Acknowledgments

I’d like to give special thanks to a few of the many people who helped make what you hold in your hands: Susan Rimerman, my editor of this ninth edition, who was forever helpful and patient; production heroine Lisa Brazieal, along with Charlene Charles-Will, WolfsonDesign, Scout Festa, Elizabeth Kuball, John Weber, and James Minkin; and my other friends at Peachpit who helped bring this work into the real world.

A huge thank you must go to Thomas and John Knoll. There would be no Photoshop without them. I also thank John Nack, Bryan O’Neill Hughes, and the Photoshop team, who have been generous with their time and knowledge for so many years. I extend my appreciation to Scott Byer, Marc Pawliger, Chris Cox, Eric Chan, Jeff Tranberry, and others for their remarkable openness and generosity. They’ve shared their inside knowledge not only with me, but with the world through their blogs and in the Adobe user forums.

If I see further than others, it’s because I stand on the shoulders of Photoshop giants, including Ben Willmore, Julianne Kost, Katrin Eismann, Jeff Schewe, Martin Evening, Andrew Rodney, Stephen Johnson, Michael Ninness, Greg Gorman, Russell Brown, Scott Kelby, and Deke McClelland, pixel-meisters all. I would also like to thank Pat Herold at Chromix.

And most of all, I owe a huge debt of thanks to the late Bruce Fraser, who co-wrote the first seven editions of this book with the great David Blatner. Bruce provided irreplaceable insight, guidance, and clarity to the entire digital imaging community. In addition to helping people understand color through his written works and training, Bruce advised many hardware and software companies so that you and I could more easily produce great images from our displays, from our printers, and from Photoshop itself.

I sincerely thank my family and friends for their support and patience during the long and demanding process of updating this book. In addition, I thank the Photoshop development team and the exceedingly creative user community for continually expanding the boundaries of what Photoshop can do, and in turn expanding the possibilities of photography.