in a lot of areas.
Interface Changes
There are major changes to the Photoshop interface (and the rest of the applications in the Design versions of the Creative Suite) that you'll see once you open the program. Photoshop panels are now housed in private pools, so you can easily expand and finish entire groups for better screen real estate management (Fig. 1).
Figure 1. As with the rest of the Creative Suite 3 application in the Design editions, the panels are collected in troughs that can collapse and expand.
With the dock collapsed, you can temporarily expand a panel simply by clicking on it. You can also tear a panel off the board to make it a regular floating panel, and it can easily mix and match combinations of sticky and floating panels.
On a larger screen, you probably won't collapse more often into the docks, because that leads to more clicks when you need to get to a particular board. However, this flexibility is a great addition to a color-heavy application like Photoshop, especially if you're working on a laptop.
Probably the first change you'll notice when you open Photoshop is that the main Toolbox is one column. In CS3, the Toolbox can be displayed as a legacy, two-column, or one-column toolbox. Once again, the change is designed to maximize your screen real estate.
The Toolbox has a few other changes: The ImageReady launch button is gone, because ImageReady no longer exists. Adobe has decided to prefer fireworks for the types of tasks ImageReady is used to handling. Quick Mask Control is now a single button that switches between quick mask and standard mode, instead of two buttons. The full screen selector was now a popup menu. These tweaks make the Toolbox more streamlined and should not affect your overall productivity (Figure 2).
In addition to the option to keep the toolbar in a single column, some other toolbar commands have been simplified into simple buttons and popup menus.
The options bar, a horizontal bar located below the menu bar, has also been changed. Panels that were sitting in a panel well on the right side of the options bar have been moved to their dock. Adobe has added two new controls to the options bar: a button to launch Bridge, and a workspace menu that provides the same options as the Window > Workspace menu.
You'll find other interface changes here and there throughout the program — popups with different icons, a change in the look of the palette feature — but on the whole, there's nothing that will cause CS and CS2 users to migrate to CS3 more.
Of course, this upgrade is also different from previous cycles because Adobe had offered Photoshop CS3 as a popular house party for about five months before the final release. If you are using the public beta, you are already familiar with these changes. You shouldn't see any appreciable difference from the public beta, except that things are now working properly. For example, in the Mac version of the public beta, the brush pointer display was blurred. In the version returned to normal.
If you installed the public beta version of Photoshop CS3, you must remove the beta properly before installing the release version – installing the beta version can lead to instability and other issues. For detailed instructions on removing the trial version, go to http://www.adobe.com/support/contact/cs3clean.html. Make sure to read the instructions very carefully and follow each step. progress
Tonal Corrections
CS3 A number of changes and additions to the basic color correction tools in Photoshop - the basic adjustments you'll use every day.
The Curves dialog, a major editing program since Photoshop 1, still allows the same types of corrections, but includes a few interface settings that make it easier to use (Figure 3). The graph is now displayed behind the curve itself, and the black and white point sliders are included directly under the curve. This allows you to use a control like the Levels dialog for basic black and white controls, and then use Curve for midtones and fine-tuning.
Figure 3. In Photoshop's new Curves dialog, it's easier to read and adjust the curve.
There are a lot of cosmetic improvements to the Curves dialog. Grid lines are now gray instead of dotted lines in CS2, and when you drag a point on the curve, reference lines appear to help you see the I/O messaging better.
There are some new customization options in the Curves dialog that make the following possible:
You can change the curve so that it adjusts ink percentages instead of tonal brightness.
When you edit curves for separate channels, you can see the separate channel screens in the Curves window.
You can display a continuous baseline to provide a reference while adjusting the curve.
You can also change the underlying algorithm that controls how Curves reset tones while adjusting the curve. Three different options allow you to change how the curve compresses and expands the tones in your image. For particularly difficult adjustments, these options can sometimes save the day.
The Load and Save buttons have been replaced with a new Presets feature, which allows you to save Named presets to make it easier to apply to other images. This applies to all dialogs that include 'Save and Save' buttons, and provides an easier way to manage preset custom libraries.
Brightness/Contrast
Seasoned Photoshop users have realized for years that adjusting brightness/contrast was not a useful tool because it wasn't smart about preserving the black and white points in your image. Brightness/Contrast can easily ruin one histogram if you are trying to work on the other or in the middle. Rarely do you save the distribution of tones in your photo as you make adjustments. I corrected
Adobe says that in CS3, the result is a really useful Brightness/Contrast tool. It now works just as you'd expect: Brightness adjusts the white point to brighten or darken the image while maintaining black point and shadow tones, and adjusts Contrast to expand or compress the contrast in the image.
