GettheIMAGEYOUWANT:EssentialPhotoshopEditingTechniquesByElementKJournalsCreativeTeam...............................................Publisher:PeachpitPressPubDate:June08,2005ISBN:0-321-34896-6Pages:288

TableofContents|Index

Creatinggreatphotographicimagesdoesn'tstopwithperfectingyourshootingtechniques.Onceyouhaveyourphotoindigitalform,youcantakeittothenextlevelwithimageeditingtoolslikePhotoshop.WhileotherPhotoshopbooksgofromfeaturetofeature,explainingeverylittledetailofthisexpansiveprogram,thisbookisseparatedintoeightchaptersthatdealwiththemainaspectsofworkingwithimagesinPhotoshsop.Thisway,youcankeepthebooknexttoyourworkspaceandreachforitwheneveryouneedtheperfectsolutiontoanimage-editingproblem.Readerswillstartwithlearningbasicimageeditingconcepts,suchasimportingfiles,correctingcolorandtone,croppingimages,andusingmasksandfilters.Alsoincludedisaproblem/solutionsectionattheendofeachchapter,containingspecifictechniquesandstreamlinedfixesthatyoucanapplytothemostcommonimage-editingchallenges.Alongtheway,thisfull-color,gorgeouslyillustratedbookofferspracticalhelpandhundredsofcreativeideas.Targetedattheseriousbeginner,thisfour-colorreferencebookteachescorePhotoshopanddigitalimagingconceptsatanaffordablepriceandanaccessiblepagecount.

GettheIMAGEYOUWANT:EssentialPhotoshopEditingTechniquesByElementKJournalsCreativeTeam...............................................Publisher:PeachpitPressPubDate:June08,2005ISBN:0-321-34896-6Pages:288

TableofContents|Index

Copyright Foreword Introduction Startbycalibratingyourmonitor OpeningfilesinPhotoshop KeepimagesorganizedandeasytofindwiththeFileBrowser Beconsistentwithcolorcorrectingdigitalimages Part1:ColorandTonalCorrections1 Chapter1.ColorCorrection ImprovethecolorinyourimageswithCurves Adjusthueandsaturationtoselectivelycolorizeanimage CorrectcolorwiththeVariationscommand KeepcolorsconsistentwiththeMatchColorcommand CorrectcolorwiththeColorReplacementtool ChangecolorwithReplaceColor Problem:SolutionUsetheLevelscommandtocorrectcolorcasts Problem:SolutionMellowoversaturatedcolors Chapter2.TonalCorrection Determinetonalqualitybyreadingahistogram UseAutoContrasttoautomaticallycorrectanimage Addmissingdetailtoyourimages ImprovetonalrangewiththeShadow/Highlightcommand Correctexposureproblemswithdodgingandburning Problem:SolutionRestoreunderexposedshadowdetail Problem:SolutionRestoreoverexposedphotos Part2:EssentialImageEditingFixes Chapter3.Noiseandsharpening AddnoisewiththeAddNoisefilter Useblendingmodestofixdigitalnoise Keepyourdigitalimagesnoisefree BoostclaritywiththeUnsharpMaskfilter Problem:SolutionRemovenoisewithLabcolor

Workinthelab Problem:SolutionUseabrushwiththeUnsharpMaskfilter Chapter4.RetouchingTechniques CorrectimperfectionsindigitalphotoswiththeHealingBrush RepairandedityourimageswiththePatchtool CleanupcolorproblemswiththeSpongetool Fixflawedarchitecturalimages Problem:SolutionEliminateskinflaws Problem:SolutionRestorecolortounderexposedareas Problem:SolutionRemovelinesandwrinkles Chapter5.Optimizationandsizing Choosethebestfileformatsfortheweb Optimizeyourimagestogetthebestwebresults AdjustJPEGwebqualitywiththeModifyQualitySettingcommand Makeprecisecroppingselectionsusingguides OptimizeyourimagesforuseinMicrosoftPowerPoint Problem:SolutionImproveblurringincompressedwebimages Problem:SolutionImproveresampledimagesforprint Part3:ImageManipulationandAlteration Chapter6.ArtisticApproaches Burntheedgesofyourphotostoaddmood PaintgradualtoneswiththeAirbrushoption Createconvincingreflections ControlvisualfocuswiththeGradienttool CombineimageswiththeExtractcommand Enhanceyourimageswithwell-placedlight Problem:SolutionRemoveacompleximagefromitsbackground Problem:SolutionRemoveanobjectfromaphoto Chapter7.Filters UsingtheFilterGallery Combiningfilterlayers Filteryourportraits Adjusttheimagefortonalquality Addtexturewithsimulatedfilmgrain Problem:SolutionCorrectcolorcasts Problem:SolutionModifyfacialfeatures Chapter8.Masks UseQuickMaskmodetomakeaselection Createvignetteswithlayermasks Cutoutpartsofimageswithlayermasks Editingwithvectormasks Problem:SolutionFixaccidentalsilhouettes Problem:SolutionRestorelosthighlightdetail Glossary Appendix PhotoshopCSkeyboardshortcuts Index

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Dedication

Toourfamilies,

whocontinuetosupportusnomatterhowtiredandcrankyweareattheendoftheday.

ForewordIntheearlydaysofimageediting,onlyprofessionalshadtheexpertiseandfinancialmeanstorunthecomplexcomputersystemsneededtodigitallyprocessimagefiles.

Nowadays,almostanyonecangetsetupwiththerighttoolsforcreatingprofessionalresultswheneditingimages.So,howaboutyou?Youhavethedigitalcamera,thescanner,thecomputer,andthemonitor.YouevenhaveAdobe®Photoshop®.Withallofthepiecesinplace,youfeelreadytostarteditingyourimage,butwhat'sthebestwaytogoaboutdoingso?Theprocessofadjustingadigitalimageisnotonlyverysubjective,butit'salsoahighlytechnicalexperience.Butpixel-pushingdoesn'thavetoberelegatedtoprofessionalswhochargealotofmoneytoremoveascratchfromyourscanoradjustthecontrastinyourdigitalimage.

Thisbookismeanttodispelthemythsthatimageeditingishard,byhelpingyoubecomeamethodicalandefficientPhotoshopuser.OtherPhotoshopbookssimplygofromfeaturetofeature,explainingeverylittledetailofthisexpansiveprogram.Butwewantedtomakeiteasiertofindtheinformationthatpertainstoyourparticularimage-editingneed,sowe'vedividedthisbookintoeightchaptersthatdealwiththemainaspectsofworkingwithimagesinPhotoshop.Thisway,youcankeepthebooknexttoyourworkspaceandreachforitwheneveryouneedtheperfectsolutiontoanimage-editingproblem.

We'vealsoincludedaProblem/Solutionsectionattheendofeachchapter.Thesearespecifictechniquesyoucanapplytothemostcommonimage-editingchallenges.Ourstreamlinedfixesaresuretobecomeyourmostvaluededitingtechniques.

Inthisbook,we'llassumeyouhavethesoftwareandanunderstandingofhowtodothebasics,suchasopenfilesandnavigatethroughtheuserinterface.Pleasenotethatwe'vedecidedtousetheMicrosoft®Windows®versionofAdobePhotoshopasourleadversion,butwe'veincludedMacintosh®equivalentstoallkeyboardshortcutsandanythingelsethatmightbedifferent.Essentially,Photoshopworksthesameoneitherplatform;itjustlooksabitdifferent.

Imageeditingisbothaskillandanart.Byfollowingalongwiththisbook,you'llbeabletodeveloptechniquesthatwillbridgethesedisciplinesandallowyoutocreateimagesthataretechnicallyperfect,butthatarealsogreattolookat.Takinganimagefromblahtobeautifuldoesn'thavetobehardandwe'llshowyouthebestwaystodoit.

Wishingyoutheperfectimage,TheElementKJournalsCreativeTeam

Introduction

Startbycalibratingyourmonitor

OpeningfilesinPhotoshop

KeepimagesorganizedandeasytofindwiththeFileBrowser

Beconsistentwithcolorcorrectingdigitalimages

Startbycalibratingyourmonitor

BeforeyouevenopenanimageinPhotoshop,thefirstthingyoushoulddoistakeamomenttooptimizeyourworkspace.Sinceyourmediuminthedigitalrealmisessentiallypixels,andpixelsaredisplayedonyourmonitor,thismeansyouneedtomakesureyourmonitorisproperlyadjustedtogiveyouaccuratecolorandneededdetail.

Whiletherearenearlyuniversalstandardcolorsettingsforgraphicsandimaging,therearenoneformonitors.Therelationshipbetweenthevoltageappliedtoamonitorandthebrightnessemittedisnon-linear.Inotherwords,ifanRGBpixelisatthemaximumvalueof255,changingthevalueto127(halfoftheoriginal)won'tproduceavisualresultofhalfbrightness.Instead,therelationshipfollowsapowerlawofthevoltagetothepowerofgamma,withthevariablegammarepresentingthevoltageofthemonitor.

Thefunctionofgamma

Mathematicsaside,itcanbesaidthatgammaistherelationshipbetweenthebrightnessofapixelandthenumericalvalueofthatpixel.Simplyput,gammaaffectsthebrightnessandcolorsaturationoftheimageswithwhichyouwork.Theimagesdisplayedonmonitorswithuncorrectedgammawillbetoodark,whereasovercorrectedgammawillcauseimagestoappeartoolight.Eitherway,hueswillchangefromthemonitortotheprintedpage.

Calibrateyourmonitorandmore

Monitorcalibrationshouldbeyourfirstorderofbusiness.Anuncalibratedorincorrectlycalibrateddisplaywillshowdifferentcolorsthanthosethatactuallyprint.Fortunately,thereareseveralspecificapplicationsavailableformonitorcalibration,whichwe'lldiscussinamoment.

Calibration,however,beginsatalevelevenmorebasicthanthat.Beforeyoubootupanapplicationordiveintotheweb,checkthelightinginyourworkspace.Forpropercolorappearance,thescreenshouldbeasglare-freeaspossible.Infact,themonitorsusedbyimagingprofessionalsarefrequentlyhoodedwithaplasticoverhangtofilteroutintrusiveoverheadlighting.Onceyoubootupyourcomputer,givethemonitor30minutestowarmupandstabilizebeforecalibration.It'salsoagoodideatosetthebackgroundcolortogray,asavibrantlycoloreddesktopcanalterthewayyouperceivethecolorswithinyourimages.

Thecalibrationprocess

Mostimagersshootforagammavalueof1.8.PhotoshopcomeswithAdobeGammaforWindows,whichguidesyouthroughthecalibrationprocessandgetsyouclosetogamma1.8.Mac®OSXuserscanusetheDisplayCalibratorAssistant.Thereis,however,astrongsentiment(especiallyamongthephotographicset)thatAdobe'scalibrationmethodsaretooimprecise.Whiletheyworknicelyformostgraphicdesignapplications,afineradjustmentmaybenecessarywhenworkingwithextremelydetailedphoto-realisticimages.

Ifyou'renewtocalibration,tryoutAdobeGamma.Then,ifyou'reunsatisfiedwiththeresultsofcalibrationwithAdobeGammaorifyouaren'tusingit,searchthewebformonitorcalibrationtogetmoredetailedcalibrationinstructions.

Note

MacintoshandWindowscomputersdealwithgammaindifferentwaysandcanproducedrasticallydifferentdisplayresults.AnoverlydarkimageonaMacmaybetoolightortoodarkonanuncorrectedPCdisplay.ThegammaforWindowsmachinesmustfrequentlybetinkeredwithatthevideo-cardlevel.Bottomlineifyourimageiscrossingplatforms,it'svitaltocheckthegammaforbothplatforms.

OpeningfilesinPhotoshop

Onceyouhaveyourworkspacesetupandyourmonitorcalibrated,youcantakethenextstepofopeningafileinPhotoshop.Photoshophastheabilitytoopendozensofdifferentfileformats.Youcaneasilyopenandeditfiles,suchasJPEGsandGIFs,withPhotoshop'sampleresources,buttherearetimeswhenyouneedtodomorethanmerelyopenthemtomakethemuseful.Sometimes,you'rebringinginafilefromanexternalsource,suchasadigitalcamera,scanner,orevenadigitalvideocamera.Thisprocess,knownasimporting,allowsPhotoshoptobringinimagesfromothersources.

Importingfilesfromyourscanner

WhilemostfilessimplyusetheOpencommand,importingfilesfromexternalsourcesrequiresusingothermenuitems.Inthecaseofscanners,aspecialtechnologyknownasTWAINisused.AlmosteveryscannercomeswithaTWAIN-compliantdriverforPhotoshop.ATWAINdriverallowsthescannerandPhotoshoptospeakthesamelanguageandalsoputsthecontroloverhowthescannerperformsinyourhands.

TWAINdriveruserinterfacesvarybetweenmanufacturers,butyou'llalwaysfindthemonthesamemenuinPhotoshop.ChooseImportfromtheFilemenu.Ifyouhavescannersoftwareinstalled,Photoshoplistsitherebymanufacturerandmodelname,asshowninFigureA.Youmighthavemorethanonescannerlistedifyouhavemultiplescannersinstalledonyoursystem.

FigureA.

Oncelaunched,eachscannerhasdifferentoptionsandmethodsforscanningyourimage.OurscannersoftwareloadsfromwithinPhotoshop.Itgivesustheabilitytosettheresolutionandsizeofthescan,aswellasmakeimageadjustmentsbeforeourimageimports.Mostscannersoftwareallowsyoutodesignatetheareaofthescannerglassthatyou'dlikescanned.It'sagoodideatoonlyscanwhatyouneedoryou'llbewaitinglongerthanyouhavetoforyourscantocomplete.

Onceyou'vemadeyourchoices,clickScantoimporttheimage.OncetheimageisloadedintoPhotoshop,aswithEPSfilesbefore,youcansavetheimagetoanyfileformatyouchoose.

Importingfilesfromadigitalcamera

Importingpicturesfromadigitalcameraisn'tmuchdifferentthanimportingfromascanner.Digitalcamerasstoreimagesintheirinternalmemoryoronremovablestoragedevicessuchascompactflashcards.Youcanimporttheseimagesintwoways:withtheuseofanexternalreaderorbyusingplug-instobringtheinformationdirectlyintoPhotoshop.

Usingcardreadersforimportingdigitalimages

Sincemanydigitalcamerasuseremovablestoragemedia,havingareaderthatcanquicklytransferyourimagestoacomputerisamust-haveformanydigitalcameraenthusiasts.WhilefastUSBandFireWire®connectionshavemadethetransferofimagesdirectlyfromthecameramuchfaster,storagecapacityonmanymemorycardshasalsoincreased.CardreadersworkjustlikeadiskdriveyousimplychooseOpenfromtheFilemenuinPhotoshop,locateyourcardreader,andselecttheimageorimagesyou'dliketoopen.ImportingyourimagesintoPhotoshopusingacardreaderisfastandrelativelyfoolproof,andworksexactlythesameasimportingimagesontoyourharddrive.

Usingplug-insforimportingdigitalimages

Manycameramanufacturersalsoincludeaplug-inthatallowsdirectaccesstothedigitalcamerausingsomesortofconnection.ThisconnectionrangesfromUSB,serial,FireWire,andeveninfrared.Aplug-inisathird-partyapplicationthat'scompliantwithPhotoshop(orwhateverprogramthemanufacturercreatedittoworkwith).Thetwoapplicationsruntogethertoachieveagoal,usuallytocreatespecialeffectsorincreaseproductivity.Forexample,aplug-inallowsusto

communicatewithadigitalcameraandimportfilesdirectlyintoPhotoshop.

Youcanaccessplug-insfordigitalcameras,similartoscannerTWAINdrivers,byusingtheImportmenu.Forexample,we'reusingawebcamtosnapsomequickimages.ThecameraisconnectedtothecomputerwithaUSBcable,sowecouldusethestand-aloneversionofthesoftwaretosnaptheimage,saveittoourharddrive,andthenopenitinPhotoshop.However,usingtheplug-inoffersamuchmorestreamlinedapproach.

Whenusingourwebcamplug-in,wefirstchooseImportfromtheFilemenuandlocateourcamerafromthedropdownlist.Oncelaunched,thecamerasoftwareopens.Thisplug-inwasmadetoworkinPhotoshopandgivesusalivepreviewfromourcamera,animagesizepicker,andasnapshotbuttonthatinitiatestheimportoftheimage.Itcouldn'tbesimpler!

Whilewedon'tgetalltheimagecontroloptionswenormallygetinthefull-blownapplication,it'snobigdeal;wecanadjustourimageinPhotoshop.Plug-insaren'tmeanttoreplacefunctionalityinPhotoshop,butrathertoenhanceandaddtothepossibilities.

Youmayhaveastilldigitalcamerathatworksinasimilarway.ManycamerashavefeaturesthatallowyoutocontrolyourcamerafromyourcomputerandtransfertheimagesimmediatelytoPhotoshop.Thisisanothergoodexampleofhowusingplug-instoimportimagescanextendthefunctionalityofthisimage-editingapplication.

ImportingEPSfiles

WhileimagefileformatsopeneasilyinPhotoshop,somerequirespecialattention.Forexample,EPS,orEncapsulatedPostScript,isaspeciallydesignedfileformatthatallowsvectorandrasterinformationtobesavedtogether.ThismeansthatasingleEPSfilemaycontainbothimagesmadeupofpixelsandobjectscomprisedofvectorpaths.Theprimaryusersofthisformataregraphicdesigners,whooftenneedtobringtheirartworkintoPhotoshopforfinishingtouchesafterdesigningitinanillustrationprogramsuchasAdobeIllustrator®orMacromedia®FreeHand®.However,sincemostgraphicsapplicationscansaveintheEPSformat,ithasbecomethebridgeintoPhotoshopformanyapplicationsthatcan'tsavefilesasastandardfileformatsuchasTIFForJPEG.

Note

TheprocessforopeninganEPSfileinPhotoshopisfundamentallythesameasforopeningaPDFfile.TheonlybigdifferenceisPhotoshopasksyouwhatpageofyourPDFdocumentsyouwanttoopen,assumingyouhaveamulti-page

document.

RasterizingyourEPSfile

WhileyoucanopenanEPSfileusingtheOpencommandontheFilemenu,Photoshoptreatsitdifferentlybeforeprocessingitasanimage.WhenyouopenanEPSfileinPhotoshop,Photoshopconvertsthevectorpathstopixels.BecauseEPSfilesdon'tsaveanyspecificresolutionorsizedata,youmusttellPhotoshophowtoopenthisfilebyinputtingyourdesiredsettings.Wecallthisprocessrasterization,atermthatthePhotoshopworldoftenuses.

Note

OnlyEPSfilesnotcreatedinPhotoshopneedtoberasterized.IftheywerecreatedusingPhotoshop,thefilewouldsimplyopen,asPhotoshopembedsallnecessaryimagedatawhenthefileissaved.

TorasterizeanEPSfile,firstlaunchPhotoshopandselectOpenfromtheFilemenu.LocateyourEPSfile(withthe.epsfileextension),clickonthefilename,andthenclickOpen.TheRasterizeGenericEPSFormatdialogboxdisplays,asshowninFigureB.ThisdialogboxallowsyoutoenterthedataPhotoshopneedstorasterizethefile.Youcansetthewidth,height,andresolutionofyourfileusingthetextboxesanddropdownlists.

FigureB.

Resolutionconsiderations

Beforewecontinue,let'shaveaquickwordonresolution.Youdon'tsaveEPSfilesatanyspecificresolution.Thismeansthatyoucanrasterizethevectorelementsinyourfileatanyresolutionwithoutanylossinquality.However,ifyourfilecontainsanyrasterelements(images),youcanonlyrasterizethefileinPhotoshopatthemaximumresolutionoftheimages.Anythingbeyondthatmaximumresolutionresultsinpixelation,whichmeansyou'vestretchedyourimagedatatoofar.

Note

Ifyou'reunsureofwhatthemaximumresolutionofyourplacedimagesis,theeasiestwaytofindoutistoopentheminPhotoshop.Onceopened,selectImageImageSizeandnotethenumberintheResolutiontextbox.That'syourmaximumresolutionforthatimage.Makesureyoucheckalloftheimagescontainedinyourdocument,usingthelowestresolutionasyourrasterizingtargetpoint.

WhenchoosingtheresolutionforyourEPSfile,firstconsidertheexistingresolutionoftherasterimagesinyourfile,andthendecidethetargetresolutionofyourfile.Forexample,ifyou'reprintingwithaninkjetprinter,300or600dpidoesfine.Ifyou'repreppinganimagefortheweb,72dpiisthestandard.Don'taddunnecessaryfilesizethatcanbogdownyourcomputer.Rememberthatyoucanalwaysstartoverifyouaren'tsatisfiedwithyourresults.

MoreEPSoptions

TherearemoreoptionsintheRasterizeGenericEPSFormatdialogboxthatdeservenote.Thefirstisthechancetodesignatethecolorspaceofyourfile.ThisisanimportantchoicebecausePhotoshoprenderscolordifferentlydependingonitscolorspace.ThemaincolorspacesareRGB(Red,Green,Blue),CMYK(Cyan,Magenta,Yellow,Black),Grayscale,andLab(Luminosity,Alpha,Beta).For99percentofyourEPSfiles,you'lluseRGBandCMYK.TheruleofthumbisRGBforonlineuseandCMYKforprint.

Photoshop,tosomeextent,canalsocontroltheamountofpixelationinyourimageswhenrasterizing.IfyouselecttheAnti-aliasedcheckboxintheRasterizeGenericEPSFormatdialogbox,Photoshopsmoothestheroughedgesbetweenpixelstomakethemblendtogether.Thisalmostalwaysresultsinbetterlookingimages,somakesurethischeckboxisselected.

Whenyou'vefinishedmakingyourchoices,clickOKtorasterizeyourfile.PhotoshopusestheinformationyouenteredtoprocesstheEPSinformationanddisplaythefileonscreen.OnceyouopenitinPhotoshop,youcansaveitinanyfileformatyoudesire.

Importwrap-up

Photoshopcanopenalmostanyimagefileformat.Youcanusuallyimportthosethatitcan'topenusingseveraldifferentmethods.Whetheryou'rebringinginafilefromyourharddriveorimportingimagesfromacameraorscanner,understandinghowtoimportimagesintoPhotoshopgivesyoumanyoptionsforusingtheapplicationtoitsfullest.

KeepimagesorganizedandeasytofindwiththeFileBrowser

Keepingtrackofyourimagesisbynomeansaneasytask.Whenworkingonanimage-editingproject,it'seasytoplaceimagesinnumerousfolderswithoutusingpropernamingconventions,folderstructures,oranyotherorganizationaltactics.However,withalittlehelpfromthenewandimprovedFileBrowserinPhotoshopCS,youcanfindimageswithease,batchprocessthemdirectlytoCDs,renametheminseconds,anddraganddropimageswithinthedisplaypane,andallthewhiletheFileBrowsercanstayopenandreadyevenasyouworktohelpyouorganizeandfindimagesquicklyandeasily.OnceyoustartusingtheFileBrowser,you'llprobablyfindyourselfwonderinghowyouevermanagedwithoutit.

Lookingatthewindow

Toaccessthebrowser,press[Ctrl][Shift]O( [shift]OontheMac)orchooseFileBrowse.WhenyoufirstopentheFileBrowser,you'representedwithafree-floatingwindow.IntheFolderstabontheleftsideoftheFileBrowser,selectafolderordrivetocontaintheimagesdisplayedintheFileBrowser'sThumbnailspaneontheright,asshowninFigureA.

FigureA.

[Viewfullsizeimage]

TheFileBrowserhasamultitudeoffeaturesandfunctions.ListedbelowarebriefsummariesofthedifferentcomponentswithintheFileBrowser:

DesktopView.TheDesktopViewlistsallthefoldersandsubfoldersonyourcomputer,makingiteasytofindspecificfiles.Onceyouclickonafolder,Photoshopupdatesthethumbnailstodisplaythecontentswithintheselectedfolder.

Thumbnails.TheThumbnailspanedisplaysyourimageswithinaselectedfolder,disk,orCD.Hereyoucanselect,open,rename,move,andcopyfiles.

Preview.ThePreviewpanedisplaysalargerversionoftheimageselectedintheThumbnailspane.YoucanmakethepreviewlargerorsmallerbydraggingtherightsideandbottomedgeofthePreviewpaneitself.

Keywords.TheKeywordspaneisaniceadditiontotheFileBrowser.Hereyoucanassigndescriptivewordstoyourimagestomakesearcheseasy.ClickontheKeywordspalette'spop-upmenutocreatenewkeywordsandnewsetsofwords.

Metadata.ThenewandimprovedMetadatapaneallowsyoutoviewandeditnon-pixelinformationoryouguesseditmetadata.TheMetadatapaneis

dividedintosections,themostcommonlyusedbeingFileProperties,IPTC,andCameraData(Exif).DigitalcamerastypicallyuseEXIFtostoreinformationaboutaspecificimage,suchaswhenitwastaken,theflashsetting,andthefocallength.

Ifyoureallywanttoknowthenitty-grittyaboutanimage,justclickontheMetadatapane'spop-upmenuintheupper-rightcorner.Then,chooseMetadataDisplayOptionsfromtheresultingdropdownlist.Thisopensadialogboxcontainingdozensoffieldsforinformation,asshowninFigureB.JustclickontheitemsthatyouwantdisplayedintheFileBrowserandclickOK.

FigureB.

Automatingtasks

InPhotoshopCS,theFileBrowserhasitsownmenubar.ThisisconvenientbecauseyoucanautomatetasksrightfromtheFileBrowser.Forexample,opentheFileBrowser(ifitisn'talready)andchooseAutomatefromthemenubartodisplaythelistoffeatures,asshowninFigureConthenextpage.Youcanmakewebphotogalleriesandcontactsheets,renamemultiplefiles,andmore.

FigureC.

[Viewfullsizeimage]

"Caching"up

OneofthebenefitsoftheFileBrowseristhatyoucanrotateimagepreviews,renamefiles,andrankthem.However,ifyou'resharingtheseimagesonanetwork,allofyourchangesareinvisibletoeveryoneelse.Thisisbecausethere'sacachefileforeachfolderthatcontainsimages,andthisfolderislocatedinasystemfolderonyourcomputer.

Topreserveallofyourhardworkandallowotherstoseewhatyou'vedone,youhavetoexportthecache.Althoughthismaysoundcomplicated,Photoshopmakes

theprocesseasy.ChooseFile ExportCachefromtheFileBrowser'smenu.Upondoingso,Photoshopexportsthreecachefilestothefolderitselfcontainingthepreviews,thumbnails,andmetadata.

Note

WhenburningimagearchivestoCD,youshouldexportthecacheaswell.Ifyoudon't,you'llloseanymodificationyoumadeintheFileBrowser.

Seeingisbelieving

TheFileBrowserisatimesaving,helpfulfeaturethatwillmakeyourworkflowmoreorganizedandefficient.Don'twastetimechoosingFile Open;instead,usetheFileBrowserandpreviewyourimageswiththeeaseandconvenienceofasophisticatedimage-managementsystem.Nowthatyouknowhowtoorganizeyourimages,let'stakethenextsteptowardbecominganimage-editingmaster.

Beconsistentwithcolorcorrectingdigitalimages

Haveyouevertriedtocolorcorrectanimageandfoundittobeafrustratingexperience?Didyouspendhourstweakingthegreensinyourimageonlytodarkentheoverallimageandlosethatverdantcolor?Howmanytimeshaveyoudecidedtostartoverhalfwaythroughthecolor-correctionprocessbecauseyoucan'tgettheshadowsjustright?Ifthesearetheveryreasonsyouboughtthisbook,thendon'tworrywe'regoingtodemystifytheimage-editingprocess.

Wheneditingyourdigitalimages,aconsistentworkflowcanmakecolorcorrectioneasierandmorepredictable.Eachadjustmentyoumaketoanimagehasramificationslaterdowntheeditingtrail,sofollowingareliableeditingprocesscanmakeahugedifferenceinthefinalqualityofyourimageandmakecolorcorrectionlessofachore.

Perfectbalance

Thinkofitasachecklist;asyoucompleteonetypeofadjustment,simplymoveondownthelistuntilyoumakeallofyourchanges.Sinceimageadjustmentisasubjectiveendeavor,wewon'tgivespecificvaluesandsettingsformodifyingyourimage,butinsteadwe'llprovideyouwithaframeworkformakingyourimageslooktheirbest.We'llbreakitintofourstagesevaluation,tonalrange,colorbalance,andfinaltouches.Byunderstandinghowthesestagesplayoffoneanother,youcansimplifythecolor-correctionprocessandgetbetterresults.

TheZenofimageediting

Theimportantthingtorememberisthateveryoneseesthingsdifferently.Everydigitalcameratakesaslightlydifferentpicture.Everymonitorshowstheimagealittlebitdifferently.Thesedisparitiescoulddriveadigitalphotographercrazy,butrememberthatimageeditingislargelyasubjectiveendeavor.Whatwe'regoingtopresentisalooseworkflowformakingthecolor-correctionprocesseasier,notastrictformulathathastobefollowedtotheletter.Onceyouunderstandthebasics,youcantailortheprocesstomatchyourowneditingstyleandletyoureyesleadyou.

Step1:Evaluateyourimage

Thefirststepistotakeagoodlookatyourimageandevaluateitsquality.Doesit

haveagoodcolorbalance?Howisthecontrastbetweenthehighlightsandtheshadows?Dothecolorslookflatoraretheyoversaturated?Giveyourimagetheonce-overandgetagoodideaofwhatattributesyouneedtoadjust.

Takealook

Forexample,examinetheimageinFigureA.Onelooktellsyouthatthisimageisabittoodark,butithasgoodoverallcolorbalanceandedgesharpness.There'splentyofdetail,butthecolorscouldbeslightlymoresaturatedandyoucoulddarkentheshadowstoincreasethecontrastintheimage.Howdidwedecidethat?Unfortunately,there'snomagicformula.Wejusttakeagoodlookattheimageanddecidewhatwewanttochange.Youmaythinkitlooksfineormayfindotherattributesyouwanttochange.

FigureA.

Observethetonalrange

Ifyouwantaslightlymoreobjectiveopinion,it'sagoodideatocheckoutyourimage'shistogrambeforemakinganyadjustments,whichyoucanviewbyselectingImage Adjustments Levels.Ahistogramisavisualrepresentationofthetonalrangeofanimage.Thedynamicrangemeasuresthequalityoftheexposureasagraphofbrightness,representedfromwhitetoblackandeverythinginbetween.Agoodhistogramshouldlooklikeacontinuousseriesofmountainpeakswithoutmanyflatspaces.Thismeansthatthere'sagoodrangeofvaluesintheimage,whichtranslatesintoagoodrangeofdetailandimage

information.Thegreatertherange,themoreflexibilityyou'llhavewhenadjustingtheimage.

FigureBshowsthehistogramforoursampleimage.Fromthegraph,wecantellthattheimagehasagoodtonalrange,butcouldusesomeadjustmentstothehighlights(thusourcontrastproblem).

FigureB.

So,whatifyourimagehasanunsightlyhistogram?PerhapsitlooksasflatastheGreatPlainsorleansheavilytothehighlightortheshadowsideofthegraph.Thisdoesn'tmeanthatyoucan'tworkwiththisimage,butitmightbehardertodo.Bycheckingthehistogram,youcanbereadyforanychallengesbeforeyoubegintheprocess.

Step2:Adjustthetonalrange

Asmentionedearlier,thetonalrangerepresentsthehighlight,midtones,andshadowdetailsinyourimage.It'simportanttoadjusttonalrangefirstasyou'llbechangingthebrightnessofthepixelsaswellasthedifferencebetweenareasoflightanddark.Bymakingtonaladjustmentsfirst,youeliminatetheriskofskewingyourcolorbalancelaterbymakingtheimagebrighterorincreasing/decreasingthecontrast.

Areyouonthelevel?

YoucanmakethemostaccuratetonalrangeadjustmentsintheLevelsdialogboxbecauseitallowsyoutoadjusteitherthecompositeRGBchanneloranyofthechannelsindividually.Therearealsoavarietyoftoolsforediting,suchastheslidersandtheEyedroppertoolsthatcanmakeprecisecorrections.ButthebigbenefitoftheLevelsdialogboxistheabilitytousethehistogramasavisualguideasyouedit.

Brightnessandcontrast

YoucanalsousetheBrightness/Contrastdialogbox(Image AdjustmentsBrightness/Contrast)tomaketonalchangestoyourimage.Thisdialogboxonlyallowsyoutomakethesameadjustmenttoeverypixelintheimage,notonindividualchannelsliketheLevelsdialogbox.Brightness/Contrastalsohaslesssophisticatedcontrols,whichcanleadtoalossofdetailinyourimageifyouaren'tcareful.Thatbeingsaid,weuseitoftenwithgreatresults,asshowninFigureC.Ifyourgoalishigh-endprinting,stickwithLevels,butotherwiseyoucanmakedecenttonaladjustmentsusingBrightness/Contrast.

FigureC.

Step3:Adjustthecolorbalance

Nowthatwe'veadjustedourtonalrange,wecanmakechangestoourcolorbalance.Therearemanycolor-correctiontoolsavailableinPhotoshop'sAdjustmentsmenusuchasHue/Saturation,SelectiveColor,ColorBalance,and

ReplaceColorthatyoucanuse.There'snorecommendedorderofapplyingsuchcolorcorrections,excepttotrytomakeyourmostdramaticchangesbeforeyourfineradjustments.Forexample,you'llwanttoboostthesaturationintheimagebeforeyouusetheColorBalancecommandbecausethefirstadjustmentwillmakealargerimpactintheimage.FigureDshowsourimageafterweappliedageneroussaturationadjustment,whichbroughtoutthegreenintheleavesandthepinkinthegirl'sshirt.

FigureD.

Step4:Finaltouches

Atthispoint,you'vecorrectedthetonalrangeandbalancedyourcolortomakeagood-lookingimage.NowisthetimetoaddanyspecialeffectstoyourimagesuchasInvert,Posterize,oranyofPhotoshop'smanyfilters.Sinceyouhaveaqualityimagetoworkwith,you'llgetmuchbetterresultsfromanyspecialeffects.Ifyoustartwithanimagethatneedstonalandcolorcorrections,youwon'tgetnearlytheimpact,asshowninFigureE.

FigureE.

Withadjustment

Withoutadjustment

Alwayssharpenlast

Alwayssharpenyourimagelast.Sharpeningearlyinthecolor-correctingprocesscanalterthepixelstoomuchandmakeithardertofine-tunetheimage.Bywaitinguntiltheend,youcanusesharpeningtoputthefinaltouchesonyourimagesjustbeforeitgoestoprintortheweb.

Anoteonadjustmentlayers

WhenmakingimageadjustmentsinPhotoshop,it'sagoodideatouseadjustmentlayers.Usingthemenucommandswillcertainlygetthejobdone,butonceyouclickOKandtheadjustmentisapplied,itisn'teasilyremoved.Byusingindependentadjustmentslayers,youcanturneachadjustmentonandoff,removeadjustments,orchangetheintensityoftheeffectusingtheOpacitysliderintheLayerspalette.Asaruleofthumb,applyadjustmentlayersinthesameorderasthecolor-correctionworkflow:tonaladjustmentsfirst,followedbycolorbalanceandspecialeffects.AsshowninFigureF,theadjustmentslayersareappliedfromthebottomgoingup.Youcanreorderthem,butbeawarethatit

couldhavedramaticeffectsonyourimage.

FigureF.

Keepitconsistent

Fromcalibratingyourimages,openingtheminPhotoshop,managingyourgrowingarchiveofimages,andmakingthemlookgreat,theprocessofimageeditingcanbeintimidating.Byfollowingaconsistentworkflowwheneditingyourimages,you'llworkmoreefficientlyandproducebetter,moredependableresults.Youdon'thavetofollowourprocedurecompletely,butalwayskeepinmindthatyou'llbemoresuccessfulifyousetyourselfupforsuccess.

Part1:ColorandTonalCorrections1

Perhapsthemostimportantimageadjustmentyoucanmakeistothecolorsinyourimage.Whilemostviewerscanforgiveanimagethat'sslightlyoutoffocusornotassharpasitcouldbe,colorsthatdon'tmatchuptoourexpectationsstickoutlikeasorethumb.Thankfully,Photoshophasacomprehensivesetofcolorcorrectingtoolsthatarereadytotackleeventhemostoff-colorimage.Inthispart,we'lltakeadetailedlookateachtoolandexplainhowyoucanuseittogettheperfectcolorbalance.

Chapter1:ColorCorrection

ImprovethecolorinyourimageswithCurves

Adjusthueandsaturationtoselectivelycolorizeanimage

CorrectcolorwiththeVariationscommand

KeepcolorsconsistentwiththeMatchColorcommand

CorrectcolorwiththeColorReplacementtool

ChangecolorwithReplaceColor

Problem:SolutionUsetheLevelscommandtocorrectcolorcasts

Problem:SolutionMellowoversaturatedcolors

Chapter2:TonalCorrection

Determinetonalqualitybyreadingahistogram

UseAutoContrasttoautomaticallycorrectanimage

Addmissingdetailtoyourimages

ImprovetonalrangewiththeShadow/Highlightcommand

Correctexposureproblemswithdodgingandburning

Problem:SolutionRestoreunderexposedshadowdetail

Problem:SolutionRestoreoverexposedphotos

Chapter1.ColorCorrection

ImprovethecolorinyourimageswithCurves

Nomatterhowgoodyourdigitalcameraorscanneris,youcanimproveorenhancenearlyeveryimagebyadjustingitscolorbalance.WhilePhotoshopisknownforreality-bendingeditingtools,colorcorrectionisprobablythemostcommonday-to-daytaskforwhichit'sused.TheimportanceofcolorbalanceisclearlyshownbythenumberoftoolsPhotoshophasformanipulatingit.Whilemanyoftheseseemtobedifferentmethodsforaccomplishingthesamegoal,theCurvescommandstandsoutasthemostversatile.

WhyuseCurvesinsteadofLevels?

Photoshophasavarietyofcolor-correctiontools,buttheLevelsandCurvescommandsaremostprecise.Youcanachievegoodresultswitheithertool,buttheyperformthesametaskindifferentways.

TheLevelsdialogboxdisplaysagraphic,knownasahistogram,ofthepixelsinanimageorcolorchannel.Threeslidersbelowthehistogramallowyoutoadjustthehighlights,midtones,andshadows.Thisintuitivedialogboxiseasytolearn,butitsdesignlimitsyoutojustthreecontrolpoints.

TheCurvesdialogboxisabitmorecomplex,butit'salsomuchmoreprecise.Byplottingpointsonalinegraphrepresentingpixelbrightnessorinkdensity,youcanmodifyupto16variablespercolorchannel.You'llprobablyneverneedthatmuchpower,buthavingitunderthehoodgivestheCurvescommandmorecontroloverthetonalrangeofanimagethanothercolor-correctiontoolsinPhotoshop.

AccesstheCurvesdialogbox

ToopentheCurvesdialogbox,dooneofthefollowing:

OpenanimagefileandthenselectImage Adjustments Curvesfromthemainmenu.

Usethekeyboardshortcut[Ctrl]M( MontheMac).

TheCurvesdialogboxappears,asshowninFigureA.

FigureA.

Readingacurve

TheCurvesdialogboxgraphsthevaluesofthepixelsinyourimagefile.Thepointsalongthelinerepresentthefulltonalrangeoftheselectedcolorchannelsfromdarktolight.InRGBmode,thegraphrepresentsbrightnessvaluesfrom0to255.InCMYK,itshowsinkdensityvaluesfrom0%to100%.

Theoriginalintensityvalues,knownastheInputlevels,aregraphedalongthehorizontalaxis.Outputlevelstheintensityvaluesthatareappliedwhenyou'redonearegraphedalongtheverticalaxis.WhenyouopentheCurvesdialogbox,theInputandOutputlevelsareidentical,sothedefaultgraphisadiagonalline.Asyoumodifythelevelsbyaddingandmovingcontrolpoints,theshapeofthelinechangestocorrespondtothenewvalues.

Thegradientbarstotheleftofandbelowthegraphindicatethelocationofthehighlightsandshadowsinthegraph.TheexamplesshowninFigureAuseadisplaywiththeshadowtonesinthelower-leftcornerandthehighlightsintheupper-rightcorner.Ifyouprefer,youcanflipthedisplaybyclickingonthedoublearrowiconinthelowergradientbar,asshowninFigureBonthenextpage.InFigureB1,thehighlightsoftheimagearegraphedinthelower-left,whileinFigureB2theyappearintheupper-right.Ourexamplesusetheoptionshownin

FigureB2.

FigureB1.

FigureB2.

InputandOutputvaluesarevalidonlyforyourcurrentsessionintheCurvesdialogbox.NochangesareappliedtoyourimagefileuntilyouclickOK.Butonceyoudoso,thedialogboxclosesandendsyoursession.IfyoureturntotheCurvesdialogboxlater,you'llseethedefaultdiagonallineagain.TheUndocommandandtheHistorypalettetreateachsessionintheCurvesdialogboxasasinglecommand.Inotherwords,whileyoucanundoanygivenvisittotheCurvesdialogbox,youcan'tgobackinandtweakapointortwoafteryou'veappliedthechanges.

Surfingchannels

Beforeyoustartmakingchanges,it'simportanttounderstandhowtheCurvesdialogboxinteractswiththechannelsinyourimage.There'saseparatecurveforeachselectedchannelinyourdocument,plusacompositecurvethataffectseverychannelofthecurrentcolormode.

Forexample,ifyou'reworkingwithanRGBdocument,there'sacompositeRGBcurve(visiblebydefault),plusindividualcurvesforred,green,andblue.Changestothecompositecurveaffectthevaluesofallcolorchannelslisted.Thesechangesdon'tappearontheindividualcurves,whichyoucanstilleditindependently.

Note

TheCurvesdialogboxonlydisplayschannelsthatarecurrentlyselectedinthe

Channelspalette.Bydefault,thisincludesallcolorchannelsintheselectedmode(suchasRGBorCMYK),butnotalphachannels.Ifindividualchannelsareselected(by[Shift]-clickingintheChannelspalette),onlythosechannelsappearintheCurvesdialogbox.Forexample,ifyouselecttheCyanandYellowchannelsinaCMYKimage,thecompositechannelintheCurvesdialogboxwillbeCY;curve1willbecyanandcurve2willbeyellow.YoucanalsoeditalphachannelsintheCurvesdialogbox,butonlyifyouselectthemintheChannelspalettefirst.ThechangesyoumaketoRGBorCMYKcompositecurvesdon'taffectalphachannels

TheChanneldropdownlistabovethegraphindicateswhichcurveiscurrentlydisplayed.Youcanalsoswitchbetweencurvesusingkeyboardshortcuts:

[Ctrl][~]( [~]ontheMac)displaysthecomposite.

[Ctrl]andanumbervalue( andanumbervalueontheMac)displaysindividualchannelsinorder.(IntheRGBexample,[Ctrl]1( 1ontheMac)displaystheredcurve,[Ctrl]2( 2ontheMac)displaysthegreen,andsoon.)

Ifyouaren'tsurewhichnumbercorrespondstowhichchannel,clickontheChanneldropdownlisttodisplayacompletelistofthecurrentlyselectedchannels,asshowninFigureC.

FigureC.

Nowthatyouhaveabasicunderstandingofthedisplay,let'sgettowork!

Colorcorrectingwithcurves

Thesimplestwaytomodifyacurveistoclickanddraginthegraph.Thisautomaticallycreatesanewcontrolpointontheline,whichsnapstotheareayou'veclickedon(ifthereisn'tonetherealready).BesuretoselectthePreviewcheckboxinthelower-rightcornerofthedialogboxsoyoucanseetheresultsofyouradjustmentonthefly.

Ingeneral,movingacontrolpointuportotheleftmakespixelsoftheselectedcolorrangelighter,whilemovingthepointdownortotherightdarkensthevalues.Reversethesedirectionsifyouprefertodisplaythehighlightsinthelower-leftcorner,asinFigureB1.Youcanmovetheendpoints,butyoucan'tdeletethem.

Theintensityvaluesbetweencontrolpointsareautomaticallyadjustedtoensureasmoothtransition,whichisrepresentedonthegraphbyacurveintheline.Controlpointsonlyaffecttheareabetweenthetwoadjacentpoints.Addingadditionalpointstothelinelimitstheeffectofanyonepoint,asdemonstratedinFigureDonthenextpage

FigureD.

Original

Singlecontrolpointadjustment

Multiplepointadjustment

Selectedpointsinthecurveappearinblack.Toworkwithpoints,youcan:

Usethearrowkeystomovethem.

