Photoshop Techniques and Shortcuts

8/6/2019 Photoshop Techniques and Shortcuts

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PHOTOSHOP TOOLS,PHOTOSHOP TOOLS,

TECHNIQUES, AND SHORTCUTSTECHNIQUES, AND SHORTCUTS


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TOOLS, TECHNIQUES &TOOLS, TECHNIQUES &

SHORTCUTSSHORTCUTS

Objectives:Objectives: To become familiar with PhotoshopTo become familiar with Photoshops key:s key:

Keyboard Shortcuts,Keyboard Shortcuts,

Tools, andTools, and

TechniquesTechniques

To understand the key differences in implementationTo understand the key differences in implementationbetween identical DIP effects in Photoshop 7between identical DIP effects in Photoshop 7CS4CS4versus Photoshop Elementsversus Photoshop Elements

To gain proficiency in the execution of Digital ImageTo gain proficiency in the execution of Digital ImageProcessing methods by the efficient use of shortcuts,Processing methods by the efficient use of shortcuts,tools, and techniquestools, and techniques


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REAL PHOTOSHOP VERSUSREAL PHOTOSHOP VERSUS

ELEMENTSELEMENTS

Points of Similarity:Points of Similarity:

Keyboard ShortcutsKeyboard Shortcuts

PalettesPalettes ToolsTools


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ELEMENTSELEMENTS

Irritating Points of Difference:Irritating Points of Difference: No layer masks per se, so they have to be awkwardlyNo layer masks per se, so they have to be awkwardly

simulated by using a NOP Adjustment Layer as asimulated by using a NOP Adjustment Layer as aClipping MaskClipping Mask

Elements uses the Selection Brush Tool as an inferiorElements uses the Selection Brush Tool as an inferiorreplacement for Photoshop's Quick Mask. You arereplacement for Photoshop's Quick Mask. You arebetter off simply creating, editing, and savingbetter off simply creating, editing, and savingselections as the layer mask of an invisibleselections as the layer mask of an invisibleAdjustment Layer.Adjustment Layer.

A number of the corresponding tools and palettesA number of the corresponding tools and palettessimply have more (and more advanced) features insimply have more (and more advanced) features inreal Photoshopreal Photoshop


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ELEMENTSELEMENTS Seriously Missing Power User Tools:Seriously Missing Power User Tools:

CurvesCurves

Channels (plus all related tools, layers, and palettes)Channels (plus all related tools, layers, and palettes)

Layer GroupsLayer Groups

16 and 32 bit capabilities16 and 32 bit capabilities

Pen Tool and Paths PalettePen Tool and Paths Palette

MacrosMacros

Lens Correction Filter/Lens BlurLens Correction Filter/Lens Blur

Color BalanceColor Balance

Color Range SelectColor Range Select

Patch ToolPatch Tool

Advanced Color ManagementAdvanced Color Management

No automation capabilitiesNo automation capabilities

No customized tool presets, keyboard shortcuts, and menusNo customized tool presets, keyboard shortcuts, and menus

Smart ObjectsSmart Objects

Vanishing Point ToolVanishing Point Tool

HDR capabilitiesHDR capabilities

CMYK and LAB color modesCMYK and LAB color modes


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101

In Photoshop, a Grayscale Image (or mask) is theIn Photoshop, a Grayscale Image (or mask) is the

same creature as a Selection or a Channel dressedsame creature as a Selection or a Channel dressed

in different clothesin different clothes


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101Here is a Grayscale Mask (e.g.: an Adjustment Layer Mask). The rHere is a Grayscale Mask (e.g.: an Adjustment Layer Mask). The rule for masksule for masks

is that:is that:Black conceals, White revealsBlack conceals, White reveals


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101If we use this Grayscale Mask with a solid red image and a whiteIf we use this Grayscale Mask with a solid red image and a white background,background,

the resultant picture would be as shown below:the resultant picture would be as shown below:


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101Here is the sideHere is the side--byby--side comparison of the image and the mask. Do you see howside comparison of the image and the mask. Do you see how

the mask works? Remember:the mask works? Remember:Black conceals, White revealsBlack conceals, White reveals

Black conceals (or hides) at 100%Black conceals (or hides) at 100%

White reveals (or selects) at 100%White reveals (or selects) at 100%

Gray reveals or concealsGray reveals or conceals

based on the gray levelbased on the gray level

(tonality)(tonality)


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101Here is the picture of the young girl seen through the mask withHere is the picture of the young girl seen through the mask with a whitea white

background.background.