Experienced users won't find this a perfect replacement for levels or curves, but for new users, it may be a more intuitive way to make initial adjustments. While working with it, you'll get a chance to understand the Histogram better and can move on to a more comprehensive tool when you're ready.
Black and White
Photoshop CS3 now includes a very powerful black and white conversion option that goes far beyond the Channel Mixer of previous versions (Fig. 4). While I could easily name a dozen ways to perform black and white transformations, just spending some time with Photoshop's new black and white dialog can make you forget about those other actions.
Figure 4. The new black and white adjustment in Photoshop provides unprecedented control for black and white conversions.
The dialog presents six sliders: Reds, Yellows, Greens, Cyans, Blues, and Magentas. Unlike the 'Mixer Channel', this is not a primaries. Herein lies the essential feature of the evolution of Black and White. Where Channel Mixer makes component adjustments - adjusts how much each of the red, green, and blue components weigh in your conversion mix - Black and White adjusts the actual colors in your image.
For example, when you move the red slider in the Channel Mixer, the red components of all the colors in your image are adjusted. So, although you might have been trying to adjust the green only at the bottom of a flower, the yellow in the flower petals may also be adjusting because the yellow has a green component.
In the CS3 black and white converter, when you slide the green slider, Photoshop selects and adjusts only things in the image that are green.
The mods work the same as the Channel Mixer. Drag the slider to the right and those tones will get brighter. Drag it to the left and the tones will darken. Each slider is a percentage scale from -200% to 300%. But unlike 'Channel Mixer', you don't have to worry about the sum of all tunings adding up to 100 because the values are not components.
This would all be nice enough, but Adobe went even better: you don't have to use scroll bars at all. Alternatively, you can click on the tones in your photo and drag left and right to lighten them. This is a great addition to the interface and is the main reason you might give up on all other black and white conversion methods. It almost feels like dodging and burning in a real darkroom. You click on a tone and drag a little to lighten or darken it. As with many CS3 features, Lightroom users will recognize back and white adjustment, as the same features are provided in the Lightroom Edition version.
One last change: you can add the black and white adjustment as an adjustment layer, which gives you the option to use black and white nondestructively.
Define and filter
The ability to make corrections is less valuable if you can't isolate these corrections to specific parts of your photos. Adobe has spent years building Photoshop's selection tools, because different types of images pose very different selection challenges.
The new Quick Selection tool is one of the more technically interesting selection tools that Adobe has developed in a while. A combination of a magic wand and a brush, you can simply brush the Quick Selection tool over an object in your image, and it automatically selects and selects the edges of that object (Fig. 5). Depending on how well the object is set from its background, you may only need one or two small strokes to select it.
Figure 5. I was able to select this dog by simply brushing it with the Quick Selection Tool. For a larger version, click the image
You can refine your selection with the Shift and Alt / Option keys. The Auto Enhance button gives you a finer, less gritty edge of your choice, although you may face a performance penalty for using it. I found this slowdown to be very significant in most of the images.
You can use the Quick Select tool for the same types of selections that would normally be required to use the Magic Wand. The Quick Selection tool does a very good job with clearly defined shapes, but you won't find it very useful for subtle, fuzzy details.
Regardless of what tools you use to select, you will often need to adjust the edge of the selection to make it blend in more seamlessly with the surrounding area. Whereas earlier versions of Photoshop included the Select Feather command that uniformly blurs the selection around the edge, CS3 offers a more advanced option in the form of the Refine Edge dialog (Fig. 6).
Figure 6. The new Refine Edge dialog contains important new options for improving the quality of selection edges.
The main weakness of feather selection was that there was no way to see the effects of your feather. Usually you have to use a feather, try swaying through it, then undo and reapply with a different amount of feathers to get different results. Refine Edge greatly improves on this by letting you interactively preview your selection when adjusting the setting in the Refine Edge dialog.
There are many preview wallpapers. You can display your choice of black or white backgrounds, display it as an alpha channel, or display it against a semi-transparent red background.
While Refine Edge offers radius control like feather selection, its effect is very different. The Refine Edge command analyzes the color values of the pixels around the edge of the selection to determine the opacity values it will assign to the edge. The Radius slider determines how large an area you want to analyze. Because of this analysis, the Refine Edge function does a much better job of preserving color hues along the selection edge because it reduces the transparency of these products. This creates a more gentle transition along the edge.