EnteraspecificInputorOutputlevelforaselectedpointbytypingthedesiredvalueintheappropriatetextboxbelowthegraph.

Removeacontrolpointbydraggingitoutsidethegridorselectingitandpressingthe[Delete]key.

Selectmultiplepointsatonceby[Shift]-clickingonthem.

Deselectallpointsonthegraphbyclickinganywhereinthegridareaorpressing[Ctrl]D( DontheMac).

Scrollforwardthroughcontrolpointsbypressing[Ctrl][Tab]( [tab]onthe

Mac)orbackwardbypressing[Ctrl][Shift][Tab]( [shift][tab]ontheMac).

Controllingyourpoints?

Knowingexactlywheretoplacecontrolpointsgetseasierwithexperience,butPhotoshopcangiveyouhints.Toplaceacontrolpoint:

Clickyourmousepointerontheareaofyourimagethatyouwanttomodifyandholditdown.Asmallcircleappearsonthecurveyou'recurrentlyviewing(thisonlyworksinindividualchannelsnotcompositecurves).

[Ctrl]-click( -clickontheMac)onanareaoftheimagetocreateacontrolpointatthatpointonthecurrentcurve.

[Ctrl][Shift]-click( [shift]-clickontheMac)onanareaoftheimagetocreateapointatthatvalueoneverycurve.

Onceyouhaveapointintheareayouneedtoadjust,it'sjustamatteroftweakingitspositionuntiltheimagelooksthewayyouwantit.

Learningtheshortcuts

Bouncingaroundbetweencolorchannelsandtweakingcurvesmanuallycantakealotoftime.Fortunately,theCurvesdialogboxhasseveraltoolsthatcanhelpyoucorrectyourimagefaster:theAutobuttonandEyedroppertools.

Thesetoolsadjusttheendpointsofthecurveandeliminateothercontrolpoints.Therefore,it'sbesttousethemfirstandthenfine-tunetheresults.

TheAutobutton

ClickingtheAutobuttonsetsthelightestvalueineachcolorchanneltowhiteandthedarkestvaluestoblackthesameadjustmentyou'dgetusingtheAutoLevelscommand(Image Adjustments AutoLevels).TheAutobuttonusuallydoesn'tproducestellarresults,butitcanbeausefulstartingpoint,especiallyifyou'refairlynewtotheCurvesdialogbox.

TheOptionsbuttonopenstheAutoColorCorrectionOptionsdialogbox,whichallowsyoutomodifythewaytheAutobuttonbehavesintheLevelsandCurvesdialogboxes.Don'tgopokingaroundinhereunlessyou'refamiliarwiththe

algorithmsPhotoshopusesforcolorcorrection.

Eyedroppertools

DirectlybelowthebuttonsontherightsideoftheCurvesdialogboxarethreeEyedroppertools.ClickinganyofthesesetstheselectedareaoftheimagetothetonalvalueoftheEyedroppertoolyouused.Fromlefttoright,they'rekeyedtotheblackpoint,graypoint(50%inkdensity),andwhitepoint.

TheusefulnessoftheEyedroppertoolsvariesdependingonhowclearlydefinedthewhiteandblackpointsareintheimage.Ifthesetonalextremesdon'tappearinyourimage,theEyedroppertoolswon'thelpmuch.Somephotographersplaceagradientbaroutsidethecroptoensurethatsolidwhiteandblackpointswillbeavailableforthesetools.Evenwhenthesetonalextremesarepresentinanimage,you'llprobablyfindthewhitepointeyedroppermostuseful.

FigureEshowsagoodcandidatefortheEyedroppertool'sassistance.ClickingwiththewhitepointeyedroppercreatestheresultshowninFigureF.Thecolor-correctionjobisn'tquitefinished,butit'sofftoagoodstartwithverylittleeffort.Whenusingthewhitepointeyedropper,becarefulnotto"blowaway"detailsintheimagethatyouwanttokeep.

FigureE.

FigureF.

SpecialconsiderationsforCMYK

TheAutobuttonandEyedroppertoolsnormallyaffectallcolorchannels,regardlessofwhichcurveisdisplayed.InCMYKmode,however,youmustdealwiththeblackchannelindependently.Changesmadewhenviewinganyothercurve(includingthecomposite)affectallcolorchannelsexceptblack.Likewise,changesmadewhendisplayingtheblackcurvedon'taffectanyoftheothers.

Scribblingacurve

JustbelowthegraphontherightsideoftheCurvesdialogboxisthePenciltool.Thistoolgivesyouaquickanddirtywaytodrawthecurveexactlyasyou

wantit.Youcanevendrawcurvesthatdon'tconnectinsomepoints,whichisusefulifyouneedtomakeanextremecorrectiontoaspecifictonalrangewithoutaffectingtherestofthecurve.

WhenworkingwiththePenciltool,youcan:

SmoothoutaroughcurvebyclickingtheSmoothbutton(activeonlywhenusingthePenciltool).

Createperfectlystraightlinesbyholdingdownthe[Shift]keyasyoudraworclickonendpoints.

Returntoregularcurvemodebyclickingontheregularcurvemodeicon .

Loadingandsavingcurves

Whenbatch-processingscansorphotosshotundersimilarconditions,youcansavealotoftimebysavingyourcurvesbeforeyouclickOK.Tousethismethod:

1.ClicktheSavebuttonandgivethecurveanameonceyouhavethefirstimagethewayyoulikeit.

2. OpentheCurvesdialogboxwhenthenextscancomesaround.

3.

ClicktheLoadbutton,andfindthecurvesfileyoucreated.Youmayhavetotweaktheresultsalittle,butyou'llhaveasignificantheadstart.Savedcurvesarealsousefulforoffsettingcolorcastscreatedbyindividualscanners,cameras,andlensesorforapplyingcurve-basedeffectsthatyouuseregularly.

Note

Forinformationonhowtoremoveacolorcastfromanimage,seetheProblem:Solution"UsetheLevelscommandtocorrectcolorcasts"attheendofthischapter.

Otherhiddenfeaturesandtricks

Soonerorlateryou'llrunacrossanimagethatgivesyoufits,andyou'lljustwanttostartover.YoucouldclicktheCancelbuttonandreopentheCurvesdialogbox,butthere'safasterway.Holddownthe[Alt]key([option]keyontheMac),andtheCancelbuttonbecomesaResetbutton.Clickitandallisforgiventhedialogboxreturnstoitsoriginalstate,displayingthecompositecurveasifyou'vejustarrived.Justwanttotakebackthelastaction?Press[Ctrl]Z(cZontheMac)toundoit.

Wantamoreprecisegrid?Then,[Alt]-click([option]-clickontheMac)onthegraphtogetthetightergridshowninFigureG.Repeatthisprocesstorestoretheoriginalgrid.

FigureG.

NeedmoreelbowroomintheCurvesdialogbox?ClicktheEnlargePreviewWindowbutton inthelower-rightcornertoincreasethesizeofthegrid.

Throwthemacurve

MasteringtheCurvesdialogboxtakesalittlepractice,especiallyifyouregularlyworkinmorethanonecolormode.It'sbesttocurve,startwithimagesthathaveclearlydefinedwhiteandblackpoints,whichwillallowyoutousetheEyedroppertoolstotheirfulladvantage.Asyoubecomemorecomfortablewiththecontrols,moveontoimageswithfewerextremesinthehighlightandshadowregions.Onceyouovercomethelearningyou'llbeamasterofoneofthemostpowerfultoolsinPhotoshop.

Adjusthueandsaturationtoselectivelycolorizeanimage

WhiletheHue/Saturationcommand'smainpurposeistohelpyouwithcolorcorrection,italsoallowsyoutocombinegrayscaleimagerywithcolorimageryinPhotoshop.Thistechniqueisgreatforcreatingdramaticimageswithdominantfocalpoints,similartothatshowninFigureA,wherewedesaturatedacolorimageeverywherebutintheoneareawewantedtoaccentwithcolor.We'llshowyouhowtocreatethiseffectquicklyandeasilyusingtheHue/Saturationcommand.

FigureA.

Selecttheareayouwanttocolorize

TherearesomanywaysyoucanmakeaselectioninPhotoshop,wecouldwriteanentirechapteronthesubject.Tonarrowdownyourchoices,considerthetypeofselectionyouneedtomake,asitoftendeterminesthemethodyoushoulduse.Inourimage,forexample,wewanttoselectthecowboy'smascada,orwildrag.It'sanoddshapethat'scoloreddissimilarlyfromtherestoftheimage;therefore,theMagicWandtoolisagoodchoice.

Chooseaselectiontoolandsetitup

1.ClickontheMagicWandtool intheToolboxorpressthekeyboardshortcutWtoselectit.

ClickontheNewSelectioniconinthetooloptionsbartomakesureit'sselectedandenteranumericalvaluebetween1and255intheTolerancetextbox.Ahighsettingallowsyoutoselectawiderrangeofcolor;alowsetting

2. narrowstheselection.Sometimes,youjusthavetoexperimentbyenteringavalueandclickingonthesubjectareawiththeMagicWandtool.Ifmoreoftheimageisselectedthanyouwant,lowerthetolerancevalue;ifnotenoughisselected,raiseit.Forourexample,wesetthetoleranceto75.

3.

Decidewhetheryouwantaselectionthat'santi-aliasedsoft-edgedratherthanjaggedandcontiguouscontainingonlypixelsthataretouching.Thesettingsdependontheimageareayouwanttoselect.Inourexample,weselectedbothoftheseoptions.

4.

SelecttheUseAllLayerscheckboxifmultiplelayersexistinyourimageandyouwanttoselectsimilarlycoloredpixelsonallvisiblelayers.Otherwise,leavethisoptiondeselected,soaselectionismadeonlyontheactivelayer.Ourimagehasonlyonelayer,sothisoptionisn'trelevant.ThefinalsettingsforourMagicWandtoolareshowninFigureB.

FigureB.

[Viewfullsizeimage]

Maketheselection

ClicktheMagicWandtoolontheareainyourimagethatyouwanttoselect,suchasthewildraginourimage.Thecoloredpixelsyouclickonaresampledandallthe(contiguous)pixelsofsimilarcolorareselected.AsyoucanseeinFigureConthenextpage,ourMagicWandwasn'tabletocompensateforallthevariationsofcolorcreatedinthehighlightsandshadowsofoursubjectarea.Weneedtoaddtoourselection.

FigureC.

1.

Note

Theaccuracyofyourselectionisveryimportant.Youmayfindithelpfultomagnifytheareayouwanttoselect.Todoso,selecttheZoomtool fromtheToolbox,andthenclickanddragthemousepointerovertheareayouwanttoseemoreclearly.

ClickontheAddToSelectionicon onthetooloptionsbar,andthenclickdirectlyontheremainingareasyouwanttoincludeinyourselectionthataresurroundedbyaselectionborder.WhentheAddToSelectionoptionisactive,aplussignisvisiblenexttotheMagicWandtool,asshowninFigureD.

FigureD.

2.

3.

Subtractfromyourselection,ifneeded.ChoosetheSubtractFromSelectionicon inthetooloptionsbar,andthenclickontheareainyourimagethatyouwanttoremovefromtheselection.AminussigndisplaysnexttotheMagicWandtoolwhenthisoptionisactive.

Note

IftheMagicWandtoolselectsmoreoftheimagethanyouwant,press[Ctrl]Z( ZontheMac)toundotheaction.Then,loweritsTolerancesettingabitandtryagain.

Continuetoaddtoanddeletefromyourselectionuntilonlythesubjectareaisselected,asshowninFigureE.

FigureE.

4.

Savetheselection

Onceyouhaveaperfectselection,surelyyoudon'twanttorisklosingit!Fortunately,youcansaveitasachannel.

Tosaveyourselection:

1. ChooseSelect SaveSelection.

2.Namethechannelsomethingrelevant,suchaswildrag,intheresultingSaveSelectiondialogbox.

ClickOK.YourselectionissavedintheChannelspalette,asshowninFigureF.Actually,you'vecreatedamask!

FigureF.

3.

Inverttheselectionarea

Theonlyproblemisthatwewanttomaskthesubjectareatopreservethecolorwithinit.Therefore,weneedtoinverttheselection.Thisensuresthatonlytheareaoutsideofthemaskisaffectedwhenwelateradjustthecolorsaturationofourimage.

Toinvertyourselection:

ChooseSelect Inverseorpress[Ctrl][Shift]I( [shift]IontheMac).Bydoingso,theselectioninverts,asindicatedbytheselectionborderalongtheoutsideedgesofyoursubjectareaandalongtheoutsideedgesofyourimage.

Reducecolorsaturation

Atlast,we'rereadytotakethefinalsteptocreatethefinishedeffect,showninFigureA.We'llcreateanewHue/Saturationadjustmentlayeronwhichtowork.Onthislayer,we'llreducethesaturationofourimagetoproduceagrayscaleeffect.Onlytheimageareaoutsideofthemaskisaffected,preservingthecolorofoursubjectareaand,thereby,accentuatingit.

What'sanadjustmentlayer?

Anadjustmentlayeractslikealayer,butit'sreallyacustomizedfilterorlensthroughwhichyoucanviewyourimage.Anadjustmentlayerautomaticallyaffectsalllayersbelowit.IntheLayerspalette(press[F7]todisplay),youcaneasilylocateanadjustmentlayerbyitscircleicon,asshowninFigureG.Youcan

alsohide,move,duplicate,ordeleteanadjustmentlayerjustasyouwouldanyothertypeoflayer.

FigureG.

Sinceadjustmentlayerspreserveyourdialogboxsettings,it'seasytoeditandrefinetheeffectontheimage.Ifyouwanttocomparetwodifferentsettings,that'seasytodoaswell.Youcanevenapplymultipleadjustmentlayerstothesameimage.However,ifyouwantanyofthemtoaffecttheimagepermanently,you'llneedtoflattentheimage.Todoso,chooseFlattenImagefromtheLayerspalette'spop-upmenu.

Createanadjustmentlayer

1.

ChooseLayer NewAdjustmentLayer.Asyoucanseeintheresultingsubmenu,youcancreateanadjustmentlayerforallsortsofimageadjustmentcommands.

2. ChooseHue/Saturationforourexample.

3.Namethenewlayersomethingrelative,suchasgrayscale,intheresultingNewLayerdialogbox.

4.MakesuretheUsePreviousLayerToCreateClippingMaskisdeselected,theModedropdownlistissettoNormal,andtheOpacityvalueis100percent.

ClickOK.IntheresultingHue/Saturationdialogbox,therearethreesliders

5.formakingbasicadjustmentsaffectingHue,Saturation,andLightness.Belowthataretwocoloredbars.Thetopcoloredbarrepresentsthecolorbeforeanyadjustmentsandtheonebelowitshowshowanyadjustmentsaffectallofthehuesatfullsaturation.

6. MakesureMasterischosenfromtheEditdropdownlistforourexample.

7.

MovetheSaturationsliderallthewaytotheleftuntiltheSaturationtextboxreads100,asshowninFigureH.Thisremovesthecolorfromyourimage,makingitgrayscale,asshowninFigureA.

FigureH.

8.ClickOK.AsweshowedyouinFigureG,thenewadjustmentlayerisaddedtoyourLayerspalette.

Yeehaw!

We'veshownyouhowtousetheHue/Saturationcommandforsomethingotherthancolorcorrection.Fullcolorimagesaregreat,butsometimesasituationcallsforsomethingmoreunique,suchascombiningcolorimagerywithgrayscaleimagery.Ourcowboyisaperfectexampleofanimagethatbenefitsfromthistechnique.

CorrectcolorwiththeVariationscommand

It'snosurprisethatcolorcorrectingyourdigitalimagescanbedifficult.Tryingtodecidewhatneedstobeadjustedinyourimageisalmostasconfusingasfiguringoutwhichtoolyou'llneedtofixit.Thereareautomaticcolorfixesinmanydifferentimage-editingprograms,butthese"one-size-fits-all"adjustmentsoftendon'tmeetyourneeds.Photoshophasoneofthemostintuitiveandefficienttoolsformakingcolorcorrectionstoyourimages.TheVariationscommandisaquickwaytoadjustyourimagesaccordingtoyourowntastes,inavisualformatthatmakesiteasytomaketherightchoices.Byusingthisimage-editingtool,you'llbeabletoseewhatdoesn'tlookquiterightinyourimageandcorrectit,aswedidinFigureA.

FigureA.

Enjoytheview

BeforemakinganyadjustmentsusingtheVariationscommand,it'simportanttogetfamiliarwiththeVariationsdialogbox.Todoso:

1. LaunchPhotoshopandopenanimagethatyouwanttocolorcorrect.

2.

OpentheVariationsdialogbox,whichisshowninFigureB,byselectingImage Adjustments Variations.

FigureB.

[Viewfullsizeimage]

Note

TheVariationscommandworksintheRGB,CMYK,andGrayscalecolormodesonly.

Thelayoftheland

TheVariationsdialogboxisbrokenupintofourmainsections.Thefirstsection,intheupper-leftcorner,givesyoutwopreviewwindows.Thefirstisyouroriginalimage,anditalwaysremainsthesame.Usethisimageforcomparisonwhenmakingyouradjustments.Thesecondpreviewwindow,titledCurrentPick,representsthecurrentstateofyourimage.Asyoumakechangestoyourimage,thispreviewisupdated.

Controlssection

ThenextsectionincludesallthecontrolsfortheVariationsdialogboxandislocatedintheupper-rightcorner.HereyoucanchoosetoadjusttheShadows(darkareas),Midtones(middletones),orHighlights(lightareas).YoucanalsoadjusttheSaturationinyourimage,whichistheintensityofyourcolors.Youcancontroltheintensityoftheadjustmentbymovingthesliderlocatedbelowtheseoptions,whichrangesfromFinetoCoarse.Eachtickmarkrepresentsadoublingoftheadjustmentamountandtheyaddupquickly.Settingthesliderforthesecondorthirdtickmarkfromtheleftworkswell,butyoucanexperimentandseewhichsettingworksbestforyou.

WhenyouselecttheShowClippingcheckbox,thepreviewimagesdisplaybrightneoncolorswhenimageinformationisclipped.Thismeanstheimageareahaseithergonecompletelywhiteorcompletelyblack,whichcanlookuglybothonscreenorwhenprinted.It'sagoodideatokeepthisoptionselected,andlookoutfortheclippingindicator,asillustratedinFigureC.

FigureC.

Therearesomeothercontrolsthatletyouacceptorcancelyouradjustments.Youcanalsosaveyouradjustmentsettingincaseyoufindtheperfectadjustment,andloaditinwhenworkingonotherimages.Itisn'tsomethingyou'lluseeveryday,butifyouhaveabatchofimageswiththesamecolorproblem,itcansaveyoualotoftime.

Colorbalancesection

Thethirdsectiontakesupthemostroombecauseit'swhereyou'lldothemostwork.Here,yourimageisshowninthecenterwithvariationssurroundingit.Undereachofthevariations,youcanseewhatadjustmentwasmadetoit,whetherit'sMoreRed,MoreGreen,orwhatever.Clickingononeofthesevariationsincreasesthelevelofthatadjustmentinalltheimages,butyoucanalwaysrefertoanyofthethreepreviewslabeledCurrentPicktoseewhereyouare.

Contrastsection

Thelastsectionislocatedontherightsideofthedialogboxandletsyouchangethecontrastlevelsintheimage.Youmightnotthinkthatcontrasthasmuchtodowithcolorbalance,buthowbrightordarkyourimageappearsaffectstheintensityandtonalrangeofthecolorsinyourimage.

MakingadjustmentsusingVariations

Whileyoucanmakeadjustmentsjustbyclickingarounduntilthingslookgoodto

you,there'samorestructuredapproachthatcanhelpspeedupthings.Knowingwheretostartwhencolorcorrectinganimageishalfthebattle,sopayattention.Youshouldmakeyouradjustmentsstartingwithcolor,thenmovingontocontrast,andendingwithsaturation.

Todoso:

1.

SelecttheMidtonesoptionandsettheFine/Coarseadjustmenttothethirdtickfromtheleft.Thisgivesyouenoughrangebetweenadjustmentstoseethechange.Settingtheadjustmentamounttoosmallinitiallymakesithardtoseewhat'shappeninginyourimage.

2.

Makeyourcolorcorrectionsbyclickingonthevariationsinthecolorbalancesection.Eventhoughthey'realladditiveadjustments(MoreColor),youdon'thavetothinkofthemthatway.Ifyouenvisionthecolorwheelwealllearnedinelementaryschool,you'llrememberthateachcolorhasacomplementarycolor.Usethisinformationtomakeyourcoloradjustmentsinabackwardway.Forexample,yourimageistooyellow,buttherearenooptionsforremovingyellowfromtheimageinthisdialogbox.Instead,addmoreofthecomplementarycolortodecreasetheyellow.Inthiscase,addMoreBlue.

3.

MovetheFine/Coarseslidertothefinestsettingonceyou'vecomeprettyclosetoyourdesiredcolorbalance,andthenperfectyourcolors.Thenarrowerrangeofadjustmentmakesiteasiertofindtherightbalance.You'llmakemostofyourcoloradjustmentsinthemidtones,butyou'llfindsituationswhereyou'llneedtoadjustthehighlightsandshadowsaswell.Ifthisisthecase,followthesametechniqueandmakeyouradjustment.

Note

Ifyouevergotoofarwithanadjustmentandwanttostartover,simplyclickontheOriginalpreviewwindowandallimageswillrevertbacktothestartingpoint.

4.Adjustthebrightnessinyourimage.KeeptheFine/Coarseslideronthefinerside,ascontrastchangestendtobequitedramatic.

SelecttheSaturationoptiontoadjusttheintensityofthecolors.You'llnoticethattheonlyoptionsareMoreSaturationorLessSaturation,asshowninFigureDonthepreviouspage.Don'tgooverboardwithyoursaturationadjustment,astoomuchwillmakeyourimagelooksurrealandtoolittlewillmakeitlookdull.Stickwithminoradjustmentsandmakesureyourcolorsdon'tgetobnoxious.

5. FigureD.

[Viewfullsizeimage]

6.ClickOKonceyoucompleteallofyourcorrectionstoapplythemandreturntothemainapplication.

You'llnowbeabletoseealargerversionofyourimageandzoomintospecificareastoevaluatecolor.ThisoptionwouldbeniceintheVariationsdialogbox,asitcanbedifficulttoevaluateattributessuchasshadowsonapreviewimagethat'sonlyafractionofthesizeoftheoriginal.However,theVariationcommanddoesagoodjoboverallandoffersquickcolorcorrectionswithoutthefuss.

Note

Forinformationonhowtoadjustsaturationinanimage,seetheProblem:Solution"Mellowoversaturatedcolors"attheendofthischapter.

Thebasicsofcolorcorrection

TheVariationscommandprovidesanintuitivemethodforcolorcorrectingyourimages.Youcanalsouseitasateachingtoolbydisplayinghowcolorchangesinteract.Bywatchingyouradjustmentsandfollowingapatternofediting,youcangetaquickeducationonthebasicsofcolortheory.Then,youcanbetterunderstandhowvariousadjustmentsaffectyourimages,makingiteasiertogetperfectcolor.

KeepcolorsconsistentwiththeMatchColorcommand

Whetheryou'retoningseveralimagesforasinglelayoutorcolorcorrectingoneimage,PhotoshopCS'sMatchColorcommandcanmakethisprocessquickandpainless.Usingthiscommandyoucanmakebroadadjustmentstomultipleimagesbasedonasourceimage'scolormakeuporadjusttonalvalueswithinanimagebyadjustingitsluminanceandcolorintensity.Let'stakeacloserlook.

Colorcorrecting

YoucanusetheMatchColorcommandtoremovecolorcastsandtoadjusttonalvalueswithinanimage.Toseehowitworks:

1.

OpenanRGBimageinPhotoshopthat'sinneedofcolorcorrecting(thisfeatureisn'tavailablewhenworkinginCMYKmode).Forourexample,we'llcolorcorrecttheimageshowninFigureA.Asyoucansee,theimagehasaredcolorcasttoitthatneedstobeeliminated.

FigureA.

2.

ChooseImage Adjustments MatchColortodisplaytheMatchColordialogboxshowninFigureBonthepreviouspage.Whenmakingadjustmentsinasingleimage,we'llbeworkingintheImageOptionsareaofthisdialogbox.

FigureB.

3.

SelecttheNeutralizecheckboxtobeginremovinganyunwantedcolorcasts.Photoshopautomaticallybalancesouttheover-abundantcolorwithitscounterpart.FigureCshowshowourimagewentfromredtomoreofacyanhue.Ifyourimageisoverlyneutralized,youcantoneitdownabitusingtheFadeslider.Justdragtheslidertotherighttolowertheappliedcolor.

FigureC.

4.

ExperimentwiththeLuminanceandColorIntensitysliderstofine-tunethecolorswithinyourimage.TheLuminancesliderincreasesanddecreasesthebrightnessofyourimage,whiletheColorIntensitysliderincreasesanddecreasesthecolorrangeofyourimage.

ClickOKwhenyou'rehappywithyourresults.Ourcolor-correctedimageismuchmoreappealingthantheoriginal,asshowninFigureD.

FigureD.

5.

Colormatching

TheMatchColorcommandisn'tjustforcolorcorrecting;youcanalsouseittomakethetonalvaluesofmultipleimagesconsistent.Thisisgreatwhenyou'refine-tuningaseriesofproductshotsormultipleimagesforonelayout.Whenmatchingcolorsfromoneimagetoanother,youfirsthavetoopenasourceimagealongwiththeimageorimagesyouwanttoadjust.

Adjustanentireimage

1. OpentwoRGBimagestoworkwith.

2. Selecttheimageyouwanttoadjust,otherwiseknownasthetargetimage.

3. ChooseImage Adjustments MatchColor.

Selectyoursource(yoursecondimage)fromtheSourcedropdownlistintheresultingdialogbox,intheImageStatisticssection,asshowninFigureE.

4.

FigureE.

ClickOK.AsyoucanseeinFigureFonthenextpage,Photoshopthenautomaticallyadjuststhecolorsofyourimagebasedontheimageyouchoseasthesource.

FigureF.

5.

Dependingontheimagesyouselect,youmaynotbesatisfiedwiththefinalresults.Becausethecommandismakingsuchasweepingchange,someareasofyourimagemaybecomeoversaturated.Tohavemorecontrolovertheresults,

youcanselectspecificareaswithinyourimagetochange.Let'stakealookathowtodoso.

Adjustselectedareaswithinanimage

Forcontrolledcolormanipulation,youcanselectareaswithinbothyoursourceimageandtheimageyouwanttomodify.Todoso:

1.

Usetheselectiontoolofyourchoicetomakeafeatheredselectionintheimagesyouwanttomatch.Forexample,wewanttomakethebackgroundcolorsofourimagesthesame.It'simportantthatyoufeatheryourselectioninthetargetimageforagradualcoloradjustment.Ifyouleavetheselectionwithhardedges,thechangewillbeveryapparentandwon'tblendinwiththeunchangedportions.YoucanfeatheraselectionbyfirstcreatingyourselectionandthenchoosingSelect Feather.EnteringhighervaluesintheFeatherRadiusproducesasofteredge.

2.

ChooseImage Adjustments MatchColor.ChoosetheSourceImagefromtheSourcedropdownlistintheresultingdialogbox.SelectboththeUseSelectionInSourceToCalculateColorsandUseSelectionInTargetToCalculateAdjustmentcheckboxesiftheyaren'talreadyselected.

3.

ClickOKtoapplythechange.AsyoucanseeinFigureG,thefinalresultsaremuchbetterthanwhenweadjustedthecolorsoftheentireimage.

FigureG.

Amatchmakeryoucan'tlivewithout

TheMatchColorcommandisdefinitelyanaddedbonusforPhotoshopusers.Youcanmakequickcoloradjustmentswithoutalotoffussandit'seasierthantryingtomakeanactionforcoloradjustmentswhenyouwantmultipleimagestolookconsistent.Withthatsaid,takesometimetogettoknowthisusefulcommand.

CorrectcolorwiththeColorReplacementtool

OneofthemostcommontasksPhotoshopusersareaskedtoperforminvolveschangingthecolorofaspecificobjectoriteminaphotographtoacompletelydifferentcolor.Forsomereason,it'sassumedthatthisprocessisquickandeasy.Inreality,though,thedifficultylevelcanrangefromeasytocomplex,dependingonwhatyouhavetomodify.However,Photoshop'sColorReplacementtoolcanaidinthecolor-replacementprocess.ThistoolislocatedontheHealingBrushtool'sflyoutmenuintheToolbox,asshowninFigureA.Withit,youcanpaintoveranimagetoreplaceonecolorwithanothercolorofyourchoosingmoreeasilythaneverbefore.Let'stakeacloserlookathowthistoolworks.

FigureA.

Knowthytooloptions

UnlikePhotoshop'salternativecolorreplacementoptions,theColorReplacementtoolprovidesyouwithahighlycontrollablewayofmodifyingcolorinyourimages.Usingthistool,youcanpaintoversampledpixels,alteringthemtospecifiedvalues.Notonlythat,butyoucanalsoadjustthesizeandhardnessofthebrushforoptimalresults.Let'stakeacloserlookattheoptionsthistooloffers.They'refoundonthetooloptionsbar.

Blendingmodes.WhenworkingwiththeColorReplacementtool,youcanchoosefromfourdifferentmodes:Hue,Saturation,Color,andLuminosity.Thisallowsyoutochangethecolorentirelyormakemoresubtlechanges.EachmodeworksthesameastheblendingmodesfoundintheLayerspalette.

Sampling.YoucanchoosehowtheselectedbrushsamplesthetargetcolorfromtheSamplingdropdownlistonthetooloptionsbar.YourchoicesareContinuous,Once,andBackgroundSwatch.

Limits.Besideschoosinghowtosampleatargetcolor,youcanalsosetlimits.YourchoicesareDiscontiguous,Contiguous,andFindEdges.

Tolerance.YoucanadjustthetoleranceoftheColorReplacementtool.Alowertoleranceallowsyoumorecontrolbylimitingthenumberofpixelsthatarealtered.Ahighertoleranceenablesyoutoreplaceabroaderrangeofcolorsatonce.

Testing,testing

TogetafeelfortheColorReplacementtool,let'sgothroughaquicktechniqueforchangingeyecolor.Thisisalsoagreatwaytoeliminateredeyeand,inaway,we'llbedoingthataswell!Tofollowalong:

1.

OpenanimageinRGBmode.(AlthoughtheColorReplacementtooldoesn'tworkonimagesinBitmap,IndexedColor,orMultichannelmode,itworkswondersonimagesinRGBColorandCMYKColormodes.)OuroriginalimageisshowninFigureB.

FigureB.

2.

Magnifytheareayouwanttochange,soyoucanseeitclearly.Todoso,clickontheZoomtool intheToolboxorpressZonyourkeyboardtoselectit,andthenclickanddragyourmousepointeroverthesubject'seye(s)tozoominonthearea.

3.

ClickontheColorReplacementtool intheToolboxorpressJ(ifit'shidden,press[Shift]Jasmanytimesasittakestocyclethroughthetools)toselectit.WhentheColorReplacementtoolisselected,itsoptionsappearinthetooloptionsbar,asshowninFigureC.

FigureC.

[Viewfullsizeimage]

ClickontheBrushiconinthetooloptionsbarandsetyourbrushsizesoit'ssmallerthantheareayouwanttoedit.Forexample,wesetourbrushtipto10px(pixels)indiameter.WealsosettheHardnessvalueofourbrushto50%tocreateamid-weightstroke.SettheremainingBrushoptionsasshowninFigureD.

FigureD.

4.

Note

Ifyou'reusingagraphicstablet,settheSizeandToleranceoptionsaccordingly.

5.

SelectColorfromtheModedropdownlist,OncefromtheSamplingdropdownlist,DiscontiguousfromtheLimitsdropdownlist,andenter30%intheTolerancetextbox.

6. SelecttheAnti-aliasedcheckboxtocreateasoftedge.

7.

ClickontheSetForegroundColorswatchintheToolboxtoopentheColorPickerdialogbox,andspecifyacolorfortheeyes(oreye,inourcase).Wesetourforegroundcolortoblack.Ifyou'rechangingtheeyecolorofahuman,chooseashadeofblue,green,orbrown.ClickOK.

8.

Clickanddragyourmousepointerovertheareayouwanttomodify.Photoshopsamplesthecoloryoufirstclickonandreplacesitwiththeforegroundcoloryouselected.Becarefulnottoletthecrosshairsofyourmousepointergopasttheactualeyearea,asshowninFigureE.Inourimage,there'salotofredaroundtheeyethatmightbereplacedifwepaintoverit.

FigureE.

Letthemseethewhites

1.

Chooseasmallbrushsize,suchas1pixel,andsettheforegroundcolortowhite.We'vemanagedtogetmostoftheredout,butthere'sstillatadleftinourwhiskeredfriend'seye.ThisisbecauseourtoolsettingstellPhotoshopthatthislightershadeofredisn'tsimilarenoughtobereplaced.Thisisexactlywhatwewanttohappen.Now,wecanreplacethissmallselectionofpinkishpixelswithwhite,whichmakestheeyelookmorerealistic.

2.

Clickanddragyourmousepointeroverthefewpinkish-coloredpixelstocompletethesuccessfultransformation,asshowninFigureF.

FigureF.

Didyoucoloryourhair?

TheColorReplacementtoolisusefulformorethanjustfixingredeye.Youcanalsouseittoreplacelargeareasofcolor.Forexample,youcanusethesame

techniquethatyouusedtochangehiseyecolortowhitenourlittlefriend'syellowedhair.Simplychangeyourbrushsizeto35pixelsandsetyourforegroundcolortoacoldgray.Then,paintovertheentireimage.AsshowninFigureGonthenextpage,thistechniqueisagreatwaytoremoveayellowcastfromanimage!

FigureG.

Removecolorfromtheedgesofdarkobjects

Fringingoccurswhenimagesensorsarepresentedwiththetaskofinterpretinglightagainstdark.Atypicalexampleisdarktreeleavesagainstabrightsky,asshowninFigureH.Infact,inthiscase,you'llseebothpurpleandgreenfringing.Iftheamountofcolorfringingismoderate,theColorReplacementtoolisagoodchoiceforquicklyrestoringrealisticcolortothearea.Formoreextensivecolorreplacement,youmayfindthattheReplaceColorfeature(discussedlaterinthischapter)providesanevenfastersolutiontotheproblem.

FigureH.

Forourexample,weusedtheColorReplacementtooltomakecorrectionstoaphotooftreesthatappeartohavecoloredjellyhangingfromtheirleaves.TousetheColorReplacementtooltocorrectfringing:

1. Openthefileyouwishtocorrect.

2. Zoominontheareaoftheimagethatneedstobefixed.

3.SelecttheColorReplacementtoolandthenchangetheSamplingdropdownlisttoContinuous.

4. Selectabrushsizethatwillcoverjustafewoftheoffendingpixelsatatime.

5.

Clickanddragalonganareawherefringingispresentandthen[Alt]-click([option]-clickontheMac)onaportionoftheimagetocapturethecoloryou'llusetoreplacethefringecolor.

6.PositiontheColorReplacementpointeroveranareawherefringingispresentandbegintodragbackandforthasyouwatchthepurplepixelschangecolor.

Eliminatesubtlecolorshifts

Chromaticaberrationiscausedbyaprocessingerrorinthedigitalcamerawhereoneormoreofthethreecolorchannelsdon'talignproperly.Theresultisacyan,yellow,red,blue,orgreenedge.We'veexaggeratedthatphenomenoninthesampleshownontheleftinFigureI,buttheproblemandthecorrectionare

essentiallythesameforalessobviouscaseofchromaticaberration.

FigureI.

You'llseeredbandsonverticalsurfacesofthewhitetrimofthehouse.Resemblingaglow,youmightmistakethemforreflectionsofsurroundingsurfacesorasthecolorspillofaneveningsunset.Inmostcases,they'recoloraberrationsthatdon'tbelong.

Tocorrectchromaticaberrations:

1. Openthefileyouwishtocorrect.

2.

SelecttheColorReplacementtoolandusethefollowingsettings:Mode=Color,Sampling=Once,Limits=Discontiguous,Tolerance=50%,andtheAnti-aliascheckboxselected.

3.

SampletheerrantcolorwiththeColorReplacementtooland[Alt]-click([option]-clickontheMac)onasimilarsurfacethatdoesn'tsufferfromacolortint.Inourexample,wesampledredandthen[Alt]-clicked([option]-clickedontheMac)onahorizontalportionofthewhitetrim,asindicatedontherightinFigureI.

4.

Selectabrushsizethat'sappropriatetotheareayouneedtocorrectandgraduallyclickanddragoverthecolortoreplaceit.You'llseethat,evenifyoubrushovertheboundaryofthecolortint,theColorReplacementtoolleavessurroundingpixelsuntouchedbecausetheyaren'tthetargetcolor.

Fastandeasyrestoration

Photoshop'sColorReplacementtoolisonethatwillgetplentyofuse.It'sfast,easytouse,versatile,andreliablyeffectiveintakingcareofdigitalcameradefectsthatoccurdayinanddayout.Onceyoubecomefamiliarwithitscontrolsandlimitations,you'llfindthattheColorReplacementtooldeservesafavoredpositioninyourboxofretouchingtricks.

ChangecolorwithReplaceColor

You'vejustspentseveralhourssearchingthroughyourphotofilesforaclose-upshotofaflashlightyouwanttouseforasalespresentation.It'sperfectexceptforthecolor.Theflashlightisyellow,andyouneedagreenone,asshowninFigureA.Whatdoyoudo?WhynottryagreateditingfeatureincludedwithPhotoshopcalledtheReplaceColorcommand?ByusingtheReplaceColorcommand,youcaneasilyandquicklysubstituteonecolorforanother,turningayellowflashlighttogreenorwhateverothercoloryoudesire.

FigureA.

Determinethecolorreplacementcolor

Photoshop'sReplaceColorcommandisoneoftheeasiercommandstousebecauseyouworkwithinonlyonedialogbox.Thecommandcreatesamaskaroundspecificcolorsandthenreplacesthosecolorsintheimage.

Tobegin:

1. OpentheimageyouwishtoworkwithinPhotoshop.

SelectImage Adjustments ReplaceColor.TheReplaceColordialogboxopens,asshowninFigureB.

2.

FigureB.

3.

SelectthePreviewcheckboxontherightsideofthedialogboxsoyoucanseeyourresultsasyougo.Ontheleftsideofthedialogboxyou'llseetwopanes:SelectionandReplacement.

SettheSelectionvalues.TheSelectionsettingsdeterminewhichcolorvaluesyouwanttoreplace.Choosefrom:

Fuzziness.Bymovingthisslider,youadjustthetolerancesettingofthereplacecolormask.YoucansetthevaluebyeitherenteringanumericvalueintheFuzzinesstextboxorbyadjustingtheFuzzinessslider.

Image.ByselectingthisortheSelectionoptionbutton,youdeterminethemethodforselectingthecolorvalueyouwanttoreplace.TheImageoptionbuttondisplaysyourimageinthepreviewbox,andwhenyoumoveyourmousepointerinsidethepreviewbox,anEyedroppericonappears,asshowninFigureC1,allowingyoutoselectthereplacementcolor

4.

value.

FigureC1.

Selection.Byselectingthisoptionbutton,youdisplaythecolormaskinthepreviewwindow.Whenyoumoveyourmousepointertothisarea,anEyedroppericonappears,asshowninFigureC2,allowingyoutocreatethereplacecolormask.Maskedareasareinblack,unmaskedareasareinwhite,andpartiallymaskedareasappearinshadesofgray,dependingupontheiropacity.

FigureC2.

5.

Setthecolorhue,theamountofsaturation,andthelightnesswithwhichtoreplaceitbyadjustingtheHue,Saturation,andLightnessasfollows:

Hue.Thisreferstothecolorvaluesettingofthereplacementcolor.Asyouadjustthehuevaluetoacolor,thereplacementcolorchangesalongtherange,asshowninFigureD.YoucansetthevaluebyeitherenteringanumericvalueintheHuetextboxorbyadjustingtheHueslider.

FigureD.

Saturation.Thisreferstothegraymixturevaluesettingofthereplacementcolor.Asyouadjustthegraymixturevaluetoacolor,thereplacementcolorvariesfromanentirelyunsaturatedgrayvaluetoanentirelysaturatedpurevalue,asshowninFigureE.YoucansetthevaluebyenteringanumericvalueintheSaturationtextboxorbyadjustingtheSaturationslider.

FigureE.

Lightness.Thisreferstothebrightnessvaluesettingofthereplacementcolor.Asyouadjustthebrightnessvaluetoacolor,itrangesfromblacktowhite,asshowninFigureF.YoucansetthevaluebyeitherenteringanumericvalueintheLightnesstextboxorbyadjustingtheLightnessslider.

FigureF.

Replacingcolorinyourphoto

1.

SelecttheSelectionoptionbuttontochoosethecolorvaluesyouwanttochange.YoucanusetheImageoptionbutton,butitdoesn'tgiveyouagoodsenseoftheentireareayou'vechosen.SincetheSelectionoptionbuttondoesshowtheareamaskedbythecolorreplacementmask,selectit.

2.

MoveyourpointerintothePreviewboxandanEyedroppericonappears.Inourexample,theyellowcoloroftheflashlightvariesfromahighlightontoptoashadowalongtheside.

3.

Movethepointertoamiddlepoint,clickonit,andchecktheresults,asshowninFigureG.Thekeytounderstandingwhat'shappeninginthePreviewboxisinunderstandingwhatamaskdoes.Amaskprotectsanimagefromaneffectthatyouapplytoit.InFigureG,theblackanddarkgrayareasarethemasked,orprotected,areas.Theseareaswillbeprotectedfromhavingcolorvaluesreplaced.Thewhiteandlightgrayareasaretheunmasked,orunprotected,areas.Theseareaswillhavethecolorvaluesreplaced.

FigureG.

4.

Toincludeadditionalcolorareas,increasethevaluetolerancebymovingtheFuzzinessslidertotheright.Asyoumoveit,noticemoreandmoreareasbecomeselected.Inourexample,wemovedtheslidertoavalueofabout80,asshowninFigureH1.

FigureH1.

5.

Youcanselectadditionalareas,ifneeded,withthemousepointerbyeitherpressing[Ctrl][Shift]( [shift]ontheMac)orbyselectingtheAddToSimpleicon (EyedropperPlusiconontheMac)intheReplaceColordialogbox.WeusedtheAddToSampleicontomoveourmousepointerintothePreviewboxandselectadditionalareasuntilwehadselectedwhat'sneeded,asshowninFigureH2.

FigureH2.

Selectingthereplacementcolor

1.

Adjustthehuevaluestosetthereplacementcolor.Forourexample,wewantedtochangethecoloroftheflashlighttogreen,sowechoseaHuevalueofabout+85.Atthispoint,theyellowareasintheflashlightchangetogreen,includingthereflectionfromthetableitsitson,asshowninFigureI.

FigureI.

[Viewfullsizeimage]

2.Desaturatethecolor,ifneeded,byadjustingtheSaturationvalue.Forourexample,weusedaSaturationvalueofabout-10.

3. ChecktheLightnessvalueandmakeanyappropriateadjustments.

4. ClickOK.Ouryellowflashlighthasbecomeabright,shinygreen.

Sweetandsimple

Photoshop'sReplaceColorcommandisoneoftheeasiestadjustmentsyoucanmaketoanimage.It'sprecise,versatile,andproducesagreat-lookingresult.Justthinkoftheendlesspossibilitiesforsubjectsthatmaynothavebeenthatperfectcolorbefore!Takethisnew-foundabilityandutilizeitwhereveryoupleaseturnredrosespink,greenbananasyellow,andgrayskiesblue!

Problem:SolutionUsetheLevelscommandtocorrectcolorcasts

Problem:Unnaturalcolorobscuresthebeautyofanimage.

Solution:UsetheLevelscommand.

Oneofthemostcommon,andessential,taskswheneditingfull-colorphotographsisadjustingcolor.Timeaftertime,you'llencounterexcellentimagesthathidebehindaveilofunnaturalcolor,knownascolorcast.Thisshiftincolormaybecausedbytheinherentdeficienciesofascannerordigitalcameraorbytheeffectofincandescentorfluorescentlighting.InPhotoshop,thereareavarietyofmethodsyoucanusetoremoveacolorcastandrevealthetruecolorsofanimage.Anymethodwechoose,however,shouldproducethedesiredresultwiththeleastamountoftimeandeffort.TheLevelscommand,althoughlesspowerfulthantheCurvescommand,allowsustotargetandeliminatecolorcastswithfewersteps.