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101Now letNow lets invert the mask (i.e.: black becomes white and vice versa). Ths invert the mask (i.e.: black becomes white and vice versa). Thee

inverted mask is shown below:inverted mask is shown below:


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101Here is the picture of the young girl seen through the invertedHere is the picture of the young girl seen through the inverted mask with a whitemask with a white

background.background.


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PHOTOSHOP EPIPHANY 101PHOTOSHOP EPIPHANY 101


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WHY DO WE NEED LAYERWHY DO WE NEED LAYER

MASKS?MASKS?

Layer Masks are essential in preserving full pixelLayer Masks are essential in preserving full pixelinformation yet allowing the transparency ofinformation yet allowing the transparency of

portions of that informationportions of that information Note that in theNote that in the

previous mask examples no pixel information inprevious mask examples no pixel information inthe red layer, the white background, or thethe red layer, the white background, or the

image of the young girl was lost, it was simplyimage of the young girl was lost, it was simply

hidden (or displayed) as neededhidden (or displayed) as needed This is critical in the event that the pixels mayThis is critical in the event that the pixels may

later need to be selectively shown and/or hiddenlater need to be selectively shown and/or hidden


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SO WHAT IS A CLIPPING MASKSO WHAT IS A CLIPPING MASK

(AND WHY SHOULD WE EVEN CARE?)(AND WHY SHOULD WE EVEN CARE?)

In ourIn our Understanding Digital Image ProcessingUnderstanding Digital Image Processing

tutorial, we defined Masks as:tutorial, we defined Masks as: Masks provide aMasks provide away of protecting areas of a picture fromway of protecting areas of a picture from

enhancement or editing changes. Masks areenhancement or editing changes. Masks are

standard grayscale images and, as such, they canstandard grayscale images and, as such, they canbe painted, edited, filtered and erased just likebe painted, edited, filtered and erased just like

other pictures. The black portion of a mask is theother pictures. The black portion of a mask is the

protected/hidden area and the white portion of aprotected/hidden area and the white portion of amask is the editable/visible area. Gray areas in amask is the editable/visible area. Gray areas in a

mask correspond to variablemask correspond to variableeditabilityeditability/visibility./visibility.


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Here is a simple mask associated with a layer. Note how theHere is a simple mask associated with a layer. Note how the

mask defines what parts of the final image are shown and atmask defines what parts of the final image are shown and at

what intensity.what intensity.Resulting ImageResulting Image

Layers PaletteLayers Palette

Note how the layer mask defines which portionsNote how the layer mask defines which portions

of theof thetoptoplayer are shown. Remember that:layer are shown. Remember that:

Black conceals, White reveals.Black conceals, White reveals.


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The prior image is a perfectly legitimate Elements layer mask anThe prior image is a perfectly legitimate Elements layer mask and it cand it can

even be edited in Elements.even be edited in Elements.

So why do we have a problem?So why do we have a problem?

The problem is that this digital image cannot be created in ElemThe problem is that this digital image cannot be created in Elements!!ents!!

ElementsElements DOES NOTDOES NOT allow creating layer masks forallow creating layer masks forregularregularlayers,layers,

even though it allows editing them and allows creating layer maseven though it allows editing them and allows creating layer masks forks for

Adjustment LayersAdjustment Layers..

So why is this the case?So why is this the case?

Because Adobe corporation has to have some artificial way of jusBecause Adobe corporation has to have some artificial way of justifyingtifyingthe exorbitant price differential between real Photoshop and Elethe exorbitant price differential between real Photoshop and Elements.ments.

So what can we do about this?So what can we do about this?

We have to simulate aWe have to simulate aregularregularlayer mask by using a Clipping Mask.layer mask by using a Clipping Mask.


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Here is how we must simulate the effect of a layer mask forHere is how we must simulate the effect of a layer mask for

the topthe top--most regular layer namedmost regular layer namedtoptop..Resulting ImageResulting Image

Layers PaletteLayers Palette

Note how the layer mask defines which portionsNote how the layer mask defines which portions

of theof thetoptoplayer are shown. Remember that:layer are shown. Remember that:

Black conceals, White reveals.Black conceals, White reveals.