Where it creates a Feather Reather on either side of the edge, Refine Edge creates a very precise gradient along the edge without the shiny feather definition appearing.
Other controls allow for more refinement. Contrast allows you to sharpen the edge to create a more contrasting border; and Smooth pixels along the edge; Feather produces the same effect as the old 'Select Feather' command, but with the advantage that you can preview your effect. Contract / Expand allows you to shrink or enlarge your selection by a specified number of pixels.
Refine Edge is much better than the old feather command. However, if you don't have time to learn the new feature, you can go back to the old Feather command, which has been moved to the Select > Modify menu.
There is one side to sharpen the edge. You cannot create non-uniform adjustments to a selection—the settings you specify are applied evenly around the entire selection. If you want the right side to be more arrayed than the left, you'll need to save the selection as an alpha channel and adjust it manually.
Smart Smart Objects
Adobe introduced Smart Objects in Photoshop CS2 as a way to perform more non-destructive operations. Smart Objects are especially useful for rough shooters, as I've discussed in previous articles.
One of the biggest weaknesses of Smart Objects in CS2 was that no one knew about them because they were hidden away in a place command. You probably didn't even realize there was a place command (it's under the File menu).
With CS3, Adobe has brought things smarter even more. The new File > Open As Smart Object command allows you to open any compatible raw image or file as a Smart Object. The behavior of the smart object is the same as otherwise. he added
Adobe One new feature to Smart Objects is the ability to change the way layers within a Smart Object are stitched together. With the new Layers > Smart Objects > Stack Mode command, you can change the way object layers are combined. For example, if you assign a stack of images to Median, Photoshop derives a set of median values for each pixel by analyzing all the images in the stack. With the Median filter you can, for example, photograph a crowded square full of people and end up with an image showing an empty square. People are averaged for background detection only (Fig. 7).
Figure 7. I filmed a series of photos as people moved in front of the ferry building in San Francisco. With stack mode, Photoshop automatically centered people away leaving a mostly empty yard. (There were a few people who just wouldn't move!) For a larger version, click on the image.
Stack Mode is a pretty deep feature, and I expect the bulk of the 'cool CS3 tips' coming out in the next few months will focus on stack mode. But even if you don't have a use for Stack mode, it's now easy to get Smart Objects into your normal Photoshop workflow.
Smart Filters has another new facility in the form of Smart Filters. Smart Filters allow you to apply any type of Photoshop filter to a Smart Object that is non-destructive—that is, you don't destroy any pixel data at all. As with adjustment layers, Smart Filters has a built-in layer mask that allows you to easily limit the effects of the Smart Filter to localized areas of the Smart Object.
The advantage of Smart Objects is that it summarizes your image data—whether raw or normal raster data—into a format that allows for an unlimited amount of non-destructive editing. However, Smart Objects don't allow any pixel-level adjustment, so you can't use any of the Photoshop brushes or editing tools. With Smart Filters, you can now perform pixel-level filter editing on Smart Objects, which greatly expands its usefulness.
For example, you can open an raw file as a Smart Object, modify its raw parameters, and then apply a Smart Sharpen filter as a Smart Filter. Since smart filters are also parametric, you can change and change the sharp parameters later. In other words, you can perform non-destructive sharpening!
Unfortunately, Smart Filters only affect the Smart Object it is associated with. Unlike adjustment layers, they do not change the entire set of Smart Objects. So you can't, for example, throw a smart filter on top of an array of smart objects to refine the entire compound.
While smart filters make smart objects more appealing and give Photoshop a lot more non-destructive editing power, they're still a bit awkward to work with and get a bit of a learning curve. Unlike truly non-destructive editing apps, such as Lightroom, Aperture, or Nikon Capture NX, Smart Objects is a bit like a hack. But especially if you are a Raw shooter, it is well worth your time to learn how to use it.
When the Smart Filters were announced, I wished that Adobe had finally added the ability to add filters as Adjustment Layers. Unfortunately, this is still not true. Their interest in this problem (in the form of smart filters) clearly shows that they are not deaf to the idea, simply that Photoshop's architecture makes it very difficult to adjust the filter's filter.
Editing and Composing
See the new editing and compositing tools in Photoshop CS3. Probably the most used editing tool in Photoshop's toolbox is the Clone Stamp tool, which allows you to paint one area of one image into another. To use the Clone Stamp tool, you must first select the area from which you want to copy. Adobe made this much easier in CS3 with the addition of the new copy source panel (Fig. 8).