Identifyingasimplecolorproblem

Tobegin,openanimagefileinPhotoshopthatdisplaysanunnaturalcolorcastyou'dliketoeliminate.Oursampleimageofvegetablesagainstagraybackgroundhasanunattractivegreencolorcastcoveringtheentireimage.Let'sassumethatwealreadyknowthebackgroundshouldbeacoolgrayandnotgreen.

Thesetypesofcolorcastsareeasytoidentifybecausetheyaffecttheentireimageandoftenshowupasablue,green,orredcast.Ifyou'reunsurewhichcolormightbecausinganimbalance,lookforanareaintheimagethatyouknowshouldbeneutralgray.Resettingtheneutralgrayvalueseliminatesacolorcastandrevealsthetruecolorsinyourimage.

CorrectingacolorcastwiththeLevelscommand

1. OpentheimageandselecttheEyedroppertool fromtheToolbox.

2.Clickonamediumtoneportionofthebackgroundaffectedbythecolorcast.YourSetForegroundColorswatchshowsthecolorselection.

3.CreateanadjustmentlayerinyourLayerspalettebyclickingtheCreateNewFillOrAdjustmentLayerbutton andselectingLevelsfromitsdropdownlist.

4.

Double-clickontheSetGrayPointeyedroppertoolintheresultingLevelsdialogbox.TheColorPickerdialogboxopensanddisplaysvaluesforneutralRGBmidtonesinthiscase,avalueof128foreachofred,green,andblue.

5. Changethevalueforeachcolorsothey'reequalandthenclickOK.

UseyourEyedroppertooltoclickonceinthesamemidtoneareaaffectedby

6.thecolorcast.Thegreen-graybackgroundchangestoneutralgray,andthecolorcastwithinthemidtonesinallpartsoftheimagedisappears,asshowninourSolutionimage.

7.

Adjustthehighlights.Inourexample,weonlyneededtoadjustthewhitepointslider(totheleft)tobrightenthehighlights,andwemovedthemidtonesliderslightlytothelefttoopenupmid-levelshadowdetail.

8.ClickOK.Youmaychoosetofinishupwithsomeselectivesharpeningandspotretouching.

RemovecolorcastswithLevels

Colorcorrectinganimageisasmuchartasitisscience.You'llfindthatyoursuccess,likesomanytasksinPhotoshop,improveswithpatience,practice,andcarefulanalysisofcolor.Knowinghowtorescueaphotofrombehindanunattractivehazewillgiveyoutheskillsneededtoproducegreat-lookingimages.

Colorcalibrateyourmonitor

Yourmonitorcanhaveacolorcastofitsown.Ifthat'sthecase,anycolorcorrectingyouperforminPhotoshopmaybeunsuccessful.Alwaysstartfromthemostidealconditionsavailabletoyoutoproduceconsistent,aestheticallypleasingresults.

Beforeyoubeginevaluatingimagesonscreen,followthemonitormanufacturer'sprocessforachievingaccuratecolordisplayinyourworkenvironment.Infact,it'sagoodpracticetore-runthecolorcalibrationschemeforyoursystemonceamonthtoallowforthechangingphysicalconditionofyourmonitor'selectronics.

Ifyouhavetheabilitytocalibrateyourmonitortotheoutputdevice(colorcopieroroffsetpress,forexample),nowisthetimetodothataswell.Contactyourprintvendorforinformationonthebestmethodforachievingpredictablecolorbetweenyoursystemandtheirs.Formoreoncalibratingyourmonitor,seetheIntroduction.

Problem:SolutionMellowoversaturatedcolors

Problem:Animageisoverwhelmedbyoversaturatedcolor.

Solution:MakeaHue/Saturationadjustment.

Oversaturationoccurswhenadigitalcamera'simagesensormisreadsorbecomesoverlysensitivetoacolor,causingthelightinformationtoberecordedwithfewergrayvaluesandbecomemoresaturated.Oversaturatedcolorscanprintpoorlyorjustmakeyourimagelookbad.Photoshopmakesiteasytotamethesebrillianthuesandkeepthemfromoverwhelmingtherestoftheimage.

ThefirstlineofdefenseinPhotoshop

Whenattemptingtoquiettheseoverlypurecolors,youshouldalwaysstartwiththeHue/SaturationadjustmentinPhotoshop.Thisfeatureprovidesthebestsetoftoolsfortargetingandeditingaspecifichue,soitworksbestforlargeareasofsaturatedcolor.It'salsofairlyeasytocontrol,soyoucaneasilytestoutdifferentsettingstogetjusttherightbalance.

MakeaHue/Saturationadjustment

1.

ClicktheCreatNewFillOrAdjustmentLayerbutton intheLayerspaletteandselectHue/SaturationfromthelisttoaddaHue/Saturationadjustmentlayertoyourimage.Usinganadjustmentlayerletsyoualsocontrolopacity,blendingmodes,andotheradjustmentsthatcouldcomeinhandy.

2.

ClickontheEditdropdownlisttoselectfromthesixavailablecolorranges.Forexample,ouroriginalimagedisplaysoversaturatedgreens,soweselectedGreensfromtheEditdropdownlistandusedtheslidertobringthembacktothemorenormalappearanceinthesecondimage.

Controlyoursaturation

Youcontrolsaturationbyusingthesliderorenteringavalueinthetextbox.Movingtheslidertotheleftdecreasescolorsaturation,whilemovingittotherightincreasessaturation.Therangeofsaturationvaluesis-180to+180,withnegativenumbersrepresentinglowersat-urationandtheoppositeforpositivenumbers.

GetthemostfromHue/Saturation

HereareafewtipsforusingtheHue/Saturationdialogbox:

MakesurethePreviewoptionisselectedwhenadjustingsaturationinthisdialogbox,soyoucaneasilyseehowyourimageischanging.

Workwiththecolorrangethatbothersyouthemostbeforeswitchingtoothercolors.Whenyoumakemajorchangestothemostsaturatedcolorinyourimage,othercolorscanshift.It'smucheasiertomakebigchangesandthenadjusttheothercolorsafterward.

Ifyou'vefoundaperfectcolorcorrectionthatcouldapplytoaseriesofimages,clicktheSavebuttontosavethemasaseparatefile.Whenyouopenyourotherimages,selectLoadfromtheHue/Saturationdialogbox,locateyoursavedfile,andyourcustomsettingsareapplied.Thisisabigtime-saverandalsocanmakeyoureditedimagesmoreconsistent.

Areyousaturated?

Overlysaturatedcolorscanruinagreatimage,buttheHue/Saturationcommandcanhelpcalmthoserichcolors.Thissimpleadjustmentmaybejustthethingyouneedwhenitcomestimetorescueanimage.

Chapter2.TonalCorrection

Determinetonalqualitybyreadingahistogram

We'veallhadithappensomeonegivesyoualess-than-stellarimagetouseforaprojectyou'reworkingon.Whenthisoccurs,youshouldimmediatelyevaluatetheimage'stonalquality.Afterall,youprobablydon'twanttospendcountlesshourstryingtocorrecttheimageinPhotoshoponlytofindoutlaterthatitisn'tsalvageable.Oneofthewaysyoucandetermineifanimageisofquality,orifitcanbesaved,istoviewitshistogram.

What'sahistogram?

InFigureA,weshowanimagewithitshistogram.Thisisanexampleofaqualityimagethathasawell-dispersedtonalrange,meaningthatithasanacceptableamountofpixeldatainallthreerangesshadows,midtones,andhighlights.Ahistogramisagraph,whichrepresentsthetotaltonalrangeofanimage.Thehorizontalaxisonahistogramshowsthetonalrangeandtheverticalaxisshowsthenumberofpixels,from0to255,ateachtonalvalue.Theleftsideonthehistogramshowsshadowdetailinanimage;therightsideshowsitshighlights;andallthedetailinbetweenaremidtones.Animagethat'stoodark,orunderexposed,showsmoredetailontheleft,andanimagethat'stoolight,oroverexposed,showsmoredetailontheright.

FigureA.

Note

Toviewanimage'shistogram,chooseWindow HistogramtoshowtheHistogrampaletteorImage Adjustments LevelstodisplaytheLevelsdialogbox.U

Understandinghistograms

Ahistogramcanbeprettyintimidatingifyoudon'tknowwhatyou'relookingat.We'lldefineeachitemfoundintheHistogrampalette,soyouhaveabasicunderstanding.Then,we'llshowyouhowtointerpretthegraph.

Makingsenseofwhatyousee

ToviewtheHistogrampalette,openanimageinPhotoshopandthenchooseWindow Histogram,aswementionedearlier.Bydefault,justthebargraphdisplays,asshowninFigureB.

FigureB.

FromtheHistogrampalette'spop-upmenu,youcanchooseExpandedViewtoshowthestatisticalinformationdisplayedinthegraph.Inthisview,youcanalsochoosetoshowthehistogramofspecificlayersfromtheSourcedropdownlist(onlyavailableinadocumentwithmultiplelayers).IfyouchooseAllChannelsViewfromtheHistogrampalette'spop-upmenu,agraphforeachcolorchannelisshownseparatelyonthepalette.

Channel.Thisdropdownlistallowsyoutoviewthehistogramforeveryavailablechanneleithercombinedorindividually.

Mean.Meandatarepresentstheaverageintensityleveloftheimage,layer,orselection.

StdDev.Thedatashownhereindicateshowwidelythevaluesvarywithintheentireimage,layer,orselection.

Median.Thisshowsthemiddleintensityvalueoftheimage,layer,orselection.

Tip

Youcanviewthehistogramforanentireimage(bydefault),aselectionoftheimage,oraspecificlayerintheimage.Toselectanareainanimage,choosetheRectangular

Marqueetool fromtheToolbox.Then,clickanddragyourmousepointeraroundtheareayouwanttoselect.Toselectaspecificlayer,simplyclickonitintheLayerspaletteandthendisplaytheimage'shistogram.

Pixels.Thisshowsthetotalnumberofpixelsintheimage,layer,orselection.

Level.Placeyourmousepointeranywhereonthehistogramtodisplaythearea'slevelofintensityinthisfield.

Count.Placeyourmousepointeranywhereonthehistogramtoshowthenumberofpixelsofthecurrentintensitylevelinthisfield.

Percentile.Placeyourmousepointeranywhereonthehistogramtoshowthe

totalnumberofpixelsatorbelowthepointer.

CacheLevel.Thisshowsthelevelofimagecacheusedtodisplaythehistogram.

Thehistogramisdynamic.Thatis,asyoumaketonalcorrectionswiththeLevelscommand,youcanseeabeforeandafterviewofthehistogramontheHistogrampalette.Thedarkerportiononthegraphistheadjustedhistogram,whilethefadedportionrepresentstheoriginalhistogram,asshowninFigureC.

FigureC.

Youalsonowhavetheabilitytorefreshthehistogramdisplaytoviewtheimage's

truehistogram.SimplyclicktheCachedDataWarningbutton ortheUncachedRefreshbutton .Botharelocatedintheupper-rightcornerofthepaletteandappearwhenPhotoshopisshowingacachedversionofthehistogramratherthantheimage'struehistogram.Thecachedversiondisplaysmorequicklyandrequireslessmemory,butitisn'tcompletelyaccurate.

Readingahistogram

Photoshopisanimage-editingapplicationbut,eventhoughithasamagicwand,itisn'tamagician!Sometimes,animagesimplydoesn'tcontainenoughinformationforyoutoproduceaqualityphoto.Youcanascertainthisbeforewastingtimetryingtocorrectanimagebysimplyviewingthehistogram.

InFigureD,weshowanunderexposedimageanditshistogram.Thetonalrangeintheimageisconcentratedontheleftsideofthegraph,indicatingtoomuchdetailintheshadowsandnotenoughdetailinthehighlights.InFigureE,weshowanoverexposedimageanditshistogram.Here,youcanseethattherearebarelyanypixelsintheshadows.Mostoftheintensityisontherightsideofthegraph,inthehighlights.Therefore,bothimageslacktoomuchinformationandprobablywouldn'tbenefitfromtonalcorrection.Andwe'reabletodeterminethisjustbylookingatthegraph,so,ifaMeanvalueof92.13stilldoesn'tmeananythingtoyou,don'tworryitdoesn'thaveto!

FigureD.

FigureE.

Note

Forinformationonhowtofixoverexposedimages,seetheProblem:Solution"Restoreoverexposedphotos"attheendofthischapter.

Worththeeffort

Whenyouworkwithimagesformanydifferentprojectsandyoureceivethemfromdifferentsources,it'simportanttoknowwhatsortofimagesyou'reworkingwith.Youcancorrectmanyimageswithpositiveresults,butothersmaynotbeabletobefixed.Byviewinganimage'shistogramfirst,youcandetermineifwhatyou'reworkingwithis,well,worththehardwork!

UseAutoContrasttoautomaticallycorrectanimage

Anoldsayinggoes,"Lightisthepaintbrushofphotography,"andit'scertainlytrue.Justastherearemanytypesofpaintbrushes,soaretheremanytypesoflightsoftlight,hardlight,directionallight,andbouncedlight,tomentionafew.Eachinfluencesthemoodandqualityofaphoto.

Lightalsoaffectssuchthingsascolorbalance,saturation,andcontrast.Manytimeswe'reabletocontrolthesefactors.Colorbalanceandsaturationarerelativelyeasytoadjustwithfiltersandexposure,butcontrastcontrolisn't.OneofPhotoshop'sgreatstrengthsisitsabilitytoadjustimageproperties,andadjustingcontrastisasnapwiththeAutoContrastcommand.

Understandingcontrastinanimage

Photographersliketothinkintermsoftones,thatis,howbrightsomethingisasopposedtohowdarkitis.Everythinginascenefallsintothreecategories:highlight,midtones,andshadows.Whenyoutakeaphoto,thetonesinthephotoreproducerelativetotheircorrespondingtonesintheoriginalscene.

Iftheoriginalscenehappenstohavethesamenumberoftonesascanbereproducedbyfilmoranimagecard,theneverythingintheoriginalisreproducedexactlythesameintheimage,andthesceneissaidtobeanormal-contrastscene,asshowninFigureA1.Butmostoftenthisdoesn'thappen.Whenascenehasfewertonesinitthanitcanreproduce,it'ssaidtobealow-contrastscene,asshowninFigureA2.Conversely,whenascenehasmanymoretonesthanitcanreproduce,it'ssaidtobeahigh-contrastscene,asshowninFigureA3.

FigureA1.

FigureA2.

FigureA3.

Aphotoofalow-contrastscene,whilecontainingallthetonesoftheoriginal,issaidtobeflat.That'sbecauseitcontainsnotruewhites,orhighlights,andblack,orshadows.Everythingissimplyatoneofgray.Ontheotherhand,aphotoofahigh-contrastscenenotcontainingallthetonesoftheoriginalissaidtobesharp.That'sbecauseithastoomanyhighlightsandshadows.

ApplyingtheAutoContrastcommand

Toadjustthecontrastofanimage,wesimplywanttodotheoppositeofwhatwe

seeinthescene.Wewanttoincreasethecontrastofalow-contrastimageanddecreasethecontrastofahigh-contrastimage.WhileyoucanadjusttheseimagesmanuallyusingtheBrightness/Contrastcommand,typicallyyou'llneedtoadjustbrightnessandsaturationaswell.TheAutoContrastcommandautomaticallyadjustseverythinginonesimplestep.

Tousethecommand:

1. OpenthefileyouwanttoworkoninPhotoshop.

2.

ChooseImage Adjustments AutoContrast,andyouroriginalimage,suchastheoneshowninFigureB1,iscontrastcorrected,asshowninFigureB2.It'sassimpleasthat.

FigureB.

Note

Youcanalsousethekeyboardshortcut[Ctrl][Alt][Shift]L( [option][shift]LontheMac)toselecttheAutoContrastcommand.

Threeadjustmentsinonecommand

Animagethat'seithertoolowortoohighincontrastcanappearflatorsharp,respectively,inhighlightandshadowdetails.AsimplewaytocorrectimagecontrastproblemsiswiththeAutoContrastcommand.Thiscommandadjustscontrastaswellasbrightnessandsaturationallinonestep.

Addmissingdetailtoyourimages

Aswementioned,animageisbrokendownintohighlights,midtones,andshadows.Thetermsrefertorelativeluminance,orbrightness,levelsinasceneaswellasinanimage.Becauseofthelimitationsofadigitalcamera'sCCD,alltheluminancelevelscan'tberenderedinanimageasfaithfullyastheycanbeintheoriginalscene.

Highlightsthatyoucanobserveinasceneoftenappearasareasvoidofdetailinanimage.Thesameistrueforshadows.Shadows,whosedetailsyoumayeasilyseeinascene,oftenappearasverydarkorblackareasinanimage.Thisisn'taproblemifthehighlightandshadowareasaresmallandcontainnoorverylittleimportantdetail,butsometimesyoucan'taffordtolosethesedetails.Thisproblemhasplaguedphotographerssincethebeginningofphotography.However,unlikethephotographersofyore,youhavethedigitalsolutionknownasPhotoshopatyourfingertipstohelprestorepoorqualitydetailinyourdigitalimages.

Noiseisgood

Backgroundnoisecanmakecommunicationdifficultifyou'retryingtoconversewithsomeone,butifyouaddnoisetoyourimage'swashed-outhighlightareas,itcanbequitepleasing.Forexample,youcanusenoisetofillanoverexposedareainanimage.

Todoso:

1. OpenthefileyouwishtoworkwithinPhotoshop.

2. SelectWindow LayerstoopentheLayerspalette.

3. Double-clickontheBackgroundlayertounlockthelayer.

4. EnteranameforyourlayerintheNametextboxoftheNewLayerdialogbox.

5. ClickOK.

Maketheselection

Next,we'llselectthehighlightpixelareatowhichwewanttoaddnoise.

Todoso:

1. ChoosetheMagicWandtool fromtheToolbox.

2.

Inthetooloptionsbar,enteravalueintheTolerancetextbox.Lowvaluesselectcolorssimilartothepixelyouclickon,whilehighernumbersselectawiderrangeofcolors.

3.

Moveyourpointertothemiddleofthehighlightpixelareaandclick.Aselectionborderappears,asshowninoursampleimageinFigureA.

FigureA.

Isolatethehighlightpixels

Now,wewanttocopyandpastetheselectedhighlightpixelsintoanewlayer.

Todoso:

1. Press[Ctrl]C( ContheMac),andthenpress[Ctrl]V( VontheMac).

2. NamethenewlayerHighlight.Next,we'lladdthenoisetotheHighlightlayer.

3. ChooseFilter Noise AddNoise.

SetanAmountthat'sjustenoughtoaddasmallamountofvisualtextureto

4. thehighlightarea(22%workedwellforourexample).

5.

SelecttheGaussianoptionbutton,selecttheMonochromaticcheckbox,andthenclickOK.Inourexample,theNoisefilteraddsasubtleamountoffauxdetailtothehighlightarea,asshowninFigureBonthepreviouspage.

FigureB.

Cloningisbetter

Addingnoisetowashed-outhighlightareasisgood,butifyouwantmorethantexture,tryusingtheCloneStamptool.WiththeCloneStamptool,youcantakeasampleofanimageanduseittopaintotherareasoftheimage.Thismakesiteasytocoverhighlightareaswithmoredetailedimageinformation.

SetuptheClonestamp

BeforewecanworkwiththeCloneStamptool,deselectthelayervisibility,andthencreateanewlayertoworkon.

Todoso:

1. ChooseNewLayerfromtheLayerspalette'spop-upmenu.

2.

EnterHighlights2intheNametextboxintheNewLayerdialogbox,andthenclickOK.

3. SelecttheStamptool fromtheToolbox.

4. SelecttheUseAllLayerscheckboxonthetooloptionsbar.

5.

Selectabrush,sincetheCloneStamptoolisapainttool.Forourexample,wechoseasoft,round35-pixelbrushfromtheBrushPresetsPickeronthetooloptionsbarandsettheOpacityoptiontoavalueofabout20%,sinceitwon'ttakemuchtoseearesultinthehighlightareas.

6.

Definethepixelareaintheimageyouwanttocopybymovingyourpointertoanareainyourimagerightnexttothehighlightarea,andthen[Alt]-clicking([option]-clickingontheMac)onit.

7.

Dragafewbrushstrokesfromtheedgeofthehighlightareatowardthecenterofthehighlightarea.Youdon'tneedtototallyfilltheareabecauseyouwanttoretainsomeofthehighlightareaandnottotallyeliminateit.

8.Positionyourpointeratanothersideofyourhighlightandredefineyourpixelpaintsamplewhenyou'vefinishedonesideofthehighlightarea.

9.

Continueinthismanneruntilyou'vefinished,aswedidinoursampleimage,FigureC.

FigureC.

Lostandfound

Losthighlightdetails,althoughbothersome,aren'tnecessarilydifficulttofix.WithPhotoshop,youcanapplyavarietyoftechniquestorestoredetailandcreateagreatimage.IntheProblem:Solution"Restoreunderexposedshadowdetail"attheendofthischapter,we'lllookattheotherendoftheluminancerangeandshowyouhowtobringyourshadowdetailsoutofthedarknessandintothelight.

ImprovetonalrangewiththeShadow/Highlightcommand

Sometimesthere'snothingwrongwithpartofanimage.Perhapsthesunwasbehindyourmodelthebackgroundlooksfine,butthesubjectisinshadow.Maybethesubjectwasinbrightlightortooclosetotheflash,resultinginanotherwisegreatpicturewithafewkeydetailsblownout.Whethertheproblemisunwantedlightorshadow,there'sawaytofixitquickly.

Forimagesthatarewell-litinsomeplacesbutneedhelpinothers,PhotoshopofferstheShadow/Highlightadjustmentcommand.WhilemostofPhotoshop'sadjustmenttoolscanmodifyprecisetonalranges,eventhemightyCurvesandLevelscommandsaredesignedtoadjusttheentireimageoraselectedarea.TheShadow/Highlightcommand,however,isaspecializedtoolthatlooksfordiscrepanciesbetweenlightanddarkareasoftheimage.Youmaynotneediteveryday,butwhenyoudo,itcansaveyouhoursoffrustration.

GettingtoknowtheShadow/Highlightcommand

TobeginusingtheShadow/Highlightcommand:

1.

OpenanRGBorgrayscalefilethatcontainsbothwell-litandshadowareas,suchastheoneshowninFigureA.

FigureA.

2.

SelectImage Adjustments Shadow/Highlight,andtheShadow/Highlightdialogboxappears,asshowninFigureB.WhenyouactivatetheShadow/Highlightdialogbox,Photoshopcomparesthepixelsintheimagetoothersnearbytodeterminetheshadowandhighlightareas.(We'llshowyouhowtoadjustthisrangelater.)

FigureB.

AdjustshadowpixelswiththeShadowsAmountslider.Youcanadjusttheamountbymovingthesliderorbytypingaspecificvalueinthetextbox.Eachimageisalittledifferent,soexperimenttogettheeffectyouwant.FigureCshowstheimagewiththedefaultshadowadjustmentof50%,whileweused

3.

anadjustmentof100%fortheimagethat'sshowninFigureD.

FigureC.

FigureD.

Mutinghighlights

ThedefaultsettingsfortheShadow/Highlightcommandaredesignedtobrightenshadowareas.TheHighlightsAmountslider,whichissetto0bydefault,appliestheoppositeadjustmenttotheimage:Thehighertheamount,thedarkerthehighlightsbecome.

FigureE,onthenextpage,showsasubjectthat'spartiallywashedoutbybrightsunlight.Toenhancetheimage,weopenedtheShadow/Highlightdialogbox,settheShadowsAmountsliderto0,andincreasedtheHighlightsAmountsliderto50%.TheresultisshowninFigureF,alsoonthenextpage.

FigureE.

FigureF.

Loadingandsavingoptions

TheLoadandSavebuttonsworkjustlikesimilarbuttonsintheCurves,Levels,andotherAdjustmentcommanddialogboxes.TheSavebuttonallowsyoutocapturethecurrentsettings,whiletheLoadbuttonenablesyoutore-applythemduringalateruse,savingyouagreatdealoftimeifyouhavetomakesimilaradjustmentstoaseriesofimages.

Fine-tuningtheresults

Nowthatyouhavethebasicidea,let'sgetunderthehoodandplaywiththeadvancedoptions.Todoso,selecttheShowMoreOptionscheckboxinthebottom-leftcorneroftheShadow/Highlightdialogboxtorevealthecommanddialogboxinitsfullglory,asshowninFigureG.

FigureG.

Theadvanceddialogboxisdividedintothreesections:Shadows,Highlights,andAdjustments.ThefirstiteminboththeShadowsandHighlightssectionsistheAmountslider,whichworksexactlyasitdidinthesimpledialogbox.Unlikethesimpledialogbox,however,younowhavemorecontroloverwhichpixelsPhotoshopselectsandmodifies.

TonalWidthslider

TheTonalWidthsliderdeterminestherangeoftonesthatthecorrectionisappliedto.Thesmallerthevalue,thefewertoneswillbeaffected.Thus,alowvalueintheShadowsTonalWidthsliderrestrictschangestojustthedarkestshadows,whilealowvalueintheHighlightsTonalWidthconfinestheadjustmentstothebrightesthighlights.Increasingthisvalueresultsingreateradjustmentstothemidtonesandcontrastingtonalranges.

StartingwiththeimageshowninFigureH,thedefaultShadow/HighlightadjustmentproducestheresultshowninFigureI.Inthiscase,thesubjectisstillfairlydark,soweincreasedtheTonalWidthoftheShadowsAmountto65%toproducetheresultshowninFigureJ.

FigureH.

FigureI.

FigureJ.

Note

Ifyourimagehasstrongtransitionsbetweendarkandlightareas,youmaypick

upa"glow"effectifyourTonalWidthadjustmentistoohigh.Experimentwitheachimageonacase-by-casebasistogetthebestresult.

Radiusslider

TheRadiussliderspecifiesthesizeoftheareaPhotoshopcomparestodetermineifagivenpixelisinashadoworhighlightarea.Thelargertheradius,themorelikelyagivenpixelisconsideredpartoftheareathatrequiresadjustment.Thisisanothersettingthatvariesdependingontheimage.Iftheradiusistoolow,thecorrectionmaynotbeappliedeverywhereyouneedit.Ifit'stoohigh,itmayaffecttheentireimage.

TheAdjustmentssection

Atthebottomoftheadvanceddialogboxisanewsetofoptions,whichprovideadditionaltoolsforfine-tuningtheimage:ColorCorrection/Brightness,MidtoneContrast(Brightness),BlackClip,andWhiteClip.Let'sexaminetheseoptionsinmoredetail.

Note

Whenworkingwithgrayscaleimages,PhotoshopreplacestheColorCorrectionsliderwithaBrightnesscontrol.

ColorCorrection/Brightness

Thisslideradjuststhevividnessofthecolorsintheareasaffectedbytheshadoworhighlightadjustment.Typically,thesetonesneedabitofaboosttobalancethemwiththerestoftheimageafterthecorrectionismade.

Bydefault,Photoshopenhancesthecolorofthemodifiedareasby20percent.YoucanadjustthisamountwiththeColorCorrectionslider.Typically,aloweramountresultsinaless-saturatedimage,asshowninFigureK,whileahigheramountincreasessaturation,asshowninFigureL.

FigureK.

FigureL.

TheColorCorrectionsliderisprettysensitive,anddependingonyourimage,asmalladjustmentcangoalongway.It'sabitcrudecomparedtoPhotoshop's

othercolor-correctiontools,butithastheadvantageofaffectingonlytheareasoftheimagewhereyou'vemadeshadoworhighlightadjustmentsinthecurrentsession.

MidtoneContrast

MovingtheMidtoneContrastsliderdecreasesorincreasesthecontrastofthemidtonesoftheimage.Apositiveamountmakesshadowsdarkerandhighlightsbrighter,whileanegativeamountdoesthereverse.

BlackClipandWhiteClip

ThetwotextboxesatthebottomoftheAdjustmentssectionBlackClipandWhiteClipdeterminewhatpercentageoftheimage'sshadowsandhighlightsaresettopureblack(level0)andpurewhite(level255),respectively.Increasingthesevaluessetsmorepixelstotheextremesettings.Thiscangiveyoumorecontrast,butbecarefulnottoeliminatedetailsintheshadowsandhighlightsbysettingtheclippingrangestoohigh.

Changingthedefaultsettings

TheSaveAsDefaultsbuttonatthebottomoftheadvanceddialogboxchangestheinitialsettingsofeachShadow/Highlightsessiontothevaluesthatarecurrentlyselected.ThisishandyifyouregularlyneedtomakeHighlightadjustmentsmoreoftenthanShadowadjustments.IfyoueverwanttogobacktoPhotoshop'soriginalsettingsafterdefiningyourown,simplyholddownthe[Shift]keytochangeittoaResetDefaultsbutton.

Note

Forinformationonhowtogetmoredetailfromtheshadowsinyourimages,seetheProblem:Solution"Restoreunderexposedshadowdetail"attheendofthischapter.

Nowthatyou'veturnedthelampdownlow…

TheShadow/Highlightadjustmentcommandprovidesaquickandeasywaytosalvageimagesthatonlyneedcorrectionincertainareas.Inthepast,youmighthavespentalotoftimemakingaselectionmaskorrubbingtheimagewiththeDodge,Burn,orSpongetoolstoachievesimilarresults.Morelikely,youwouldhavejustdeletedthem.However,withthishandynewfeatureyoucansalvagemanyofyourimagesinlesstimeandwithfewerhassles.

Correctexposureproblemswithdodgingandburning

UsingPhotoshopfeaturessuchasCurvesandLevelstoadjustthetonalvaluesinyourdigitalimagesisveryeffective,butoftenthecomprehensivenatureoftheseadjustmentsmakesithardtotargetspecificareasofyourimage.Youcouldapplythesecommandstoamaskorlayerstyle,butwhygothroughamulti-stepprocesswhenyoucanusetheDodgeandBurntoolstomaketonaladjustmentsinyourimages?Thesetoolsgottheirnamesfromtraditionalprintdeveloping,soitmightnotbeimmediatelyevidentwhattheydoorhowtobestusethem.Restassured,theDodgeandBurntoolsshouldbeasmuchapartofyourimage-editingprocessasLevelsorCurves,andwe'regoingtoshowyouhowtousethemtoedityourownimages,justaswedidtogettheresultsshowninFigureA.

FigureA.

Fromdarkroomtodigital

Onereasonthesetoolsaren'tfamiliartosomePhotoshopusersistheirsomewhatold-fashionednames.Whileanyonewhohassomedarkroomprintingexperiencehasheardoftheseterms,thosewhohavecomeintophotographyusinginkjetprintersandimage-editingapplications,suchasPhotoshop,probablyhaven'theardofthem.Dodgingiscontrollingtheexposureinphotographicprintingbyreducingtheamountoflightreachingspecificareasofthepaper,whileburninginvolvesaddinglighttospecificareas.Similarly,inPhotoshop,theDodgetoolallowsyoutodarkenportionsofanimage,whiletheBurntoolallowsyoutolightenthem.

Forthosewhoprintindarkrooms,havinggooddodgingandburningtechniquesallowsyoutostrengthenyourimagesbymanuallycorrectingproblemexposures,butthispracticeisnowmuchmorecommonlydone,andwithgreaterprecision,onacomputer.Anyonewhohaseverdodgedandburnedhiswaythroughapileofjunkyprintsknowsthatthetraditionalwaycanbeverytricky;sohavingthesetoolsinPhotoshopgivesyoutheflexibilitytoperfectimagesbeforethepixelshitthepage.

Beforeyoustartyouredit

YoucangetthebestresultsfromtheDodgetoolandtheBurntoolbypreparingthembeforeyoustartediting.Togetstarted:

1. SelecteithertheDodgetool ortheBurntool fromtheToolbox.

2.

Checkoutthetooloptionsbarlocatedbelowyourmenucommands.Understandingthethreeattributesofthesetools(Brush,Range,andExposure)iskeytocontrollingthem,solet'stakealookateachindetail.

Choosingabrush

TheBrushoptionenablesyoutosetthediameterofyourbrush,whichisdictatedbythescopeofyouredit.Selectalargediameterifyou'retargetingalargeareaorasmallerdiameterifyou'redoingfineredits.Don'tgotoobigortoosmall,though,asthesebrushsizescanbeveryhardtocontrol.YoucanalsoselectanduseanycustombrushesyouhavestoredintheBrushpalette.Thisallowsyoutofurthercustomizethetooltocreatethebestpossibleeffect.

Sincewe'reonthetopicofbrushes,wehavetomentionthatthebestresultswhenusingeithertoolcomefromabrushwithafeatherededge.ThisallowsPhotoshoptoblendinyouradjustmentswiththeadjacentpixelsandgiveamuchmorenaturallook.MostofthebrushesavailableintheBrushpalettehaveafeatherededge,butyoucancontroltheamountoffeatheringbyeditingthebrush.

1. Selectyourbrushinthepalette.

2. OpentheBrushespalettebyselectingWindow Brushes.

ClickontheBrushTipShapepresetandyou'llfindthesameHardnessadjustment,asshowninFigureB.Aswementioned,mostpresetbrushesareadequatelyfeathered,butyou'llwanttocheckthisadjustmentwhenusingcustombrushesoranytimeyou'relookingforaveryspecificresult.

FigureB.

3.

Range

TheRangeoptionallowsyoutotargetthehighlights,midtones,orshadowsofyourimage.Fromanimage-editingstandpoint,thisisthemostvaluableaspectofthesetools.Beingabletotargetthelight,dark,ormediumtonesinyourimagegivesyoutheflexibilitytoadjustcertaintoneswhileleavingothersintact.Italsoallowsyoutousethesametooltoaddressmanydifferentexposureproblemsinyourimagewithouthavingtojuggledifferenttoolswithdifferentsettings.Ifyouhaven'tworkedwitheditingimagesbytheirtonalrangesbefore,trystartingwiththeMidtonesoptiontogetafeelforeachtool.Then,branchouttotheothertwooptionsonceyougetasenseofhoweachtoolaffectsyourimage.

Exposure

TheExposureoptioncontrolsthestrengthofyourtool,whichissimilartoadjustingtheopacityofabrushtogetamoretransparentlook.Rangingfrom1%to100%,thehighernumberscreatethegreatesteffectonyourimage,asshowninFigureC.Usually,youwon'twantthistoolatfullstrengthasitcanquicklycauseblown-outhighlightsormurkyshadows.Startat50%andevaluatetheeffectofthetool.Wetypicallyusesmallerpercentagessuchas20%foraweakereffectandtakemultiplepasseswiththebrushtofine-tuneouradjustment,but

you'llfindwhatpercentagesworkbestforyouasyougetmorefamiliarwiththesetools.

FigureC.

Note

Beforedodgingorburning,it'sagoodideatoduplicatethelayeryou'llbeworkingonandkeepyouroriginalimageuntouchedforinsurance.Toduplicateyourlayer,selectitintheLayerspaletteandselectDuplicateLayerfromtheLayerspalette'spop-upmenu.GiveyournewlayeranameandclickOK.Sinceyourduplicatedlayerisabovetheoriginallayer,itwon'tgetinthewayvisually,butyoucanturnoffthevisibilityifyouwanttokeepitcompletelyoutofthepicture.

Applyingthetools

Let'stakealookatanexample.TheimageshowninFigureAneedstobedodgedandburnedtocorrectexposureproblems.Whenevaluatinganyimagefortonaladjustments,firstlookforareasthataretoolightortoodark.Inthisimage,thebaseofthemushroomistoolightandtheareaimmediatelytotherightofthebaseisdistractinglydark.Inaddition,therightsideofthemushroomcapislookingabitmuddy,sowe'llalsotrytobringoutthecoloranddetailbyadjusting

themidtonesinthatarea.

Note

We'regoingtotalkindetailaboutourexample,butifyoufollowalongwithourprocedureyou'llbeabletoeasilyusethesamestepstomakeadjustmentstoyourownimages.

Brighteningthebase

Forthebrightbaseinourimage,selecttheBurntool andtheSoftRound35Pixelsbrush,thensettheRangetoHighlights,andtheExposureto20%.Thisareaoftheimageissooverexposedthatthereisn'tmuchimageinformationthere,sothegoalistolessenthedistractionabitwithoutmakingitlookunnatural.Usingalowpercentage,clickanddragacrossthehighlightedbasetosubtlydarkenit.Besurenottogooverboardorthebasewillbegintolookoverlygray.

Lighteningtheshadowareas

Fortheshadowsnexttothebase,you'llwanttolightenthearea,soswitchovertotheDodgetool .SetthetoolforthesameSoftRound35Pixelsbrush,butchangetheRangetoMidtonesandtheExposureto35%.Next,carefullyclickanddragovertheshadowareatobringoutthedetailsinthewoodandmakeitbalancebetterwiththerestoftheimage.Sincethisisalargerarea,youcanusealargebrush,butasmallerbrushoffersmorecontrol.

Takingthemudoutofthemidtones

Thelastadjustmenttomakeisinthemidtonesofthemushroom'scap.ForthisusethesameDodgetoolsetup,butsettheExposureforamoreaggressive60%.You'llnoticeabigdifferenceinthestrengthoftheeffectwhenyouclickanddragacrossthecap,asiteasilylightensthemidtonesandmakesthecolorsanddetailsmoredistinct.Becarefulwhenadjustingmidtones,astoomuchdodgingcanreducecontrastsandmakeyourimagelookflat.

Goforthetones

Couldwemakemoreadjustments?Sure,theDodgeandBurntoolsallowtheusertobeassubjectiveashewantstobetoperfecthisimage.Withtheabilitytosetthesize,strength,andtargettonalrangeofeachadjustment,dodgingandburningallowyoutomakeveryspecificeditstoyourdigitalimagestomakethemlooktheirverybest.

Problem:SolutionRestoreunderexposedshadowdetail

Problem:Imageisunderexposed.

Solution:UsetheLevelscommandtobringdetailsoutoftheshadows.

Tobegin,launchPhotoshopandselectanimagetoworkwith.Ourexampleimagefeaturesagroupofbacklitferns.Thelateafternoonsunilluminatesafewfronds,butpartofthestemandthemajorityofthegroupareindeepshadow.Theimagewilllookbetterifwelightenthetonesintheshadowdetailswithoutchangingthetonesinthemidrangeandhighlightareasthatareilluminatedbysunlight.

TheLevelscommand'ssettingsandoptions

Togetstarted,chooseImage Adjustments Levels,andtheLevelsdialogboxopens.TheLevelsdialogboxcontainsanumberofsettingsandoptionsthatallowyoutoadjustthehighlights,midtones,andshadowsofanimage.

AbovetheInputLevelsslidersisahistogramthatrepresentsthepixelquantityoftonallevelsinyourimage.AbovetheOutputLevelsslidersisagrayscalebarthatrepresentsthetonallevelstowhichyoucanresetyourshadowandhighlightpoints.

WorkingwiththeLevelscommandadjustments

Tounderstandthecause-and-effectrelationshipofadjustingthesliders,let'smakeafewsimpleleveladjustmentsandwatchwhathappenstothetonesinourimages.SincetheInputLevelssettingsallowustochangetheindividualhighlight,midtone,andshadowtonalranges,weonlyneedtoadjusttheInputLevelssliders.

Tostart:

1.

Movethehighlightslidertotheleftuntilyoureachavalueofabout155.Asyoudoso,you'llnoticethatjustthehighlightsandmanyoftheuppermidtonesintheimagebecomebrighter.

2. Resetthehighlightsliderto255.

3.Movetheshadowslidertotherightuntilyoureachavalueofabout130.You'llnoticethattheshadowsandmostofthemidtoneshavebecomedarker.

4. Resettheshadowsliderto0.

Finally,movethemidtonesliderfirsttotherighttoavalueof0.50,andthentothelefttoavalueof2.90.Asyoudoso,you'llseethatthemidtonesfirst

5. becomedarker,andthenlighter.You'llalsonoticethatthere'sasurprisinglylargeamountofdetailintheshadowareas,whichyoupreviouslyweren'tabletosee.

6. Resetthemidtonesliderto1.00.

Adjustingtheshadowdetail

Nowthatyouhaveafeelingfortheresultsofsettinghighlight,midtone,andshadowInputLevelswiththesliders,let'sadjusttheunderexposedshadow.

1.Movethehighlightslidertotheleftuntilitreachesthetoesectionofthehistogram.Forourexampleimage,thishappensatavalueofabout170.

2.

Movethemidtoneslidertotheleftuntildetailintheshadowareasbecomemorevisible,atabout1.20inourexampleimage,oraccordingtoyourpreference.

3.ClickOKwhenyou'vefinished,andyounowhaveanimageyoucanusehoweveryou'dlike.

Outoftheshadowsandintothelight

TheLevelscommandisasimpleandeasywaytoadjustthetonalvaluesinanimage.It'susefulwhenyouwanttobringoutdetailsintheshadowareascausedbyunderexposureorlowlightingconditions.It'salsousefulinfine-tuningmidtoneandhighlightvalues.Wheneveryouhaveanimageyoulike,butwhichlacksdetailinaparticulartonalarea,usetheLevelscommand.You'llbesurprisedatwhatcomesoutoftheshadows.

Problem:SolutionRestoreoverexposedphotos

Problem:Lossofdetailinanimage'shighlightareasduetooverexposure.

Solution:UsetheThresholdcommandtorestorewashed-outimages.

Ifthehighlightareasinanoverexposedphotodon'tseemtocontainmuchdetail,thenhowdoestheThresholdcommandhelptorestorethem?Inthesamewayyoucanseeamuchwidertonalrange,thetonalrangeoffilmoranimagesensoriswiderthanyourmonitor.There'susuallyacertainamountofhighlightdetailpresentthatyourmonitorjustcan'tprocess.TheThresholdcommandisabletoisolatethehighlightareasinyourphoto.Then,afteryouselect,copy,andpastethemintoanewlayer,youcanadjustthehighlighttonalleveltoadddetailtothehighlightareasinyourphoto.

Correctforslightoverexposure

Let'scorrectaslightlyoverexposedphoto.Ifyouwanttogothroughthistechniquewithoneofyourimages,makesureyou'reabletoeasilyseethedetailintheshadowareasofyourimagebutnotinthehighlights.

DuplicatetheBackgroundlayer

BecausetheThresholdcommandchangesacolorimageintoahigh-contrastblack-and-whiteimage,wemustfirstduplicatetheBackgroundlayersowecanworkonit.

1. ChooseWindow LayerstoopentheLayerspalette.

2. ClickontheLayerspalette'spop-upmenuandchooseDuplicateLayer.

3.EnterThresholdintheAstextboxoftheDuplicateLayerdialogboxandthenclickOK.

AdjusttheThresholdlevel

1.

ChooseImage Adjustments Thresholdfromthemainmenu,andtheThresholddialogboxopens.You'llnoticethattheThresholdcommandhasconvertedtheThresholdlayerintoahigh-contrastblack-and-whiteimage.TheThresholdLevelsettingdeterminesthetonallevelbreakpointatwhichwhiteareasbecomeblack.Thehigherthesetting,thehigherthebreakpoint.

2.

Movetheslidertoahighervalue.(Weused205forourexampleimage.)Asyoudoso,you'llnoticethatmoreandmoreoftheimageareabecomesblack.Movetheslideruntilonlythehighlightareasremainwhite.

3. ClickOK.

Selectthehighlightareas

1.ChoosetheMagicWandtool fromtheToolboxtopreparetoselectthehighlightareasintheThresholdlayer.

2.EnteraToleranceof15tolimittheareayouselectintheTolerancetextboxfoundontheleftsideofthetooloptionsbar.

3.

SelecttheAnti-aliasedcheckboxtokeeptheedgesofyourselectionniceandsmoothanddeselecttheContiguouscheckboxsotheselectionofvalueswon'tberestrictedtojusttheareayouclickon.

4. Selectawhitehighlightarea,andthenchooseSelect Feather.

5.Enter2intheFeatherRadiustextboxwhentheFeatherSelectiondialogboxopens.

6. ClickOK.

CopyandpastethehighlightsintheBackgroundlayer

1.ClickontheEyeicon ontheleftsideoftheThresholdlayertodeselectit,andthenselecttheBackgroundlayer.

2.Press[Ctrl]C( ContheMac)tocopythehighlightareas,andthenpress[Ctrl]V( VontheMac)topastethemintoanewlayer.

3.Double-clickontheLayer1nameintheLayerspalette,andthenenterHighlightsintheLayerNametextbox.

AdjusttheHighlightslayertonallevel

1. ChooseImage Adjustments Brightness/Contrast.

2.

LowertheBrightnesstonalvaluebymovingtheBrightnessslidertotheleftwhentheBrightness/Contrastdialogboxopens.Weusedavalueof-40forourexample.

3.ClickOK,andyou'verestoredthedetailinthehighlightareas,asshownintheSolutionimage.