Regular layerRegular layer

toptopis clippedis clipped

by Adjustmentby Adjustment

LayerLayertoptop

solely to allowsolely to allow

layer masklayer mask

association.association.


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So aSo aClipping MaskClipping Maskis an Adjustment Layer that isis an Adjustment Layer that is

below another layer whose sole purpose is to allowbelow another layer whose sole purpose is to allow

the Adjustment Layerthe Adjustment Layers layer mask tos layer mask toclipclipthethe

pixels in the layers above.pixels in the layers above.

It is an extremely confusing, artificial, and awkwardIt is an extremely confusing, artificial, and awkward

way of doing things but it must be done this way toway of doing things but it must be done this way to

allow the use of regular layer masks in Photoshopallow the use of regular layer masks in Photoshop

Elements.Elements.

NOTE:NOTE: We define a layer as having a clipping maskWe define a layer as having a clipping mask

layer below it via thelayer below it via the --GGkeys.keys.


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SO WHAT IS A CLIPPING MASKSO WHAT IS A CLIPPING MASK(AND WHY SHOULD WE EVEN CARE?)(AND WHY SHOULD WE EVEN CARE?)

Having swallowed that bitter pill, we are now atHaving swallowed that bitter pill, we are now at

liberty to move forward and explore how we mayliberty to move forward and explore how we maydo DIP in both Photoshop 7do DIP in both Photoshop 7CS4 and PhotoshopCS4 and Photoshop

Elements.Elements.


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Tool Shortcuts)(Tool Shortcuts)

B:B:Brush ToolBrush Tool

D:D:Default Foreground & Background ColorsDefault Foreground & Background Colors J:J:Healing Brushes (Healing Brush, Spot Healing Brush)Healing Brushes (Healing Brush, Spot Healing Brush)

L:L:Lasso Tools (Lasso, Magnetic Lasso, Polygonal Lasso)Lasso Tools (Lasso, Magnetic Lasso, Polygonal Lasso)

M:M:Marquee Tools (Rectangular, Elliptical)Marquee Tools (Rectangular, Elliptical)

S:S:Stamp Tools (Clone, Pattern)Stamp Tools (Clone, Pattern)

W:W:Magic WandMagic Wand

X:X:Switch Foreground/Background ColorsSwitch Foreground/Background Colors

::Temporarily invokes the Move ToolTemporarily invokes the Move Tool ::Temporarily invokes the Hand ToolTemporarily invokes the Hand Tool

NOTE:NOTE: RecommendRecommend uncheckingunchecking Use Shift Key for Tool SwitchUse Shift Key for Tool Switchunderunder EditEdit-->>

PreferencesPreferences--> General> General


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Image Size/Navigation Shortcuts)(Image Size/Navigation Shortcuts)

--""--":":Zoom outZoom out --=:=:Zoom inZoom in

--0:0:Fill available windowFill available window

----0:0:Actual pixels (i.e.: 100%)Actual pixels (i.e.: 100%)

----::Zoom in on dragged areaZoom in on dragged area ::Temporarily invokes the Hand ToolTemporarily invokes the Hand Tool

::Moves to upper left cornerMoves to upper left corner

::Moves to lower right cornerMoves to lower right corner

::Moves up one windowMoves up one window

::Moves down one windowMoves down one window --::Moves right one windowMoves right one window

--::Moves left one windowMoves left one window


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Brush Tool Active)(Brush Tool Active)

1...9:1...9:Set Opacity 10...90%Set Opacity 10...90% 0:0:Set Opacity 100%Set Opacity 100%

[:[:Decrease brush sizeDecrease brush size

]:]:Increase brush sizeIncrease brush size --[:[:Decrease brush hardnessDecrease brush hardness

(100%,75%,50%,25%,0)(100%,75%,50%,25%,0)

--]:]:Increase brush hardnessIncrease brush hardness(0,25%,50%,75%,100%)(0,25%,50%,75%,100%)

::Temporarily invoke eyedropper pixelTemporarily invoke eyedropper pixelsamplersampler


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Selection Related Shortcuts)(Selection Related Shortcuts)