Figure 8. The new Clone Source panel includes options that greatly simplify cloning operations.
Using the Clone Source panel you can now digitally adjust the clone source point, and you can also rotate and resize the cloned information while painting with Clone Stamp.
If you're working with the Animation panel, you can specify a frame's offset, which allows you to copy from one frame to another. This makes wire removal, retouching, and other rotating tasks simpler.
Finally, the new View Overlay option displays a semi-transparent copy of the source image over the area you're painting in. This means that it is easier to see exactly which image data will be drawn while you are brushing. Although displaying an overlay can sometimes obscure details while drawing, in other cases it makes reproduction simpler.
Like Curves, the Clone Stamp tool has been around since the first version of Photoshop. Adobe pays attention to how these well-established tools work, which shows that the company has really listened to how our software is used.
Two new commands, Auto-Align Layers and Auto-Blend Layers, make some specific types of vehicles work. Auto-Align Layers automatically analyze two layers in an image and shift up so that the images are aligned.
This command has many syntax uses. For example, you can combine elements from different shots by Auto-Aligning your separate frames, then use the Eraser tool or Layer Mask to paint in only the elements you want from each layer. don't
Auto-Align Layers Anything you can't do manually with the transform command, but I'm happy to pass that drudgery onto Photoshop, especially since it does a good job. Auto-Blend Layers automatically combines
two layers into one image without leaving any streaks. When combined with Auto-Align Layers, it provides an excellent stitching solution for panoramic shooters. The PhotoMerge command in Photoshop CS3 relies on these basic techniques.
Auto-Blend Layers are so precise that they are now a viable alternative to dedicated image stitching applications. I especially like the fact that Photoshop provides access to the masking data used to create blends. After blending, each layer contains a layer mask that controls how the layers are combined. You can easily edit these masks to improve or change any blending.
Improved 32-bit
support Adobe has added support for 32-bit images to CS2, and CS3 now allows some additional tweaks to be made in 32-bit mode. For example, a 32-bit image can contain layers, with layer masks, and multiple types of adjustment layers (solid color, gradient, pattern, levels, hue/saturation, channel mixer, photo mixer, and exposure). The Fibers, Emboss, Maximum, and Minimum filters now work with 32-bit images (as do regular layer blending modes), and with two special 32-bit modes, Height and Linear Height.
For retouching, the Brush, Pencil, Pattern Stamp, Eraser, Gradient, Blur, Sharpen, Smudge and Type tools now work on 32-bit images, and Adobe has thrown in a new HDR color picker.
What do all these options mean? For most people, not so much. But if you shoot HDR (High Dynamic Range) photos or want to make other edits in a large bit depth, you can now do more editing and editing in 32-bit mode before sampling to 16 or 8-bit mode. Experienced merge feature
Photoshop to HDR some tweaks. Its internal algorithms are optimized, so the merging performance is faster. Integration with HDR now stores response curves for each type of camera you use; The practical result is that, over time, you should see improved resolution from specific types of cameras, as the Merge to HDR command collects more data.
The overall process of merging remains the same, although the Merge to HDR dialog now includes a response curve section where you can save response curves, for special types of calibration. Merge to HDR still
lacks a tone mapping feature, and the downsampling process to 16-bit is still complex and difficult to understand.
Output
If you have ever printed with Photoshop, you know that it offers an excellent color engine that is capable of copying very well. You also know that the process of wending through the page setup, print, and color management dialogs in Photoshop can be tedious and confusing. What's more, if you miss a single mode or checkbox, you may lose paper and ink.
In CS3, Adobe has simplified the printing process somewhat. The print and print commands with preview are returned in a single print dialog (Fig. 9). More importantly, the preview thumbnail that appears in the Print dialog is now color-managed. Although the thumbnail is too small for any serious image evaluation, the fact that it's color-managed makes it easy to see if you've configured your Photoshop color-management settings correctly.
Figure 9. Photoshop's new Print dialog contains all the options that were in the Print with Preview dialog box, and now includes a color-managed thumbnail. For a larger version, click on the image.
Most people these days are photographed with cameras that capture a large number of pixels. Few of these shooters print their photos. Instead, they post them on the web or email the photos. This means that the final images contain much less data than the cameras capture.