Highlightmanagement

Evenifyoucan'tavoidoverexposedhighlights,youcaneasilyrestoretheimage.Thenexttimeyou'retemptedtogiveuponanoverexposedimage,remembertheThresholdcommand.

Part2:EssentialImageEditingFixes

Digitalimagesthatcomefromdigitalcamerasorscannerstypicallysufferfromoneoftwoproblems.Eitherthey'retoosoftandrequiresharpeningorthey'retoocrispandrequireblurring.Ineithercase,adjustingthesharpnessofyourimageandmanagingdigitalnoiseiscrucialtocreatingaqualityimage.Whilethesetypesofadjustmentscanbethemosttechnical,they'realsothemostessential.Butdon'tworrywe'llmakesenseofitallforyou.

Chapter3:NoiseandSharpening

AddnoisewiththeAddNoisefilter

Useblendingmodestofixdigitalnoise

Keepyourdigitalimagesnoisefree

BoostclaritywiththeUnsharpMaskfilter

Problem:SolutionRemovenoisewithLabcolor

Problem:SolutionUseabrushwiththeUnsharpMaskfilter

Chapter4:RetouchingTechniques

CorrectimperfectionsindigitalphotoswiththeHealingBrush

RepairandedityourimageswiththePatchtool

CleanupcolorproblemswiththeSpongetool

Fixflawedarchitecturalimages

Problem:SolutionEliminateskinflaws

Problem:SolutionRestorecolortounderexposedareas

Problem:SolutionRemovelinesandwrinkles

Chapter5:OptimizationandSizing

Choosethebestfileformatsfortheweb

Optimizeyourimagestogetthebestwebresults

AdjustJPEGwebqualitywiththeModifyQualitySettingcommand

Makeprecisecroppingselectionsusingguides

OptimizeyourimagesforuseinMicrosoftPowerPoint

Problem:SolutionImproveblurringincompressedwebimages

Problem:SolutionImproveresampledimagesforprint

Chapter3.Noiseandsharpening

AddnoisewiththeAddNoisefilter

Sometimesnoiseisagoodthing.Notthe"headnexttoabuzzsaw"typeofnoise,butthecolorfuldinofastreetfairorthecontrolledcommotionofabaseballgame.UsingnoiseinPhotoshopcanalsoproducesuchorganicresults,especiallyifyouusenoisetoaddrealismandrandomnesstoanimage.Ifyouaren'talreadyusingnoiseinPhotoshop,youshouldbe.Ifyouare,keepreadingtolearnaboutwhatelseyoucanaccomplishwithnoise.

Whatisnoise?

Noise,asdefinedbyAdobe,adds"pixelswithrandomlydistributedcolorlevels."Simplyput,noiseimposesarandomvaluetothepixelsthatmakeupanimage.However,therandomnessofnoisedoesn'thavetobeadistraction.Infact,usingnoiseinimagesoftencanhelphideproblemareassuchasbandingandawkwardcloning.ThenoisefiltersinPhotoshop,locatedintheFiltermenu,helptoreducenoiseandeliminatetheeffectsofoverlynoisyimages.Whilethesefilters,whichincludeDespeckle,Dust&Scratches,andMedian,havepositiveattributesoftheirown,theyexisttoremovenoise.We'llconcentrateonthefunofintroducingnoisetoyourimageusingtheAddNoisefilter.

TheAddNoisefiltercomesalive

TheAddNoisefilterwasoriginallycreatedtosimulatethegrainytextureofhigh-speedfilm.Sinceitsintroduction,ithasbeenastapleofseriousimagejockeysbecauseitcandosomuchmore.TheAddNoisedialogbox,showninFigureA,consistsofthestandardpreviewwindowthathelpsgaugetheimpactofyournoiseoptions.Fine-tuningthenoisevaluesisanartinitself,sousethepreviewasmuchaspossible.

FigureA.

TheAmountsliderandtextboxintheAddNoisedialogboxworkonan8-bitscale,whichmeansituses256shadesofgraybetweenblackandwhite.Basically,theAmountsliderdetermineshowfarthepixelsinyourimagecandriftfromtheiroriginalcolor.Thistechnicalmumbo-jumboisimportant,butthemostimportantthingtorememberabouttheAmountslideristhathighernumbersmeanhighercontrastbetweenyourpixels,andtherefore,morenoise.

Typesofnoise

Therearetwotypesofnoiseyoucanapply.Thefirst,Uniform,createscompletelyrandomnoise.Thismeansthatanycolorisjustaslikelyasanothertobeusedtoproducetheeffect.Thesecondoption,Gaussian,createsnoisealongtheGaussiancurve,whichresultsinamoreconsistentallocationofnoisevalues.Sincecolorsaresettoaspecificrange,thecolorsofGaussiannoisemorecloselyresemblethecolorsofyourimage.Gaussiannoiseoftencreatesamorerealisticeffect,whileUniformnoisedeliversamoredistinctresult.FigureBshowsasampleofeachofthesenoiseoptionsappliedtoasolidblockof50%gray.

FigureB.

TheMonochromaticcheckboxatthebottomofthisdialogboxcontrolsthelookofbothUniformandGaussiannoise.Selectingthisoptionallowsyoutoapplygrayscalenoisetoyourimage.Monochromaticcreatesanevendistributionofnoiseacrossthechannelwithoutchangingthecolors.Ifthischeckboxisn'tselected,thepixelsandcolorsarescatteredrandomlythroughoutalltheavailablechannels.Thisoptionisagoodideawhenyou'reworkingonimageswithareasofsolidcolor,butabadchoiceifyou'retryingtoblendcontrastingareasofcolortogether.Again,usethepreviewwindowtoseeifMonochromaticnoisemakessenseforyourimagingneeds.

Real-worldnoise

Therearemanyreasonstoapplynoiseinyoureverydayimageediting.You'llfindthatnoisecanhelpcorrectmanyproblemscausedbypoorscans,blurrydigitalcameraimages,orstrangerasterization.Inanycase,we'lltakealookatoneofthemostcommonscenariosforusingnoise.Fromthere,youcanbuilduponyourrepertoireandturnthenoiseintoasymphony.

Addinggrain

Asmentionedearlier,theAddNoisefilterwasdesignedtosimulatefilmgraininapixel-basedenvironment.Thisisstilloneofthemostusefulfeaturesofthisfilter,andyoucanuseitinmanywaystoimprovethelookofanimage.Youcanaddnoisetoblurryimagestoincreasecontrast,toblackandwhiteimagestoheightenthevisualmood,tovectorarttoincreasetexture,ortoretouchedimagestoblendineditedareas.Ourexample,showninFigureC,ismissingsomething.Toaddanice"oldphoto"grain,weaddedsomenoisetothisgrayscaleimagetogivetheimagesometextureandpersonality.

FigureC.

Animagingcacophony

TherearemanyotherusesfornoiseinPhotoshop.Forthetimebeing,experimentwithaddingnoisetoyourdesigns.You'llsoonfindnoisealloveryourimages,andthat'sagoodthing.Technically,noisefiltersareconsidereddestructivefiltersbecausethey'reusedtodegradethequalityofanimage.Butthisisn'tnecessarilythecase.Noisehascorrectivevaluesaswell,whenusedproperlyandsubtly.

Useblendingmodestofixdigitalnoise

CorrectingimagesinPhotoshopcanbeatrickybusinessasthere'sadegreeoftrialanderrorinvolved.Becauseofthis,it'sbesttotrytokeepyourchangestothefileeditableandnotpermanentlyembeddedintheimage.Thiswayyoucanmakeadjustmentswitheaseatanypointintheprocess.Photoshopprovidesmanywaystoeditanimagewithoutpermanentlychangingit,particularlywhenyou'redealingwithnoiseinanimagefromadigitalcamera.Oneofthesetechniquesisblendingmodes,whichisalayerfeatureofPhotoshop.Usingblendingmodes,youcansetanormallayertoavarietyofdifferentblendsettingstochangetheappearanceofpixelsonthelayersbelowit.Thisgivesyouaniftywaytofixdigitalnoiseinyourimagewithoutactuallymakingpermanentchanges.

Blendcontrols

We'llbeusingtheOverlay,SoftLight,Hue,andColorblendingmodes.We'lldiscussthemingroups,assomeblendingmodesareverysimilartooneanother.

OverlayandSoftLight

TheOverlayandSoftLightmodesbasicallydothesamething,thoughtheSoftLightmodeismoresubtle.TheOverlaymodeeitherscreensormultipliescolorsdependingonthebasecolorbelowit,whichmeansitmakesyourdarksdarkerandyourwhitesbrighter.It'susefulforbumpingupthecolorcontrastofanimage.

TheSoftLightfilteralsodarkensandlightensthecolorsinthebaseimage,butitsalgorithmisbasedonthevalueoftheblendcolorratherthanonthevaluesofthebasecolor.Thesedetailscanbehardtoremember,butit'seasytorememberthattheSoftLightmodeissortoflikeOverlayLight.IthasthesamegeneraleffectasOverlaybutislessdramatic.

HueandColor

TheonlydifferencebetweentheHueandColorfiltersisthemanagementofsaturation,orthevividnessofthecolors.TheHuesettingappliesonlythehueoftheblendcolortothebasecolors.Thebasecolorretainsitsownsaturationandluminancevalues.WiththeColorsetting,thehueandthesaturationoftheblend

colorareappliedtothebasecolor.Again,youdon'treallyneedtorememberthespecifics.JustkeepinmindthatHuetypicallyresultsinamoresubtleeffectthanColor.Ingeneral,it'sbesttotrybothwhenattemptingtoaltercolorsinyourdigitalimages.

Noisecorrection

Noiseisafrequentproblemthatdigitalphotographershavetodealwithonaregularbasis.Certainshootingsituationstendtocreateimagesthathavealotofnoise,particularlyintheshadowareasorinunderexposedareas,asshowninFigureA.Thishappensbecausemostconsumer,andevensomehigh-end,digitalcamerashavealimiteddynamicrangethatstrugglesintheshadowareas.

FigureA.

Locatetheproblem

1.

Openanimagethat'shavingsometroublewithcolorednoise.Ifyoucan'tfindonerightoffthebat,lookatimagesyoushotindoorswithaflashorimagesthathaveextensiveshadowareas.

Zoominto200%or300%andyoumightseenoiselikeourrednoiseinFigureB.There'sactuallyquiteabitofnoiseallovertheimage,butitreally

2.

showsupontheedgesofobjectswherethere'slikelytobesharptonaltransitions.Youmayalsonoticethiseffectonimagesthathaveundergonealotofsharpeningorhadalotofcorrection.

FigureB.

Thebenefitsofblur

Theeasiestwaytocorrectrandomcolorednoiseistouseablurredcopyoftheimagetoknockoutthenoise.Totrythis:

1.

.AccesstheLayerspaletteandduplicatetheimagebydraggingtheBackgroundlayerontotheCreateANewLayerbutton .TheBackgroundcopylayerappearsandisselectedautomatically.

2. ChooseFilter Blur GaussianBlur.

3.Setalowblurradiusofabout2pixelsintheresultingdialogbox.Youdon'ttypicallyneedalargesettingtofixthesubtlenoisewe'retargeting.

ClickOKandsettheblendingmodeoftheBackgroundCopylayertoColor.Thisappliesthecoloroftheimagetoyouroriginal,butdoesn'taffectsharpness.YoucanseeourresultsinFigureC.Asyoucansee,toningdownthenoiseinimagesisn'ttoodifficultanditresultsinasignificantlybetterimage.

4.

FigureC.

Theabovemethodwon'tworkforallimages.Onoccasion,you'llfindthatitactuallycreatesmoregeneralnoiseevenasitfixesthecolorednoiseproblem.Becauseofthis,youmayneedtoadapttheblurringmethodtouselocallyratherthanontheentireimage.YoucanalsousetheErasertool toeraseportionsofthelayerthatareunnecessaryifyouthinkit'scausingstrangeeffects.

Changecolorswithease

YoucanalsoeasilyremovecolorswiththeColorandHueblendingmodes.Todoso:

1.

Openanimagethathasaspotofcoloryouwanttoremove.OntheleftinFigureD,youcanseeabrownspotatthetopoftheleafthatwewanttoremove.

FigureD.

2.CreateanewlayerandthensampleagoodreplacementtonefromtheimagewiththeEyedroppertool .Weselectedanearbyshadeofgreen.

3. SelecttheBrushtool andpaintoverthespotonthenewlayer.

4.

SettheblendingmodeofthelayertoHueorColortoseewhichworksbest.Inourcase,Huecorrectedthecolorperfectly,asyoucanseeontherightinFigureD

Blendaway

Asyoucansee,blendingmodesareusefulforbothcorrectingyourimagesandaddingfunvisualeffects.We'veonlytouchedonafewofthepossibleeffectsyoucancreatewithblendingmodes.Withalittleexperimentation,you'llundoubtedlyfindmorereasonstouseblendingmodeswhenworkingwithyourdigitalimages.

Keepyourdigitalimagesnoisefree

Digitalnoiseisoneofthebiggestproblemsfacedbydigitalphotographers.Thegoodnewsisthatyoucanavoidit.ThefirstthingtodoisconsideryourISOsetting.HigherISOsettingstendtodisplaymoredigitalnoisethandigitalimagestakenatlowerISOsettings.ThefixistolowerthissettingtoISO200orISO100,ifpossible,whichreducesthecamera'ssensitivitytolight.Butthisisn'talwaysthecauseofnoise.Whileavoidingnoisemightbeimpossible,herearefewothersuspectstoconsiderwhentryingtoquietdownyournoisyimages:

Underexposedimages.Ifanimagesensorcan'tgetenoughlighttocaptureanaccuratereading,it'slikelytomisinterpretthesignalandproducenoise.Youcanfixthisbyincreasingyourexposurecompensationoryourshutterspeed.

Blueskies.Forverytechnicalreasons,digitalcamerasandblueskiesdon'tgetalong.First,thesubtlecolorshiftsandlargeareasofuniformcolorcancausenoisetodevelopasthesensortriestoreproducethegentlegradient.AnotherfactoristheinfraredfilteronmostCCDsensors,whichtendstoincreasethesensitivitytotheblueendofthespectrum.Thereisn'tmuchyoucandotofixthisoutsideofanimage-editingprogram,butcameratechnologyisimprovingeveryday!

Automaticsharpening.Somecamerasletyouapplyasharpeningfiltertoyourimagesduringcapture,whichcanemphasizenoise.Tryreducingtheamountofsharpeningorsimplyturningoffthisfeature.

Shadows.Whenadigitalcameraevaluatesascene,itadjuststheexposuretogetthebestoverallimagequality.However,shadowsoftenbecomenoisy,especiallywhenamajorityofthesceneisbright.Considerusingyourcamera'smanualsettingsorslightlyunderexposingtheshot.Youcanlightenuptheremainderoftheimagelaterinyourimage-editingsoftware.

BoostclaritywiththeUnsharpMaskfilter

Whenitcomestosharpeninganimage,thingscangetalittlehairy,especiallyifyouaren'tsureofthebestapproachtotake.Althoughmuchdependsontheimageitself,thereareafewtechniquesyoucanuseonallofyourimagestoboostdetailandcrispness.Often,imagesloseclarityduringthephotographicprocessorwhenthey'rescanned.Becauseofthis,PhotoshopcomesequippedwithafilterknownasUnsharpMask(USM).Thisfilterisidealwhenitcomestoredefiningimagery.

Keepinmindthatthisfilterisn'tamiracleworker.Youcan'ttakealow-resolutionimagethat'sblurryorpixelatedandturnitintoahigh-qualityimage,butyoucantakeadecentimageandmakeitreallysharpwithafewclicksofthemouse.And,onceyouhaveathoroughunderstandingofhowtheUSMfilterworks,you'llbeabletofocusyourimageswithouteverfeelingunclear.

Themeaningbehindthename

Youmaybewonderingwhywe'reusingafiltercalledUnsharpMasktosharpenthings.Well,thetermactuallystemsfrompre-Photoshoptime,whenpeopleworkedindarkrooms.Aseparatorwouldfirstmakeacontactnegativeofanoriginal,andthen,tosoftenthemask,areproartistwouldplaceasheetoffrostedMylar®betweentheoriginalandthemaskingfilm.Thissoftmaskmadetheimagelooksharpwithoutbeingoverdone.

ThedigitalUnsharpMask

TounderstandhowtheUSMfilterworks:

1. OpenanimageinPhotoshop.Itcanbeanysizeandcolor.

ChooseFilter Sharpen UnsharpMasktodisplaytheUnsharpMaskdialogboxshowninFigureA.You'llnoticethattherearethreedifferentcontrolsyoucanadjustAmount,Radius,andThreshold.Let'stakeacloserlookateachofthese.

FigureA.

2.

Amount

TheAmountslideraffectsthesharpnessofyourimage.Thehigherthepercentage,themorecontrastthereisbetweenpixels.Forhigh-resolutionprintedimages,youshouldstaywithin130to200percent.Ifyou'resharpeningfortheweb,youcanadjusttheimageuntilitlooksadequateonscreen.And,ifyou'reusingadigitaloutputdevice,settheAmountslidertoapercentagethat'slowerthanorcloseto75.

Radius

Radiusdetermineshowmanypixelssurroundingtheedgeswithinyourimageareaffected.Alowervaluesharpenstheedgepixelsandahighervaluesharpensawiderband.Forhigh-resolutionimages,werecommendaRadiusbetween1and2.AnotherwaytodeterminetheRadiusistodividetheprinter'soutputresolutionby200andthenplugthatnumberintotheRadiustextbox.IfyousettheRadiustoohigh,yourimagewillactuallylosedetailandlookasifit'soverexposed.

Threshold

TheThresholdlevelsdeterminehowdifferentthesharpenedpixelshavetobefromthesurroundingpixelsbeforethey'resharpenedaswell.Forexample,aThresholdlevelof10won'taffectanypixelorcolorvaluethat'swithin10levelvaluesoftheedgepixels.Usingavaluebetween3and10isasafebet.BykeepingtheThresholdvaluelow,you'llavoidsharpeningareasoraddingexcessnoisetoyourimagesthatdon'twarrantit,suchasskinorshadowareas.

Applythefilter

Nowthatyouknowthenitty-grittyoftheUSMfilter,it'stimetotestitout.

1.EnteryourAmount,Radius,andThresholdvaluesintheUnsharpMaskdialogbox.

2.MakesurethePreviewcheckboxisselectedsoyoucanseehowthefilteraffectsyourimage.

3.Trydraggingtheslidersbackandforthtoseehoweachoneworksonitsownandcombinedwithoneanother.

4.Whenyou'rehappywiththeendresults,clickOKtoapplythefiltertoyourimage.

FigureBshowshowweadjustedouroriginalimageusingthepropervaluesforeachcontrolandthenhowweoverdiditbyincreasingthevalues.Ifyouover-sharpenanimage,itwillappearasiftherearehalosaroundeverything,sotakeyourtimeandprintoutsampleproofsbeforesavingthefinalimage.

FigureB.

Controlledsharpening

Now,we'lltakethingsastepfurtherandintroduceatechniquethatgivesyoumorecontrolastowherethesharpeningtakeshold.Tobegin:

OpenanewRGBimageinPhotoshoporanunsharpenedcopyoftheimage

1. youpreviouslyadjusted.

2.

ClickontheChannelspalette.(Ifthepaletteishidden,youcandisplayitbychoosingWindow Channels.)Forthistechnique,we'llmakeaspecificselectiontoapplytheUSMfilterto.

3.

ClickoneachchannelandselecttheonewiththehighestamountofcontrastandmakeacopybydraggingitontotheCreateNewChannelbutton atthebottomofthepalette.YourChannelspaletteshouldresemblethatshowninFigureC.

FigureC.

[Viewfullsizeimage]

4. SelectyournewchannelandthenchooseFilter Stylize FindEdges.

5.InvertthechannelbychoosingImage Adjustments Invertorbypressing[Ctrl]I( IontheMac).

6. ChooseFilter Noise Median.

EnteraRadiusbetween1and3todefinetheelementswithinyourimageintheresultingMediandialogbox,showninFigureD.

7.

FigureD.

8. ClickOK.

AdjusttheMaximum

Now,we'lladdabitofgirthtothoselineswiththeMaximumfilter.Todoso:

1. ChooseFilter Other Maximum.

EnteraRadiusof4or5intheresultingMaximumdialogbox,showninFigureE.

FigureE.

2.

3. ClickOK.

Totonethingsdownabit,let'saddaGaussianBlur.

1. ChooseFilter Blur GaussianBlur.

2. EnteraRadiusof5.

3. ClickOK.

4.ClickontheRGBchannelintheChannelspaletteandloadyourchannelmaskbypressing[Ctrl][Alt]4( [option]4ontheMac).

5.MakesureyourselectionisactiveandthenapplytheUSMfilterwithsettingssimilartowhatweusedbefore.

6. ClickOK.

Deselecttheimageandsaveitasanewdocument.FigureFshowshowthistechniqueimprovesthedetailinourimage.Toseethedifference,openyouroriginalfileandplaceitnexttoyournewimage;it'ssubtlebutsignificant.

FigureF.

7.

Note

ForinformationonhowtocreativelyusetheUnsharpMaskfiltertofixyourimages,seetheProblem:Solution"UseabrushwiththeUnsharpMaskfilter"attheendofthischapter.

It'scrystalclearnow

Asafinalwordofadvice,waittosharpenyourimagesuntilyou'redonewitheverythingelse.Also,alwayssaveacopyofyouroriginalunsharpenedversion,justincaseyourspecsdon'tmatchtheprinter'sspecsoryouwanttomakeanyotherfinaladjustments.And,keepinmindthatwhenitcomestothisfilter,youcandefinitely"gotoofar,"sobealittlestingy.

Problem:SolutionRemovenoisewithLabcolor

Problem:Noiseonthebluechannelinadigitalimage.

Solution:UsetheLabcolorspace.

Whenshootingwithadigitalcamera,it'sinevitablethatyou'llfindsomenoiseinyourimages.ByusingPhotoshopandtheappropriatecolorspace,youcanremovetheseunwantedartifactsandpreserveyourimagequality.

Therearemanyreasonsnoisedevelops,butthere'soneculprityoucanalmostalwayscounton.Digitalcamerasaresensitivetoultravioletlight,sousuallyabluefilterisaddedtothesensortohelpreduceUV'seffect.Theby-productofthistechniqueisthatthesensorisoverlysensitivetothebluespectrum,increasingthepossibilityfornoiseinthebluechannel.Removingartifactsfromthebluechannelcancausedestructiveeffectstotheoveralldetailoftheimage,makingitachallengetoreducethisnoiseintheRGBcolor.Forthatreason,weturntotheLabcolorspaceforthisexample.

Workinthelab

Theoretically,theLabcolorspacecontainseverycolorthehumaneyecanseeandtheentiregamutofRGBandCMYK.It'sanexcellentcolorspaceforeditingdigitalimages,asitdoesn'thavesomeofthecolorlimitationsoftheothercolorspaces.Labcolorcomesinquitehandywhentargetingnoise,asitbreaksdowntheimageintospecificcriteria.

TheLabcolorspaceiscomprisedofaluminositychannelandtwochromaticranges,calledaandb.Theluminositychannelrepresentstheblackandwhiteinformationinyourimage,aswellasthelightness.Theachannelbasicallycontainsyourgreensthroughred,whilethebchannelrangesfrombluetoyellow.Sincedigitalnoiseiscontainedinthechromaticchannels,wecanedittheaandbchannelswhilekeepingourblackandwhitedetailintact.Otherwise,we'dhavetoadjusteitherasinglecolorchannel(Red,Green,orBlue)ortheentireimage,makingithardertopreserveimagedetailwhilereducingnoise.

ConverttoLabmode

TheconversiontoandfromLabmodeisveryclean.WhilegoingfromRGBtoCMYKcancausemuddycolors,transformingyourcolorspacetoLabisquickandpainless.

1. OpentheimageyouwishtoworkwithinPhotoshop.

2. SelectImage Mode LabColor.

3.

OpentheChannelspalettebyselectingWindows ChannelsandviewyourLabchannels.Here,youcanseetheLightness,a,andbchannels,aswellasaLabchannelthatproducesthefullcolorcompositeimage.

Adjustthechannels

ThefirststeptofixingournoisyimageistoviewthespecificLabchannelwe'retargeting.

1. ReturntotheChannelspaletteandclickontheachanneltomakeitactive.

Pressthetildekey(~)toseethefullcolorimagewhilekeepingtheachannel

2. active.Nowwecanseetheentireimage,buttheadjustmentswemakeareonlyappliedtotheachannel.

3. SelectFilter Blur GaussianBlurtoopentheGaussianBlurdialogbox.

4.

Selectyourblurradius.Theamountofblurringyouapplytoyourimagedependsontheamountofnoiseandthelevelofdetailyou'rewillingtosurrender.Takeadvantageofthepreviewwindowtotestoutdifferentblurvalues.Also,beawarethatwe'llbeblurringthenoisypixelsinthebchannel,sodon'tgooverboardwhenworkingontheachannel.Inourimage,theartifactsontheachannelaremoderate,soweselectedablurradiusof3.9pixels.

5. ClickOKtoapplythefilter.

6. ReturntotheChannelspaletteandswitchtothebchannel.

7.

OpentheGaussianBlurdialogboxagainandapplyablurradiusof1.5pixels.Rememberhowwesaidthatthebchannelcontainsyourbluesthroughyellows.Thehigherradiusismoreaggressivetowardourimage,butsincethisiswherethemostnoticeablenoiseis,thisaggressiveapproachiswarranted.

Lookunsharp!

Nowthatwe'veblurredouraandbchannels,it'sagoodideatosharpenupthedetailsintheLightnesschanneltocounteracttheblurandkeeptheimagelookingcrispoverall.

1. SelecttheLightnesschannel.

2.

OpentheUnsharpMaskdialogboxbyselectingFilter Sharpen UnsharpMask.TheUnsharpMaskdialogboxalsooffersadjustablecontrolsandapreviewwindow.

Forourimage,wesettheAmountsliderto125%,theradiusto1.3,andtheThresholdto6levels.Again,eachimageisdifferent,sobeflexibleandtrydifferentcombinationstogetthebestresult.

OurProblemandSolutionimagesshowRGBversionsofanenlargedportionofourimagebeforeandafterweappliedourfilters.We'vereducedthenoisewithoutoverlyblurringtheimageandlosingdetail.Bytakingthetimetoadjustthe

imageonechannelatatime,wecankeeptheimagelookinggoodwhileminimizingthedetrimentaleffectsofnoise.

Problem:SolutionUseabrushwiththeUnsharpMaskfilter

Problem:Imageneedssharpfocalpointandsoftbackground.

Solution:UsetheHistoryBrushtool

TheSharpentoolismeanttocreategreatercontrastinveryfineareas,suchasthediamondinanimageofaring,whiletheSharpenfiltersaffecttheentireimage.There'snomiddleground.So,whatdoyoudowhenyou'refacedwithanimagelikeourProblemimagewhereyouwantthesnowboardertobesharpandthebackgroundtoremainsoft?There'sasolution,andwe'llshowittoyou.

ApplytheUnsharpMaskfilter

1. Opentheimageyouwishtoworkwith.

2. ChooseFilter Sharpen UnsharpMask.

3.ClicktwiceontheplussignjustbelowthepreviewwindowintheUnsharpMaskdialogboxtoincreasethemagnificationto300percent.

4.

Placeyourmousepointeroverthepreviewwindowandclickanddragtheresultinghandicon tomovetheportionoftheimageyouwishtoworkwithintoview.

5.

Settheoptionsasnecessary.Forourexample,workingwiththesnowboarderimage,wechose161fortheAmount,1.2fortheRadius,and5fortheThreshold.

6. ClickOKtoapplyyoursettings.

Note

Theimageinyourpreviewwindowmaylookpixelated.Thisisbecauseyoursampleimageissetatamuchlowerresolutionthanourprintedversion.

Takeapicture

Asnapshotisatemporarycopyyoucanmakeofanimagetopreserveaparticularstateofitsprogress.SnapshotsarestoredintheHistorypalette.Totakeasnapshotofyourimageinitscurrentlysharpenedstate:

1.AccesstheHistorypalette(chooseWindow Historyifitisn'talreadyopen)andclicktheCreateNewSnapshotbutton .

2.ClickontheOpenstateintheHistorypalettetostepbackwardandremovetheeffectsoftheUnsharpMaskfilter.

Paintfrommemory

ThefinalstepistousetheHistoryBrushtoolandthehistorystatesavedinyoursnapshottoapplytheUnsharpMaskfiltereffectonlytothenecessaryarea.Todothis:

1. SelecttheHistoryBrushtool fromtheToolbox.

2.ClickonthedownarrownexttotheBrushthumbnailonthetooloptionsbartoopentheBrushPresetPicker.

3. Double-clickontheSoftRound100pixelstip.

4.ChooseNormalfromtheModedropdownlistandsettheOpacityto100%andtheFlowto30%.

5.SetSnapshot1asthesourcefortheHistoryBrushtoolbyclickingintheboxtoitsleftintheHistorypalette.

6.

Clickanddragthebrushoveryourimage.Everytimeyoudragthebrushoverthearea,thefilterisreapplied;soyouonlyneedtodothisonce.Otherwise,youmightover-sharpentheimage.AsshowninourSolutionimage,yoursnowboarderisnowcrystalclearandthebackground'sdiffusedappearanceremainsintact.

Makeadifference

AsusefulastheSharpenfiltersare,sometimestoomuchofagoodthingisjustthattoomuch.Noteveryimagecallsforclean,crispedges.Andsometimes,onlypartofanimageneedssharpening.Usingthetechniquewe'veshown,youcannowcreatesubtledifferencesbetweentheforegroundandbackgroundareasinyourimages.

Chapter4.RetouchingTechniques

CorrectimperfectionsindigitalphotoswiththeHealingBrush

Haveyouevercomeacrossanimagethatwouldbeperfecttouseexceptthere'saspotlocatedrightinthemiddleofyoursubject?Aspeckofdust,ascratchedpaintjob,orasmudgeofdirtcanallrenderyourimagelessthandesirable.Butyoudon'thavetoletalittlespotruinanentireimage.TheHealingBrushtoolisagreattoolforcorrectingthesetypesofimperfections.WiththeHealingBrush,youcantouchupaproblemarea,makingitblendintothesurroundingimage,andavoidhavingtoreshootasubjectorhavingtouseadifferentimage.

Selectapracticephoto

1.

GothroughyourarchivesandfindagoodcandidateforretouchingwiththeHealingBrushtool,suchastheexampleshowninFigureA.

FigureA.

2. LaunchPhotoshopandopenyourfile.

3. Takeafewmomentstoanalyzeyourimage.

Ourexampleisadaffodilwithanumberofdirtspotsandotherblemishes.Thesurfaceoftheflowerissmoothandwithoutbusydetail.Theflowerissoftlylit

fromthetopwithonlyahintofshadowunderthepetals.Becausethelightingislow-keyandgradual,anyretouchingyoudohastocopythecolorvalueofthepetalsandmatchtheverysubtlechangeintonevalueasitgraduatesfromtoptobottom.

WhyusetheHealingBrushtool?

Ifyouweretouse,say,theBrushtool,youcouldmatchthecolorvalueatanyonepoint,butyou'dhavetoconstantlyresampleitasyoumoveacrossagraduatedarea.Theprocesswouldbeslowandtedious.IfyouweretousetheCloneStamptool,you'dbeabletostrokeyourimagefromaclonedsample.However,theCloneStampdoesn'tintegratecolorintotheimage,soitcanbehardtomakeclonedareasmatchwithitssurroundings.TheHealingBrushtoolnotonlymatchesaparticularvalue,butitalsoblendsyourstrokesintothesurroundingimage,matchinglightingaswellasshading.

Chooseyouroptions

Tostart,weneedtomakeaduplicateoftheBackgroundlayertoworkon.Byswitchingbackandforthbetweentheduplicateandoriginal,wecancheckontheprogressofourretouchingefforts.

1. ClickontheLayerspalette'spop-upmenuandselectDuplicateLayer.

2.

EnterHealingBrushintheAstextboxoftheDuplicateLayerdialogbox.Sincethedestinationfortheduplicatelayeristhefileyoucurrentlyhaveopen,leavetheDocumenttextboxunchanged.

3. ClickOK.

4.

Startatthetopofyourimageandworkyourwaydown.Whenretouchinganimagewithmanycorrections,suchasourflowerexample,it'sbesttostartatoneedgeandsystematicallyworkyourwayacrossthesubject.Thisway,youleavenothingoutthatrequiresretouching.

5.GototheToolboxandselecttheZoomtool togetacloserlookattheareayou'regoingtoworkon.

Locateyourmousepointeroverwhereyouwanttozoominandclickseveraltimesuntilyoucancomfortablyseeanareayouwanttoretouch,asshowninFigureB.

6.

FigureB.

Beginthehealing

1.

GototheToolboxselecttheHealingBrushtool ,andinthetooloptionsbar,asshowninFigureC,setyourtooloptions.Forabreakdownofeachsettinganditspurpose,seethesidebarbelow.

FigureC.

[Viewfullsizeimage]

SelectthesamplepointinyourimagesincetheHealingBrushtoolworksbyusingapixelsampleinyourimageforretouching.Thetonevaluesinour

2.

examplebeginatthetopandgraduallydarkenastheyreachthebottom.Sincethevaluesaboveandbelowtheareatoberetoucheddiffermuchmorethanthevaluesateitherside,selectasamplepointoneithertheleftorrightoftheretoucharea,asshowninFigureD.

FigureD.

HealingBrushtooloptionsbar

Brush.TheBrushdropdownlistsetsavarietyofbrushpropertyvalues.TheDiameterslidersetsthediameterofyourbrushandismeasuredinpixels(px).TheHardnessslidersetstheedgehardnessorsoftnessofyourbrush.Thehigheryousetthevalue,theharderyourbrush.TheSpacingvaluesetsthedistancebetweenbrushmarksappliedtotheimage.Thehigheryousetthevalue,thegreaterthedistance.TheAnglevaluesetstheangleofthemajoraxisofthebrushmark.TheRoundnessvaluesetsthecircularshapeofthebrushmark.At100%,theshapeisaperfectcircle.At50%,theshapeisanoval.TheSizevaluesetsthewaythebrushsizevariesoverthecourseofastroke.WiththeOffvalueset,thebrushsizedoesn'tvary.WiththePenPressurevalueset,thebrushsizevariesastothesettingchosenforapressure-sensitivedigitizingtablet.WiththeStylusWheelvalueset,thesizevariesastothepositionofthepenthumbwheel.Forourexample,weusedaDiameterof20px,aHardnessof75%,aSpacingof50%,anAngleof0°,aRoundnessof100%,andtheSizeoptionsettoOff.

Mode.TheModedropdownlistsetstheblendingvalueofthebrushstroke.Forourexample,chooseReplaceto

preservethetextureandfilmgrainattheedgesofthebrushstroke.

Source.TheSourceoptionssetthepixelsourceusedforretouchingyourimage.TheSampledoptionbuttonusespixelsfromthecurrentimage,andthePatternoptionbuttonusespixelsfromthePatternpalette.SettheSourceoptionforSampledtouseadjacentpixels.

Aligned.TheAlignedoptionallowsyoutoreleaseyourmousebuttonwithoutlosingyourcurrentsamplepoint,sothesampledsourcepixelsremainthesamenomatterhowmanytimesyoustopandstartyourbrushstroke.Forourexample,selecttheAlignedcheckboxtousethepixelsourcevaluesadjacenttotheimageareasyouwishtoretouch.

3.

Positionyourmousepointeronyoursampleareaand[Alt]-click([option]-clickontheMac)withyourmousetosettheHealingBrushsamplepoint.Now,youcanbeginretouchingwiththeHealingBrushtool,asshowninFigureE.

FigureE.

4.

Moveyourmousepointerovertheareayouwanttoretouchandclickonit.Whenyou'vefinishedwithonearea,movetoanother,rememberingtoresampleanadjacentpointeachtimeyoumove.

5. Continueretouchinguntilyouthinkyou'realmostfinished.

Stopandzoomoutsoyoucanseeyourentireimage,asshowninFigureF,

6.

andexaminewhatyou'vedone.There'sanaturaltendencytooverdoretouching,especiallywhenyou'rezoomedinonanarea.Aswementioned,thepurposeoftheHealingBrushtoolistocorrectblemishesandimperfectionsinyourimage.Itisn'tusedtopaintorairbrushtheimagetoperfection.Forthateffect,youuseadifferentsetofPhotoshoptools.

FigureF.

Asyouworkonyourimage,constantlyevaluateyourprogressandbecarefulnottooverworkyourretouching.Ifyoulookattheretoucheddaffodil,you'llnoticethatthedirtandblemishesaregone,butthere'sstillaslightunevennessinthegraduatedtonalityfromthetoptothebottom.That'sokay;itgivestheflowerarealisticappearance.

Note

Lookingtoretouchaportrait?CheckouttheProblem:Solution"Removelinesandwrinkles"attheendofthischapter.

Thehealingpowerofthebrush

Asyou'veseen,theHealingBrushtoolisaterrifichelpinghandinremovingimperfectionsfromanimageyoumightotherwisefindunusable.Notonlywillyoubenefitbyhavingawiderselectionofsubjectstochoosefrom,butyoualsowon'thavetospendadditionaltimeandexpensereshootingorbuyinganimage.It'salsogreattofiximperfectionsinportraitsandproductshots.

RepairandedityourimageswiththePatchtool

Soyou'researchingthroughyourimagefilesforafewshotstouseasabackgroundphotoforaproject.Youfindwhatyou'relookingfor,atreebacklitbythelateafternoonsun,butitisn'tquiteperfectgiventhatitdoesn'thavemanyleaves.UsingPhotoshop'sPatchtool,youcanenhanceasetupthatnaturemayhaveshortchangedandmakeitlookjustasyouthinkitshould.AfewminuteswiththePatchtoolmightsaveyoutheexpenseofanothershootoranonlinestockshot.

Practice,practice

1.

Openapracticeimagethathasgoodcolorcontrastandwell-texturedareas,suchastheoneshowninFigureA.

FigureA.

2.MakeaduplicatelayerofyouroriginalimagebyselectingDuplicateLayerfromtheLayerspalette'spop-upmenu.

3.

EnterpatchintheAstextboxandthenclickOK.Wewanttocreateaduplicatelayersowecancomparethetwobyswitchingbackandforthbetweenthem.

4.

SelectthePatctool fromtheToolbox,andyou'llseethetooloptionsbar,asshowninFigureB.

FigureB.

[Viewfullsizeimage]

ComparedtomanyoftheothertoolsintheToolbox,thePatchtoolhasonlyafewoptionstoselectfrom,whichareasfollows:

Source.AppliesimageorpatternpixelsselectedwiththePatchtooltotheimageafterfirstselectingtheareatoberepaired.

Destination.AppliestheimagepixelsselectedwiththePatchtooltotheareatoberepaired.

UsePattern.ThisisactiveonlywhentheSourceoptionisselected.Afterselectingtheimagepixelstoberepaired,gototheUsePatterndropdownlistandselectapixelpatternwithwhichyouwanttorepairanarea.

5.

SelecttheDestinationoptionbuttonfirst,asit'seasiertounderstandtheprocessforthisoption.Inourexample,there'sanopenareaintheupper-leftquarteroftheimage,asshowninFigureC,whichwewanttofillwithafewsprayedgraffitisymbols.Ifyouweretoselectpixelsfromthearearightaboveit,itwouldberatherobviousthattheopenareahasbeenrepaired.Ifyouselectpixelsfromanothersimilararea,it'slessapparent.Thesymbolsfromthelower-rightsideoftheimagehaveasimilarcolorbalanceandwouldbeagoodareafromwhichtoselectpixels.

FigureC.

Clickanddragaroundthepixelsyouwanttouseforyourpatch,asshowninFigureD1,anddragtheselectiontotheareatoberepaired,asshowninFigureD2.Thepatchisapplied,andliketheHealingBrushtool,thePatchtoolmatchesthetexture,lighting,andshadingoftheareatoberepairedtotheselectedpixels,asshowninFigureD3.

FigureD1.

FigureD2.

6.

FigureD3.

Afterapplyingthepatch,you'llnoticethemarqueearoundthepatchisstillvisible.That'sbecauseyoucanonceagainmovetheselectedpixelstoanotherareaandapplythePatchtool,asshowninFigureE.Youcandothisasmanytimesasyoulike,andeachtimethePatchtoolmatchestheselectedpixelstotheareatoberepaired.Positionyourmousepointeroutsidethemarqueeandclicktoapplythepatchwhenyou'vefinishedmakingyourselection.

FigureE.

RepairingwiththePatchtool

Iftheselectedpixelshaveadistinctiveshapeandareappliedmultipletimes,asshowninFigureE,thePatchtoolrepairwillhavearubber-stampedlook.It'sbestthatwitheachrepairapplication,youselectanewsetofpixels,evenifit'sfromthesamearea.You'llalsonoticethatyoumighthavetoapplythePatchtoolanumberoftimesintheareatoberepairedtobuilduptheselectedpixelstoachievethepropervisualdensity,asshowninFigureF.

FigureF.

PatchtoolcontrolwiththeFreeTransformfeature

Let'sgotothetreeexamplewementionedearlier,asshowninFigureG.Noticethatinthetopsectionoftheimage,thereareopenareasthatwe'dliketoseefilledbyleaves.Theproblemisthattherereallyaren'tmanypixelchoicesinthephotoyoucanusetorepair.Theleavesimmediatelybelowandtotheleftandrightmatchthecolorandthelighting,butifyouselectthem,thefinishedrepairwilllookasiftheleaveshavebeenrubber-stamped.Theansweristousethatareaforpixelselections,butmanipulatetheselectionsbeforeapplyingtherepairtovarytherepairusingtheFreeTransformfeature.Tostart:

1.OpentheimageyouwishtoworkwithandmakeacopyoftheBackgroundlayertoworkonaswedidforthegraffitiimage.

2.SelectthePatchtoolfromtheToolboxandselecttheDestinationoptionbuttononthetooloptionsbar.

3.

Selecttherepairpixels.Wechosethemfromthesectionbelowthebranches,asshowninFigureH1.

FigureH1.

ChooseEdit FreeTransformfromthemenubarandanobjectframeappearsaroundyourpixelselection,asshowninourexampleinFigureH2.Now,youcantransformthepixelselectionasyouwouldanyotherobject.Forourexample,werotatedtheleavesandscaledthemdownbydraggingthelower-rightframehandlewiththemousepointer,asshowninFigureH3.

4.

FigureH2.

FigureH3.

5. Press[Enter]andtherepairpixelselectiontransforms.

Dragthepixelselectiontotheareatoberepaired,asshowninFigureI1,releaseyourmousebutton,asshowninFigureI2,andthepatchisapplied,asshowninFigureI3.Asbefore,youmayhavetomakeanumberofpixelselectionstofullyrepairthearea,asshowninFigureI4.

FigureI1.

6.

FigureI2.

FigureI3.

FigureI4.

7.

Stepbackandviewyourphotoasawholeonceyou'vefinished.DoesthePatchtoolrepairlooknatural,matchingitssurroundings?

Istherelogictothelighting,color,andtexture?Ifso,yourrepairwillbehardtodetect,asshowninFigureJ.

FigureJ.

FigureG.

Patchingup

ThePatchtoolisagreatwaytosaveyourselfexpenseandeffortbyimprovingonexistingimages.Amissingclumpofgrassorbunchofflowers,forexample,willneveragainbeareasonforgivinguponanimage.YoucanfixsuchissueswithPhotoshoptogettheexactimageyouwant.

CleanupcolorproblemswiththeSpongetool

YoumayusePhotoshopforanumberofreasons:tocreatenewgraphics,alterexistingimages,orretouchproblemphotos.Onetoolthat'softenoverlookedforretouchingistheSpongetool.TheSpongetoolisusedtoworkwithcolor,usuallyinaphoto.Specifically,youcanuseittoincreaseanddecreasecolorsaturation.Colorisapowerfulsensation,especiallyinaphotograph,asshowninFigureA.Therichcolordrawstheviewerintothecomposition.Itinvitestheeyetomovefromoneareatoanotherandtoinvestigateeachsubjectindividually.Thecolorunifiesthecompositionaswellandgivesitasenseoffullness.

FigureA.

Colornotonlyenhancestheassetsofaphoto,butalsoaddstoitinwayscompositionandtexturecan't.Colorqualityisthereforeimportanttothesuccessofthefinishedwork,andachievingitisassignificantaschoosingjusttherightlocationforashot.Wheneverythingfallsintoplace,great!Whenitdoesn't,youcanusetheSpongetooltowipeawayavarietyofwoesandworries.