--D:D:DeselectDeselect

--H:H:Hide "marching ants"Hide "marching ants" ----I:I:Select inverseSelect inverse

----D:D:Feather selectionFeather selection

--::Add to current selectionAdd to current selection

--::Subtract from current selectionSubtract from current selection

--::Moves active selection up/down/left/right 1Moves active selection up/down/left/right 1

pixelpixel ----::Moves active selectionMoves active selection

up/down/left/right 10 pixelsup/down/left/right 10 pixels

----::Moves floating copy of current selection (can beMoves floating copy of current selection (can berepeated)repeated)

Before Selection Process:Before Selection Process:

---- will center selection on starting pointwill center selection on starting point ---- will constrain selection to circle/squarewill constrain selection to circle/square

During Selection Process:During Selection Process: -- will move entire selection while selection is being madewill move entire selection while selection is being made

---- will (will (re)centerre)center selection on starting pointselection on starting point

---- will constrain selection to circle/squarewill constrain selection to circle/square


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Layer Related Shortcuts)(Layer Related Shortcuts)

--J:J:Copy selection into new layerCopy selection into new layeror create new layer from active layer if noor create new layer from active layer if no

selectionselection

------E:E:MergeMerge

visible layers into new layer above currentvisible layers into new layer above current

positionposition


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Cut(Cut--andand--Paste Shortcuts)Paste Shortcuts)

--A:A:Select allSelect all

--C:C:CopyCopy

--V:V: PastePaste


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Mask Related Shortcuts)(Mask Related Shortcuts)

--::on a mask icon loadson a mask icon loadsit as a selectionit as a selection

--::on a mask icon loads iton a mask icon loads it

for view/modificationfor view/modification --::on a mask iconon a mask icon

disables itdisables it

\\::when a mask is active brings up thewhen a mask is active brings up themask selection viewmask selection view

--I:I:inverts a mask if it is activeinverts a mask if it is active


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS(Clipping Mask Related Shortcuts)(Clipping Mask Related Shortcuts)

--G:G:Group currently active layerGroup currently active layerwith previous layerwith previous layer

----G:G:Ungroup currentlyUngroup currently

active layeractive layer


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS

(Mouse Actions)(Mouse Actions)

::on a value field and then useon a value field and then use

--to increase/decreaseto increase/decrease

field valuesfield values

--::in name field area of Layersin name field area of Layers

Palette moves the layerPalette moves the layer

::on a layer name to rename iton a layer name to rename it

Scrubber Controls:Scrubber Controls: mouse cursor will change tomouse cursor will change toa hand when over a text field to the left ofa hand when over a text field to the left of

numeric fieldsnumeric fields -- cancan --left/rightleft/right

to increase/decrease field valueto increase/decrease field value


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ESSENTIAL KEYBOARD SHORTCUTSESSENTIAL KEYBOARD SHORTCUTS

(Other Shortcuts)(Other Shortcuts)

--S:S:Save current fileSave current file --K:K:Brings up Preferences DialogBrings up Preferences Dialog

--Z:Z:Undo (Undo (----ZZ in Photoshop)in Photoshop)

--T:T:Free transformFree transform

::with other keys typically inverts meaningwith other keys typically inverts meaning

::Allows RESET on dialog boxesAllows RESET on dialog boxes

::with other keys typically augments orwith other keys typically augments or

constrains meaningconstrains meaning --::Brings up Fill Layer DialogBrings up Fill Layer Dialog


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SHORTCUTS TIPSHORTCUTS TIP

Don't try to learn all of the shortcuts at once; take themDon't try to learn all of the shortcuts at once; take themoneone--byby--one. One effective way to learn shortcuts is to learnone. One effective way to learn shortcuts is to learn

them by functional area. For example, learn the shortcutsthem by functional area. For example, learn the shortcuts

related to the Brush Tool by working on a number of imagesrelated to the Brush Tool by working on a number of images

with the Brush Tool.with the Brush Tool.

It is true that there are aIt is true that there are a LOTLOT of shortcuts, but then there isof shortcuts, but then there is

aa LOTLOT to Photoshop/Elements. The bottom line is that theto Photoshop/Elements. The bottom line is that the

time spent in learning shortcuts will be amply repaid in latertime spent in learning shortcuts will be amply repaid in latertime saved.time saved.


