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Adobe Photoshop and Photoshop Elements give you an
impressive list of file formats that you can save to. They
then complicate matters by adding a variety of options as
to what to include with a file when you save it. If you don’t
pay attention to how you name your files when you’re
choosing those options, you’ll either needlessly increase
the number of duplicate files on your system or you’ll
start deleting files that you spent hours editing. Compare
the two illustrations below to see examples of a magnified
JPEG and a magnified TIF, based on various settings
that we’ve given the files when we save it. (These are two
separate images, each magnified to 400%.)
 
At left, detail of a JPEG file with moderate compression (magnified to 400% of original
image). Note the blockiness. At right, detail of a TIF file (magnified to 400% of original image).
Note how much better the image quality is compared to a JPEG.
The solution to this problem lies in doing two things:
- Choose your save options carefully and purposefully.
- Add information to the filename that lets you know
how and why the file differs from the original
enhanced file.
Naming files so that you know how and why they differ
from other versions of the same photo makes it much easier
to distinguish different versions of the same files from
others that are simply duplicates. As mentioned previously,
this is best done by adding a short abbreviation as the very
last element of the filename when the Save or Save As dialog
appears. Photoshop always shows the current name of
the file in the File Name field. Place your cursor just ahead
of the dot that precedes the file extension and then type
in the abbreviation. The table below shows a list of abbreviations
that I use to show the important characteristics of a file;
these should be added to the abbreviations that designate
the file’s purpose. I also add a serial number to the original
in order to track different versions of these operations.
| Abbreviation | Meaning |
| cor01 | The primary exposure-corrected file; nothing else has been done
to this image. You will want to go back to this file if you decide to
explore a whole new route to enhancing the image. The serial number
indicates further corrections. |
| fx01 | Special effects have been added to the original. |
| cmp01 | Additional images have been composited into the original |
| sm01 | This is a small 1024 × 768 version of the file that can be used for
presentations, CD albums, project printing, etc. Using smaller images
saves time when a prototype project involves numerous images. |
| wb01 | The image is web optimized. |
| pub01 | The image is sized and profiled for offset printed publication. |
| lg01 | The image is flattened and sized for an exhibit print. |
There are literally dozens of image file formats, so it’s a good idea to limit your
formats to those you’re most likely to use. Unless you have an application that
requires a peculiar format in order for you to do a job, you should convert all
of these weird formats to the four that are most universally accepted across
the various computer platforms. Doing so will save a lot of confusion later on.
The table below shows the most common Photoshop extensions, and some recommendations
on using them.
| Extension | Purpose |
| .psd | The Adobe Photoshop multilayer file format, which can also be read
by most other image-editing and paint applications. Always use this
format for works in progress, including those that you may want to
further alter at some later date. |
| .tif | The most cross-platform and cross-application compatible file format
for single-layer lossless images. Use this for anything that you are shipping
as a finished file for publication or for service bureau printing. |
| .jpg | The most widely accepted full-color format for photo-quality web
images or for any other application where files must be highly compressed
in order to save storage or data transmission space. Do not use
this format to archive files that must maintain maximum quality. |
| .gif | The best web format for animations and colored text, drawings, and
flat-color illustrations. |
The Save As dialog
You may find it helpful to make use of the following features in the Photoshop
and Photoshop Elements Save As dialogs. Most of these options should
already be turned off, unless you have created that entity (e.g., annotations
or layers) before saving the file. Some of these options are not available with
Photoshop Elements.
As a Copy. This option lets you save a version of an image that you’ve altered
to a different filename. You can also change the filename by adding the
distinction codes listed in the preceding section.
Alpha channels. Any time you spend more than 10 minutes making a selection,
it’s a good idea to save that selection so that you can recall it if
you decide to make more changes to an image (choose Select . Save
Selection). The saved selection takes the form of an alpha (transparency)
channel, which will be bundled with the file if the Alpha Channels
checkbox in the Save As dialog is checked. The downside of saving each
selection is that it increases the file size by approximately one-third from
the original RGB file. So you don’t want to save alpha channels if you
won’t be using them again for a final version of a file or for a file that has
to be web-optimized.
Layers. Each image layer can easily double the file size. However, you should
save layers whenever reasonable. If disk space is a worry, you might be
better off biting the bullet and buying more drives instead of having to
re-create the entire editing process just to make a slight change in exposure
or re-create a special effect or composite.
Annotations. Many people don’t know that Adobe Photoshop CS lets you
add both voice and text annotations to an image. These annotations
can be a big help if you’re part of a crew that is working on an image,
or if you want to collaborate with someone else. They’re also useful as
notes or reminders of something that you might want to teach or write
about later on. On the other hand, annotations can add quite a bit to file
size and won’t work in all file formats, so don’t save annotations if you
don’t need them. To make an annotation, simply choose the text or voice
annotation tool from the Toolbox and click when the cursor is over the
part of the image that you want to annotate. You can open and close the
annotation at any time. If you make all annotations on a separate layer,
you can hide that layer anytime you want to see the image without the
annotation markers.
Spot colors. Spot colors are process colors that are printed with a dedicated
ink–usually to ensure a perfect match with a client’s logo or product
color (think Coke red or Master’s Tournament green). If you’ve specified
them in a file to be used by the client whose color it is, be sure that the
color stays with the file.
Color profile. Be sure to embed the color profile if you want the destination
printer to print the file as you envisioned it.
Image Preview options. If you check this box, you will save the thumbnails.
I’d recommend doing this unless the file is being sent to an Internet destination
where file space is important.
Try to make the Photoshop Save/Save As dialogs the only place where you
set and change the options described above–even if other utilities allow
you to change them. Keep in mind that if you don’t conscientiously stick to
the plan, your efforts at effective file management will have a less consistent
payoff. You’ll start wondering if it’s really safe to eliminate what you think is
a duplicate, and you’ll start designating primary files that really should have
been eliminated.
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This article is adapted from Digital Photography: Expert Techniques (O'Reilly) by Ken Milburn and is reproduced here with permission. Copyright 2004, O'Reilly.
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