Understandingcolorsaturation

Whenwetalkaboutcolor,wegenerallyusethreeterms:hue,lightness,andsaturation.Eachdescribesadifferentpropertyofanindividualcolor.It'simportanttounderstandthedifferencesinthetermstounderstandthemeaningofcolor.

Hue.Thisisthecolorspectrumvalue,whichisdescribedintermsofred,orange,yellow,green,cyan,blue,violet,andmagenta,asshowninFigureB.

FigureB.

Lightness.Thisistheintensityvalue,whichisdescribedintermsofanyhuetoblackortowhite,asshowninFigureC.

FigureC.

Saturation.Thisisthepurityvalue,whichisdescribedintermsofgraytofullvalue,asshowninFigureD.

FigureD.

Saturationistherelativemixture,orproportion,ofgraytoahue.It'susuallyexpressedasapercentfrom0(fullygray)to100(fullysaturated).Animagethathasasaturationof0percentappearsblackandwhite,asshowninFigureE1.Animagethathasasaturationrangeofabout40to75percentappearsnormal,asshowninFigureE2.Animagethathasasaturationof100percentappearsalmostartificial,asshowninFigureE3.

FigureE1.

FigureE2.

FigureE3.

WorkingwiththeSpongetool

Asmentionedearlier,youcanusetheSpongetooltoincreaseanddecreasecolorsaturation.OurexampleshowninFigureFisalittleflat,sowe'llusetheSpongetooltorevitalizethisbunchofgrapes.

FigureF.

Previewingimagesaturationanddesaturation

TheSpongetoolaffectstheimagecolorinanareaasdefinedbythebrushsize.Butbeforewegetintoactuallyretouching,let'sgetanideaastowhatpartsoftheimagewillbenefitmostfromourefforts.AquickwaytodothatistopreviewitusingtheHue/Saturationcommand.Todoso:

1. Opentheimageyouwishtoworkwith.

2. ChooseImage Adjustments Hue/Saturation.

3.

MovetheSaturationsliderto+55orsowhentheHue/Saturationdialogboxopens,asshowninFigureG.OurresultisshowninFigureH1.Aftermovingthesliderbackandforthseveraltimes,wenoticedthatthegrapesonthetopofthebunchcouldbenefitfromanincreaseinsaturation.

FigureG.

FigureH1.

4.Movetheslidertotheleftandseeifanythinglooksbetterwitha

littlelesssaturation,saytoabout-55,asshowninFigureH2.Theleavesinourexampleappearmorenaturaland,whendesaturatedslightly,willhelptofocusmoreattentiononthegrapes.

FigureH2.

5.ClosetheHue/SaturationdialogboxbyclickingCancelwhenyou'redone.

ChoosingtoolsettingsfortheSpongetool

Nowthatwehaveanideaofwhatareaswewanttoworkon,let'sbeginusingtheSpongetool.Becauseitisn'tagoodideatoworkdirectlyontheoriginalorBackgroundlayer,let'smakeaduplicateofit.Ifwemessuptheduplicate,we'llcansimplydeleteitandmakeanotherone.

1. ClickontheLayerspalette'spop-upmenuandchooseDuplicateLayer.

2.EnterRetouchintheAstextboxwhentheDuplicateLayerdialogboxopensandthenclickOK.

3. ChoosetheSpongetool fromtheToolbox.

4.

ChooseabrushsizefromtheBrushPresetPickeronthetooloptionsbar,asshowninFigureI.Youshouldchooseabrushsizethatallowsyoutoeasilypaintwithintheareayouwanttoworkon.Asoft,round100-pixelbrushworkswellforourexample.

FigureI.

5. ChooseSaturatefromtheModedropdownlist.

6.

Chooseabout20%fromtheFlowsliderbymovingittotherightuntilthevalueappearsinthetextbox.LeavetheAirbrushfeaturedeselectedbecausewewanttoworkslowlyandtheAirbrushfeaturetendstoaddordecreasesaturationatanacceleratedrate.

PaintingwiththeSpongetool

Moveyourmousepointertooneoftheareasyouwishtoworkwithandbeginpaintingwithshort,circularstrokesonsmallareas,buildingupsaturationasyougo,asshowninFigureJonthepreviouspage.Typically,themidtonesofanimagerenderbestwhenincreasingsaturation.So,asyouwork,work

1.

proportionatelymorewiththemidtonesandlesswiththehighlightsandshadows.Itmaynotseemasthoughmuchishappeningatfirst,butit'simportantnottoworktoofast.

FigureJ.

2.

TogglebackandforthbetweentheRetouchandBackgroundlayersbyclickingontheEyeicon ontheLayerspalettetocheckyourbefore-and-afterprogress.

Nowthatwe'redonewiththegrapesinourexample,we'llturnourattentiontotheleavestoslightlyde-emphasizetheirappearance.Todothis:

1.

SwitchtheModedropdownlistonthetooloptionsbarfromSaturatetoDesaturate.Remember,ifyouoverdodesaturationyou'llendupwithblackandwhite.

2.SettheFlowto10%,andworkaswedidinthegrapeareas,paintingwithshort,circularstrokes.

3.

Continuecheckingyourbefore-and-afterprogress,untilfinishedasshowninFigureK.

FigureK.

Note

Forinformationonhowtogetevenmorecolorfromyourproblemimages,seetheProblem:Solution"Restorecolortounderexposedareas"attheendofthischapter.

It'sacooltool

TheSpongetoolisaterrificretouchingtoolyoucanusetoaddandreducecolorsaturationinaphoto.Attimeswhennaturallightingofasubjectistoointenseortoolow,theSpongetoolcanhelprevitalizeanotherwiseunusableimage.Evenincontrolledsituations,suchasinastudiosetup,whenyouthinkyou'vecoveredallthebases,thingsdohappen.Whatyougetisn'twhatyouthoughtyouhad,andtheSpongetoolcanhelpyouavoidtheadditionalworkofreshootingthephoto.

Fixflawedarchitecturalimages

Theworldmustbeoverflowingwithphotographsthatcouldberescuedfromtherejectbinwithjustalittlebasicretouchingsomanytwistedverticalsandlopsidedhorizontalsandsolittletime.ThebeforeimageshowninFigureAbegsforreliefinthebent-overdepartmentandthecluttercategory.It'saphotothatwithsometimespentcorrectingitsflawsyoumightuseinabrochureforacapitalimprovementinitiativeoraninvitationtojointhecongregation.Inanyevent,it'sanimageyoucantransformintoausablevisualforprintortheweb,asshownintheafterimagein,FigureA.

FigureA1.

FigureA2.

Accessingourimage

Let'sbeginbyaccessingaphotoanddeterminingwhatweshouldfixandwhatweshouldleavealone.Thefirstthingyou'llnoticeinourexampleimageistheextremeforeshorteningofthebuilding,especiallyontheleftsidewhereitappearsthattheeaveoftheroofisdroopingdownward.Wecanfixthis.Next,you'llnoticetheclutterofparkingmetersandstreetsignsthatdetractfromourabilitytoenjoythelinesanddetailsofthismagnificentstructure.Theseareprettyeasyfixes,too.Finally,you'llnoticeastreetsignontheleftsideoftheimage,which,ifremoved,wouldleavepartsforwhichwehavenoreadyreplacements.Wecanfixthis,too,withathoughtfulapproachandalotofpatience.Thisiswherewe'llscavengebitsandpiecesfromotherpartsoftheimageandpuzzlethemtogethertocreatetheillusionofaformwedon'thave.

Fixingtheslantyshanty

Tocorrecttheforeshorteningofabuilding:

1. Openthefileyouwishtoworkwith.

2.DuplicatethebackgroundimagebydraggingtheBackgroundlayerontotheCreateANewLayerbutton intheLayerspalette.

3.Makesuretherulersatthetopandleftsidesoftheframearevisiblebypressing[Ctrl]R( RontheMac),iftheyaren'tdisplayedalready.

4. SelecttheMovetool fromtheToolboxandpositionitabovethetopruler.

5.

Clickanddragahorizontalguidelinethat'sparalleltothefrieze(ontherightside)andanotherthat'sparalleltothebasesofthecolumns(ontherightside).

6.

SelectEdit Transform Distortand,beforeyoustartadjustingthedistortbox,enlargetheboundingframeofyourimagebydraggingthelower-rightcorneroftheframe.Thishelpsyouseethecontrolpointsofthedistortbox.

Theobjectiveinourexampleistomovetheleftsideofthebuildingdownsothefriezeandthecolumnbasesrestonparallellines.Tomakethiscorrection,clickonthetop-leftcontrolpointofthedistortboxanddragitupward.Then,clickanddragthebottom-leftcontrolpointdownward.Youmayhavetogobackandforthafewtimesanddragadditionalguidelinesbeforearrivingatabuildingthathasitsx-axisonahorizontal.Youcanalsoadjusttheverticals,butit'sbesttoallowasmalldegreeofforeshorteningthatis,allowingtheendcolumnstohaveaslightinwardslantfrombottomtotoptokeepthebuildingfromappearingtooboxy.

7.

Press[Enter]ordouble-clickwithinthedistortionboxonceyouhaveyourbuildinginshapelikeoursshowninFigureB.

FigureB.

Coveringyourtracks

Next,you'llwanttoremoveanyobjectsthatdetractfromthearchitecturallinesofthestructureinyourimage.We'llbegintoclearouttheclutterwiththemost

obviousoffenderinourexampletheparkingmetertotheleftofthecentertreeFortunatelyforus,itsitsnexttoasectionofstepsandsidewalkthatwecanusetoreplaceit.Tomakeasimpleobjectreplacement:

1.

ChoosethePolygonalLassotool Toolboxandselectasectionoftheimagethat'slargeenoughtocovertheoffendingobjectwithroomtospare.Forourexample,weselectedasectionofthestairsandsidewalk.

2.

ChooseSelect Feather,settheFeatherRadiusto2pixels,andclickOK.Thematchissoclosethatwedon'tneedtofeathermuchmorethan2pixelstoachieveaseamlesstransition.

3.Copyandpastethisselection.Photoshopautomaticallymakesanewlayerwiththeselectioninplace.

4.

UsetheMovetooltodragtheselectionontopoftheitemyouwishtohideuntilit'scoveredandtheselectionblendsin.FigureCshowsourimagebeforeandafterediting.

FigureC.

Usinglayersformorecomplexpatches

Thatwasarelativelyeasypatch.However,whathappensifthepiecesdon'tmatch

verywell,asthoseshowninFigureDonthenextpage?Eventhoughweusedaprocessjustliketheonewejustdescribed,thispatchdoesn'tmatchaswellbecausethetonalvaluesofourpatchdon'tblend.Inthiscase,thesolutionisto:

1. SelecttheBurntool fromtheToolboxandchoosealarge,soft-edgebrush.

2.

SettheRangeslideronthetooloptionsbartoMidtonesandtheExposuresliderto20%todarkenthesegmentuntilitstonalrangeblendswithitssurroundings.

FigureD.

Buildingacolumnbaseandaplanter

We'vebeendoingwellreusingbitsandpiecesfromonepartoftheimagetopatchotherparts.And,whilethebuildingisbeginningtolookcleanerandneater,we'restillfacedwithaproblemontheleftsideoftheimagethepedestriancrossingsign,whichcoversupwhatappearstobealargerplanterandpartofacolumn.

Asluckwouldhaveit,thisbuildinghasasymmetrythatgivesusaccesstoanotherplanterandacolumnjustthepiecesweneedtoconcealthecrosswalksign.Theotherplanterisontherightside,sowecanselectit,flipithorizontally,anduseittorebuildtheplanterwedon'thaveontheleftside.Thisisatechnique

thatcanoftencomeinhandywhenworkingwitharchitecturalimages.

Tip

Trytokeeptwothingsinmindasyou'repuzzlinganimagetogether.First,ifyoucanobtainandusethepatchyouneedasis,thendon'tbothertocopyandpasteitonitsownlayer.Instead,simplyholddownthe[Alt]key([option]keyontheMac)asyouclickanddragtheselection,butdon'treleaseituntilit'sexactlywhereyouwantit.Thisactioncopiesthepiecetothesamelayeryou'reworkinginand,whenyoureleasethemousebutton,becomespartofthatlayer,notaseparatepiecethatyoucanmovearoundoralterallbyitself.Also,youmayneedtorotateand/orscalesomepiecestofitintotheirnewlocations.Inthiscase,makeaseparatelayerforeachpieceandselectEdit Transformandwhateverfunctionyouneedtoshapethepatchintothecorrectdimensions.

Selectinganotherobjectandflippingit

1.

ChoosetheLassotool fromtheToolbox,andthenselecttheobjectyouwishtocopy.Inourexample,weselectedalittlemorethanhalfoftheplanterontherightsideoftheimage.

2.

Copyandpasteitontoanewlayer.OurresultsareshownontheleftinFigureE.

FigureE.

3.SelectEdit Transform FlipHorizontaltopositiontheobjectsoitfacestherightdirection.

4.Movetheobjectintopositionontopoftheflawedorobscuredobject,asshowninourexampleontherightinFigureE.

5.UsetheErasertool fromtheToolbox,tocarefullyremovetheexcessimageryaroundthecopiedandflippedobject.

6.

UsealargerErasertoolata15%Opacitysettingtoblendthebodyofthereplacementobjectintotheonebelowit.YoumayneedtousetheBurntoolagain(ortheLevelscommand,ifyouprefer)tomatchthetonalqualityofthenewobjectpiecetotheexistingone.

Copyinganexistingobjectandreusingit

Inourimage,there'sausablecolumnrightnexttotheplanter.Weusedthesametechniqueweemployedtocapturetheplanter,butdidn'tflipitsincethecolumnisalreadyleaninginthecorrectdirection.Whenmakingsuchanedit,youmayneedtoadjustitscolororthecolorcastofthemiddleportionofthecolumn.Todoso:

1. Makethetargetlayeractive.

2. ChooseImage Adjustments ColorBalance.

3.Movethecolorslidersintheresultingdialogboxtoadjustthemagentaandyellowinthemidtones.

Problem:SolutionEliminateskinflaws

Problem:Skinflawsmaranotherwisegoodimage.

Solution:UsetheCloneStamp,HealingBrush,andPatchtoolstotouchuptheimage.

Mostpeoplewanttolookasgoodaspossiblewhentheirpicturesaretaken,andevensupermodelsgettheoccasionalblemish.Luckily,Photoshopcantackleskinconditionsbetterthananycream,powder,orcleansercurrentlyonthemarket.

YourfirstlineofdefenseagainstblemishesistheHealingBrushtool SimilartotheCloneStamptool,theHealingBrushtoolclonesthetexturefromaselectedarea,butsamplesthecolorfromtheareawhereyouapplythebrush.Specksofcolorintheaffectedarea(likepimples)arereplacedwithmoreprevalentnearbyhues.Thisisespeciallyvaluablewhenworkingwithfleshtones,wherecolormatchingcanbedicey.Inmanycases,theHealingBrushtoolcanmakefastchangesthatmakepimplesvanishlikemagic,butbesuretolookcloselyattheresult.Sometimesthepathofthebrushisvisibleundercloseexamination,especiallyifyou'vedraggeditratherthanstampeditonsmallareas.

ThePatchtool worksinmuchthesamewayastheHealingBrushtool,butit'susedtocopylargeareasallatonce.Thisisoftenusefulwhenremovinglaughlinesaroundtheeyesandmouth.

Formoreprecisecontrolovercolorselectionwhencloningpixels,usetheCloneStamptool. Whileitdoesn'thavethe"ooh-aah"effectoftheotherretouchingtools,itcangiveyouabitmorecontrol.

OurProblemimageshowsaphotothatneedsalittlework.Themodelhasseveralminorblemishesonhischeekandamarknearthebridgeofhisnose,suggestinghewearsglasseswhennotinRenaissancecostumes.

WeusedacombinationoftheCloneStamp,HealingBrush,andPatchtoolstotouchupthisimage.TousetheCloneStamporHealingBrushtool:

1.

Sampleaportionoftheimagethathasthedesiredtexture.Ifyou'relucky,therewillbealargeareathatisn'tclosetothespotyou'reediting,butmoreoftenthannotyou'llonlyfindsimilarpixelscloseby.

2.

Selectthetoolyouthinkwillbebestforthejob,holddownthe[Alt]key([option]keyontheMac),andclickonthedesiredsourcearea.Photoshopletsyouknowyou'redefiningthispointbychangingthepointertocrosshairs.

YoucansettheCloneStampandHealingBrushtoolstoclonepixelsthesamedistancebetweenthedefinedpointandthefirstareayouapplythebrushbyselectingtheAlignedcheckbox.OryoucansetthemtoresettothestartingpointeverytimeyouclickbydeselectingtheAlignedcheckbox.(Youcanchangethesettingsforeachoptiononthetooloptionsbar.)TheCloneStamptoolisaligned

bydefault,whiletheHealingBrushtoolisnon-aligned.Whicheveralignmentsettingyouchoose,it'sbestto"stamp"withthesetoolsratherthandragthem.Thispreservesthegrainoftheimageandmakesyouralterationslessobvious.Forlargerareas:

1.UsethePatchtoolto"lasso"theelementyouwanttoremove.Photoshophighlightstheselectedarea.

2.

Dragtheselectiontoasmoothareaofskin.Whenyoureleasethemousebutton,theselectionsnapsbacktoitsoriginallocation,applyingthetextureoftheselectedarea.OurSolutionimageshowsthefinalversionoftheimage,withblemishesandwrinklesremoved.

Problem:SolutionRestorecolortounderexposedareas

Problem:Photographisunderexposedcausinglossofdetail.

Solution:UsetheHistoryBrushtooltorestoredetailandclarity.

Ifyou'veeverexaminedanunderexposedphotograph,youmightbetemptedtoeliminateitwithoutmuchthought.Unless,ofcourse,youhadreasontobelievethathidingbehindallofthatdarknesswasimagedetailandclarityand,yes,colorthatwouldmakethisphotoa"keeper,"becauseyoucouldactuallyuncoverthisimageinformationwithoutthelaboriousprocessofmasking.ThisisexactlywhatyoucandowiththeHistoryBrushtool.

Selecttheshadowareas

Thistechniqueworksbestwhenonlyaportionofaphotoisunderexposed,asshowninourProblemimage.Tobegin:

1. Openanimagewithunderexposedareas.

2. ChooseSelect ColorRangetousetheColorRangetool.

3.ChooseShadowsfromtheSelectdropdownlistintheColorRangedialogboxtomasktheshadowareasquickly.

4. ClickOK.

5. SelectEdit Filltobeginusingthefillcommandtobrightentheshadowareas.

6.Select50%GrayfromtheUsedropdownlistintheresultingdialogboxandthenchooseColorDodgefromtheModedropdownlist.

7. SettheOpacityto100%.

8. ClickOK.

Onceyou'veappliedtheColorDodgefill,theshadowareasofyourimageshouldbeconsiderablybrighter.Infact,theymaylooktoobright,butthat'sokaybecausewe'llblendthemwiththeoriginalimagelateron.

Takeasnapshot

1. DisplaytheHistorypalette,ifitisn'talreadyvisible.

ClicktheCreateNveasnapshotofthephotoinitscurrentstate.

2.

3.RestorethephototoitsoriginalconditionbyselectingtheoriginalstateintheHistorypalette.

4.ClickontheboxtotheleftofthenewsnapshottodefineitasthesourcefortheHistoryBrush.

Note

You'llloseallofyoursnapshotsandhistorystatesifyoucloseandre-openthefile,sobesuretodoalloftheretouchingworkwedescribeinasinglePhotoshopsession.

Paintinthedetails

Nowwe'rereadytoenhancetheoriginalimage.

1. SelecttheHistbrushtool

Chooseabrushsizeappropriatetoyourimage,andadjustthehardnessto0%togiveitfuzzyedges.

3. Settheopacityto50%.

4.

PaintovertheshadowareasyouwanttolightenusingtheHistoryBrushtool.Theresultissimilartoshiningalightontheaffectedarea.Toensureasmoothblend,holddownthemousebuttonuntilyoufinishbrighteningeachsectionoftheimage.Photoshoponlyappliesthelighteningeffectonceinanygivenareauntilyoureleasethemousebutton.Ifaparticularareadoesn'tbrightenasmuchasyou'dlike,clickonthesameareaandpaintoverita

secondtime.

Colorwhenandwhereyouneedit

WhileyoucanproduceasimilarcolorenhancementusingtheShadow/Highlighttool(introducedinPhotoshopCS),thetechniquewedescribeinthisarticleallowsyoutoapplytheenhancementselectivelyandgivesyoumorecontrolovertheresults.ItalsofunctionsinolderversionsofPhotoshopandincolormodes,suchasCMYK,wheresomeadjustmenttoolsdon'twork.

Problem:SolutionRemovelinesandwrinkles

Problem:Portraitsubjecthaslinesandwrinkles.

Solution:Addasoftfocuseffect.

Inourworldofprecisepixels,theremaybetimeswhenyoureallydon'twanttocaptureanimagewithsharpedges.Youmayprefernottoshowthoselittlewrinklesbeginningtoappeararoundasubject'seyes.Oryoumightwanttogivetheimagearomanticsortoflook.Whateverthereason,addingasoftfocuseffecttoadigitalimagecanhelpgivethephotomorevisualappeal.AndwithPhotoshop,it'sasimpleprocess.LikeeverythingelseinPhotoshop,thereareseveralwaystoachievesimilareffects.Inthisarticle,we'llshowyouhowtotakeastandardphotoandmakeitmoreappealingbyaddingasoftfocuseffecttoitwithinPhotoshop.

Softfocustheeasyway

First,selectasuitableimageforthiseffectafterall,notallimageslookgoodwithasoftfocus.Theeffectworksbestwithclose-upnatureshotsandportraits.Forourexample,we'lluseamodelshot

1.OpenyourimageinPhotoshopanddouble-clickontheBackgroundlayerintheLayerspalettetomoveittoaworkinglayer.

2.NamethelayerOriginalandthendragthelayerontotheNewLayerbuttonatthebottomoftheLayerspalettetocreateaduplicatelayer.

3.

SelectthenewlayerandthenchooseFilter Blur GaussianBlurandsettheradiustoavariablebetween4and10,dependingontheimage.Forourimage,weused4.5.Obviously,thisistakingthesoftfocuseffectabittoofar,butwecanquicklyalterit.ClickOK.

4.ChooseLayer LayerStyle BlendingOptionsandselecttheLightenoptionfromtheBlendingModedropdownlist.

5.ChooseMergeDownfromtheLayerspalette'spop-upmenuwhenyou'redonewiththeimagetomaketheimagepermanent.

Gosoftly

Inaworldwhereeveryonewantsmoremegapixelstogetcrisp,sharpimages,awell-appliedsoftfocuscanmakeallthedifferenceintheoverallappearanceofaphoto.WithPhotoshop,itisn'tonlyeasytodo,it'salittlefunaswell.Andwethinkyouandyoursubjectwillliketheresults.

Note

YoumightalsotryusingtheDarkenblendingmodeoptioninsteadofLighten.Doingsogivesyouatotallydifferenteffect,makingthelinesintheimagelookmorehand-drawnandthecolormorepainted.

Chapter5.Optimizationandsizing

Choosethebestfileformatsfortheweb

Talkwithalmostanyoneinvolvedinthedesignandproductionofwebsitesandyou'reboundtobecometheproudownerofyetanotherinformedopiniondetailingthebestfileformatstouseforimagequalityandspeedofdisplay.SomewillsayGIFs,othersJPEG,andinevitablyan"earlyadopter,"atruemaverickintheworldofimagepreparationfortheweb,willhailthevirtuesofPNG.Onceandforall,let'sseewhatthecurrentintelligenceisonthesubjectsoyoucanproceedwiththebusinessofprovidingimagefilesthatloadquicklyandlookgreatontheWorldWideWeb.

Aprimeronthreepopularfileformats

Fileformatsforthewebaredesignedtouseveryfewbitsofinformationand,asaconsequence,processgraphicsquickly.That'salwaysthemainobjectivewhenworkingwithfilesforthewebspeed.Yet,theimportanceofspeedmustbebalancedwithimagequality.Isthelogolegible?Isthephotoattractive?Arethecolorsaccurate?Tomakeeffectivechoiceswithwebfiles,youneedtounderstandthebasicfeaturesandlimitationsofeachpopularfileformat.We'lllookatGIFfirst.

GIF:Itpioneeredwebgraphics

GIF(GraphicsInterchangeFormat)hasbeenaroundsincethelate80s.It'sdesignedtorecordimageswithflatcolorsuchaslogos,lineart,screenshots,andcartoons,asshowninFigureA,wheretherearelonghorizontalrunsofasinglecolor.Inotherwords,animagecomprisedofonlyhorizontalbarsthatrunthewidthoftheimageandwhereeachisjustonecolorwouldmakeaveryhappyandverytinyGIFfile.Ontheotherhand,evenacheckerboarddesignofindividualcolorswouldbreakupthehorizontalrunenoughthattheGIFfilesizewouldgrowsubstantially.AndacheckerboardwithdigitalnoisewouldtaxaGIFevenfurther.Here'salistofotherGIFfeaturesandlimitations:

FigureA.

Ideallysuitedtohandlesimplegraphicswithitspaletteof256colors.

Capableofdisplayingacolor(suchasthebackground)astransparent.

Usesalosslesscompressionalgorithm.Thatis,itreducesthefilesizewithoutlosinganyoftheoriginalpixels.

CanbeseparatedintoframesforanimatedGIFsequences.

Canbeinterlaced,whichmeans,ontheweb,itloadsalow-resolutionversionfirsttogetanimageonscreenquicklyasitcontinuestograduallyloadthefull-resolutionversion.Thisfeatureisusefulifyouraudienceusesnarrowbandwidthmodemsandslowconnectionspeeds.

JPEG:Thephoto-qualityfavorite

You'reprobablyfamiliarwiththeJPEGformatifonlybecauseit'susedforbothprintandwebapplications.TheJPEG(JointPhotographicExpertsGroup)fileformatisnormallyassignedtorecordandcompressfull-color,continuous-toneimages.Colorphotos,color-richillustrations,andgraphicswithsubtlegradientandshadingeffectsarethepurviewoftheJPEG.HereareafewpointstorememberabouttheJPEGformat:

Performsexceptionallywellforphotographicandrich-colorimages.

Doesn'toffertheoptiontomakeacolortransparent.

Useslossycompression,soanytimethefileisopenedandresaved,additionalpixelinformationislost.

Routinelyproduceslargerfilesizesifonlybecauseit'scalledupontorenderhigherqualityandmorecomplicatedimages.

PNG:ThenewandimprovedGIF

PNG,pronouncedping,isanacronymforPortableNetworkGraphics.ItwasdevelopedinrecentyearsasanimprovedsubstitutefortheGIFformat,primarilybecausethepatentownersofGIFtechnologyhavebeguntomakenoiseaboutcharginglicensingfeesfortheirinvention.Theonlyrealproblemwiththisnewarrivaltothefileformatarenaisthatitisn'tyetwidelyacceptedorsupported.ThePNGformatprovidesthefollowing:

Losslesscompressionthat'sslightlymoreefficientthanGIF.

AccesstothecolorpalettesofGIFandJPEG,upto24-bittruecolor.

InterlacingorprogressivedisplayfasterthanGIF.

Improvedcolorrenditionwithcontrolofimagebrightness.

Variabletransparency(notjustonoroffasinGIF).

Noanimationcapabilities.

SmallerfilesizesthanGIFwithsimplegraphics,buttypicallylargerfilesizesthanJPEGwithfull-colorcontinuous-toneimages.

JPEG2000:Builtonasolidhistory

JPEG2000isanewformatthat'sonitswaytoreplacingtheoriginalJPEGcodecinventedbytheJointPhotographicExpertsGroup.JPEG2000improvesoncompressionandimagequality,but,asofthiswriting,requiresaplug-inatboththepointoforiginandthepointofviewingorprinting.Someofitsfeaturesareasfollows:2535percentsmallerfilesizesatcomparableimagequality;supportfor16-bitcolor/grayscale;8-bittransparency;alphaandspotchannels;region-of-interestenhancement;andoptionallosslesscompression.

PhotoshopCSsupportsbothformats,sowethinkit'ssafetoassumethatPNGandJPEG2000willsurviveandbecomethenextgenerationofimagearchivinganddistribution.Fornow,we'llfocusonthetwoformatsthatarestilltightlywoven

intoourworkprocesses.

AlookbackattheoriginsofGIF

In1987,CompuServe(acompanynowownedbyAOLthatprovidesinformationservices,email,andspecializedinternetcontent)developedafileformat,knownasGIF,forarchivingandexchangingcomputerimages.CompuServedevelopersincorporatedaUnisyscompressionalgorithm,knownasLZW,intothedesignofthisfileformat.Thisnewfreeformatquicklybecameaworldstandard.However,in1994,bothCompuServeandUnisysannouncedtothesoftwaretradethatdeveloperswouldhavetopayalicenseefeeforusingtheGIFtechnology.FearandconsternationspawnedPNGapatent-freereplacementforGIFthatofferslossless,portable,andwell-compressedstorageofrasterimages.

Narrowyourchoicebyconsideringthecontent

RememberthatwedescribedtheGIFformatasbeingideallysuitedforsimple,flat-colorgraphics.Ifthatdescribestheimageyou'reconsidering,thenGIFisagoodstartingpoint.Ontheotherhand,iftheimageisarichlycoloredphotographorafull-colorgraphicorillustrationwithgradientsandsubtledetail,thenJPEGshouldbeyourfirstchoice.Buttherealdeterminantishowtheimagetranslatesinyourchosenformat.Theguidelineswejustdescribedarejustthatguidelinesnothardandfastrules.Here'sanexample.

FigureBshowsaphotographthatmightleadustoleantowardJPEGbecauseit'saphoto.However,takeacloserlook:It'saposterizedphoto,leavingalimitednumberofcolorsandtonesandproducingflatareasofcolor.WhenyouexperimentwithGIF,you'llfindthatittendstoposterizeacontinuous-tonephotoasaresultofitslimitedcolorpalette.

FigureB.

WhynotcapitalizeonthispredictablebehaviorandGIF'sexcellentcompressiontomakethisphotoaGIFratherthanourfirstchoice,JPEG?UsingPhotoshop'sSaveForWebdialogbox,wesetouttokeepthesameimagequalitywithtwodifferentfileformatsGIFandJPEG.Wediscovered,asshowninFigureConthenextpage,thatalthoughtheGIFformat(top)approximatedtheposterizedeffectandcolorseparation,ittendedtodullthecolorsascomparedtotheJPEGversion(bottom).TheGIFsizewas90K,using64adaptivecolors.TheJPEGwassettoaQualitylevelof60andproduceda94Kfile.Thesmalldifferenceinfilesizewould,inouropinion,pointtoJPEGasthepreferredchoicebecauseofitsimagequality.

FigureC1.

FigureC2.

Now,takealookatasimplegraphicthatwemightinitiallyassumeshouldusetheGIFformat.It'sagraphic,andithasafewcolorsthatareflatwithoutmuchdetail.WeusedGIFwithitslimitedcolorpaletteandrenderedafilesizeofnearly96K,asshownontherightinFigureD.WithJPEG,shownontheleft,wewereabletomaintainthesameimagequalitybutreducethefilesizetoabout74K.Inthiscase,GIFwasn'tthebestchoicebecauseoftheimagecontent.

FigureD.

[Viewfullsizeimage]

Fivemorewaystoshavedatafromthefile

Thereseemstobenoendtothewaysinwhichprogrammersanddesignersslidefilesizesdownonepixelatatime.Herearejustafewofthemorepopulartechniquesyoucanuseinyourquestforsmallfilesfortheweb:

1.

Everypixelcountswhentheobjectiveistoshedunnecessarybitsofinformation.Forexample,insteadofkeepingthatmarginofnothingnessaroundyourimageespeciallyodd-sizedgraphicscropintotheveryedgeoftheliveimage.Leavelittleornoborder,whichyoudon'tneedanyway,toreducethenumberofpixelsrecordedinthefile.ThisappliestobothGIFandJPEGfileformats.

2.

Ditheringhelpstoconcealtheroughlookofalimitedcolorpalettebyaddingbackcolorstoachieveablendedappearanceandconsequentlyincreasefilesize.Ifyoucanlivewithoutit,turnoffditheringwhensavingaGIFfile.

3.

Anti-aliasingtextmayalsoaddtofilesize.Anti-aliasingaddspixelsofvaryingvaluetotheedgesoftypeinanefforttoconcealthestair-stepeffectontheedgesofsolid-colorletterforms.Tryturningoffanti-aliasingtoseeifyoucanachievethelookyouwantwhilecuttingbitsofinformationoffthesizeofyourGIFfile.

4.UsealossyGIFcompressioninsteadofthenormallosslesscompression.Alossycompressioneliminatesanystraypixels,whichincreasesfilesize.

5.

Whileyou'reevaluatingaGIFimageintheSaveForWebdialogbox,trydeletingfromtheGIFpaletteonecoloratatimetograduallyeliminatecolorsyouwon'teasilynoticeintheimage.ClickonthecolorswatchandclicktheTrasthebutton atthebottomofthepalette.Thisprocesscanactuallyreducefilesizeafractionofakilobyteeverytimeyouloseacolor.

Note

Forinformationonoptimizingyourimagesfortheweb,seetheProblem:Solution"Improveblurringincompressedwebimages"attheendofthischapter.

Optimizequalityandminimizefilesize

Preparingfilesforthewebwillbelessofachallengenowthatyouknowmoreaboutthewayfileformatsworkandwhichoptionsareavailable.Photoshop'sSaveForWebdialogboxgivesyouthefreedomtoexperimentwithavarietyofsettingsquicklyandeasily.Trypracticingwithafileinavarietyofwaysandcompareyourresults.Thebehaviorofcomputercodeoftensurprisesusandsometimespleasantlysurprisesusespeciallywhenwediscoverhowsmallwecantrimanimagefileandstillhaveitdisplaythewayitwasoriginallyintended.

Optimizeyourimagestogetthebestwebresults

Whenanimageisoptimizedfordisplayontheweb,thesmallestfilesizetodisplayanimagewiththehighestqualitypossibleisused.Pixelsandcolorsarecompressedtoformanimagethatlooksasgoodastheoriginal,butatafractionofthefilesize.Thismayinvolvemanytechniques,suchasfiletypeselection,colormapping,selectivecompression,ditheringtheoptionsarevastintheworldofPhotoshopandcanbeconfusing.Knowinghowtoapproachoptimizationwhenpreparingimagesfortheweb,therefore,isthekeytogettingimagesthatlookgreatanddownloadquickly.

Getthemostfromyourimages

You'vebeenhandedtwofilesaJPEGimagetakenwithadigitalcameraandalogographicsavedasaTIFFandhavebeentoldtogettheseimagesontheweb,pronto.However,bothofthesefilesaretoolargetobeefficientlydisplayedinawebbrowserand,inthecaseoftheTIFF,probablywon'tdisplayatall.Inthisarticle,we'llshowyouhowtoapproachthisscenariousingPhotoshop'soptimizationtools.

AdjustingtheJPEGfile

OurJPEGfilewastakenusinga3.34megapixeldigitalcamera,whichproducedagreatshotwithplentyofimageinformation.Ifwewereprintingthisfile,itwouldmakeagood5x7andadecent8x10.However,theimageinformationneededtoprintahigh-qualityimageismostlyoverkillwhendisplayinganimageonacomputermonitor.

Resizetheimagedimensions

Bydefault,monitorsdisplayimagesat72dpi,meaningour8MBJPEGfiledisplaysatabout27inchesby20inches.Fewthingsaremoreannoyingthanhavingtousescrollbarstorevealanentireimageorwaitforabloatedfiletodownload,soweneedtoresizethisimagetobetterfitonawebpage.

OpenaJPEGfileinPhotoshopandselectImage ImageSizetoopentheImageSizedialogbox,showninFigureAonthepreviouspage.

1.

FigureA.

2.

ChangetheResolutionsettingfrom360pixels/inchto72pixels/inch,ifnecessary.IfyoulookatthePixelDimensionsvalueatthetopofthisdialogbox,ourfilehasdroppedfrom8.05MBto330K.Nowwe'regettingsomewhere!Nowthatwe'vechangedtheresolution,wecancheckthewidthandheightoftheimage.

3.

UsethedropdownlistsnexttotheWidthandHeightsettingsintheDocumentSizepaneltochangetheunitofmeasurementfrominchestopoints,whichareessentiallythesameaspixels.Keepinmindthat640x480pixelsisthelargestyoushouldmakeyourimagetobeweb-friendlyininches,thistranslatestoabout8x6inches.Ourexampleimagefitswithinthoseparameters,butforourneeds,theimagedoesn'thavetobethatbig.

4.

Switchbacktoinchesandchangethewidthto5inches,adecentsizeforwebviewing.Nowourfileisdownto280K,andwehaven'tevencompressedityet.

5. ClickOK.

Note

Afteryouresizeyourimage,itwillprobablyshrinkdowntoaminisculesizeonyourscreen.Don'tworrybecausethatisn'tthesizeit'sgoingtobeontheweb.Whileyouchangetheimagesize,Photoshopkeepsthesamemagnificationlevelas

theoriginalimage.Toseetheactualsizeoftheimage,selectView ActualPixels.

Compresstheimage

Withourimagedimensionsandresolutionundercontrol,wecanmakeourcompressionselections.

1.

SelectFile SaveForWebtoopentheexpansiveSaveForWebdialogbox,whichisshowninFigureB.

FigureB.

[Viewfullsizeimage]

2.

ClickonthePresetdropdownlistintheupper-rightcorner.Here,youcanselectthetypeofoptimizedfileformatyou'dliketouse.Foracontinuoustoneimage,stickingwithJPEGisreallytheonlywaytogo,soselectJPEGHighfromthemenu.

AsshowninFigureC,thereareanumberofoptionstochoosefromwhenoptimizingaJPEG.ByselectingJPEGHigh,theoptionsarefilledwithpresetvalues.Whilethesesettingsareagoodstart,it'sbesttofine-tunethemtogetthebestpossiblequality.However,we'rejustgoingtoconcentrateonsettingtheQuality.

FigureC.

JPEGscanbecompressedatvariablelevels,with100%beingtheleastcompressedand0%beingthemostcompressed.AsyoudecreasetheQualitysetting,yousacrificeimagedetailbutcreateasmallerfile.Thetrickistofindagoodbalancebetweenfilesizeandimagequality.Thebestwaytodosoistotrustyoureyes.

1.ClickontheOptimizedtabinthePreviewwindowoftheSaveForWebdialogbox.

2.

Double-clickontheZoomtool

foundontheleftinthedialogboxtosetthemagnificationlevelto100%.

Note

Whenevaluatingcompressionlevels,alwaysworkatactualsizetogetthemostaccuraterepresentationofyourimage.

Setthecompressionlevel

Therearemanytechniquesfortestingcompressionlevels,buthere'sonetostartwith.

1. ChangetheQualitysettingto100usingthesliderorthetextfield.

2.ReducetheQualityvaluein10%incrementsuntilyoustarttoseetheimagequalitydegrade.

3.

Increasethevaluein5%increments(orless)untilyoufindasettingthatlooksgoodtoyou.Forourimage,wefound50%tobeagoodcompressionsetting.

TheSaveForWebdialogboxalsoincludesafeatureforviewingcompressionoptionsside-by-side.SwitchfromtheOptimizedtabtothe4-uptab,asshowninFigureD.Nowyourimagedisplayswithfourdifferentcompressionoptions,makingiteveneasiertopickawinner.Ifyoufindacompressionsettingyoulike,simplyclickontheimageandthesettingisapplied.

FigureD.

[Viewfullsizeimage]

SavetheJPEGfile

Thelastthingtodoissavethefile.

1. ClickSaveintheSaveForWebdialogbox.

2.

GiveyourfileanewnamebyenteringitintotheFileNametextbox(SaveAstextboxontheMac).Becarefulnottooverwriteyourhigherresolutionfilewiththislowerresolutionversion.

3. ClickSaveandyourimageisreadyfortheweb.

Workingwiththelogo

Optimizingthelogofileisgoingbeabitdifferent,asweneedtoconvertittoabetterfileformatfortheweb.Thebestchoiceforillustrations,lineart,orlogos,suchasourswithlargeareasofflatcoloranddetailedlines,istheGIFformat.GIFscompressimagesbylimitingthenumberofcolorsthatmakeuptheimage.Thekeytogettingagood-lookingGIFistoreducethecolorsintheimagewithoutlosingimportantimageinformation.

AsshowninFigureE,ourlogofileusesonlyafewcolorsandsometext.Sincethetextcharactersarebigandbold,convertingtotheGIFformatwillworkfine.Ifyouhadsmallercharactersofmorecomplexvisualelementslikeshadowsandgradients,youmayneedtouseaJPEGtoconservethefinerdetails.

FigureE.

Sizeitup

AswiththeJPEGfile,thefirststepistoresizetheimage.Becarefulwhenresizingartworksimilartoourlogofile,asthedetailscanstarttolook"soft"whenyouresampletheimage.

1.SelectyournewimagesizeintheImageSizedialogbox.Forourexample,weresizedtheimageto4incheswideat72pixels/inch.

2. ClickOK.

3.SelectFilter Sharpen Sharpeniftheedgesofyourlogoarestartingtolookalittlesoft.Thismakesthemlookcrispagain.

OpentheSaveForWebdialogbox,andselectGIF64DitheredinthePresetdropdownlist.Again,thisdialogboxhasmanycomplexoptions,asshowninFigureF.Weonlyneedtouseafewofthemforthisexample,butyoucanusetheseoptionstoreallysqueezeanimagedowninaverytechnicalmanner.

4.FigureF.

5.

ClickontheColorReductionAlgorithmdropdownlistandselectPerceptual.You'llnoticeawholebunchofotheroptionshere,includingonelabeledWeborRestrictive(Web).Wedidn'tusethatoptionbecausethewebcolorpaletteistoolimitedandourlogocolorswouldchange.Sinceourlogocontainsorganizationcolorsthatneedtobeaccurate,thePerceptualoptiongivesustruecolorsatonlyaslightlyhigherfilesize.It'sasmallpricetopay!

6.

SettheDitheroptionto0%intheDithertextbox.ThisoptiontellsPhotoshoptomixcolorsfromtheavailablecolorpalettetosimulateunavailablecolors.Inourcase,weonlyhavethreecolors(blackandtwoshadesofblue),soditheringwon'tbenecessary.

7.

ChecktheColorssetting,whichshouldbesetfor16.Thisisthenumberofcolorsinthepalette,whichareshownintheColorTablebelowtheoptions.Asyoucansee,therearecolorsintherewejustdon'tneed.

ClickontheColorsdropdownlistandreducethenumberofcolorsfurther.Withfewercolorsinourimage,thefilesizedropsdownandthefilecanloadmorequickly.CheckoutthePreviewwindowandyouprobablywon'tbeabletotellthedifference.However,ifyoudropthevaluetofourcolorsyou'llseethecolorsstarttoshift,asshowninFigureG.Itisn'taterriblechange,butonotherimagesyoucanhaveadramaticshiftasyoureducecolors.

FigureG1.

8.

FigureG2.

9.ClickSave,giveyourGIFfileanameintheSaveOptimizedAsdialogbox,andthenclickSaveoncemoretofinishthejob.

Note

So,whatifyou'veoptimizedanimagefortheweb,butyouneedtousethatimagetomakeaprint.CheckouttheProblem:Solution"Improveresampledimagesforprint"attheendofthischapter.

Bewise,optimize

Byevaluatingthetypeoffileyou'reworkingwithandselectinganappropriatefileformat,optimizingyourimagefilesforthewebcanbeeasy.Inthisarticle,we

compressedan8.05MBJPEGto17KBanda7.56MBTIFFtoa6KBGIF,bothhugesavingsinfilespace.Thisfilereductiondidn'tdegradeourimagequality,asweusedcompressionandimagedimensionswiselytooptimizethefilestodisplaythebestontheweb.Theresultisfast-loadingimagesthatlookgreatandcomplementyourwebdesign,insteadofdetractingfromit.

AdjustJPEGwebqualitywiththeModifyQualitySettingcommand

Imagesareanintegralpartofjustabouteverywebsitetoday.Whetherthey'rephotosoffriendsandfamilyonapersonalsite,foodandflowersonacatalogsite,orspecimensamplesonaninstitutionalsite,theyprovideinformation,entertainment,andvariety.Imageslightenapageandprovidethesamekindofvisualreliefaswhenusedinprintpublications.Withoutthem,awebsitewouldsimplybepageafterpageoftext,whichwouldturnawaypotentialvisitorssinceinternetuserstypicallydon'tliketospendalotoftimewadingthroughtext.