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KEY TOOLS/TECHNIQUES BY DIPKEY TOOLS/TECHNIQUES BY DIP

FUNCTIONAL AREAFUNCTIONAL AREASELECTIONSELECTION

INITIAL SELECTION:INITIAL SELECTION:

Rectangular Marquee:Rectangular Marquee: Allows defining a rectangular (or square) selection areaAllows defining a rectangular (or square) selection area

Elliptical Marquee:Elliptical Marquee: Allows defining an elliptical (or circular) selection areaAllows defining an elliptical (or circular) selection area

Lasso:Lasso:

Allows selection via tracing cursor movesAllows selection via tracing cursor moves Polygonal Lasso:Polygonal Lasso:

Allows selection via a series of connected straight linesAllows selection via a series of connected straight lines

Magic Wand:Magic Wand: Performs automatic selection based on similarly colored pixels.Performs automatic selection based on similarly colored pixels.AllowsAllows

defining a tolerance, contiguous/nondefining a tolerance, contiguous/non--contiguous/, all layers, etc. When itcontiguous/, all layers, etc. When itss

hot; ithot; its hot. Best for initial selections.s hot. Best for initial selections. Quick Selection Tool:Quick Selection Tool:

Performs automatic selection based on the areas painted over. SoPerforms automatic selection based on the areas painted over. Sometimesmetimesworks, sometimesworks, sometimes Best for initial selections.Best for initial selections.

Selection Brush:Selection Brush: ElementsElementsanswer to Photoshopanswer to Photoshops Quick Mask. Allows defining a selection bys Quick Mask. Allows defining a selection by

painting over it.painting over it.


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FUNCTIONAL AREAFUNCTIONAL AREASELECTIONSELECTION

SELECTION REFINEMENT:SELECTION REFINEMENT: Mask Painting:Mask Painting:

The process of modifying a Grayscale Mask to modify its selectioThe process of modifying a Grayscale Mask to modify its selectionncharacteristics. Offers a variety of image views along with fullcharacteristics. Offers a variety of image views along with full access to bothaccess to bothselection modification tools and image modification tools.selection modification tools and image modification tools.

Refine Edge:Refine Edge: Allows smoothing, Feathering, and Contracting/Expanding a currenAllows smoothing, Feathering, and Contracting/Expanding a currentt

selection.selection.

Modify:Modify: MultiMulti--selection tool to refine an existing selection.selection tool to refine an existing selection.

Feather:Feather:

Typically defines the degree of smoothness of a selectionTypically defines the degree of smoothness of a selections edge. Helps tos edge. Helps toensure that selected areas blend seamlessly into other areas.ensure that selected areas blend seamlessly into other areas.


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FUNCTIONAL AREAFUNCTIONAL AREAREPAIRREPAIR

Spot Healing Brush:Spot Healing Brush: Used to repair minor blemishes (e.g.: pimples, lipstick smudges,Used to repair minor blemishes (e.g.: pimples, lipstick smudges,

lint, etc.) When you paint over the area you want to repair, thelint, etc.) When you paint over the area you want to repair, theSpot Healing Brush automatically searches the surrounding areasSpot Healing Brush automatically searches the surrounding areasand blends them into the spot you're brushing.and blends them into the spot you're brushing.

Healing Brush:Healing Brush: Used to repair larger areas. You tell the Healing Brush the areaUsed to repair larger areas. You tell the Healing Brush the area

of your photo to use as a source to blend in to the painted areaof your photo to use as a source to blend in to the painted area..You should be careful when using the Healing Brush whenYou should be careful when using the Healing Brush whenabrupt tonal transitions are found in the target area; this canabrupt tonal transitions are found in the target area; this can

usually be resolved by selecting out the area to be repaired.usually be resolved by selecting out the area to be repaired. Clone Stamp:Clone Stamp:

Paints over a target area based on a predefined source area.Paints over a target area based on a predefined source area.Offers more control than the Healing Brush.Offers more control than the Healing Brush.


