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| About the Author | |
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| Credits | |
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| Foreword | |
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| Preface | |
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| Acknowledgments | |
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| Core Photoshop Skills for Landscape and Nature Photographers | |
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| An Approach to Photoshop | |
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| Photoshop and Nature Photography | |
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| Photo-Based Approach | |
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| More Ansel Adams than Bill Gates or Steve Jobs | |
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| A Workflow Overview | |
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| What Would Ansel Do? | |
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| Ansel Adams's Legacy | |
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| Art versus Science | |
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| Adams's Work Was a Model of Craft | |
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| How Many Tools Did He Use Anyway? | |
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| Can Indoor Work Match the Outdoors? | |
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| Expressive Images | |
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| Variations on a Theme | |
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| Interpretations | |
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| Start Right | |
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| Shoot It Right from the Start | |
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| The Exposure Challenge | |
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| Overexposure Is Bad, Too | |
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| Exposure Answers | |
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| Film Concerns | |
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| Sharpness | |
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| Thinking Ahead | |
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| Visualization and Composition | |
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| Digital Improv | |
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| Setting the Stage: Basic Steps | |
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| Open and Save As | |
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| Rotate | |
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| Crop | |
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| Straightening Horizons | |
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| Overall Adjustments | |
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| Dealing with Color | |
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| Fixing Colors that Record Poorly | |
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| A Short Course in Camera Raw | |
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| Comparing RAW and JPEG files | |
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| RAW Done Smart | |
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| Crop and Rotate | |
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| Workflow Options | |
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| Auto Settings | |
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| Tonal Adjustments | |
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| Color Adjustments | |
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| Fixing Lens Aberrations | |
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| Save Your Work | |
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| Setting Up Camera Raw for Your Camera. | |
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| Layers and Other Essential Tools | |
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| Layers 101 | |
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| Why Not Selections? | |
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| Keys to Understanding Layers | |
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| Ansel Adams Worked in Layers | |
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| Flexible, Isolated Control | |
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| Easing into Layers with Adjustment Layers | |
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| Selections and Layer Masks | |
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| Duplicating Layers for Effect Control | |
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| Layer Management | |
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| Developing Midtones | |
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| Back to Curves | |
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| Another Midtone Tool | |
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| Using Shadow/Highlight to Tweak Specific Tones | |
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| Intensifying Sky Tonalities | |
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| Opening Up Shadows | |
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| Color Adjustment Refined | |
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| What Is Real Color Anyway? | |
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| Colorcast Correction | |
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| Adding Warmth | |
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| Warm and Cold Contrast | |
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| Beware Saturation Fascination | |
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| Correcting Color with Hue/Saturation | |
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| Better Images through Local Adjustments | |
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| Dodging and Burning | |
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| Basic Eye Control | |
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| The Dreaded Brightness/Contrast Control | |
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| Further Adventures in Eye Control | |
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| A New Level of Adjustment | |
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| Selections and the Layer Mask | |
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| Color Range Tool | |
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| Back to the Beginning | |
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| Putting It All Together: An Approach that Works | |
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| One Step at a Time | |
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| Evaluating the Photo | |
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| Re-Examining the Photo | |
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| Clean It Up | |
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| Debris Removal | |
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| Making the Harder Clone | |
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| Using the Spot Healing Brush | |
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| Tilting Trees and Other Perspective Anomalies. | |
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| Special Techniques for the Nature Photographer | |
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| Extending the Tonal Range of Scenes | |
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| Photography's Dual Nature | |
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| An Arbitrary Line? | |
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| Tonal Range Manipulation | |
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| Two Exposures for Better Tonalities | |
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| The Photoshop Combination | |
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| When the Tonalities Are Not Easily Separated | |
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| Twice-Processed RAW Files | |
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| High Dynamic Range Adjustment | |
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| Classic Black and White | |
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| Seeing Black and White | |
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| Photographing in Black and White | |
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| Shooting Black and White versus Converting from Color | |
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| Channels for Black and White | |
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| Channel Mixer Work | |
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| Black and White from Camera Raw | |
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| Multiple Conversions in the Same Image | |
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| Toning Black-and-White Images | |
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| Finishing the Image | |
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| Sizing and Sharpening - Why Last in the Process? | |
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| Sizing Surprises | |
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| Sizing in Photoshop | |
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| Size Based on the Native Resolution | |