Amajorconcernwhenworkingwithimagesintendedforthewebisfilesize.Thelargerthefilesizeis,thelongerthedownloadtime.Reducingimagefilesizesissimple,butitalwayscomeswithaprice:thelowerthesize,thelowerthequality.You'dthinkbynowthere'dbeawaytomaintainqualityandreducefilesize.Well,thereis.ByusingPhotoshop'sModifyQualitySettingcommand,youcanmaintainthequalityinamaskedsubjectarea,andlowerfilesize.

WorkingwiththeModifyQualitySettingcommand

Mostimages,especiallyphotos,containtwodistinctareasofvisualfocus:thatofthesubjectandthatofeverythingelse.Sincethesubjectareaistheprimaryfocus,itsdetailqualityshouldbeashighaspossible.Becauseeverythingelse(suchasthebackground)issecondary,thatdetailqualityneedn'tbeasgreat.Byfirstselectingthetwoareasthroughuseofamask,youcanthenusetheModifyQualitySettingcommandtoadjustthemaximumandminimumqualitylevelofeacharea,andinsodoing,adjustthefilesize.

Tobegin,opentheJPEGimageyouwishtoworkwithinPhotoshop.

Inourexampleimage,thelampistheprimaryfocusoftheimage,andthebackgroundandtableit'ssittingonaresecondary,asshowninFigureA.

FigureA.

Selectthesubjectareausingamask

1. ChoosetheMagicWandtool fromtheToolbox.

2.

EnteravalueintheTolerancetextboxonthetooloptionsbar.Becausethebackgroundandtableinourexamplearen'tallthatcloseinhue,weenteredamoderatetolerancevalueof20.

3. SelecttheAnti-aliasedandContiguouscheckboxes.

Positionyourmousepointerinthebackgroundareaofyourimageandclick.AsshowninFigureB1,aselectionbordernowappears.Toaddtotheselection,pressandholddown[Shift]andthenclickinanotherbackgroundarea,asshowninFigureB2.Continuetoaddtotheselectionuntilallthebackgroundareasareselected,asshowninFigureB3.

FigureB1.

4.

FigureB2.

FigureB3.

5. ChooseWindow ChannelstoopentheChannelspalette.

6. ClickontheChannelspalette'spop-upmenu,andselectNewSpot

Channel.

7.EnterBackgroundintheNametextboxwhentheNewSpotChanneldialogboxopens.

8.Enter10intheSoliditytextbox.Thiswayyoucanseethemaskaswellastheimage.

9.

ClickOK.Photoshopcreatesamask,indicatedbyaredoverlay,asshowninFigureC.

FigureC.

Adjustimageareaqualitylevels

Nowthatwe'veaddedamasktoourimage,wecanusetheModifyQualitySettingcommand.

1. ChooseFile SaveForWeb,andtheSaveForWebdialogboxopens.

2.

Clickonthe2-Uptab,andtwoviewsoftheimageappear,asshowninFigureD.

FigureD.

[Viewfullsizeimage]

3.ClickontheOptimizedFileFormatdropdownlistandselectJPEGinthePresetsection.

4.

ClicktheUseAChannelToModifyQualitySettingbutton foundjusttotherightoftheQualitydropdownlist.TheModifyQualitySettingdialogboxnowappears,asshowninFigureE1.

FigureE1.

5. MakesurethePreviewcheckboxisselected.

6.

ClickontheChanneldropdownlist,andselectBackground.Whenyoudo,theQualitysectionbecomesactive,andathumbnailofthemaskappearsinthethumbnailboxinthelower-rightcornerofthedialogbox,asshowninFigureE2.

FigureE2.

Whensaved,theimagesectionsshowninwhitewillcontainthehighest,ormaximum,qualityareas,andtheblacksectionswillcontainthelowest,orminimum.YoucanadjustthelevelofqualityofeachwiththetwoQualitysliders.ThewhitesliderontherightadjuststheMaximumqualitylevel,whichisshowninthethumbnailasthewhitesubjectarea.TheblacksliderontheleftadjuststheMinimumqualitylevel,whichisshownastheblackbackgroundarea.

Comparequalitylevelsettings

1.

SelectthewhitemaximumsliderandmoveitallthewaytotheleftuntiltheMaximumlevelreads0%.Nowboththesubjectandthebackgroundareatthesamelevelof0percent.Theleftimageinthedialogboxisouroriginalexampleandhasafilesizeof1.26MB,asindicatedbythetitleshownbelowtheimage.TherightimageisthepreviewSaveForWebJPEGandhasamuchsmallerfilesizeofabout14.3KB.Notetheimagequalityofboththesubjectandthebackground.

2.

Resetthewhitesliderto100%,andthenmovetheblackminimumsliderallthewaytotherightuntiltheMinimumlevelreads100%.Boththesubjectandthebackgroundareatthesamelevelof100%.ThepreviewSaveForWeb

JPEGhasafilesizeofabout224.9KBinourexample.Asbefore,notetheimagequalityofboththesubjectandthebackground.

3.

Movetheblacksliderbackto0%.Thesubjectisatthemaximumqualityof100%,andthebackgroundisat0%.ThepreviewSaveForWebJPEGhasafilesizeofabout186.2KBinourexample.

4.

Movethewhitesliderslowlytotheleftagainuntilyoujustbegintonoticeanyappreciabledifferenceinthequalityofthebackground.Thishappensatabout55%inourexample,andthefilesizeisabout49.6KB.Atthissetting,boththehighqualityinthesubjectareaandthelowfilesizeareacceptable.

5. ClickOKonceyou'rehappywithyouradjustments.

6. ClickSave.TheSavedOptimizedAsdialogboxopens.

7.

Navigatetothelocationwhereyouwanttosaveyourfile,enteranameintheFileNametextbox(SaveAstextboxontheMac),andclickSave.OurresultsareshowninFigureF.

FigureF.

Twoinone

TheModifyQualitySettingcommand,throughuseofamask,permitsyoutoapplydifferentimagequalitysettingstodifferentareasofaJPEGimageintendedforuseonawebsite.Indoingso,thesubjectarearemainshigh,andyoucansetallelseataslowalevelasisdesirable.

Makeprecisecroppingselectionsusingguides

TheabilitytoselectpartofanimageandthenmodifytheselectioninonewayoranotherisbasictomosteverythingyoudoinPhotoshop.Youcanuseselectionstocreatemasks,definefill-ins,andadjustimagevalues,asshowninFigureA.Sometimes,asyoubeginhoninginonaworkinprogress,selectionsneedonlybegeneral.Butatothertimes,asyoufinishediting,youmustmakepreciseimageselections.

FigureA.

Measuringimages

Inmanysoftwareprograms,whenanimage,suchasaphotoorillustration,appearsonamonitorthere'snowaytotellitsdimensionssimplybylookingatit.Theonlythingyoucanseeisitsaspectratio;thatis,theratioofitsheighttowidth.Thesizeofanimage,however,isoftenimportanttoknow,especiallyifit'sintendedforusespecificallyasaposter,exhibit,orbanner,forinstance.

InPhotoshop,changingthesizeofanimageisaneasythingtodo.Let'sstartwithaphotosuchastheoneshowninFigureBonthenextpage.We'dliketousethisaspartofatradeshowdisplay.Thephotowillbeperfectforthedisplay,ifitssizeislargeenough.Toseethesizeofanimage,selectView Rulers.Asetofrulersthenappearsalongthetophorizontalandleftverticalsidesofyourcanvas.Thesizeofthephotois12inchesby8inches,whichisplentylargeenoughforourpurposes.

FigureB.

Usingguides

Next,wewanttocropoutsomeoftheskyandwatertostrengthenthecompositionofthesummerhomeanditsreflection.Beforewedo,we'dliketoknowhowthecroppedsizewillimpactthelayoutofthedisplay.Wecanuseguidestomarkwherewewanttocropourphoto,andthenmeasurethenewsize.Guidesarehorizontalorverticallinesthatappearoveranimageonscreen,buttheydon'tprint.Youcanmove,delete,andlockguides.

Creatingaguide

Withrulersdisplayed,we'rereadytocreateaguide.Youhavetwooptionsfordoingso:usingtheNewGuidecommandordraggingaguidefromaruler.

CreateaguidewiththeNewGuidecommand

1.

ChooseView NewGuide.TheNewGuidedialogboxappears,asshowninFigureC.

FigureC.

2.

ChoosewhetheryouwishtocreateanewhorizontaloraverticalguidebyselectingeithertheHorizontalorVerticaloptionbutton.Bydefaultthenewguideappearsintheimagewhereverzero(0in)isset.

3.EnteranewamountinthePositiontextboxifyouwishtocreateanewguideatasettingotherthan0.

4. ClickOKandanewguideappearsonyourcanvas.

Createaguidebydragging

Moveyourmousepointertoeitherahorizontalorverticalruler,clickonit,andwhileholdingdownthemousebutton,dragoutaguideandrelease,asshowninFigureD.

FigureD.

1.

2.

Tomoveaguide,positionyourmousepointerovertheguide,clickonit,andwhileholdingdownyourmousepointer,dragtheguidetowhereyouwantitpositioned.

Todeleteaguide,dragitbacktoaruler.Tolockallguides,chooseView LockGuides;toremoveallguides,chooseView ClearGuides.

Indicatingexactlocations

Let'snowindicatewherewewanttocropourphoto.Todoso,moveyourmousepointertothehorizontalruleranddragouttwohorizontalguides,positioningthemwhereyouwanttohorizontallycropyourimage,asshowninFigureE.

FigureE.

Resettingtheruleroriginpoint

Now,let'sdeterminethesizeofthephoto.Thehorizontaldistancehasn'tchanged,buttheverticaldistanceisshorter.Wecouldsubtractoneguidemeasurementfromtheother,orwecouldsimplyresettheruleroriginpoint.Moveyourmousepointertotheupper-leftcornerofyourcanvaswherethehorizontalandverticalrulersintersect,clickontherulers,andwhileholdingdownyourmousebutton,dragtherulerorigintothetophorizontalguide.Nowyoucanseethattheverticallengthofthephotois6andalittleoverone-quarterinches.

TakingareadingwiththeInfopalette

Ifyouwanttheexactmeasurement,youcaneasilyfinditintheInfopalette.

1. ChooseWindow Info.

2.

Positionyourmousepointeroverthebottomguideandlookatthey-coordinateandyou'llseeareadingsimilartothatofY:6.300,meaning6.3inches.

Preciselypositioningaguide

Whilecheckingthedisplaylayout,wediscoveredthatthephotowouldworkbestifcroppedto6inchesverticallyslightlyshorterthantheguidesindicate.Welikewherethebottomcroppingis,solet'smovethetopguidedownuntilit's6inchesfromthebottomguide.

1. Resettherulerorigintothebottomguide.

2.

Moveyourmousepointertothetopguideandclickonit.Whileholdingdownyourmousebutton,andwhilewatchingtheYvalueintheInfopalette,dragtheguidedownuntiltheYvaluereadsaboutY:-6.000,andrelease.Theminusisonlyarelativevaluewiththe6beinganabsolute6inches.Wecannowcropourphototoaprecisesize.

3. ChoosetheCroptool fromtheToolbox.

4.ChooseView SnapsincetheprocessismucheasieriftheselectionborderoftheCroptoolsnapstotheguides.

5.Movethemousepointertotheupper-leftcornerofthetopguideandtheleftsideofthecanvas.

Clickanddragittothelower-rightcornerofthebottomguideandtherightsideofthecanvas,andrelease,asshowninFigureF.

FigureF1.

[Viewfullsizeimage]

6.

FigureF2.

7.Press[Enter],andyounowhaveaphotothatispreciselycroppedto12by6inches.

Guidedbytheline

Asyou'veseen,makingaprecisecroppingselectionusingguidesisbotheasyandexact.Youcanuseguidestodetermineareasneedingcropping,aswellasto

determinethefinishedsizeofacroppedimage.Youcanalsouseguidestolocateexactpointsonyourimagetomakeselectionsandpositiondrawingandeditingtools,too.

OptimizeyourimagesforuseinMicrosoftPowerPoint

Afewyearsago,youcouldshootawaywithyourdigitalcameraandinsertthoseimagesdirectlyintoaPowerPointpresentationwithouttoomuchworry.However,today'shigh-resolutioncamerasproduceimagesthataresimplytoobigforthisformat,whichcancausesystemcrashes,filecorruption,andPowerPointfilesthatareslowandhardtoedit.Byoptimizingyourdigitalimagestofityourpresentation,youcanensureyourpictureslookgreatwhileyourpresentationrunssmoothly.

Preppingyourimages

UsingyourdigitalimagessuccessfullyinPowerPointstartswithunderstandingyourtargetimagesize.Thedefault(andmostpopular)PowerPointslidedimensionsare10inchesby7.5inches(Landscapeorientation)atascreenresolutionof72dpi.Youcancreateapresentationofanysize,butthevastmajorityofPowerPointuserssticktothisdefaultsizeasitbestfillsmostdisplays.

Ifthisdefaultsizeweretranslatedintopixels,itwouldbe722.7by542pixelsat72dpi,givingyouatargetmaximumdimensionandresolution.Anydimensionthat'ssmallerisacceptable,butyou'llneedtostickwiththe72dpiresolutiontomakesureyourimagesdon'tstarttogeteitherblurryorpixelated(orboth).

Alwaysresizefirst

A3.3-megapixeldigitalcameraproducesanimagefileof2048by1536pixelsat72dpiforafilesizeofawhopping9MB.Whilehigherresolutionisbetterforprinting,it'stotaloverkillwhendisplayingimagesonscreen.Sincewehaveagoodtargettoworkwith,wecanresizetheimageandoptimizeitforthispurpose.

1. LaunchPhotoshopandopenyourimagefile.

SelectImage ImageSizetodisplaytheImageSizedialogbox,asshowninFigureA.

FigureA.

2.

3.

MakesurethattheConstrainProportionscheckboxisselectedandtheResampleImagedropdownlistissetforBicubic.Thisensuresthatyourimageisresizedproportionallyandatthebestpossiblequality.

4.

EnteryourdesiredimagesizeinthePixelDimensionstextboxes.Weentered640intheWidthtextbox,andPhotoshopautomaticallycalculatedaheightof480tokeeptheimageproportional.Wecouldhavegoneallthewayuptoawidthof722pixels,butrememberthatthisisjustaguideline.AlwaysresizeyourimagestotheexactsizeyouwantthemtodisplayinPowerPoint.YoucanscaleimageswithinPowerPoint,butyou'llendupdegradingtheimagequality.Byplanningahead,yourimagewillalwayslookgreatonscreen.

Notethatourimageisnowonly900KB,aspreviewedintheImageSizedialogboxandshowninFigureB.Thisnumberdecreasesevenmoreaswecompressthefile,soourimageswillbeeasytoworkwithandloadquicklywheninsertedintoPowerPoint.

FigureB.

Savetheimage

1. ClickOKtoapplytheadjustment.

2.

SelectFile SaveAs,soasnottosaveoveryouroriginal,sinceyouwanttokeepthehigh-resolutionversionforotherpurposes.It'sagoodpracticetosaveyouradjustedimagesinaseparatefolderoraddinformationtothefilenamesuchas"lores"or"edited."

3.

SelectJPEGfromtheFormatmenuandclickOK(SaveontheMac).Youcaninsertmanydifferentfileformats,butJPEGoffersthesmallfilesizeandhigh-qualitydisplayyou'llneedfordigitalimages.TheJPEGOptionsdialogboxopens.

4.

Selectthecompressionoptionsforyourfile.WecouldwriteawholebookaboutJPEGcompression,butjustkeepinmindthatyouwanttobalanceimagequalitywithfilesize.Typically,weuseaQualitysettingof8,butyoucanexperimentandseewhichsettingworksbestforyou.

5. ClickOKoncemoreandwe'rereadytomovetoPowerPoint.

WorkwithdigitalimagesinPowerPoint

1. LaunchPowerPoint(2000/XP/v.X/2003).

2. CreateanewBlankPresentation.

3.SelectInsert Picture FromFile,locateyourfileontheharddrive,andclickInserttoplacetheimageonyourslide.

Bydefault,theimagecomesinat100%andiscenteredontheslide.Ifwehadn'tresizedtheimage,theimagefilewouldhavecompletelyoverruntheboundariesoftheslideandwe'dprobablyonlybeabletoseeaportionoftheimage.Plus,we'dhavethathefty9MBfiletodealwith,sooureffortshavecertainlypaidoff.

AdjustingimageswithinPowerPoint

AsshowninFigureC,ourimageappearsonourslidewiththePicturetoolbaratthetop.Ifthistoolbardoesn'tautomaticallyappearwhenyouselectyourimage,chooseView Toolbars Picture.Thistoolbarallowsyoutoadjustcontrastandbrightness,croptheimage,addaborder,andperformabunchofotherusefulimage-editingtasks.Youcanevenconvertacolorimagetograyscaleormakeitintoawatermarkwithoutleavingtheapplication.Whilethesefeaturesarenice,theywon'treplacethelevelofcontrolofferedinyourimage-editingprogram.However,PowerPointdoesadecentjobwithsomeofthesimplereditingtasksandsavesyoufromhavingtojumpbetweenapplications.

FigureC.

ThebigbrotherofthePicturetoolbaristheFormatPicturedialogbox,whichyoucanopenbyselectingFormatpicturebutton onthePicturetoolbar.Ifthisoptionisn'tavailabletoyou,makesureyouhaveyourimageselected.AsshowninFigureD,youhavemoreoptionsandcontroloveryourimages,withfivecontroltabsforarangeofimagetasks.

FigureD.

Creatingatemplate

OneofthemostcommonusesfordigitalimagesinPowerPointisasabackgroundfortheslide.ThebestwaytocreateaconsistenttemplateforyourpresentationusingadigitalimageistomakeaSlideMaster.

1.CreateanewblankpresentationandthenselectView Master SlideMaster,whichcontainsalloftheplaceholders,butnotmuchelse.

2.SelectInsert Picture FromFileandplaceyourimageontheslideaswedidearlier.

3.

Right-click([control]-clickinv.X)ontheimageandselectOrder(Arrangeinv.X) SendToBackfromthecontextmenutoputtheimageundertheplaceholdertext.

4.MakeanyadjustmentstoyourimageorplaceholdersandthenselectViewNormaltoreturntoyourslide.

YourimageispartoftheMasterSlidenow,soyoucan'tedititwheninNormalview.Toeditit,simplyreturntotheSlideMasterandmakeyourchanges.

Inthecaseofourexample,itsimagedimensionsaresmallerthanthesizeoftheslide.Ifyouwanttobleedyourimagesrighttotheedges,you'llhavetoresizetothepixelsizeoftheslide(722.7x542)orslightlylarger.Anythingoutsidetheboundariesoftheslidewon'tdisplay,sodon'tgooverboardwiththeoverlap.Itjustaddsunnecessaryfilesizetoyourpresentation.

Presenting…yourimages!

PowerPointisagreattoolforcreatingpresentationsusingyourdigitalimagesorevensettingupslideshowstodisplayyourwork.Bycreatingimagesfilesthatareoptimizedtothescreen,youcanmakeyourimageslookgoodwhileavoidinglargefilesizesandpoor-performingpresentations.

Problem:SolutionImproveblurringincompressedwebimages

Problem:TheBluroptionintheSaveForWebdialogboxproduceslessthanstellarresults

Solution:Useselectiveblurring.

Imagecompressioncanbeatrickything;afterall,youwantthebestqualityandthelowestfilesizepossible.Thataloneisacontradictioninterms.However,peopledoitallthetimeusingvarioustechniques.Granted,blurringanimageisn'tusuallythewaytogo,butdependingontheimage,itcanbealegitimatesolutiontoreducingthesizeofafile.Let'stakealookatagreatbuilt-infeaturePhotoshophasforsavingwebimages:theSaveForWebfeature.

LookingattheSaveForWebfeature

WiththeSaveForWebfeature,locatedintheFilemenu,youcancompressanimageforthewebwithagreatdealofcontrol.Thisfeatureallowsyoutocomparemultiplecompressionsettingsinonedialogbox.TousetheSaveForWebfeature,openanimageyouwanttocompress.Then,chooseFile SaveForWebtoopentheSaveForWebdialogbox,whichshowsfourversionsofyourimage.(Ifthispreviewwindowisn'tshowing,clickonthe4-Uptab.)Fromhere,youcanadjustthesettingsofyourimagetocreateyourfinalcompressedimage.Choosefromhigh,medium,andlowJPEGsettingsintheSavedSetsOfOptimizationSettingsdropdownlisttopreviewhowthesesettingswillaffectyourimage.

ThePreset(Settings)sectionoftheSaveForWebdialogboxalsohasaBluroption.YoucanusethistoapplyaGaussian-typeblurovertheentireimage,whichhelpsreducetheartifactsthatcanappeararoundsharplines.TheBluroptionhasarangeof0to2;Adoberecommendsasettingof0.1to0.5ifyouneedtouseit.Blurringyourimagereducesthefilesizewithoutapplyingmorecompression.Thiscanbeagoodthingorabadthing.

OurProblemimageshowsourimagewiththemaximumBluramountataJPEGHighqualitysetting.Asyoucansee,allelementsintheimagelosedetail,whilewe'dpreferthattheboatstayinfocus.So,ingeneral,werecommendstayingawayfromusingtheBluroptionoronlyapplyingtheslightestamount.You'rebetteroffapplyingmorecompression.However,ifyouwanttotryusingablur,wehaveanothersuggestion.

Applyingselectiveblurring

RatherthanapplyingtheBluroptionintheSaveForWebdialogbox,youshouldapplyablurdirectlyinPhotoshop.Forexample,weselectedeverythingintheimageexcepttheboat,andthenweappliedaGaussianBlurwithaRadiusof1.5.Thiskeepstheboatinfocusandallowsthebackgroundtoblur.WethenchoseFileSaveForWeb.Theresultinghigh-qualityJPEGfilesize,showninourSolutionimage,isalmost13timessmallerthantheoriginal(1.54MBto121K).This

techniqueisgreatforlargeareasofsolidcolors,textures,orbackgrounds,suchasskyandlandscaping,wherethereisn'tmuchdetailtobeginwith.

Compressionatitsfinest

CompressingimagesisalittleeasierwhenyouusetheSaveForWebfeature.Thisfeatureofferssomeofthemostsophisticatedtoolsavailableonthemarket.Dependingonyourimage,youmayalsowanttoexperimentwiththeblurfactor.

Problem:SolutionImproveresampledimagesforprint

Problem:Resampledlow-resolutionimagedoesn'tlookitsbest.

Solution:Usesharpening.

Resizingalow-resolutionimagetomakeitsmalleriseasy.Resizingalow-resolutionimagetomakeitlargerismorecomplicatedbecauseresamplingisnecessarytogainenoughresolutionforprinting.Resamplingisn'tabadword,butitcanlowerimagequality.Thekeyistobeconservative.Youcanonlypushanimagesofarbeforeitstartstolookbad,soyoumightnotbeabletoturna72ppiimageintoa300ppiimage.Instead,trytogetascloseaspossiblewithoutaffectingimagequality.

Note

ToresampleinPhotoshopistosampleexistingcolorinanimageandthenaddorsubtractsimilarcolorpixelsuntilyoureachthedesiredresolution.

Giveitatry!

1. Opentheimageyouwishtoworkwith.

2.

ChooseImage ImageSize,andtakealookattheImageSizedialogbox.Forourexampleimage,thisdialogboxtellsusourimageis5.653incheswideby8.333incheshighwitharesolutionof72ppi.Let'ssayweneedtheimagetobe3incheswideandweneedtoprintwitharesolutionof300dpi.

3.

EnteranamountintheWidthtextboxwiththeResampleImagecheckboxdeselected.Weentered3.Photoshopautomaticallyadjuststheheightandresolution.Forourexample,theseadjustmentswere4.423inchesinheightand135ppiforresolution(roughly).

Theseadjustmentsmakeourimagebetter,butnotgoodenough.Therefore,weneedtoresampletheimagetogaintheremainingresolutionnecessaryforprint.(Yourotheroptionistorescantheimageatthepropersizeandresolution.)

Toresampletheimage:

1. SelecttheResampleImagecheckbox.

2.

LeaveBicubic,thedefaultmethodforresampling,selectedtoproducethebestresults.TheConstrainProportionscheckboxisalsoselectedbydefaultandensuresthatPhotoshopmaintainstheproportionofourimage.

3.

Enter300intheResolutiontextbox.Theheightandwidthremainthesame,buttheincreaseinresolutionhasalsogreatlyincreasedthepixeldimensions(andfilesize)asymptomofresampling.

Viewandevaluateyourchanges

Atthispoint,clickOKandlet'sviewourimageat100percent(View ActualPixels).We'relookingforexcessiveresampling,whichoftenresultsinpixelationashowingoftheactualsquarepixelsandblurring.Ifit'sdistractingonscreen,it'sevenmoreevidentonpaper.AsshowninourProblemimage,ourimagedoesn'tlooktoobadnothingafewminoradjustmentscan'tfix.

Improveuponyourimage

Afterresizingalow-resolutionimage,thenextstepistomakeanyimageadjustmentsthatcanimprovepicturequality.Thismayincludeadjustingthebrightnessandcontrastintheimage,boostingsaturationtocompensateforanywashedoutcolors,andusingLevelstobetterdefinethetonalrangeoftheimage.

Resampledimagesalmostalwaysneedsomesortofsharpeningtoimprovecontrastsandedgedetails.Tosharpenyourimage:

1. ChooseFilter Sharpen UnsharpMask.

2.Entertheappropriatesettingsintheresultingdialogbox.Forourexample,weentered184fortheAmount,1.3fortheRadius,and10fortheThreshold.

3. ClickOK.TheresultofoursharpeningisshowninourSolutionimage.

Makethemostofwhatyouhave

There'snomagicpotiontoturnalow-resolutionimageintoahigh-resolutionprint.However,ifyoufollowthestepswe'veprovidedandmakecreativeattemptstoimprovethequalityofyourimages,you'llmakethemostofwhatyouhaveandputthosepixelsonpaperwithgoodresults.

Part3:ImageManipulationandAlteration

Whiletonalandcolorcorrectionsareimportanttotheoverallqualityofyourimage,thechancetoreallymakethemshinecomeswhenyoustartpushingaroundthosepixels.Typicallycalledimagemanipulationorimagealteration,Photoshopgivesyouallthetoolsyouneedtomakeeachpicturetrulyyourown.Don'tlikethattreeinthebackground?Removeit!Unhappywiththecolorofapurpleshirt?Makeitblue!Withalittleplanningandanunderstandingofhowthesetoolswork,you'llneverhavetosettleforrealityagain.

Chapter6:ArtisticApproaches

Burntheedgesofyourphotostoaddmood

PaintgradualtoneswiththeAirbrushoption

Createconvincingreflections

ControlvisualfocuswiththeGradienttool

CombineimageswiththeExtractcommand

Enhanceyourimageswithwell-placedlight

Problem:SolutionRemoveacompleximagefromitsbackground

Problem:SolutionRemoveanobjectfromaphoto

Chapter7:Filters

UsingtheFilterGallery

Combiningfilterlayers

Filteryourportraits

Addtexturewithsimulatedfilmgrain

Problem:SolutionCorrectcolorcasts

Problem:SolutionModifyfacialfeatures

Chapter8:Masks

UseQuickMaskmodetomakeaselection

Createvignetteswithlayermasks

Cutoutpartsofimageswithlayermasks

Editingwithvectormasks

Problem:SolutionFixaccidentalsilhouettes

Problem:SolutionRestorelosthighlightdetail

Chapter6.ArtisticApproaches

Burntheedgesofyourphotostoaddmood

Forsomereason,photographswithburntedges,liketheoneshowninFigureA,areintriguing.Maybeit'sthedarkcoloringcausedbytheburningembersormaybeit'stheglimmerofwhatwasalmostlost.Whateverthereason,ifyou'dliketoemulatethesortofmoodburnt-edgedphotographscreate,youdon'thavetodamageanyofyourvaluedphotographstoproduceit.We'llshowyouhowtosimulatethelookofburntedgeswithoutsomuchasstrikingamatch.

FigureA.

Prepareyourdocument

1. OpentheimageyouwanttomodifyinPhotoshop.

2. MakesureyourimageisinRGBorCMYKColormode(Image Mode).

3. MakeacopyofyourdocumentbychoosingImage Duplicate.

4.EnterafilenameintheresultingDuplicateImagedialogbox,andthenclickOK.

5.ClosetheoriginaldocumentanddisplaytheLayerspalette(Window Layers)inyourduplicateddocument.

6.

Double-clickontheBackgroundlayerandnamethelayerburntedgesintheresultingdialogbox.ClickOKandthelayerisrenamed,asshowninFigureB.

FigureB.

7.ClickOKtomakeitaworkinglayer.You'renowreadytocreateyourbaseframe.

Createabaseframe

Tocreatethebaseframe,we'llfirstscorchtheedgesofourimageusingtheBrushtoolandsomepaint.Then,wecanusetheErasertooltocreatethelookoftatterededges.

Scorchtheedges

1. SelecttheBrushtool fromtheToolbox.

ClickontheDarkerWarmBrownswatchintheSwatchespalette(WindowSwatches),asshowninFigureC.

2.

FigureC.

3.

ClickonthearrownexttotheBrushpreviewwindowonthetooloptionsbartodisplaytheBrushPresetPickerandselectasoftroundbrushthesizedependsonthesizeofyourimageandmonitor.WechosetheSoftRound200Pixelsbrush,asshowninFigureD.

FigureD.

ChooseMultiplyfromtheModedropdownlistandsettheOpacityto40%.

4.

5.

ClickanddragtheBrushtoolovertheedgesofyourimage,asshowninFigureE.

FigureE.

Erasetheedges

Now,tomaketheedgesofourimagelookmorerealistic,let'sroughenthemupusingtheErasertool.

1. SelecttheErasertool fromtheToolbox.

2.DisplaytheBrushPresetPickerandselectthe100pxRoughRoundBristlebrush.

ChooseBrushfromtheModedropdownlistandsettheOpacityto100%,asshowninFigureF.

3.

FigureF.

4.

Graduallyeraseportionsoftheimage'souteredge,asshowninFigureG.

FigureG.

SettheOpacityto20%andrunyourbrushovertheedgesagaininjustafew

5. areastocompletethelook.

Note

Tohidethedocumentrulersandavoidinadvertentlydraggingrulerguidesontoyourcanvas,chooseView Rulersorpress[Ctrl]R( RontheMac).

Burninthecolor

Whenyou'resatisfiedwiththeframingofyourimage,youcanthenbegindarkeningtheedgestomakethemlookburned.YoucandothiseasilyusingtheBurntool.

1.SelecttheBurntool fromtheToolbox(it'slocatedontheDodgetoolflyoutmenu).

2.SelectalargeroundfeatheredbrushfromtheBrushPresetPickeronthetooloptionsbar.

3.

SelectHighlightsfromtheRangedropdownlistifyourimageislightincolor;chooseMidtonesifitconsistsofmoremediumtones;orchooseShadowsifit'sdark.

4.SettheExposuredropdownlistto50%.Forourexample,wechosetheSoftRound200PixelsbrushandsettheRangedropdownlisttoHighlights.

Paintoverjusttheedgesofyourimage,asshowninFigureH.Themoreyoupaintoveranarea,thedarkeritbecomes.YoumayhavetoexperimentabitwiththedifferentRangeoptions.Testouteachonetoseewhatworksbestforyourimage.Also,youmighttryusingoneRangeandthenselectingadifferentonetofine-tuneyouredges.

FigureH.

5.

Aburningdesire

Whetheryou'relookingtoaddasubtleframingelementtoyourdesignsoryouwanttosetthemonfire,youcanreallymakeanimpactusingthetechniqueswedescribedinthisarticle.Tryusingthistechniqueontextalongwithimages.Andexperimentwithdifferentbrushesandfilterstocreateuniqueedgepatterns.

PaintgradualtoneswiththeAirbrushoption

Sincethelate1870s,theairbrush,asanartist'sandphotographer'spaintandretouchingtool,hashadalongstandingandprominentplaceintheworldofcommercialart,design,andphotography.Tofullymasterthistoolcantakemanyyearsoftrialanderror,practice,andpatience.Buttheresultsareoftenrealistic,aswellasbreathtaking.

Photoshopprovideswhat'scalledtheAirbrushoption,whichallowsyoutousetheBrushtoolasanairbrush.Whetheryou'recreatinganimagefromscratch,addingtoanexistingimage,orretouchingaphoto,you'llbeamazedatnotonlyhowwelltheoptionsimulatesthespraystrokesoftherealthing,buthoweasyitistouseaswell.Inaddition,youcaneasilycorrectordeleteamisplacedstrokeorwrongcolor;thisisafeaturetherealdealdoesn'thave.

UnderstandingthePhotoshopAirbrushoption

AlthoughtheAirbrushoption,ofcourse,doesn'tusepaintordye,theairbrushstrokeeffectlooksandreactsinmuchthesamewayastherealthing.Thestrokecolorisconcentratedinthecenter,andthinsasitreachestheedges,asshowninFiguresA1andA2.Whenwefirstapplythestroke,thecoloristransparent.Thecolorthenbecomesopaqueasweaddmoreandmorecolor.Thelongerthestrokeisheldinoneplace,ortheslowerthestrokeisdraggedacrossthecanvas,thegreaterthecolorbuildupthatappears,asshowninFiguresA3andA4onthepreviouspage.

FigureA1.

FigureA2.

Asthestrokeisdragged,colorbecomesmoreandmoreopaque.

FigureA3.

FigureA4.

UsingtheBrushtoolasanairbrush

Totryyourhandatairbrushing:

1. OpentheimageyouwanttoworkwithinPhotoshop.

2.CreateanewlayerbychoosingNewLayerfromtheLayerspalette'spop-upmenu.

3. WhentheNewLayerdialogboxappears,enterAirbrushintheNametextbox.

4.KeeptheotheroptionsintheNewLayerdialogboxsetattheirdefaultsandclickOK.

5. ChoosetheBrushtoolfromtheToolboxandthetooloptionsbarappears.

6. ChoosetheSoftRound65PixelsbrushfromtheBrushPresetPicker.

7.KeepboththeOpacityandFlowsetto100%forthemoment,andleavetheothersettingsastheyare.

SettingtheAirbrushoption

1.

EnabletheAirbrushoptionbyclickingtheSetToEnableAirbrushCapabilitiesbutton onthetooloptionsbar.It'simportanttonotethateverytimeyouchangebrushsettings,youhavetoclicktheAirbrushoptionagain.

Moveyourmousepointertoyourcanvas,andtogetthefeelforhowtheAirbrushoptionfeels,trydoodlingalittle,asshowninFigureB.

2.

FigureB.

WorkingwiththeBrushespalette

YoucanusetheBrushespalette,locatedontherightsideofthetooloptionsbar,tosetadditionaloptionsthatcontrolthewayinwhichtheBrushtoolappliesastroke.OpenthepalettebyclickingontheBrushestabinthepalettewell.Whenthepaletteopens,asshowninFigureC,you'llnoticethattheShapeDynamicsandAirbrushoptionsarealreadyselectedundertheBrushPresetslist.That'sbecausetheseoptionscorrespondtothesameoptionsfoundonthetooloptionsbaritself,andthere'snodifferencebetweensettingthemonthetooloptionsbarortheBrushespalette.EachoftheBrushTipShapeoptionscontainsadditionaloptionsettings,whichyoucandisplaybyclickingonaBrushTipShapeoption.There'soneoption,theScatteringoption,that'sworthtakingacloserlookatbecauseitbestcopiesthespattereffectachievedbyanactualairbrush.

FigureC.

PracticingwiththeScatteringoption

TheScatteringoptionproducesastrokeofrandomlyplacedspatteredcolorthatyoucanusetopainttexturedlinesandgritty-orsandy-lookingsurfaces,amongotherthings.Let'stryitoutnow.

1. ClickontheScatteringoption.

2. Enter235intheScattertextboxwhentheScatteringoptionmenuappears.

3.KeeptheCountsetat1,theCountJittersetat0,andtheControlsetatOffforthepurposeofclarity.

4.DisablethevisibilityfortheAirbrushlayerbyclickingontheIndicatesLayerVisibilityicon intheLayerspalette.

5. CreateanewlayerandnameitScattering.

Moveyourmousepointertothecenterofyourcanvasandtryoutafewstrokesjustforfun,aswedidinFigureDonthepreviouspage.

6.

FigureD.

Now,let'saddasandy-lookingtexturetothebackgroundofthephoto.

1. ChooseasmallBrushsizesuchastheSoftRound5Pixelsbrush.

2.ClickontheBrushespalette,andenteralargevaluesuchas790intheScattertextbox.

3. CreateanewlayerintheLayerspalette,andnameitSandy.

4.ChoosetheEyedroppertool fromtheToolboxandthenclickintheimagebackgroundtoselectoneofthedarkercolorstopaintwith.

5.ChoosetheBrushtool fromtheToolboxandclicktheSetToEnableAirbrushCapabilitiesbuttononthetooloptionsbar.

Moveyourmousepointertoalighterbackgroundareainyourimageandbeginpainting.Byvaryingthespeedanddirectionofyourstrokes,youcandecreaseandincreasethecolorbuildupintheimage,achievingastucco-liketexture,asshowninFigureE.

FigureE.

6.

RetouchingwiththeAirbrushoption

Besidesbeingabletopaintallsortsofvaryingtonesonyourimage,youcanusetheAirbrushoptiontoretouchanimageaswell.Retouchingcanbeassimpleasremovingafewdustspotsandscratchesfromaphototore-creatingthesideofanimagebecauseitwascroppedincorrectly.Let'strysomethinginbetween;we'llretouchasmallareaofourphotoshowninFigureF.

FigureF.

Inthelower-leftcornerofthephoto,afallenleaflooksoutofplacesowewanttoremoveit.Surroundingtheleafisacoverofpurple-bluespringflowers,andthephotowouldlookgoodifwecontinuedthemthroughtheareawheretheleafis.

Sincethepurple-blueflowersareoutoffocus,theirshapesare,forthemostpart,circularblobs.Thismeansthatsincewedon'thavetoaddagreatdealoffinedetail,theretouchingwon'tbeallthatdifficulttodo.

Whenapproachingajobsuchasthis,youhavetothinkinlayersofcolor.Forourimage,thebottomlayeristheshadowlayerofblackandverydarkgrays.Thenextlayerupisthemidtonelayerofpurple-blues.Thetoplayeristhehighlightlayerofpalepurplesandlightblues.Mixedhereandthereareafewsplashesofgreen.

Addingthebasecolor

Let'sactuallyworkonlayerssowecaneasilycheckourprogressbytogglinglayerviewsaswego.

1. Opentheimageyouwishtoworkwith.

2. ChooseNewLayerfromtheLayerspalette'spop-upmenu.

3.EnterShadowsintheNametextboxoftheNewLayerdialogbox,andclickOK.

4.SelectashadowcolorbychoosingtheEyedroppertoolfromtheToolboxandclickingonashadowareaintheimage.

5. ChoosetheBrushtoolfromtheToolbox.

6.SelecttheSoftRound21PixelsbrushfromtheBrushPresetPickerandclicktheSetToEnableAirbrushCapabilitiesbuttononthetooloptionsbar.

SettheFlow,whichistherateatwhichcolorisapplied,toabout20%andleaveOpacityandModesetastheyare.Thisway,wecangraduallybuildupthecolor.Beginpaintingontheareayouwishtocover,workingupthecoloruntiltheareaiscoveredbutstillpartiallyvisible,asshownintheenlargedsectionofourexampleinFigureGonthepreviouspage.Asyoucansee,thisalonemakesquiteadifference.

FigureG1.

7.

FigureG2.

Addingthemid-tonecolor

1. CreateanewlayerintheLayerspaletteandnameitMidtones.

2.PickoutanappropriatecolorinyourimagewiththeEyedroppertool.Wechoseamidpurple-bluecolorforourexample.

3.

ChooseabrushfromtheBrushPresetPickeronthetooloptionsbar.Sincewewantedtoworkinsmallerareas,buildingupthepurple,wechosetheSoftRound9Pixelsbrush.

4. ClicktheSetToEnableAirbrushCapabilitiesbutton.

5.Paintoveronlythemid-grayareasintheareayouwishtocoverbecauseyoudon'twanttocoveruptheshadows.

6.

Workinsmallcircularstrokesofvaryingsizesandshapes.Asyougo,lookatareasinthephotoyou'retryingtomatchforcluesastohowyourstrokesshouldlook,asshowninFigureH.

FigureH.

Addingthehighlightcolor

Thefinalstepistoaddthehighlights.

1. CreateanewlayerintheLayerspalette.

2. NamethenewlayerHighlights.

3. SelectahighlightcolorwiththeEyedroppertool.

4.ChooseabrushfromtheBrushPresetPicker.WereducedthebrushsizeagainbychoosingtheSoftRound5Pixelsbrush.

5.ReduceyourFlowtoabout7%,sinceevensmallamountsofalightcolorappliedoveramidordarkcolorareverynoticeable.

ClicktheSetToEnableAirbrushCapabilitiesbuttonandaddafewhighlights,takingcarenottooverdoit.Forourexample,withalltheoptionsandbrushsettingsleftthesame,wenextpickedoutamid-greencolorfromthephoto,andaddedafewsmallblobsofgreenhereandthere,asshowninFigureI.

6.

FigureI.

7. TakeamomenttozoomoutbychoosingtheZoomtool fromtheToolbox.

8.

Lookatyourphotoasawhole,asshowninFigureJ.Doestheretouchedarealooknaturalandfitintoitssurroundings?Ifso,you'redone;itwasn'tallthatdifficult,wasit?Iftheretouchedareadoesn'tnaturallyblendintoitssurroundings,continueaddingtotheappropriatelayer,butbecarefulnottooverworkit.

FigureJ.

Subtleshadesofcolor

TheAirbrushoptionchangestheBrushtoolintoapaintingtoolthatallowsyoutoapplystrokesofgradienttones.Thismakesitpossibletoeasilyaddsubtleshadesandrichcolorswiththesmoothestoftransitions.WhencoupledwithaBrushes

palettethatfurtheraddsamultitudeofstrokeandbrushtipsettings,theresultingpossibilitiesarelimitless.

Createconvincingreflections

OneofthegreatestbenefitsofPhotoshopistheabilitytoaddobjectstophotosthatweren'tthereatthetimeoftheshoot.Itemsareoftenaddedafterthefact,suchascloudstoskies,grasstolawns,andleavestotrees.AnothergreatbenefitofPhotoshopistheabilitytoaddsurfacetreatmentstophotographsthatwereeitherimpossibletoachieveatthetimeoftheshot,ornotthoughtofuntilwellafterthefact.Shadows,ripples,andreflectionsareallexamplesoftreatmentsthatcanaddalittlepizzazztoanotherwiseless-than-awesomeimage.We'llputtheseabilitiestoworkandshowyouhowtocreatearealistic-lookingreflectionliketheoneshowninFigureA.

FigureA.

Creatingareflection

Let'screateareflectionforanobjectbyselectingaphotothatwastakenfromamediumangleviewpoint,asshowninFigureB.Lookingatthephoto,you'llnoticethatnotmuchofthetopandbottomofthecarisseen,makingitagoodcandidateforaddingareflection.Youcanaddareflectiontoeithersideortothe

bottomofthephotoandmakeitrealisticinappearance.Wewanttoaddittothebottomtogivetheimpressionthattheautoissittingonahighlypolishedfloor.

FigureB.

Enlargingthecanvas

Sincewewanttobeabletoseetheentirereflection,wehavetomakethecanvaslarger.Rightnowthecanvasmeasures93/8"by6".Ifwedoublethedepth(length)oftheimage,we'llhaveplentyofroomtoworkin.

1. SelectImage CanvasSize.

SelectPercentintheHeightdropdownlist,asshowninFigureC.

FigureC.

2.

3.Enter200intheHeighttextbox.TheAnchorselectionshowsthedirectionthecanvaswillbeexpandeddownward.

4.

Selectthetop-middlebutton,asshowninFigureD,andthecanvasexpandsinthedirectionshown.

FigureD.

ClickOKandthecanvasenlarges,asshowninFigureE.

FigureE.

5.

Fillinginthefloor

Wenowwanttofillintheexpandedcanvaswithacolorthatvisuallycontinuesthefloorintotheforeground.

1.

SelecttheEyedroppertool fromtheToolboxandclickinthebottom-middleoftheimagetoselectafloorcolor.Now,we'llfillintheareawiththecolorwejustselected.

2.