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FUNCTIONAL AREAFUNCTIONAL AREAADJUSTMENT LAYERSADJUSTMENT LAYERS

Levels:Levels: Allows nonAllows non--destructive contrast/exposure/color area adjustmentdestructive contrast/exposure/color area adjustment

Hue/Saturation/Gradient:Hue/Saturation/Gradient:

Allows nonAllows non--destructive hue/saturation/luminosity areadestructive hue/saturation/luminosity areaadjustmentadjustment

Photo Filter:Photo Filter: Allows nonAllows non--destructive area adjustment using a variety ofdestructive area adjustment using a variety of

standard photo filters or a custom defined colorstandard photo filters or a custom defined color Solid Color:Solid Color:

Allows non Allows non--destructive area solid color filldestructive area solid color fill


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THE ART OF SELECTIONTHE ART OF SELECTION

Most of the real work in Photoshop revolves around making and reMost of the real work in Photoshop revolves around making and refiningfining

selections.selections.

Learning to make selections quickly and accurately in PhotoshopLearning to make selections quickly and accurately in Photoshop is anis an

essential skill. If you are inept at making selections, then youessential skill. If you are inept at making selections, then you will laborwill labor

for hours in Photoshop to perform relatively simple tasks and spfor hours in Photoshop to perform relatively simple tasks and spendend

most of that time making and refining selections. Unfortunately,most of that time making and refining selections. Unfortunately, thethe

Photoshop 7Photoshop 7CS4 offers far more powerful tools (e.g.: paths, ColorCS4 offers far more powerful tools (e.g.: paths, ColorRange, Channel analysis & mixing) for selections than does ElemeRange, Channel analysis & mixing) for selections than does Elements.nts.

Since this tutorial restricts itself to tools/techniques availabSince this tutorial restricts itself to tools/techniques available in bothle in both

Photoshop 7Photoshop 7CS4 and Elements, we will not cover some of the methodsCS4 and Elements, we will not cover some of the methodsmentioned above.mentioned above.

The next several slide given some tips that may assist you in maThe next several slide given some tips that may assist you in makingking

selections more quickly and effectively.selections more quickly and effectively.


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SELECTION TIPSSELECTION TIPS

If a selection takes more than a few minutes to complete, then sIf a selection takes more than a few minutes to complete, then saveaveit with a meaningful name in case it will be needed later (Excepit with a meaningful name in case it will be needed later (Exception:tion:If you are creating an Adjustment Layer with a selection active,If you are creating an Adjustment Layer with a selection active, thenthenthe selection is automatically added as a layer mask.)the selection is automatically added as a layer mask.)

Select (typically) with a 0 feather for the highest accuracy. YoSelect (typically) with a 0 feather for the highest accuracy. You canu canalways feather later but you can't "always feather later but you can't "unfeatherunfeather".".

For most selections, a feather of 3For most selections, a feather of 3--7 pixels seems to work quite7 pixels seems to work quitewell.well.

Use the automated selection tools (i.e.: Magnetic Lasso, MagicUse the automated selection tools (i.e.: Magnetic Lasso, MagicWand, and Quick Selection Tool) for initial selection. Use maskWand, and Quick Selection Tool) for initial selection. Use mask

painting and the selection refinement tools (e.g.: Refine Edge,painting and the selection refinement tools (e.g.: Refine Edge,Modify) for refinement.Modify) for refinement.

Don't forget that you canDon't forget that you can --within anwithin animage/selection and bring up a context sensitive menu that oftenimage/selection and bring up a context sensitive menu that oftenavoids having to use the Main Menu.avoids having to use the Main Menu.


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Rather than save a selection viaRather than save a selection via SelectSelect--> Save Selection...> Save Selection..., save it, save itas a hidden (i.e.: not visible Adjustment Layer mask). It will tas a hidden (i.e.: not visible Adjustment Layer mask). It will then behen bereadily visible in the layer stack and can be viewed, recalled,readily visible in the layer stack and can be viewed, recalled, andandedited at any time.edited at any time.

You can select nonYou can select non--transparent pixels bytransparent pixels by --inging ononthe layer thumbnailthe layer thumbnail

Don't forget that the "marching ants" are only an approximationDon't forget that the "marching ants" are only an approximation andandshow only those pixels selected at 50% and above. When refiningshow only those pixels selected at 50% and above. When refining aaselection as a layer mask, using theselection as a layer mask, using the \\key for mask mode or directlykey for mask mode or directlyviewing the mask is far preferable to the ant army.viewing the mask is far preferable to the ant army.