To help people easily present larger images in more detail, Adobe has licensed Zoomify, an export plug-in that creates web pages with regular JPEG images at a typical web resolution. The pages also include a series of high-resolution images that users can view using zoom in and out controls. The Zoomify plugin takes care of the back end coding and creates very impressive results. can
Photoshop CS3 Export directly to Device Central, Adobe's new mobile prototyping tool.
Camera Raw 4
Included with Photoshop CS3 is the latest version of Photoshop Camera Raw, a powerful Adobe Transformation plug-in that is essentially a complete Raw editing environment within Photoshop and Bridge. Since the plug-in can be hosted by either application, you can choose to run Photoshop batch preprocessing while you're working in Bridge, or vice versa.
The overall raw workflow remains the same in Camera Raw 4. The Camera Raw 4 dialog box features the same basic layout as previous versions, so experienced users can quickly orient themselves. However, Camera Raw 4 does add several important new features (all of which are also in Photoshop Lightroom), and a few things have changed in the dialog to accommodate the new features (Figure 10).
Figure 10 - The Camera Raw dialog has seen some minor tweaks necessary to host the new software features. For a larger version, click on the image.
Camera Raw now has a full screen mode that fills the entire screen with the Camera Raw interface. Since many raw shooters do their entire workflow in Camera Raw (which makes Photoshop something of an addition to Camera Raw), this is a great addition. You can switch in and out of full screen mode by pressing F.
Workflow options - image size, color space, etc. - have been moved from previous versions to a separate dialog to provide more space for larger image previews.
There are two new tools in the Camera Raw toolbox. The red-eye tool works quickly to remove this annoying visual tool, and the Retouch tool allows you to perform simple cloning and spot healing tools. You won't pull any major tweaks with these tools, but you can easily deal with sensor dust and other positioning issues.
There are now eight tabs for parameter controls to perform raw transformations:
Basic. The Basic tab contains the sliders known in Camera Raw, with a few additions. The Recover slider allows you to recover highlights without blurring the overall image. The Recovery slider limits it to the brightest tones in your photo. This is a great addition that saves a lot of time.
fill light. Fill Light is a shadow tool aware like the Shadow slider in Photoshop's Shadow/Highlight adjustment. Adds a new Vibrance slider, which performs a saturation adjustment that protects some tones. For example, you can use the Vibrancy slider to increase the saturation in an image without affecting skin tones.
Tone Curve. Camera Raw 4 Tone Curve includes sliders to adjust the curve. Although it doesn't add any functionality, it does make it easy to use Tone Curve. The old point-based curve is still available.
the details. Details go on to provide the basic controls for sharpening and noise reduction.
HSL / Grayscale. This new option provides an eight-channel HSL control that also includes a Grayscale option, allowing you to perform a grayscale conversion without going into Photoshop. While the grayscale tools aren't quite as powerful as Photoshop's black and white dialog, they're pretty close, and these features within Camera Raw can greatly simplify your workflow.
Split Toning. The Split Toning tab allows you to apply separate color tones to the most important images and shadows in your image.
Lens corrections. This still offers chromatic aberration and vignetting controls. Camera calibration
. This control is unchanged from previous versions.
presets. In Presets, you can save named versions of the entire Camera Raw parameter set and easily apply the same settings to multiple images.
The changes to Camera Raw are comprehensive, well thought out, and very welcome. For an absolute game Raw, Adobe's additions to the plug-in mean you can spend more time in Camera Raw and less time in Photoshop.
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Adobe Photoshop CS3 Technical Details
Software Full Name: Adobe Photoshop CS3 Extended
Installation File Name: Adobe_Photoshop_CS3_v10.0.1_Extended_Final.rar
Full Setup Size: 1.3 GB
Setup Type: Offline Installer / Full Standalone Setup
Compatibility Build: 32-bit (x86) / 64-bit (x64)
Latest Version Version Added On: 03 April 2019
Developers: Adobe
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Adobe Photoshop CS3 Requirements
Operating System: Windows 7/8/8.1/10
Memory (RAM): 1 GB of RAM required.
Hard Disk Space: 2 GB of free space required.
Processor: Intel Pentium 4 or later.
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Adobe Photoshop CS3 Features
Enhanced photo editing features.
Reduce noise from your
photos It has 32-bit High Dynamic Range images.
It quickly and efficiently addresses image defects.
It also corrects red-eye images.
It gives more light to the image, and if necessary, it also does this.
Supports pdf files.
It can also be accessed with other Adobe Creative Suits.
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