Check out this episode to learn the easiest, most flexible way to recolor an object in a photograph. It's the best paint job your car can get. Sponsored by Logitech, maker of the NuLooq Navigator.

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Learn how to reset Photoshop's preferences to their default settings in this episode. Make it a habit to delete the current preferences when you're working in a lab, so you're not surprised by preferences set by other users. And if you're experiencing odd behavior in Photoshop, try resetting the program's preferences to eliminate the possibility that the preferences file has been corrupted.

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Resetting Photoshop's tool options is a smart move to avoid being fooled by sticky option settings, like the dimension settings in the Crop tool Options bar. Learn how and why to reset tool options in this podcast episode.

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I'm pleased to have been asked to write for O'Reilly's new Inside Lightroom blog, where I'll be contributing blog posts and articles about the newly released Adobe Lightroom. I'm thrilled to join the O'Reilly family and to be included among such luminaries as Derrick Story, Mikel Aaaland, and other big-time contributors to this professional blog. Check out my first post on some of Lightroom's organizing features, and be sure to bookmark the Inside Lightroom site and subscribe to the Inside Lightroom RSS feed in your favorite news reader.

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A detailed look at the new Photoshop CS3 user interface, including the collapsible panel system, single-column toolbox, and Maximize screen mode. Sponsored by Logitech, makers of the NuLOOQ Navigator design controller.

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An overview of how to get up and running with the public beta of Photoshop CS3. Brought to you by Logitech, makers of the NuLOOQ Navigator.

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Learn all about sharpening photographs with Photoshop's Unsharp Mask filter in this tutorial.Sponsored by Logitech, makers of the NuLOOQ Navigator design controller.

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Learn how sharpening works in Photoshop. This show covers what sharpening does, how to make a composite layer for sharpening, when to sharpen, and how to avoid changing image colors when you sharpen. Stay tuned for the next couple of shows, where you will put these general sharpening principles to work sharpening photographs with the Unsharp Mask and Smart Sharpen filters.

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The preferred way to convert a color image to black and white is with a Channel Mixer adjustment layer. This method gives you the most control and often produces the best results. Learn all about using the Channel Mixer adjustment in this third installment of our series on converting color photos to black and white.

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Use two hue saturation adjustment layers to gain control over converting a color photo to black and white. The results are often close to what you'll get using a channel mixer adjustment (which we'll cover in the next show), but the interface is more intuitive for many folks.

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Learn a couple of quick and dirty ways to convert a color photograph to black and white. The desaturate and hue saturation adjustments offer quick solutions. The results of these methods are similar, but the hue saturation adjustment is the better of the two, because it can be applied in an adjustment layer that doesnât change the underlying color photo.These methods are useful if youâre in a hurry, but they donât maximize the range of tones in the resulting black and white photograph. In the next two shows, Iâll show you some better ways to convert a color photo to black and white. So stay tuned.

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Use a gradient map adjustment layer to sepia tone a photograph. This method maps different shades of browns, blacks, and whites to the grayscale tones in the image. The results are richer and more varied than you usually can achieve with the photo filter or hue saturation methods of sepia toning you learned in part 1 of this episode.

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Learn two quick ways to sepia tone a photograph, with a photo filter adjustment layer and a hue saturation adjustment layer. Check back for part 2 of this episode, where I'll show you a third way to sepia tone, using a gradient map adjustment layer for even richer sepia tones.

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Learn to animate a layer mask in Photoshop CS2. We'll animate a night scope in a forest, but this technique can be used to make lots of novel animations. Think about some other ways you can put this technique to use: - animate a magnifying glass or a view through a telescope by scaling the two images differently, - animate a spotlight on a scene by lightening the image on the masked layer, - throw one of the images out of focus, - make one image black and white and leave the other in full color. Use your imagination!

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A background gradient is a great way to add color, focus, and spice to a photograph. In just a few easy steps you can jump the subject of your photo onto its own layer, and create a glowing radial gradient behind the subject.

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Shooting a scene with lots of sky often results in a photo with a dark foreground. If you carry a graduated neutral density lens filter in your camera bag, you can use it in the field to even out exposure. But if you donât have that filter, or you forget to put it on your camera, no worries. You can simulate the effect of a graduated neutral density filter in Photoshop with a black to white gradient on an adjustment layer.

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Combine multiple photographs into a composite image using layer masks. You'll learn how to size photos to match using Free Transform, how to flip a photo, and how to use layer masks to blend multiple photos into one realistic looking composite.

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The Auto Select Layer feature in Photoshop comes in handy when you have lots of layers, but watch out for some gotcha's when you use this feature. Learn all about Auto Select Layer in this episode.

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Did you know you can copy a layer mask between layers? I'll show you how to use this technique to limit the area affected by multiple adjustment layers.

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