Often you can best make a selection by first selecting the inverOften you can best make a selection by first selecting the inver

sese

and then inverting it. For example, if you have an individual drand then inverting it. For example, if you have an individual dressedessedin clothes of many colors standing against a blank wall and youin clothes of many colors standing against a blank wall and youwant to select the individual, it would probably be a good stratwant to select the individual, it would probably be a good strategyegyto simply select the wall (since it is of a single, consistent cto simply select the wall (since it is of a single, consistent color) andolor) andthen invert your selection.then invert your selection.


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If you spend a fair amount of time performing Photoshop selectioIf you spend a fair amount of time performing Photoshop selectionn

operations, then consider investing in a graphics tablet. The inoperations, then consider investing in a graphics tablet. The initialitial

monetary investment will be repaid many times over in the speedmonetary investment will be repaid many times over in the speed

and efficiency of making and refining selections.and efficiency of making and refining selections.

One convenient way of making selections directly using anOne convenient way of making selections directly using an

Adjustment LayerAdjustment Layer layerlayer mask is to create a H/S Adjustment Layermask is to create a H/S Adjustment Layer

and fill the mask with black. Set the Adjustment Layer values toand fill the mask with black. Set the Adjustment Layer values toSaturation =Saturation = --100, Lightness = +100100, Lightness = +100 and then begin paintingand then begin painting

directly on the mask.directly on the mask.

DonDont forget that in refining a selection via Mask Painting that yout forget that in refining a selection via Mask Painting that you

may apply any of Photoshopmay apply any of Photoshops filters, special effects, etc. to assists filters, special effects, etc. to assist

you in refining the mask/selection. For example, you can useyou in refining the mask/selection. For example, you can use

Gaussian Blur to produce the equivalent of feathering.Gaussian Blur to produce the equivalent of feathering.

SELECTION TIPS


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When refining a selection via Mask Painting, you would typicallyWhen refining a selection via Mask Painting, you would typically

alternate between:alternate between:

Using a normal view to see the direct effect of modifying theUsing a normal view to see the direct effect of modifying the

mask/selection andmask/selection and Using a mask view (Using a mask view (\\key) to view the effects in terms of mask areaskey) to view the effects in terms of mask areas

and their opacityand their opacity

NOTE:NOTE: Typically, viewing the mask directly (viaTypically, viewing the mask directly (via --on theon the

layer mask icon) is used for final cleanup (e.g.: ensuring thatlayer mask icon) is used for final cleanup (e.g.: ensuring that all blackall black

mask areas are truly black)mask areas are truly black)

NOTE:NOTE:You can immediately view the image difference made by theYou can immediately view the image difference made by the

mask by executingmask by executing --on the layer mask icon multipleon the layer mask icon multiple

timestimes

S C O QSELECTION QUIZ


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SELECTION QUIZSELECTION QUIZ

Now that we know all about selections, letNow that we know all about selections, lets try a short quiz.s try a short quiz.

For each of the numbered squares (1...6) on the next slide, seleFor each of the numbered squares (1...6) on the next slide, select the centeredct the centeredcentral object (andcentral object (and ONLYONLYthe centered central object).the centered central object).

You can check out your selection accuracy viaYou can check out your selection accuracy via CTRLCTRL--JJafter the selection is madeafter the selection is made

and then viewing just the selection byand then viewing just the selection by --inging on the new layer'son the new layer's

eyeball icon.eyeball icon.

The answers are given on the slide following the quiz images, buThe answers are given on the slide following the quiz images, but please try tot please try to

solve the quiz (i.e.: make the selection in Photoshop/Elements)solve the quiz (i.e.: make the selection in Photoshop/Elements) first.first.

NOTE:NOTE: The images shown on the quiz slide is available as a .jpg downlThe images shown on the quiz slide is available as a .jpg download fromoad fromthis site.this site.

SELECTION QUIZSELECTION QUIZ


45/47

SELECTION QUIZSELECTION QUIZSelect the centered object in each of the numberedSelect the centered object in each of the numbered

(1(16) white squares below6) white squares below


46/47


47/47

QUESTIONS?QUESTIONS?

Documents

Photoshop Techniques and Shortcuts