ChoosethePaintBuckettool fromtheToolbox,positionyourmousepointerinthetransparentareaoftheimage,click,andthefloorimagefillsin,asshowninFigureFonthenextpage.

FigureF.

Copyingandflippingthereflectionimage

Next,weneedtocopyandfliptheautoimage.

1.

ChoosetheRectangularMarqueetool fromtheToolboxanddragoutaselectionborderthatonlyincludestheauto,asshownintheexampleinFigureG.

FigureG.

2.

Press[Ctrl]C( ContheMac)tocopytheautoimage,andthenpress[Ctrl]V(VontheMac)topastetheimage.IntheLayerspalette,anewlayerisautomaticallycreatedthatincludestheselection.

Renamethelayerbydouble-clickingonthenameLayer1andentering

3. Reflectioninthetextbox.

4.

SelectEdit Transform FlipVerticalfromthemenubarandthereflectionimageisflipped,asshowninFigureH.

FigureH.

Positioningthereflectionimage

Next,we'llmovethereflectionimagedowntojustunderthewheelsoftheauto.

1. MakecertainthattheReflectionlayerintheLayerspaletteisstillselected.

2. SelecttheMovetool fromtheToolbox.

Clickonthereflectionimage,anddragitintoposition,asshowninFigureI.

FigureI.

3.

Adjustingtheopacityofthereflectionimage

Thereflectionimagenowhasanaturallooktoit.Buttofine-tuneit,let'smakethereflectionsomewhattransparent,sincenoreflectionisasbrightastheoriginalobject.IntheLayerspalette,enter60intheOpacitytextbox.Theresultisamorerealisticreflection,asshowninFigureA.

Modifyingthereflectionimage

Sincethereflectionimageisalayer,youcanmodifyitusinganumberofinterestingeffectswithoutaffectingtheoriginalautoimage.We'llbrieflystepthroughusingtheLiquifyandGlassfilterstoshowacoupleofuniqueeffects.Thepossibilitieswithvariousfilters,however,areendless.

ApplyingtheLiquifyfilter

1. ChooseFilter Liquifyfromthemenubar.

2. SelecttheForwardWarptool fromtheLiquifyToolboxlocatedalongtheleftsideofthedialogbox.

3.SettheBrushSizepop-upsliderboxtoabout65pxinthetooloptionssectionlocatedalongtherightsideofthedialogbox.

4.Moveyourmousepointertothecenterpreviewsection,anddragitusingshortstrokesupanddownoverthereflectionimagetoproducearippleeffect.

5.

ClickOKwhenyou'vefinishedandtheLiquifyfiltereffectisappliedtoyourreflection,asshowninFigureJ.

FigureJ.

ApplyingtheGlassfilter

1. ChooseFilter Distort Glassfromthemenubar.

2.

Enter7intheDistortiontextbox,enter3intheSmoothnesstextbox,selectFrostedfromtheTexturedropdownlist,andenter100intheScalingtextboxtofollowourexample.

ClickOKandthat'sallthereistogettingaglasseffect,asshowninFigureK.

3.

FigureK.

Reflectonthis

Surfacetreatments,suchasreflections,canaddgreatinterestandexcitementtoimages.They'requick,easytodo,andcanaddavisualfeaturetoanimagethatwasn'tpossiblewhenphotographingthesubject.

Lookingatreflectionsindetail

Areflectionissimplyavisualcopyofanimagethat'sflippedupsidedown.Thatstatementiscorrect,butthere'salittlemoretoit.Byunderstandingalittleofwhat'sgoingon,you'llbeabletocreatemorerealisticreflections.Whenlighthitsanobject,itbouncesoffinalldirections.Ifpartofitbouncesoffdirectlytooureyes,weseeanimage.Ifpartofitbouncesoff,hitsasurface,andthenbouncesoffthatsurfacetooureyes,weseeareflectionoftheimage.Whatthereflectionlookslikedependsonthepositionofthesurfacerelativetous.

Positioningofthereflectingsurface

Ifthesurfaceispositionedbehindtheobject,thereflectionweseeisthebackoftheobject.If

it'sbelow,weseethebottomoftheobject,andifit'sattheside,weseethesideoftheobject,asshowninFigureA.

FigureA1.

FigureA2.

FigureA3.

Testingitout

Let'sdoavisualtestandtryoutthenotionthatareflectionissimplyacopyofanimagethat'sflippedupsidedown.TheexampleinFigureB1isanimageandareflectionthat'sbouncingoffasurfacelocatedbelowtheobject.TheexampleinFigureB2isanimageandacopyofjusttheimageflippedupsidedownandpositionedbelowtheobject.Now,comparethetwoexamples.Asyoucansee,areflectionisn'tjustanupsidedowncopyofanoriginalimage.

FigureB1.

FigureB2.

Reflectingaviewpoint

Studyjustthereflectionoftheobject,asshowninFigureC.Noticethatyounotonlyseethefrontoftheobjectbuttheundersideaswell.Wherewouldyouhavetopositionyourselftoseethesamething?You'dactuallyhavetobebelowtheobjectinthesamelocationasthereflectingsurfacetohavethesameviewpoint.Whatthismeans,then,isthatareflectionisactuallyavisualcopyofanimageasseenfromtheviewpointofthereflectingsurface.

FigureC.

Changingyourviewpoint

Let'sdoonemorequickvisualtest.Let'skeeptheobjectthesame,thereflectingsurfacethesame,butchangetheviewpointoftheobservertoahigh,medium,andlowangle,asshowninFigureD.Eachviewpointshowsarealreflectionoftheobject,andonemadebycopyingitandflippingitupsidedown.Whichpairlooksmostalike?Theansweristhemediumangleset,becausefromthatviewpointthesmallestamountofthetopandbottomoftheobjectisseen.

FigureD1.

FigureD2.

FigureD3.

ControlvisualfocuswiththeGradienttool

Therearetimeswhenvisualclutterinadigitalphotoisgood,especiallywhenit'susedtoconveyasenseofcomplexityordisorder.Butgenerally,justasitsnamesuggests,visualcluttertendstoconfusetheviewerandmuddleyourmessage.Thisiswhywetrytoavoiditwhencomposingaphoto.

Buttherearetimeswhennoamountofframing,cropping,orselectivefocuswillkeepyourcompositionsimple.Thiscanbeduetoanynumberoffactors,suchasavailablelighting,lackofsetuptime,orevensubjectlocation,asshowninFigureA.Butwhateveryourobstacles,onewayyoucancontrolthevisualfocusinyourimagesiswithPhotoshop'sGradienttool.Notonlyisiteasytouse,butitprovidesaverynaturalisticresult,asshowninFigureB.

FigureA.

FigureB.

Findingyourfocus

Aprominentforegroundsubjectsetagainstanincreasinglysoftermiddlegroundandbackgroundhasbeenatechniqueusednotonlybyphotographersofthelasttwocenturies,butalsobymasterpaintersthroughoutthehistoryofWesternEuropetoadddramaandperspectivetotheirartwork.

Let'sstartbylaunchingPhotoshopandopeninganimagethathasanobviousforeground,middleground,andbackground,butdoesn'thaveanapparentvisualfocus,suchastheoneshowninFigureA.

Planningyourmoves

Thefirstthingyoumustdoisdetermineexactlywhatyourvisualfocusisand,inturn,whichsubjectareasyouwantmoreclearlyidentifiedasfore-,mid-,andbackground.Thevisualorderofareasinourexampleimageistheclumpofaspenleavesintheforeground;thetreetrunkandbranchesinthemidground,andthedistantsetofleavesandskyinthebackground,asshowninFigureC.Asis,it'sdifficulttodiscernthisorder,sowe'llisolatetheminawaytodifferentiatethatthethreesubjectareasareintheforeground,midground,andbackground.

FigureC.

Splittingyourareas

Next,we'llneedtosplitoffthevariousareasofthephotosowecanapplyagradienttoeachusingtheGradienttool.Thereareacoupleofwaysyoucanaccomplishthis.YoucanmakeduplicatelayersoftheBackgroundlayer,oneforeachinterestarea,anderasethepartyoudon'twant.Or,byusingthePentool,youcancreateapathyoucanusetoselectandcopyeachareaontoaseparatelayer.SincethePentoolmethodismoreflexibleandprecise,we'llusethat.

Plottingyourpaths

1.

ClickonthePathspalette,orchooseWindow Pathsfromthemenubar,ifitisn'talreadyshowing,andselectNewPathfromthePathspalette'spop-upmenu.

2.EnterbackgroundintheNametextboxwhentheNewPathdialogboxappears,andthenclickOK.

3.

SelectthePentool fromtheToolboxandplaceyourmousepointeronyourcanvas.Theareayoustartwithisuptoyou,butforthisexample,beginwiththebackgroundandmoveforward.Thebackgroundinourexampleistheskyandthemostdistantsetofleaves.

4.

MovethePentooloffthecanvas,setananchorpoint,andthenmovebackontothecanvasandsetanchorpointsatplaceswherethebackgroundandmidgroundmeet,asshowninFigureDonthepreviouspage.

FigureD.

5. Closethepathbyclickingonthefirstanchorpointyoumade.

6. Repeattheprocessagainforthemidgroundarea.Namethispathmidground.

Convertingapathtoaselectionborder

Nowwe'llapplyagradienttoanewlayerusingapathconvertedtoaselectionborderasamask.Youcanchangetheselectionborderatanytimebychangingthepathandconvertingittoaselectionborderagain.Let'sfirstworkwiththebackgroundarea.

1. SelectNewLayerfromtheLayerspalette'spop-upmenu.

2.EnterbackgroundareaintheNametextboxintheNewLayerdialogbox,andthenclickOK.

3. SelectthebackgroundareapathfromthePathspalette.

4.

ClicktheLoadPathAsASelectionbuttonandyou'llnoticethatinyourcanvas,thebackgroundpathoutlinehaschangedtoamarqueeoutline,indicatingthatit'snowaselectionborder.

Applyingagradienttoalayer

1.SelecttheGradienttool fromtheToolbox,andonthetooloptionsbar,clicktheLinearGradientbuttontoselectit.

2.

SelecttheForegroundToTransparentpresetgradientfillswatchfromtheGradientPickerdropdownlist,asshowninFigureE.

FigureE.

GototheSwatchespaletteandselectthewhiteswatch.

3.

4.ChooseSelect Inverse,thenSelect Feather,andintheFeatherSelectiondialogbox,enter1intheFeatherRadiusxPixelstextboxandclickOK.

5.

Positionyourmousepointeroffthecanvasaboveyourimage,andwhileholdingdownyourmousebutton,dragagradientfillstraightdowntoapointjustpasttheselectionborder,asshowninFigureF.

FigureF.

Releasethemousebutton;you'venowappliedagradienttothebackgroundarealayer,asshowninFigureG.

FigureG.

6.

Note

Whystartoffthecanvas?WhenyoudrawalineargradientusingthepresetForegroundToTransparentgradient,it's100%opaqueatitsstartingpointand100%transparentatitsendpoint.Sinceyouonlywanttoincludeaportionofthetransparentsection,youstartyourgradientfilloffthecanvas.

Atthispoint,let'sworkonthemidgroundarea,repeatingthesameprocessweusedforthebackgroundarea.

1. SelectNewLayerfromtheLayerspalette'spop-upmenu.

2.EntermidgroundareaintheNametextboxoftheNewLayerdialogbox,andthenclickOK.

3. SelectthemidgroundareapathinthePathspalette.

4. ClicktheLoadPathAsASelectionbutton.

Positionyourmousepointeroffcanvasaboveyourimageanddragagradient

5. fillstraightdowntoapointjustpasttheselectionborder.

6.

Releaseandagradientisappliedtothemidgroundlayer,asshowninFigureH.

FigureH.

Makingthefinaladjustments

Thelastthingyoumustdoisstepback,lookatyourphoto,andchecktoseeifyou'veaccomplishedtheresultyou'relookingfor.Ourphotoexampleisclose,butnotquitethereyet.Boththemidgroundgradientandthebackgroundgradientaretoostrong.Sincethegradientsareonindividuallayers,eachiseasytoadjustbychangingtheOpacitysettingsintheLayerspalette.

Tocutbackonthemidgroundareagradient:

1. SelectthemidgroundlayerfromtheLayerspalette.

2.

AdjusttheOpacityslidertoabout80%,asshowninFigureI.

FigureI.

3.

Repeatforthebackgroundarealayer,aswedidforFigureJ.

FigureJ.

Greatgradients

Gradientsareagreatwaytocontrolthevisualfocusinyourphotos.UsingPhotoshop'sGradienttool,selectionborders,andlayers,gradientsarequicktomake,easytoapply,andnicelycontrollable,whichgivesyouapowerfulwaytostrengthenotherwiseless-than-idealimages.

CombineimageswiththeExtractcommand

Ibetthissoundsfamiliar:You'reoutshootingasubjectthatneverstandsstill,suchasyourkidsoryourpets.Whenyouframeforthekids,thebackgroundisn'tright;whenyouframeforthebackground,thekidsare,well,neverentirelyintheforeground.So,doyouwaituntilyourkidsorpetsmovetojusttherightspot?Probablynot.Ifyou'reusingadigitalcamera,theinclinationistotakethephoto,hopeforthebest,andmoveon.Butifyoureallywanttheperfectphoto,whatdoyoudo?Theanswerissimpleandeasy.Takeaphotographofthekids(orthedogorthecat),andoneofthebackground,andthencombinethetwo,aswedidinFigureA,withPhotoshop'sExtractcommand.

FigureA.

Preparingyourimages

Beforewebegin,selecttwophotosthatwillworkwelltogether.Forourexample,we'llcombineaphotoofacat,asshowninFigureB1,withabackgroundphotooftrees,asshowninFigureB2.LaunchPhotoshopandopenthetwoimagesyouplantoworkwith.

FigureB1.

FigureB2.

Wewanttoselectandcopythebackgroundimage(inourexample,theimageofthetree),andthenpasteitasanewlayerintotheimageofoursubject(inourexample,thecat).Todoso:

1. Press[Ctrl]A( AontheMac),then[Ctrl]C( ContheMac).

2. SelectWindow cat.jpg,andthenpress[Ctrl]V( VontheMac)topaste.

3. Namethenewlayer.WecalledourlayerTrees.

Now,wewanttomakeaduplicateofourforegroundlayer.

1.Renametheforegroundlayer,changingthenamefromBackgroundtosomethingmoredescriptivesuchasCat.

2.SelectDuplicateLayerfromtheLayerspalette'spop-upmenuandenteranewnamesuchasCat2intheAstextbox,andthenclickOK.

Next,wewanttoreorderourlayers.Inourexample,wewanttheCat2layerabovetheTreeslayer.Todoso:

Selectthebackgroundlayer(Treesinourexample)anddragitdownbetweentheduplicateforegroundlayer(Cat2inourexample)andtheforegroundlayer(Catinourexample),asshowninFigureC.Thiswaywe'llbeabletoseethetreesasabackgroundoncewe'veextractedthecatfromtheCat2layer.

1.

FigureC.

2. SelecttheCat2layerwhenyou'vefinished.

PuttingtheExtractcommandtouse

1.

SelectFilter ExtracttoopentheExtractdialogbox,asshowninFigureDonthenextpage.

FigureD.

[Viewfullsizeimage]

2.

Takeafewmomentstolookitoverandbecomefamiliarwiththetoolsandoptionsfoundthere.TheExtracttool'sToolboxisontheleftside;theoptiondropdownlistsareontherightside.Theoptionscontrolhowthetoolsperform.

Selectingyourtooloptions

1. SelecttheEdgeHighlightertool .

Settheoptionsforthetoolinthepanelsontherightsideofthedialogbox.We'llreviewavailableoptions,butwon'tsetallofthem:

BrushSize.TheBrushSizeslidersetsthebrushsizeoftheEdgeHighlighter,Eraser, Cleanup ,andEdgeTouchup .Forourexample,setthebrushsizeto65.

HighlightandFill.TheHighlightandFilldropdownlistssetthecolorsfortheEdgeHighlightertoolandFilltool .Thecolordoesn'taffectyourimage,butmerelyshowsthepartofyourimageyou'vechosentoextract.Fornow,usetheHighlightandFilldefaultcolorsofGreenandBlue,sincethey'llshowupwellagainsttheimageedgecolors.

SmartHighlighting.You'llusetheSmartHighlightingoptionwhenyou'rehighlightingawell-definededge.Theoptionhelpsyoutokeepthehighlightonthesubject'simageedgeandappliesahighlightthat'sjust

2.

wideenoughtocovertheedge,regardlessofthecurrentselectedbrushsize.SelecttheSmartHighlightingcheckbox.

Smooth.TheSmoothslidersetstheamountofedgesmoothingduringtheextractionprocess.Thehigherthevalue,thegreatertheedgedetailissmoothedorblurred.It'sbestatfirsttokeepitsetat0oraverylownumberuntilyouseetheeffecttheextractionprocesshasonyoursubjectimage.

Channel.TheChanneldropdownlistselectsachannelifyouchoosetobaseyourhighlightselectiononaparticularchannel.

ForceForeground.YoucanusetheForceForegroundoptionwiththeEyedroppertool toselectthecoloronwhichyourhighlightselectionwillbebased.

Show.TheShowdropdownlistisactiveonlyaftertheforegroundsubjecthasbeenextracted.Youcanuseittotoggleyourviewofeitheryouroriginalimageoryourextractedimage.

Display.TheDisplaydropdownlistchangesthebackgroundcoloragainstwhichyourextractedforegroundisviewed.WithNoneselected,thebackgroundisthedefaultcheckerboard(transparent).OtherselectionsincludeBlackMatte,GrayMatte,WhiteMatte,Other,andMask.Maskshowstheimageareathatisn'tselectedtobeextracted.

ShowHighlightandShowFill.TheShowHighlightandShowFilloptionsshowtheareasinyourextractedimagethatyouhighlightedandfilledwithyourEdgeHighlighterandFilltools.

Highlightingtheextractionedge

Oncewe'vesetthetool'soptions,wecanbegintheprocessofhighlightingtheextractionedge.Duringtheprocess,wecanchangetheoptionsatanytimetosuitourneeds.

SelecttheEdgeHighlightertoolandbegintohighlighttheedgeareaintheimagethatwillformtheboundarybetweenwhatisandisn'textracted,asshowninFigureE.

1.

FigureE.

2.

Completethehighlightingofyoursubject.Ifyoucometoanareathatcontainsintricateedgedetail,andyouneedtouseasmallerbrushsize,simplygototheToolOptionsBrushSizedropdownlist,changethesize,andresumehighlightingyourextractionedge.

Fillingintheextractionarea

1. SelecttheFilltool.

2.

Positionthepointerwithintheextractionarea,andclick.Theareainyourimagecoveredwiththehighlightandfillcolorwillbetheforegroundareaextractedfromyourimage,asshowninFigureF.

FigureF.

Alteringtheextraction

Aspreviouslymentioned,youcanchangeyoursettingsatanypointintheprocess.Ifyouwanttoincludemoreareainthehighlightextractionedge,youcandoso.

SelecttheEdgeHighlightertoolagainandmakethechanges.Whenyoudoso,theselectedfillcolordisappears.Thismeansthatonceyou'vefinishedmakingchangestotheextractionedge,youmustfillintheextractionareaagain.

Ifyourextractionedgecoverstoomuchofyourimage,youcaneraseasectionofitwiththeErasertool.Asbefore,whenmakingachange,thefillcolordisappears,andyoumustfillintheextractionareaagain.

Previewingtheprogress

Onceyou'veselectedtheentireedgeandfilledtheextractionarea,youcanpreviewourprogress.

ClickthePreviewbutton,andtheextractedsubjectappears,asshowninFigureG.

1.

FigureG.

2.

SelecttheZoomtool andenlargethesubjectareatoexamineitmoreclosely.Iftheextractedsubjectisn'twell-definedagainstthecheckeredbackground,changeitbychoosingadifferentbackgroundfromtheDisplaydropdownlist.

Ifthepreviewoftheextractedsubjectisn'texactlywhatyouwant,youcanusetheCleanuptoolandtheEdgeTouchuptooltotouchupyourwork.TheCleanuptoolremovesbackgroundtracesfromtheextractedsubjectandhasacumulativeeffect.YoucanalsousetheCleanuptooltofillgapsandholesintheextractedsubjectbyholdingdownthe[Alt]key([option]keyontheMac)whiledraggingtorestoretheimagetotheextractedsubject.TheEdgeTouchuptoolsharpenstheedgeoftheextractedsubjectandalsohasacumulativeeffect.

Extractingtheimage

Wheneverythingisasyouwantit,clickOK,andtheextractedimageofthecatnowappearsintheduplicatelayeroftheforegroundimage(Cat2inourexample)oftheLayerspalette.YoucanmodifyitasyounormallywouldusingtoolsintheToolbox.

Adjustingtheforegroundandbackgroundlayers

TheCat2layerisnowaregularlayer,soyoucanadjustandworkonit,justasyoucantheTreeslayer.Forexample,ifyouwanttorepositiontheTreelayerrelativetotheCat2layer,youcanfirstselecttheTreelayer,choosetheHandtool fromtheToolbox,clickonthetreeimage,andfinallydragitintoposition.

Asis,thebackgroundtreesareabittoobrightanddetractsomewhatfromthecat.Toadjustthebrightness:

1. Selectthebackgroundlayer(theTreelayerinourexample).

2. ChooseImage Adjustments Brightness/Contrast.

3.

MovetheBrightnessslidertotherighttoavalueofabout+45intheBrightness/Contrastdialogbox,theContrastslidertothelefttoavalueofabout25,andthenclickOK.Thecatnowstaresoutthewindowatamuchmorepleasingbackground,asshowninFigureA.

Note

Ifyourgoalistoremovethingsfromyourimages,seetheProblem:Solution"Removeanobjectfromaphoto,"attheendofthischapter.

Asyoulikeit

ByusingtheExtractcommand,youcaneasilyandquicklycombineaforegroundwithabackgroundandgetaresultjustasyouwantit.So,thenexttimeyouwanttheshotwiththeperfectbackgroundandcan'twaitarounduntilthekidsorthecatcooperate,takeaseparatephotoofeachandputthemtogetherwithPhotoshop.

Enhanceyourimageswithwell-placedlight

Whetheryou'reretouchinganunderexposedimageoryousimplywanttoaddabitoflighttoanimage,Photoshopistheperfecttool.Bymakingbroadlightingadjustmentstoanimage,andthenusingtheHistoryBrushtooltopaintinspecificareasoflight,youcanquicklyalterthewaytheimageappears.Thistechniqueisgreatforcreatingfauxfocalpointsinimages,aswellasfordetailedphotoretouching,asdemonstratedinFigureA.Let'stakeacloserlook.

FigureA1.

FigureA2.

Preptheimage

1. OpenanRGBimageinPhotoshopthatyouwanttoaddlightto.

2. ChooseImage Duplicatetomakeaduplicatetoworkon.

3. Namethefileintheresultingdialogbox,andthenclickOK.

4. Closetheoriginalimage.

Selectingthedarks

Next,we'llselectthedarkareaswithintheimage.YoucanusetheColorRangecommandtoselectthedarkareasoryoucanselectthemmanuallyusinganyofPhotoshop'sSelectiontools.Howyouchoosetomakeyourselectiondependsontheareasyouwanttolighten.

UsingtheColorRangecommand

Toselectalloftheshadowsordarkareaswithinyourimage:

1. ChooseSelect ColorRange.

2.

ChooseShadowsfromtheSelectdropdownlistintheresultingdialogbox,showninFigureB.

FigureB.

ClickOK.Upondoingso,Photoshopautomaticallyselectstheshadowsinyourimageforyou,asshowninFigureC.

3.

FigureC.

Manuallymakingtheselection

Now,ifyouwanttoaddastreamoflightorilluminatedesignatedareasofyourimagethatdon'tconsistofshadowareas,youcandosobymakingyourownselection.Aquickandeasywaytodosoistoselecttheentiredocumentandlightenitall.ThisgivesyouthemostflexibilitylaterwhenyoupaintinthelightusingtheHistoryBrushtool.

Addinglight

Onceyoumakeyourselection,it'stimetoaddsomelight.So,withyourselectionactive:

1. ChooseEdit Fill.

2.

Choose50%GrayfromtheUsedropdownlistintheresultingFilldialogbox,showninFigureD.

FigureD.

3. SelectColorDodgefromtheModedropdownlist.

LeavetheOpacitytextboxat100andclickOK.Upondoingso,Photoshoplightensandbrightenstheselectedareasofyourimage,asshowninFigureE.

FigureE.

4.

Note

Ifyouwanttolightentheselectionevenmore,applyanadditionalfilltoyourselectionusingthesamesettings.Ifyouwanttolessentheeffect,chooseEditFadeFillandthenlowertheOpacityintheresultingFadeFilldialogbox.

WorkingintheHistorypalette

1. Deselectyourimagebypressing[Ctrl]D( DontheMac).

2.

ClicktheCreateNewSnapshotbutton atthebaseoftheHistorypalette.Thistakesaphotoofyourimage,whichPhotoshopthenstoresintheHistorypalette.

SelecttheoriginalimagethumbnailintheHistorypalette,andthensetthe

3.

sourceoftheHistoryBrushtothenewsnapshotbyclickingontheemptyboxnexttotheSnapshot1thumbnail,asshowninFigureF.Finally,you'rereadytopaintinsomelight.

FigureF.

Paintinginhistory

Toaddlighttoyourimage:

1. SelecttheHistoryBrushtool fromtheToolbox.

2.ChooseasoftroundbrushtopaintwithfromtheBrushpop-upwindowonthetooloptionsbar.

3. SettheOpacityofthebrushto45%.

UsetheHistoryBrushtooltopaintovertheareasinyourimagethatyouwanttolighten,asshowninFigureG.

FigureG.

4.

Comingupwithbrightideas

UsingtheHistoryBrushtool,youcanaddlighttoyourimageswithoutworryingaboutwashingoutalready-litareas.Youcanalsocreatesomeamazingdramaticsceneswithsurreallightingeffects.Havefunandexperimenttoseehowyoucanshedsomelightonyourimages.

Problem:SolutionRemoveacompleximagefromitsbackground

Problem:Difficultyremovingahighlydetailedobjectfromanimage.

Solution:Paintinthedetails.

Whenremovingapersonfromtheoriginalbackground,hairusuallyposesthebiggestproblem.Thisissimplybecausehairisveryfineandflowsinalldirections.Iftheimagehasarelativelyneutralbackgroundtheprocessofremovalcanbesimplifiedgreatly,butifthebackgroundvaluesmatchthoseofthehair,you'reinforawildride.

Take,forexample,theimageshowninourProblemimage.Thewoman'shairgetslostinthebackground.It'sbasicallyimpossibletoextractthisimagewithoutlosingsomeoftheouterfringe,butyoucanremovethelarger,morepronouncedsectionsofhairandstillgetgreat-lookingresults.

Makingacustommask

Toremoveourpersonfromtheoriginalimage,we'llcreateacustommask.Tofollowalong,openanimageinPhotoshopthatyouwanttoworkwith.IftheoriginalimageisontheBackgroundlayerintheLayerspalette,double-clickonittomakeitaregularlayerandclickOKintheresultingNewLayerdialogbox.Nowyou'rereadytostarttheextractionprocess.

Usingcontrast

Todistinguishtheedgesofyourimagefromthebackground,selectthemainbackgroundcolorinyouroriginalimageandthennegateit.

1.SelecttheEyedroppertool fromtheToolboxandsampleanareaofyourbackground.Wesampledthebeigeareatotheleftofthewoman.

2.CreateanewlayerbyclickingtheCreateANewLayerbutton intheLayerspalette.

3. NamethelayerColorFill,andthenfilltheentirelayerwithyourcolor.

4.Changethelayer'sblendingmodefromNormaltoDifferenceintheLayerspalette.

Now,we'llboostthecontrastevenmoreusingaLevelsAdjustmentlayer.

1.

ClicktheCreateNewFillOrAdjustmentLayerbutton intheLayerspaletteandchooseLevelsfromitspop-upmenu.

2.

DragtherighttriangletowardtheleftintheresultingLevelsdialogboxuntilyoucaneasilydistinguishthehairinyourimagefromthebackground.Then,clickOK.

Paintingwithapurpose

1. MakeanewlayerintheLayerspaletteasyoudidpreviously.

2. NamethelayerOutline.

3.ChangetheSetForegroundColorswatchtowhiteintheToolbox,andselecttheBrushtool .

4.Useamediumbrushtopaintawaythecenterofyoursubject,gettingasclosetotheedgesofthehairaspossible.

5.Selectasmall,featheredbrushtouseforpaintingoverthehairstrandsyouwanttopreserve.3pixelsisusuallyagoodstartingpoint.

6.Startpainting.Keepinmindthatthemoredetailedworkyoudo,thebetterthefinalimagewilllook.

Maskingitout

1. SelectthewhiteimagewiththeMagicWandtool .

2.FeathertheselectionbychoosingSelect Featherandentering3intheFeatherRadiustextboxintheresultingdialogbox.

3. ChooseSelect Inverseandfillthenewselectionwithblack.

4. Deselecttheimage.

5. Press[Ctrl][Alt][~]( [option][~]ontheMac)toselecttheluminositymask.

SelectthelayercontainingyouroriginalimageintheLayerspalette.

6.

7. ClicktheAddLayerMaskbutton atthebaseofthepalette.

8.HideallofthelayersintheLayerspalettethatareaboveyouroriginallayer.Yourimageappearsonatransparentbackground.

9.

Placeyourimageonitsnewbackgroundbydraggingitanddroppingitontoanewdocument.Youmayfindthatyoustillhavetocleanupafewareasofthemask,butoverallitshouldbefine.OurfinalimageisshownintheSolutionimage.

Problem:SolutionRemoveanobjectfromaphoto

Problem:Unwantedobjectinanimage.

Solution:UsetheErase,Copy,andPastecommands.

Youneedaphotoofafrontporchforabrochureandyoufoundagreatone,exceptforoneproblem:Man'sbestfrienddecidedtoposeforthepictureaswell.Youcancry"Here,boy!"allyouwant,butthat'snotgoingtosolvethedilemma.Thephotowastakenlastsummerandcan'tbereshot.Whattodo?It'serase,copy,paste,andtonetotherescue.

Removinganobject

Beforewebeginremovinganything,weshouldcreateaduplicatelayertoworkonandzoominontheobjectwewishtoremove.Let'salsodisablethevisibilityoftheBackgroundlayerbyclickingontheIndicatesLayerVisibilityicon intheLayerspalettesowecanseewhatwe'veerasedintheBackgroundCopylayeraswego.Nowyou'rereadytostarterasing.

1.ChoosetheErasertool fromtheToolboxandsetyouroptionsonthetooloptionsbar.

2.ChooseSoftRound17PixelsfromtheBrushPresetPicker.SelectBrushfromtheModedropdownlisttogiveasofterasingedge.

3.

KeeptheOpacitysetat100%,andleavetheEraseToHistorybuttondeselectedbecausewearen'terasingtoasavedstateorsnapshotoftheimage.

4.

Movethemousepointertothecenteroftheobjectthatyouwishtoerase,andwhileholdingdownthemousebutton,begintoerase.It'sbesttostartinthecenteroftheobjectandmoveoutclosetotheedges.Zoominforanevencloserviewwhenyou'refinished.

5.ChooseSoftRound5PixelsfromtheBrushPresetPickersoyoucanerasethefinedetailsalongtheedgesoftheobject.

FillinginemptyimageareasusingCopyandPaste

First,let'sstudywhat'smissinganddecidehowwe'regoingtoreplaceit.Inourexample,imageareastotheleftandrightofthedoorlookcompatibleincolorandtextureaswellasareastotheleftandrightofthekickboard,thefiberdoormat,andtheslatetiles.

Selectingimageareastocopy

1.

Dragoutafewguidestohelpselectanareatocopyfromandpastetobymovingyourmousepointertofirstaverticalandthenahorizontalruler,clickingonit,andwhileholdingdownyourmousebutton,dragginghorizontalandverticalguidesintoposition.

2. ChooseView Snap.

3.

ChoosetheRectangularMarqueetool fromtheToolbox,positionyourmousepointerontheupper-leftcorneroftherectangle,dragitacrossanddowntothelower-rightcorner,andreleaseyourmousebutton.WiththeRectangularMarqueetoolstillselected,moveyourmousepointertothecenteroftherectangularselectionborder,clickontheborder,andwhileholdingdownyourmousebutton,dragthebordertotheleftoftheleftverticalguide.

Copyingandpastingimageareas

1.Press[Ctrl]C( ContheMac)tocopyandthen[Ctrl]V( VontheMac)topasteit.

2. NamethenewpastedlayerbyselectingLayer1intheLayerspalette.

3.

ChoosetheMovetool fromToolboxandmoveyourmousepointertothecenterofthepastedimage.Clickonitandwhileholdingdownyourmousebutton,dragtheimagetoinsidetheguides.

Adjustingthepastedimagetoitssurroundings

Tohelpevaluateandadjustthepastedimage,orpatch,asit'ssometimesknown(andcertainlyeasiertosay),let'smoveitdownalayersoit'sfillingtheerasedarearatherthancoveringit.

1.

SelectthepastedimagelayerintheLayerspalette,andwhileholdingdownthemousebutton,movethelayerdownonepositionbelowtheBackgroundCopylayer,thenrelease.

2.

Erasealittlemoreoftheedge,usingtheErasertool,intheBackgroundCopylayertosoftenthetransitionbetweenthedoorandthepatch,usingtheSoftRound21Pixelsbrush.

3.

Darkenthepatch,ifneeded,bychoosingImage AdjustmentsBrightness/Contrast.TheBrightness/Contrastdialogboxappears.MovetheBrightnessslidertotheleftuntilthepatchdisappearsintoitssurroundings.

4.

Selectivelydarkenanyareasasneeded,byusingtheBurntool.Todoso,choosetheBurntool fromtheToolbox,andonthetooloptionsbar,selecttheSoftRound45Pixelsbrush,settheRangeforHighlights,andanExposureof1%.Moveyourmousepointertotheareayouwishtoadjustandbeginburninggradually.Ifanareaisalittledark,graduallylightenitwiththeDodgetool.

Chapter7.Filters

UsingtheFilterGallery

WhenworkinginPhotoshop,youcaneasilyspendhoursexperimentingwiththenumerousfilterslistedundertheFiltermenu.However,attimesthesefilterscanprovetobeabitfrustrating,especiallywhenyouwanttoapplymorethanonefiltertoanimageorwhenyouwanttopreviewtheresults.That'swheretheFilterGallerycomesinhandy.Usingthisfeature,youcanpreviewallofyourfilteringworkandapplymorethanonefiltertoanimageatatime.Itdoesn'tgetanybetterthanthis!

ExposingtheFilterGallery

YoucanaccesstheFilterGallery,showninFigureA,inoneoftwoways.EitherchooseFilter FilterGallery,orchooseFilterandselectanyofthe47galleryeffectslistedinthemenu.OncetheFilterGallerydisplays,you'representedwithalargepreviewarea,alistofthefilterstochoosefrom,andtherespectivefilters'options.TheFilterGalleryalwaysshowsthefilterselectedatthetopofthedialogbox.Evenso,you'reworkingwithinthegallery.

FigureA.

[Viewfullsizeimage]

Previewingwithstyle

Ontheleftsideofthedialogbox,you'llseeanoversizedpreviewwindow.Youcanadjustthesizeofthepreviewimagebyclickingthe+andbuttonslocatedinthebottom-leftcornerofthedialogbox.Youcanalsoclickonthenumericpercentageofthepreviewandchoosefromanyofthesizeslistedintheresultingpop-upmenu,showninFigureB.

FigureB.

[Viewfullsizeimage]

Filtersurfing

Thecenterpanelinthedialogboxallowsyoutoselectanyofthe47galleryeffectsPhotoshophastooffer.Thefiltersarebrokendownintosixdifferentgroupswithinsixfolders.Theyareasfollows:Artistic,BrushStrokes,Distort,Sketch,Stylize,andTexture.Uponopeningafolder,you'llseethateacheffecthasanaccompanyingthumbnailimagenexttothename,asshowninFigureC.Thisissoyoucanseewhattheeffectisbeforeyouapplyit.

FigureC.

Ifyouwanttohidethelistoffilters,youcandosobyclickingtheupwardpointingarrowiconlocatedtotheleftoftheOKbutton.Thismakesyourpreviewareatwiceitscurrentsize.Then,todisplaythefiltersagain,clickonthedownwardpointingarrow.

Optionsetting

Therightsideofthedialogboxshouldlookprettysimilartowhatyou'reusedtowhenopeningafilterdialogboxinpreviousversions.Here,youcanadjustthesettingsoftheselectedfilter.It'sthesectionbelowthefilteroptionsthatmakesthisnewfeaturetrulynoteworthy.Let'stakeacloserlook.

Stackingfilters

WithintheFilterGallerydialogbox,younowhavetheoptionofapplyingmultiplefilterstoyourimage.Toseehowitworks:

1. OpenanyimageinPhotoshop.

2.ChooseImage Mode RGBColortomakesureit'ssettoRGBmodeasfiltersonlyworkonRGBimages.

3. ChooseFilter FilterGallery.

4. Setyourpreviewtothesizeyoudesire.

5.ClickonthearrowiconnexttotheArtisticfoldertodisplayalloftheArtisticgalleryeffects.

6. SelectthePaintDaubsfilter.Upondoingso,aneffectlayeriscreated.

7.

ClicktheNewEffectLayerbutton locatedonthebottom-rightoftheFilterGallerydialogboxtoaddanadditionaleffectlayerusingthesamegalleryeffect,asshowninFigureD.

FigureD.

8.

Makeanyadjustmentstothefiltersettingsthatyouwant.Photo-shopautomaticallyappliestheadditionalfiltereffecttoyourimage.Ifyouwanttohideanyoftheeffectlayers,justclickontheEyeicon nexttothatlayer.Then,tomakethelayervisibleagain,clickontheEyeicon'spreviouslocation.

Inadditiontoapplyingthesamefiltertoanimagenumeroustimes,youcanalsoapplydifferentfilterstoanimage.Todoso:

1. ClicktheNewEffectLayerbuttonagain.

2. Chooseadifferentfilterfromtheeffectsgallery.

3.

Repeatthisprocessasmanytimesasyouwant.Youcanevenclickanddragthefilterlayersaround,toseehowtheylookwhenstackedinadifferentorder.

4. ClickOKwhenyou'rehappywiththeresultstoapplythemtoyourimage.

Ifyouwanttoeditanyoftheappliedfilterslater:

1. ChooseFilter FilterGallery.

2. Gototheeffectlayersandmakeanynecessaryadjustments.

3.ClickOKtoexitthedialogboxagain.Youreffectlayerswillremaineditableuntilyouflattentheimage.

Afilteringfrenzy

Photoshop'sFilterGalleryisreallyalotoffuntouse.Takesometimeandexperimentwithallofthedifferentfiltersandtheircombinations.Also,takeadvantageofthatamazinglylargepreviewwindowtoexperimentwithdifferentfiltersandfiltercombinations.

Combiningfilterlayers

Youaren'taloneifyou'vetriedanartisticeffectsuchaswatercoloronlytogiveupbecauseitjustdidn'tproduceconvincingresults.Wehappentoknowfromexperiencethatasinglefiltereffectcanfallshortofourexpectations.Andaddingmoreeffectsontopofitjustopensthedoortochaos.Westartthrowingwhateverwecanthinkofatanimagehopingforthebest.It'safree-for-alland,whileexperimentingisgreat,it'salsosmarttoknowhowwegotthere,howtorepeatthecombinedeffect,andhowtochangejustthepartsthatbotherusandaccomplishallofthisinaneasy,organized,andspeedyfashion.

EntertheFilterGallerywitheffectlayers.Ifyouhaven'ttriedthisfeatureyet,you'remissingoutonanelegantworkprocessthatwillopenupnewwaysforyoutocreatecaptivatingillustrations.

Mixandmatchwithfilterlayers

Workingwithfilterlayersisn'tdifficult.Togetstarted:

1. Openthefileyouwishtoworkwith.

2.DuplicatetheBackgroundlayertopreservetheoriginalbydraggingitontotheCreateANewLayerbutton intheLayerspalette.

3. ChooseFilter FilterGallerytoaccesstheFilterGallery.

Note

Somefiltersrequirealotofprocessingpower,soifyoufindthatyou'rewaitingmorethanafewsecondstoseetheresultsofyourfilterinthepreviewpane,here'saworkaroundthatwillsavetimeandaggravation.MakeasmallselectiononarepresentativeportionoftheimagebeforeyouaccesstheFilterGallery.Now,asyouviewthefilterresults,Photoshopmodifiesasmallersectionand,consequently,doesitmorequickly.TakenoteofyoursettingsandthenclickCancel.Now,removetheselectionmarqueeandre-createyourfiltersandsettingstoapplytheeffecttotheentireimage.

MakeaCutoutfilterandapplyitonce

1. SelectCutoutintheArtisticfolderinthecenterlistoffilters.

2.SettheNumberOfLevelssliderto5,theEdgeSimplicitysliderto5,andtheEdgeFidelitysliderto3.

3.

MakesurethattheCutoutfilterislistedinthelayerssectionanditsEyeiconisturnedon.Thesevaluesgivetheappearanceofindividualpiecesofpaperpastedintoamontage.

4.

ClicktheNewEffectLayerbuttonatthebottomofthepalettetokeepthischoice.Photoshopcopiesthiseffectinthefilterlayerslist,makingitvisible,butkeepsthefirstlayerentrywhichisstillCutouthighlightedandvisible.So,untilyouturnofftheEyeicon,you'relookingatthefilterappliedtwice.

5.

ClickontheEyeicon(turningitoff)inthetopfilterentrytopreviewtheeffectofoneapplicationoftheCutoutfilter,asshowninFigureA.

FigureA.

[Viewfullsizeimage]

AddaTexturizerfilterontopofCutout

Atexturewouldworknicelyinourexampleimage.Toaddone:

1. ChoosetheTexturizerfilter(intheTexturefolder).

2.SelectatexturefromthefirstdropdownlistintheTexturepanelontherightside.WechosetheSandstonetexture.

3.SettheScalingsliderto110andtheReliefsliderto5.Thisisagoodplacetostart,butyourimagemayrequirecustomsettingstooptimizetheeffect.

4.

Clickonceonthearrowbuttonnexttothepanelthatdisplaysthethumbnailfiltersamplesifyou'rerunningoutofroomonyourmonitor,orifyousimplywanttopreviewalargerportionoftheimagethat'sbeingfiltered.Althoughthesamplesdisappear,youcanstillaccessthefiltersinthedropdownlistintherightpanel,asshowninFigureB.NoticetheTexturizereffectabovetheCutouteffect.

FigureB.

[Viewfullsizeimage]

5. ClicktheNewEffectLayerbuttononcetoaddthisfiltertothegroup.

6. ClickontheEyeiconinthetopentryofthelayerlisttohideit.

CreateaDiffuseGlowfilterforvariety

Let'sexperimentwithonemorefilter.Thistime,dothis:

1. SelectDiffuseGlowfromtheDistortfolder.

2.SettheGraininesssliderto3,theGlowAmountsliderto6,andtheClearAmountsliderto16.

3.

ClickontheEyeicontomakeitvisible.TheresultsforourexampleareshowninFigureC1.

FigureC1.

Note

ThebackgroundcolorintheToolboxaffectsthecoloroftheDiffuseGlowfilter.ChecktobesurethatthecolorswatchesintheToolboxaresettotheirdefaults:blackastheforegroundcolorandwhiteasthebackgroundcolor,unlessyouwantthediffuseglowtotakeonaparticularcolorcast,asshowninFigureC2.

FigureC2.

Trybeforeyoucommit

Let'sassumethatthethreefilterstogetheraremorethanthisimageneeds.

1.

TurnofftheEyeiconnexttoCutoutinthelayerslisttoseetheeffectofjusttwofilters:DiffuseGlowandTexturizer.You'llseeasubtletextureeffectthroughthetopmostDiffuseGlowfilter.However,inourexampleimage,italmostdisappearswheretheglowisstrongest,namelyinthecenterportionsofthesnowclumps.

2.DragtheTexturizerlayeraboveDiffuseGlowandnoticethatthetexturebecomesmorepronouncedandmoreevenlydistributed.

Thisistheadvantageoffilterlayers.Beforeyoucommit,youcandothefollowing:

Seetheeffectofmorethanonefilteratonetime.

Experimentwithboththestackingorderandthecombinationoffilters.

Eliminatefiltersthatdon'twork.

Fine-tuneeachindividualfilteruntilitsuitsyourneeds.

Inourexample,wethinkDiffuseGlowaboveTexturizermakesacharmingphotoillustrationfornotecards.AndTexturizeraboveCutoutmakesanequallyinterestingrenditionofthiswintryscene,againfornotecardsorforthetitleimageforapresentationofphotographs,orevenaframedprintfromavacationvisittotheRockyMountainfoothills.

SaveyourFilterGallerysettings

CanyousaveFilterGallerysettings?Yesandno.Photoshopsavesyourlastcombinationoffilterswiththevaluesandstackingorderinplace.So,whenyouopenFilterGalleryinanothersession,yourprevioussettingsaretherewaitingforyou.Whichbringsupanimportantsuggestion:If,inyourexplorationoffiltercombinations,youfindaroutinethatyou'dliketokeepforfutureuse,youshouldmakeanactionofthefiltersandsettingsandsaveit.(Ofcourse,youcanalsotakenotesonthefiltersequenceandvaluesandrepeattheprocessmanually,ifyouprefer.)

FilterGalleryremembersthelastsettings

Asyou'reworkingwithfiltersintheFilterGallery,youcaneitherchoosetokeepallofthefiltersyou'veaddedtothelayerlist,trashtheonesyoudon'twant,orpressthe[Alt]key([option]keyontheMac),whichcausestheCancelbuttontochangetoReset.ClickResetandthelayerlistrevertstothestateitwasinwhenyoulaunchedPhotoshop.

InWindows,pressingthe[Ctrl]keychangestheCancelbuttontoDefault,which,whenyouclickit,returnsthelayerlisttoitsdefaultconditionwherenofilterfoldersarelistedinthelayerslist.OntheMac,Photoshopapparentlyalwaysretainsonefilterfolderinitslayerlist,whichyoucan'tdiscard.Todeactivateit,simplyclickonitsEyeicontoturnitoff.

Note

Youcanadjustyourfilteringwithanadditionalfunction:theFadeFilterundertheEditmenu.Assoonasyoucommittoafiltereffector,inourexample,acombinationofeffectsfromtheFilterGallery,youcanmodifythedegreeofeffectand/orapplyanyoneof23blendingmodesbychoosingEdit FadeFilterGallery.

Filterlayersplusone

Beforewefinishup,let'stryonemoremodificationroutinewithwhichyoucanexperimenttoyourheart'scontent.We'llusetheFilterGallerylayersplusanextralayerthatwecan'taccessintheFilterGallerydialogbox.

1.

Openthefileyouwishtoworkwith.WechosetheimageshowninFigureD1forourexample.

FigureD1.

2.PreserveyouroriginalbycopyingtheBackgroundimage.DragtheBackgroundlayerontotheCreateANewLayerbuttonatthebottomoftheLayerspalette.

3.OpentheFilterGallerywiththeBackgroundCopylayeractive,andchoosetheWatercolorfilterfromtheArtisticfolder.

4.SettheBrushDetailsliderto3,theShadowIntensitysliderto0,andtheTexturesliderto1.Thisgivesyourimageapainterlylook.

5. ClicktheNewEffectLayerbuttonatthebottomofthepalettetosetthatfilter.

Next,we'lladdacanvastexturetosimulatethestretchedcloththatpaintersoftenusefortheirwork.

1.

ChooseTexturizerfromthedropdownlistoffiltersatthetopoftherightpanel.

2.SettheTexturedropdownlisttoCanvas,theScalingsliderto143,andtheReliefsliderto12.

3.

Observetheresults,asshowninFigureD2.IfyoufliptheorderofthefiltersbyplacingTexturizerbelowWatercolor,theTexturizerfiltertakesovertheimage,sowe'llkeepTexturizeraboveWatercolor.

FigureD2.

4. ClicktheNewEffectLayerbuttontosettheTexturizereffect.

5.

ClickofftheEyeiconofoneoftheTexturizerentriesordeleteitbydraggingoneTexturizerlayertotheDeleteEffectLayerbutton atthebottomofthepalette.

6. ClickOKintheFilterGallerydialogbox.

Adjustlevelstocompensateforfiltereffects

Usingthefilters,particularlyTexturizer,hasdarkenedourimage,sowe'llcompensatebyadjustingtheLevels.

1.

ChooseImage Adjustments Levels,andmovethemidtoneandhighlightsliderssotheirvaluesare215and0.90,respectively.Theblackpointshouldremainat0.

2. ClickOK.

Finally,wecanenhancethepainterlyqualityofthisimagebysuggestingpaintthickness:aqualityofoilpaintingwherethethicknessofthepaintstrokescreateshighlightsandshadowsonthecanvassurface.Sincewecan'teasilyaccomplishthisintheFilterGallery,we'llmakeaseparatelayerintheLayerspalette.

Addaseparatelayerformorerealism

1.DragtheBackgroundlayerintheLayerspaletteontotheCreateANewLayerbutton.

2.Press[Ctrl][RightBracket] [rightbracket]ontheMac)withthatlayeractivetomovethenewlayertothetopofthelayerstack.

3.

Press[Ctrl][Shift]U [shift]UontheMac)toremoveallcolorfromthislayer.Alternatively,youcanchooseImage Adjustments Desaturate.ChooseFilterStylize Emboss.

4.SettheAngletextboxto135,theHeighttextboxto5,andtheAmounttextboxto500.

5. ClickOK.

6.

ChangetheblendingmodeforthislayertoOverlayandtheFillvalueto65%intheLayerspalette.Thisfinalfiltergivestheillusionofbrushstrokesinadditiontothetextureofthecanvasandthesimplifiedrenderingofthefeathersandbeak,asshowninFigureE.

FigureE.

Usefilterlayersforcreativefreedom

Photoshop'sFilterGalleryfeatureoffersamethodofcontrolthatmeanseasierexperimentationandfasterresults.PriortoPhotoshopCS,youwereforcedtouselabor-intensiveandtime-consumingmethodsofcombiningfiltereffects.But,asyoucanseefromoursimpleexamples,bothtrialsandresultscomemuchmoreeasilyandinafractionofthetime.Thenexttimeyou'relookingforthatone-of-a-kindartistictreatmentforyourimage,rememberhowthelayersfeatureintheFilterGallerycangiveyouthecreativeadvantageyouwant.

Filteryourportraits

It'ssotemptingtousefiltereffectsinPhotoshoptoachieveunusual,eyecatchingtreatments.Afterall,Photoshopofferssomanypowerfulandsophisticatedspecialeffects,it'shardnottoresorttotheeaseofsimplyapplyingafilter.However,inportraiture,genericallyapplyingfilterscanoftenruinourbestintentions.It'smoresuitabletoapplysubtleandmoderateenhancementstoanimageofaperson,asshowninFigureA.We'llshowyouhowtomakethesedelicatechanges.

FigureA1.

FigureA2.

Adjusttheimagefortonalquality

1. OpenthefileyouwishtoworkwithinPhotoshop.

2.DuplicatetheBackgroundlayerbydraggingitontotheCreateANewLayerbutton intheLayerspalette.

3.ClickontheEyeicon tomaketheBackgroundlayerinvisible(sincewewon'tbeusingit).

4. SelectImage Adjustments LevelswiththeBackgroundCopylayeractive.

5.Movethewhitepointsliderto235.Asyoumakethisadjustment,noticethatthegraypointslideralsomovestoopenthemidtonesoftheimage.

6. ClickOK.

7.

ChangethenameofthislayertoOptimizedbydouble-clickingonthenameintheLayerspaletteandtypingthenewname.Thisoptimizedversionoftheportraitistheonewe'llduplicateforthetwofilterlayers:SoftenandSharpen.

Sharpenareasthataretoosoft

1.ClickontheOptimizedlayerintheLayerspaletteanddragitontotheCreateANewLayerbuttontoduplicateit.Dothisonemoretime.

2. NamethetwonewlayersSoftenandSharpen.

3.ArrangethelayersintheLayerspalettesoSoftenisatthetop,followedbySharpen,andthenOptimized.

We'reduplicatinglayersandmodifyingthemratherthanusingmasks,neutralfilllayers,oreventheFadefilterfortworeasons.First,wewantyoutoseewhichpartsoftheimage,andtowhatdegree,we'lleliminatewiththeErasertool,andthat'smosteasilyseenontheimageitself.Second,it'salittleeasierforustobothcontrolandvisualizetheeffectofourtechniquebywatchingtheactualimage.

1. MaketheSoftenlayerinvisiblebyclickingonitsEyeicon.

2.ClickontheSharpenlayertomakeitactiveandselectFilter SharpenUnsharpMask.

3.

SetthevaluesintheresultingUnsharpMaskdialogboxtothefollowing:Amount=85,Radius=5,andThreshold=0.

Note

TheUnsharpMaskfilter'sAmountvaluerelatestothecontrastofpixels;85%isrelativelyconservativebutnoticeable.TheRadiuscontrolmeasuresthepixelsaroundtheedgepixelsandcontrolstheappearanceofsharpeningaccordingly.Avalueof5sharpensawiderbandofpixels,butislessnoticeableinahigh-resolutionprint.AlowervaluefortheThresholdslidersharpensallpixels,whileahighervaluedecreasestheappearanceofsharpening.Wechoseavalueof0tosharpeneverythingbecausewe'llbeselectivelaterinourremovalofcertainpartsoftheimage.

4.

TogglethePreviewcheckboxonandofftoseethesharpeningeffect.Wewanttoenhancethesharpnessofourmodel'seyesandeyelashes,thehighlightedsectionsofherhair,especiallyattheforeheadandbothsidesofherface,aswellasthehighlightonherlowerlip.ClickOKtoclosetheUnsharpMaskdialogbox.

5.SelecttheErasmtheToolbox. ChooseBrushfromtheModedropdownlistonthetooloptionsbar,andsettheOpacityto85%.

6.SettheMasterDiametersliderto77pxandtheHardnesssliderto0%intheBrushdropdownlist.

7.UsethebrushontheSharpenlayertoeliminateeverythingexceptthefeaturesyouwishtoenhance.

ClickontheEyeiconoftheOptimizedlayertoseewhichpartoftheSharpenlayerremains.OurexampleimageisshownatthisstageinFigureB.

FigureB.

8.

9.

ClickontheEyeiconoftheOptimizedlayeragainsoit'svisible,andclickontheEyeiconoftheSharpenlayertotoggletheeffectonandoff.Ifitstilllooksnatural,it'ssubtleandcorrect.Ifit'stoomuch,itappearsunnatural.UsetheOpacitysliderintheLayerspaletteontheSharpenlayertominimizetheeffect.

Softenareasthatshowtoomuchdetail

Thesecondstepinthisportraitenhancementinvolvessoftening.Theonlyareasthatwillbenefitfromsofteningarethemodel'sfacialtextureandneck.Forthisadjustment:

1. MaketheSharpenlayerinvisibleandtheSoftenandOptimizedlayersvisible.

2.ClickontheSoftenlayertomakeitactiveandchooseFilter Blur GaussianBlur.

3. SettheRadiusto2pixelsandclickOK.

Theobjectivenow,ofcourse,istoremoveeverythingwedon'twantblurred;inourexample,thisincludeseverythingexceptthemodel'sfacefromhereyesdowntoherneck.

SettheErasertoolsoyoucanquicklyremovetheportionsofthislayeryoudon'twant.TheresultshouldlooksomethinglikethatshowninFigureC.Again,youcanmaketheOptimizedlayervisibleandhideandshowtheSoftenlayertoseetheeffectoftheBlurfilter.Withtheblurlayeron,thetextureandblemishesonthefacearesoftenedandlessvisible.

1.

FigureC.

2.

MakeallthreelayersvisibleandexaminetheeffectbyclickinganddraggingthemousepointerovertheEyeiconsintheLayerspalettetoseetheportraitwithandwithoutthefiltereffects.

Note

Formoreonworkingwithportraits,seetheProblem:Solution"Modifyfacialfeatures"attheendofthischapter.

Improveaportraitwithsubtleenhancements

Filteringinmoderateamountsaddsvisualappealtoaportraitineffective,yetunderstated,ways.Particularlywhenaprintsuchasourexampleishighresolutionatasizeof8by10inchesormore,thefinalresultiswellworththecarefulandthoughtfulapplicationofPhotoshopfilters.

Addtexturewithsimulatedfilmgrain

It'sironichowthemomentdigitalcameratechnologyovercomesaphotographicproblem,photographersstarttryingtofindawaytore-createtheeffectusingimage-editingsoftware.Oneofthebenefitsofusinganimagesensorinsteadoffilmisthattheimageismadeupofpixels,nottinygrainsofsilverhalideinthephotographicemulsion,sotheresultingimagesaresmoothandfreeofgraininess.Butthegrainyeffectisatreasuredelementofphotography,asprovenbycountlessgrittyblackandwhitephotoscharacterizedbyarawandhonestpointofview.So,eventhoughyourdigitalimagesmaybesilkysmooth,wecanshowyouhowtoapplythiscreativeeffectandaddtotheatmosphereanddepthofyourphotography,aswedidinFigureA.

FigureA1.

FigureA2.

Thephotographicnatureofgrain

Whenaphotographershootingwithfilmwantstogeta"grainy"image,sheusesfastISOsettings(ISO800andabove)orupratesherfilmwhenshooting.UpratinginvolvesshootingatahigherISOspeedthanthefilmisdesignedfor,whichinitiallyunderexposesthefilm,andthenpushes(overexposes)thenegativesduringtheprintingprocess.Theeffectisincreasedgrainsizeandcontrast,similartotheeffecthigherISOsettingshaveondigitalcameras.Insteadoffilmgrain,thepixelsbecomemoreevidentintheformofnoise.Justasdigitalnoisedegradesyourimagequality,graincanoverwhelmanimage(ifnotapproachedthoughtfully)whetheryou'readdingitphotographicallyordigitally.

Note

Ofcourse,thereareotherwaystoproducegrainphotographically,whetherthatbethroughenlargementsorbyusingdilutedprintdeveloper,butusingfastISOsandupratingofferthebestparallelstothedigitalimagingprocess.

AddinggrainwithPhotoshop

Wecan'ttellyouwhyPhotoshophasthreedifferentgrainfilters,butwewilltellyouhoweachoneworksandhowyoucancontrolthemtogetthegrainyimagesyouwant.We'vechosentousegrayscaleimagesforourexample,butfilmgrainworksjustaswellwithfullcolorimages.MakesureyourimageisinRGBorGrayscalemode,asthefilterswe'llbeusingdon'tworkinCMYKorLabmode.

TheFilmGrainfilter

It'sfunnythattheonefilterthatshoulddoexactlywhatwewantittoisourleastfavoriteoption.Originallydesignedtohelpalleviatetheeffectsofbandingfromafilmscanner,theFilmGrainfilteraddsanevenamountofnoisetotheshadowsandmidtonesofanimagewhileapplyingamoreobviouspatterntothehighlights.Tousethisfilter:

1. OpentheimageyouwanttomodifyinPhotoshop.

2.

Next,selectFilter Artistic FilmGraintoopentheFilmGraindialogboxshowninFigureB.HereyoucancontrolthesizeofyourGrain,thesensitivityoftheHighlightArea,andtheoverallIntensityoftheeffect.TheGrainsizerangesfrom0to20,butanythingover5tendstolookverypixelated.YoushouldalsokeeptheIntensitysettinglow,buttheHighlightsettingcangoeitherwaydependingonthetonalrangeofyourimage.ToachievethegraineffectshowninthecloseupinFigureConthenextpage,wesettheGrainto3,theHighlightto4,andtheIntensitytoamodestsettingof1.

FigureB.

FigureC.

3.Saveyourimageasanewfile.Then,youcanreopentheoriginalfileandapplytheotherfiltersusingthesameimageeachtime.

TheFilmGrainfiltercanaddadecentandveryuniformgrainacrossyourimage.However,it'sdifficulttocontrolandthelackofalivepreviewmakesitevenhardertofine-tuneyourgraineffect.Ifyouwereapplyingthisfiltertoagroupofimagesasabatchprocess,wecouldfindsomeuseforit,butoveralltheothertwooptionsgiveyoumorecontrolwithabetterresult.

TheTextureGrainfilter

TheTextureGrainfilterofferslotsofchoicesforaddingdifferentstylesofgraintoyourimage.Toaccessit:

SelectFilter Texture GrainandtheGraindialogboxopens,asshowninFigureD.

FigureD.

1.

2.

ClickontheGrainTypedropdownmenutoviewyouroptions,whichareRegular,Soft,Sprinkles,Clumped,Contrasty,Enlarged,Stippled,Horizontal,Vertical,andSpeckle.Inouropinion,mostoftheseoptionsfallunderthespecialeffectscategoryratherthanasimplegraineffect,butyoucangetanicegrainpatternusingtheRegularGrainType.

Inthisfilter,theIntensityoptioncontrolsthestrengthoftheeffectandthesizeoftheGrain,solowernumbersproduceamorepleasing,subtleeffect.TheContrastoptionadjuststhetonalrangeofyourimageonascaleof0to100,withlowernumbersdecreasingthecontrastandhighernumberscreatingmorepronouncedeffects.IfyousettheContrastto50,there'snochangeintheimage.TheeffectshowninFigureEwascreated.usingtheRegularFilmTypewithanIntensityvalueof20andaContrastvalueof55

FigureE.

Again,thedialogboxlackedthelivepreviewthatmakesadjustmentssomucheasier,butthewiderangeofoptionsmakestheGrainfilteralotoffuntoplaywith.Ifyou'relookingforagrittylookwithlotsofcontrast,thisfilterisyourbestchoice.

TheAddNoisefilter

Withcameramakersbendingoverbackwardtoremovenoisewhenanimageiscaptured,itmayseemironictousetheAddNoisefiltertosubverttheirefforts.However,theAddNoisefilterisourchoiceforthebestoptionforaddinggraintoanimage.Itincludesalivepreviewnecessaryforcarefuladjustments,precisecontrolsdowntothehundredthofapercent,andtheabilitytosetthedistributionofthenoisepatterns.Whiletheothertwoeffectsaddnoisetoyourimage,theycan'tmimictheindiscriminatenatureofrealfilmgrain.However,theAddNoisefiltercan.

TousetheNoisefilter,selectFilter Noise AddNoiseandtheAddNoisedialogboxopens,asshowninFigureF.TheAmountsliderissimplytheintensityoftheeffect,buttheinterestingchoiceiswhethertoselectUniformorGaussianDistribution.Uniformproducesresultsinacompletelyrandommannerandisbestusedforfullcolorimages.Forgrayscaleimageslikeoursample,Gaussianisamuchbetterchoiceasitusesaspecialcurvetoproduceawiderrangeoflightanddarkpixels.

FigureF.

TheMonochromaticoptiondistributesnoiseevenlyacrossyourchannels,whichcanbeusefulincolorimages,butnotforgrayscale.

ToachievetheeffectshowninFigureG,weselectedanAmountvalueof10.72%withGaussianDistribution.Theresultisanimagethatactuallylookslikeitwasshotwithhigh-speedfilm,notwithadigitalcamera.

FigureG.

Note

Onceyouapplyanyofthegrainfilterswe'vementioned,consideraddingaslightGaussianBlur(Filter Blur GaussianBlur)tosmoothoutanyharshedgesproducedandmaketheeffectseemmorenatural.

Gowiththegrain

Addinggraintoyourdigitalimagesisagreatwaytoaddatmosphereandtexturetoyourphotography.WepreferusingtheAddNoisefilter,butexperimentwithyourownimagesandseewhichoneworksbestforyou.Inanycase,it'snicetohavechoicesandPhotoshopcertainlydelivers.

Problem:SolutionCorrectcolorcasts

Problem:Unwantedcolorcastsinanimage.

Solution:UsethePhotoFiltercommand.

ThephotoFiltercommandisdesignedtocorrectcommoncolorbalanceproblemsyouquicklyaswellashelpyoueasilyaddawarningorcoolingeffecttoyourimages.Onceyoulearnhowtouseit,you'llfindittobeaperfectwaytocontrolcolorcasts,whetheryouwanttoaddthemorgetridofthem.

Asimplifieddialogboxmakesiteasy

1. OpenanRGBorCMYKimage.

2.

CreateaPhotoFilteradjustmentlayerbyclickingtheCreateNewFillOrAdjustmentLayerbutton ontheLayerspaletteandselectingPhotoFilterfromthedropdownlist.ThePhotoFilterdialogboxappears.

Addingacolorfilter

1.

SelectapresethueadjustmentfromtheFilterdropdownlistorselecttheColoroptionbuttontoapplyacustomcolorfilter.ClickingonthecolorswatchtotherightoftheColoroptionbuttondisplaysthestandardColorPickerdialogbox,whereyoucanchooseacolorbyclickingonthepickerorenteringthedesiredvaluesforthecolorspaceofyourchoice.Whetheryouchooseapresetordefineyourowncolor,theDensitysliderdeterminestheamountofcoloryouapplytotheimage.

2.MakesurethePreviewcheckboxisselectedasyouexperimentwiththeslidersoyoucanseeyourchangesonthefly.

3.

SelectthePreserveLuminositycheckbox.Luminositymaintainsthetonalbalanceofanimage,whichmeansthehighlights,shadows,andmidtonesmaintaintheirrelativevaluestooneanother.Thealternative(withPreserveLuminositydeselected)istoapplyaflatcoloroveralland,intheprocess,losetherangeoftoneorcontrastthatalreadyexistsintheimage.Unlessyou'repurposelyattemptingaflateffect,it'spreferabletomaintainluminosityinanimage.

Easilyfixthemostcommoncolorproblems

ThePhotoFiltercommandisdesignedtocorrectcommoncolorbalanceproblemsquicklyaswellashelpyoueasilyaddawarmingorcoolingeffecttoyourimages.Onceyoulearnhowtouseit,you'llfindittobeaperfectwaytocontrolcolorcasts,whetheryouwanttoaddthemorgetridofthem.ThefirstfouroptionsintheFilterdropdownlistarethewarmingandcoolingfilters,whicharedesignedtocompensateorre-createcolortintscausedbyambientlightingconditions.Thewarmingfiltersshiftthecolorsofanimagetowardyellowtocompensateforanabundanceofblue,asshowninourProblemimage.Coolingfiltersshifteverycolorinanimagetowardblue.TheWarmingFilter(85)andCoolingFilter(80)seemtoapplytheiradjustmentstothewhitebalance,whileWarmingFilter(81)andCoolingFilter(82)makeminoradjustmentstotheoverallcolorqualityofanimage.Forexample,youmayfindthatusingCoolingFilter(80)doesn'thaveanadequateeffectontheshadowsormidtones.Inthatcase,thecolorqualityfilters(81or82)mightbethebetterchoice.Asalways,experimentwithvariousfilteranddensitycombinationstofindtheidealsettingsforyourimage.

Bettercolorinlesstime

ThePhotoFilterprovidesaneasytoolforworkingwithcolorbalance.Ingeneral,youcanenhancecolorcastsinanimagebychoosingasimilarcolorfilteroryoucanlessenacolorcastbychoosingafilterofacomplementarycolor.Itwon'treplaceyourregularsuiteofcolor-correctiontools,butit'sgreatforquickcolorshiftsandspecialeffects.

Problem:SolutionModifyfacialfeatures

Problem:Subject'sfacialfeaturesarelessthanperfect.

Solution:UsetheLiquifyfilter.

Portraitretouchingiswithoutadoubtanartforminitself.Justglancingthroughamagazine,youhavetowonderwhethertherereallyarethatmanyperfectpeoplewhoalwaysphotographwithoutflaws.Theperfectsmile,botheyesequallyopen,smoothskinit'sratherintimidatingtotheaveragepersonwhoonoccasionmightsay,"Nowthat'sagreatpictureofme!"Ofcourse,withthehelpofPhotoshop,youcouldpotentiallymakeeveryportraittakenofyouorthatyou'vetakenofsomeoneelselooklikepagesinamagazine.

UsingtheLiquifyfilter,youcanadjustfacialfeaturesforamazingresults.Youcanadjustthesizeofsomeone'snoseorlips,openorenlargehereyes,thinouthercheeks,orliterallyturnherfrownupsidedown.And,ifyou'refeelingabitpunchy,youcanevenmakesomeonelookabitalien-like.Eitherway,thisfilteroffersalotofrazzle-dazzletoPhotoshopusers,solet'stapintoit.

Partbypart

1. Openaportraittoworkwith.

2. MakeacopyofthefiletoworkonbychoosingImage Duplicate.

3.NamethenewfileandclickOK.Nowwe'rereadytoperformourdigitalface-lift.

Adjustingtheeyes

We'llbeginbymakingadjustmentstoourmodel'srighteye.Asyoucanseeintheoriginalimage,showninourProblemimage,therighteyeisabitsmallerthanthelefteye,whichdetractsfromtheoverallimage.

1. OpentheLiquifydialogboxbychoosingFilter Liquify.

2.SelecttheZoomtool fromthetofilter'sToolboxandzoominonthemodel'seyes.

3. SelecttheBloattool .

4.theBrushSizesettingsoitencompassestheentireeye.Leavetheremainingsettingsattheirdefaults.

5.Clickdirectlyontheeye.Continuetoclickuntiltherighteyeisthesamesizeasthelefteye.Don'tdragthepointer;itwillwarptheimagetoomuch.

Reducingthenose

Next,let'sreducethemodel'snoseabitusingthepuckertool .

1.SelectthePuckertoolfromthefilter'sToolboxandsetthebrushsizesoit'sapproximatelythesizeoftheendofthesubject'snose.

2. Clickthepointerondifferentareasofthenosetoreducethesize.

Makingthemouthmoredefined

Atthispoint,let'sadjustthemodel'ssmiletomakeitabitmorepronounced.Todothis,we'llhavetopushsomepixelsaround.

1. SelecttheForwardwarptool .

2.

UsingarelativelysmallbrushwithaBrushPressureof25,graduallypushthepixelsintoplace.Ifyoudon'tliketheresultsastrokecreated,justselecttheReconstructtool andpaintovertheareayouwanttoundo.Then,tryagainwiththeForwardWarptool.

Leavingalastingimpression

OnceyoustartexperimentingwiththeLiquifyfilter,youmayfindthatit'sprettyaddictive.Byreducing,enlarging,andmovingpixelsaround,youcancreateawidevarietyofdifferentfacialexpressions.Ifyourimageisn'tperfect,youcanquicklymakeitasflawlessasamagazinecover.

Chapter8.Masks

UseQuickMaskmodetomakeaselection

Therearemanyreasonswhyyoumaywanttoselectanareainanimage,andPhotoshopprovidesacoupleofselectiontoolsthatenableyoutodoso.Whichselectiontoolyouusedependsontheimage,itscomplexity,andwhatyouintendtodotoit.Alltheselectiontoolsenableyoutomakefairlyaccurateselections,buttomaketheprocessofselectingaspecificareaeasierandtheactualselectionmorerefined,you'llalsoneedtouseQuickMaskmodetoensurethebestpossibleresults.

Theselectionprocess

ThereareseveralexamplesofwhenQuickMaskmodecanbeuseful,suchaswhenaselectionneedstobeextremelyaccurateandwhenwewanttoapplyafiltertoaspecificareawhilepreservingtherestoftheimage.ExplaininghowQuickMaskmodeworksiseasierdonethansaid,sowe'llskiptheintroductionandgetrighttowork.Inthisarticle,we'lluseQuickMaskmodetomakearefinedselectionaroundthechildreninouroriginalimage,shownontheleftinFigureA,sothatwedon'tgiveeitherchildahaircutwhenweremovethebackgroundaroundthem,asshownintheimageontherightinFigureA.

FigureA.

Step1:Choosinganimage

Weneedtoselectanimageonwhichtoperformourtechnique.Rememberthatthisisjustpractice,sochooseanimagethathassomevaryingshapesandabitofcomplexity(likethecurlsinthegirl'shairinourimage).

Tip

Don'tforgetthatthefirstrealstepinanyprojectistomakeaduplicateoftheimage(Image Duplicate),soyouaren'tworkingontheoriginal.ThankstotheHistorypaletteinPhotoshop,thereisn'tmuchchanceofnotbeingabletoundoamistake,butit'sbettertobesafethansorry.

Step2:Makingyourselection

Weneedtochooseaselectiontoolthatwe'llusetomakeapreliminaryselectionaroundtheareaintheimagewewanttoeitheralterorpreserve.Theselectiontoolyouchoosedependsontheareayouwanttoselectandyourpastexperiencewiththetoolstherearenowrongchoicesifyougetagoodselection.Ifit'salargeareathat'ssimilarlycoloredandgeometricallyshaped,theMarqueetoolsaregood.Iftheareaisanoddshapeandsimilarlycolored,theMagicWandtoolwilldothejobwell.Formoreintricateareasthataredissimilarincolor,theLassotoolwillworkbest.

WeselectedtheLassotool fromtheToolboxanddrewaselectionaroundthetwokidsinourimage.IfyouneedtoliftthemousewhiledrawingyourselectionwiththeLassotool,pressthe[Alt]key([option]keyontheMac)topreventtheselectionfromclosingprematurely.AsyoucanseeinFigureB,theselectiondoesn'tneedtobeperfectatthispoint.

FigureB.

Step3:Hidingbehindamask

AsshowninFigureConthenextpage,theEditInQuickMaskModebuttonresidesatthebottomsectionoftheToolbox.NexttoitsitstheEditInStandardModebutton,whichtakesyououtofQuickMaskmode.

FigureC.

1.

ClicktheEditInQuickMaskModebutton andyou'llseetheselectionyoumademoreclearly,asshowninFigureD.Bydefault,thesemitransparentredoverlayindicatesthemaskedareatheareaoutsidetheselectionthat'sprotected.Forthisexample,however,wewanttoprotecttheselectedarea.

FigureD.

2.

Double-clickontheEditInQuickMaskModebuttontoopentheQuickMaskOptionsdialogbox,asshowninFigureE.

FigureE.

3.

MakesurethattheSelectedAreasoptionbuttonisselectedsothatthemaskcolorindicatestheselectedarea.You'llfindthatselectingintricatedetails,suchashair,iseasierwhenthemaskisinversedthisway.Inthisdialogbox,youcanalsochangethecolorandopacityoftheoverlaytoofferbettercontrastbetweenitandtheimage.

4.ClickontheColorboxtoopentheColorPickerdialogbox;pickacolorandclickOK.YoucanadjusttheopacityoftheoverlaybyenteringavalueintheOpacitytextboxfrom0to100%.

5.

AdjustthesesettingsifyouwishandthenclickOK.Withthecolorindicatingtheselectedareas,thered(orwhatevercoloryoumayhavechangeditto)overlaynowindicatesandprotectstheselectedarea,asshowninFigureF.

FigureF.

6.Adjustthecolorandopacitydependingonthecomplexityandcolorofyourselection.

Step4:Editingamask

WhileinQuickMaskmode,youcanaddto,removefrom,andrefineamaskusingthevariouspaintingandeditingtools.Aswiththeselectiontools,whichtoolyouusedependsonyourimage,yourexperience,andtheintendedpurposeofyour

selection.

Torefineyourmask:

1.

ChoosetheBrushtool fromtheToolboxandthenchooseabrushsizefromtheBrushdropdownlistonthetooloptionsbar.Weliketousethistoolforthistechniquebecausewecanchoosealargebrushtopaintwide,openareasandasmallbrushforpaintinginthenooksandcrannies.TheBrushtoolalsoprovidesuswiththeoptionofhard-orsoft-edgebrushes.Wechoseasoft-edgebrushtomakeourselectionlessharsh.Wealsowanttobesurethemaskcompletelyprotectsourselectionfromanythingwemaydotothenon-protectedarea.

2.

CheckthetooloptionsbartomakesureyourbrushisinNormalmodeandtheOpacityvalueissetat100%.Nowwe'rereadytorefineourmaskinQuickMaskmode.Becauseouroverlayisinversed,wewanttosubtractfromthemask,ratherthanaddtoit.

3.

MakesurewhiteistheforemostcolorintheSetForegroundColoriconintheToolbox.(IfblackisintheSetForegroundColoricon,ourtoolwouldaddtothemask.)

4.Paintovertheareasoftheoverlayyouwanttoremovechangingbrushsizesasneededuntilonlythechildrenarecoveredintheredoverlay.

AsshowninFigureG,thecloseryouzoominwiththeZoomtool ,themorepreciseyourmaskwillbe,resultinginamorepreciseselection.Ifyouaccidentallypaintoveranareainyourmask,simplyclickontheSwitchForegroundAndBackgroundColorsiconintheToolboxtomakeblacktheforegroundcolor,paintoverthegoof,andthenswitchbacktowhiteastheforegroundcolor.

FigureG.

Onceyou'vefinishedrefiningyourmask,clicktheEditInStandardModebutton.Themarchingantsindicateourimprovedselection,asshowninFigureH.Iftheselectionisn'tquiterightyet,youcanreturntoQuickMaskmode,refineitsomemore,andthenreturntoStandardmode.It'sthateasy;flipbackandforthbetweenmodesasmuchasyouneedto.

FigureH.

Tip

TotoggleinandoutofQuickMaskmode,pressQonthekeyboard.TotogglebetweentheMaskedAreasandSelectedAreasoptionsforquickmasks,[Alt]-click([option]-clickontheMac)ontheEditInQuickMaskModebutton.

Step5:Makinguseofthemask

Withtheselectioncomplete,nowwecandowithitwhatweoriginallyintendedremovethebackgroundaroundthechildren.Currently,though,thechildrenareselectedandanythingwedototheimagewillonlyapplytotheselectedarea.Tomakeanychangestothebackground,weneedtoinversetheselectionagain.Todothis:

1.

ChooseSelect Inverse.Althoughitlookslikenothinghappened,thebackgroundisnowselectedandanythingwedototheimagewillonlyapplytothebackground.Thefinalstepistoremovethebackground,asshowninFigureA.

2. Pressthe[Delete]key.Voilà!Nomorebackground.

Tip

Thistechniqueremovesthebackgroundcolor,butnottheactualbackground.Ifyouplacedtheimageinapagelayoutapplication,awhitebackgroundwouldremain.Torenderthebackgroundtransparent,you'dneedtoinversetheselectionagainandthencreateaclippingpatharoundthechildren.

Step6:Savingyourwork

Aftercompletingtheselectionprocessbutbeforeyouclosethefile,youhavetheoptiontosavetheselectionifyouthinkyou'lleverneeditagain.Tosaveyourselection,though,youfirstneedtorestoretheoriginalselectionrememberthatyouinversedtheselectioninthepreviousstepsoyoucoulddeletethebackground.

Tosaveyourselection:

1. ChooseSelect Inversetorestoretheselectionaroundthechildren.

2. ChooseSelect SaveSelection.

NametheselectionintheSaveSelectiondialogbox,andthenclickOKtosaveitintheChannelspalette,asshowninFigureI.Ifyouchoosenottosaveyourselection,Photoshopconsidersitatemporarymask,meaningitwilldeleteitfromtheChannelspaletteafteryouclosethefile.

FigureI.

3.

Last,butcertainlynotleast,youneedtosaveyourfinishedimagefile.Tosodo:

1. SelectFile Saveandthenenterafilenameandchoosealocationtosaveit.

2. ClickSave.Yourduplicateimageisnowsavedandtheoriginalremainsintact.

Note

Formoreonusingmaskstoperformtrickedits,checkout"Fixaccidentalsilhouettes"and"Restorelosthighlightdetail"attheendofthischapter.

Unmasktheopportunities

Whenyoucreateaselection,theoptimumresultshouldbeasmoothoutlineofthepixelsyouwantwithoutanysurroundingedgepixels.TheselectiontoolsinPhotoshopdoaprettygoodjobofthisbut,oftentimes,needsomeassistance.QuickMaskmodeprovidestheenvironmentnecessarytoachievetheperfectselection!

Createvignetteswithlayermasks

Whenyouneedtocreateadesignwithmultipleimages,thereareanumberofwaysyoucanintegratethemintoonepiece.Inthisarticle,we'llshowyouhowtofadeoneimageintoanother,aswedidinFigureA.AswithmanyPhotoshoptechniques,thereareseveralwaystodothis,butourmethodgivesyouthemostflexibilityformakingchangesasyourdesignprogresses.

FigureA.

Selectingsuitableimages

Tosuccessfullyfadeimagesintooneanother,it'shelpfuliftheimageshavecommoncolorschemesoracommontheme.InFigureA,you'llnoticethatmostofourimageshavequitealotofgreenery,whichhelpswithblendingthedifferentimagestogether.Ifyoucan,trytoselectimagesthathaveacommoncolortheme.Wedidn'ttrytofadeadenselytreedimageintoanimagewithalotofblueskybecausethosetypesoffadesaren'tusuallyassuccessfulaesthetically.

Settinguptheimages

Beforeyoujumpintocreatingyourdesign,youneedtoprepareyourimagefile.Todoso:

1.CreateanewdocumentinPhotoshopofthesizeandresolutionyouwantyourmontagetobe.

2. Copyandpastealltheimagesyouwanttoworkwithintothenewdocument.

3. SelectanimagelayerandchooseEdit FreeTransform.

4.Holddownthe[Shift]keyandusetheTransformboundstoscaleyourimagesoitoverlapstheonenexttoitbyhalfaninch,andthenpress[Enter].

5.

Repeatthesestepsonalltheimagesinyourmontage.Besuretodoallcolorcorrectingandsharpeningatthisstageaswell.Onceyouarrangeallofyourimages,youcanmoveontomasking.

Creatingthemask

Tomakethemontage,youfirstneedtoaddalayermasktoeachimage.Todothis:

1.Selectalayerandthen[Ctrl]-click( -clickontheMac)onthelayerthumbnailtoloadthelayer'sselection.

2. ChooseSelect Modify Contract.

3.

Enter20intheContractBytextboxintheresultingContractSelectiondialogbox,andclickOK.(Keepinmindthatallpixelsettingsdependontheresolutionatwhichyou'reworking,soyoumayneedtousedifferentsettingsthantheoneswe'veusedforour200-ppiimage.)Theselectionshrinks.

4.

ClicktheAddLayerMaskbutton atthebottomoftheLayerspalette.Amaskgeneratesbasedonyourselectionandyourimageisclipped.Repeatthisprocessforallofyourimages.Now,we'llshowyouhowtomanipulatethelayermasksforthedesiredeffect.

Modifyingthemask

Atthispoint,yourmaskisalittlesmallerthanyourimage,butithashardedges.Tosoftentheedges:

1.Makesurethatthemaskthumbnailisselectedonthelayer,andthenchooseFilter Blur GaussianBlur.

2.Enter40intheRadiustextboxintheresultingdialogbox,andthenclickOK.Yourimageshouldnowfadeoutonallfoursides.

3.

Repeatthisprocessforeachimage.Ifyoulikehowyourimagelooks,thenyou'redone.Ifnot,youcaneasilymodifythemaskofeachimageinanumberofways.We'llshowyouhowtoadjustitusingtheLevelscommandandtheBrushtool.

UsingLevels

OneoftheeasiestwaystoadjusttheamountoffadeistousetheLevelscommand.Toadjustthefade:

1. SelectyourmaskandthenchooseImage Adjustments Levels.

2.SlidetheblacktriangletotherightintheresultingLevelsdialogboxtotightenuptheamountoffadebetweentheblackandthewhite.

3.

SelectthePreviewcheckboxtoseehowyourLevelssettingsaffectthemaskedimageanditsrelationshipwithsurroundingimages.ThisisillustratedinFigureB.Youwon'tactuallyseethiswhileyou'reworkingthough.You'lljustseeyourimagefademoreorlessintothesurroundingimages.

FigureB.

4. ClickOKonceyoufindtherightsetting.

Makingspotcorrections

TheLevelscommandisagreatgeneral-purposetooltouseforadjustingyourimage.However,anytimeyoublendmultipleimagestogether,you'llusuallyneedtoadjustafewdetailsaswell.InourimageinFigureA,wedidn'twanttheangel'swingtofadeoutliketherestoftheimage,soweadjustedonlythatareaofthemask.Withlayermasks,theeasiestwaytodothisiswiththeBrushtool.Whenyouclickonalayer'smask,theforegroundandbackgroundcolorsaresettoblackandwhiteautomatically.

1.SelecttheBrushtool andthenselectafeatheredbrushthat'sproportionaltotheareayouwanttoworkon.

2.ChangetheSetForegroundColorswatchtowhitetoremovesomeunwantedfade.Youcanthenpaintdirectlyontotheaffectedarea.

3.

OpentheChannelspaletteandclickontheEyeiconnexttothechannelthatsaysLayerXMaskifyouwanttoviewthemaskaswellastheimage.Yourmaskappearsredontopoftheimage.

StartrefiningyourmaskintheLayerspalette.Youcanseehowwe'reremovinganysignsofrednessontopofthewinginFigureC.

4.

FigureC.

Keepingiteditable

We'veshownyouhowtofadeimagesintooneanothergracefully.AlthoughyoucanachieveasimilareffectbyjustusingtheErasertool,layermasksenableyoutocreatethesameeffectandstillpreserveyouroriginalimage,whichishelpfulshouldyoudecidetomakeanychangestoyourwork.

Cutoutpartsofimageswithlayermasks

Fordecades,artists,photographers,andprintershaveusedmaskstoisolateandmodifyspecificareasofimages.Amasksectionsoffaportionofanimagesoyoucanmanipulateitortheareasurroundingit.Watercolorartists,forexample,paintwithfrisketmasksovertheirworktoholdbackorresistpaintfrombeingabsorbedbythepaper.Later,theycanpeeloffthefrisketandcontinuetoworkontheirpaintings.Graphicartistscutoutarubylithmaskforasectionofaphototheywanttoisolateorknockoutfromabackground.Latertheyusethemaskincombinationwithahalftonenegativetoburnaplateforprinting.UsingPhotoshop'sLayerMaskstoisolateareasinanimage,youcancreatemasksthatnotonlyworkexactlyasfrisketorrubylith,butcanalsobecontrolledinwaysneverimaginedbythoseusingtraditionalmaskingmethods.We'llusemaskingtechniquestocreatetheimageusedontheprogramcovershowninFigureA.

FigureA.

Selectyoursubject

Thefirstthingwemustdoisfindaphotowewanttoseparatefromitsconfusingbackground,asshowninFigureBonthenextpage.

FigureB.

Createthelayermask

1. OpenyourchosenimageinPhotoshop.

MakeaduplicateofitbyselectingDuplicateLayerfromtheLayerspalette's

2. pop-upmenusinceit'sbestnottoworkontheBackgroundlayer.

3.EnterOrchidsintheAstextboxwhentheDuplicateLayerdialogboxappears,andthenclickOK.

TherearetwotypesofmasksyoucancreateinPhotoshop:

Vectormask.Avectormaskisaresolution-independentvectorpath,whichyoucancreatewiththePenandShapetools.

Layermask.Alayermaskisaresolution-dependentgrayscalebitmapimage,whichyoucancreatewiththepaintingandselectiontools.

Sincewe'llpaintthemaskonourimageusingtheBrushtool,we'llcreatealayermask.Tocreatethemask:

1.

MakesureyourduplicatelayerisselectedontheLayerspaletteandturnoffthevisibilityofyourBackgroundlayerbyclickingontheEyeiconnexttothelayer.

2.

ClicktheAddLayerMaskbutton locatedatthebottomofthepalette.Alayermaskthumbnailappearsinthelayer,asdoesaLayerMaskLinkiconandaLayerMaskSelectedicon,asshowninFigureC.

FigureC.

Whenyouaddalayermasktoalayer,thebitmapmaskcreatedisagrayscaleimagestoredinthealphachannel.Sinceit'sanimage,youcaneditandmoveitlikeanyotherimage.Normally,amaskispositionedconcentricwiththeimage

areaitmasks.Ifyouneedtomoveit,youcanunlinkitbyclickingontheLayerMaskLinkicontoremovethelinksymbol.

Changethelayermaskoptions

1.SelecttheareasyouwanttomaskusingtheBrushtool topaint,oredit,thelayermask.

2.ClickontheEditInQuickMaskModeicon intheToolboxtodisplayarubylithoverlayasyouworkonyourimage.

3.Double-clickonthelayermaskthumbnailtoadjusttherubylithdisplay.TheLayerMaskDisplayOptionsdialogboxdisplays.

4.Changethecoloroftheoverlaybydouble-clickingonthecolorswatchandselectinganewcolorintheColorPickerdialogbox.

5.

ChangetheopacityoftheoverlaybyenteringavalueintheOpacitytextbox,asshowninFigureD,orjustkeepthedefaultvalueof50%.

FigureD.

6.

ClickOKwhenyou'redone.Sincetheoverlayisonlyanindicationofthemaskandnotthemaskitself,makingchangesatanytimetotheoverlayoptionsdoesn'taffectthemask.

Editthelayermask

Now,let'sbegintoeditthelayermask.

1.

SelecttheBrushtoolfromtheToolbox.Thefirstthingyou'llnoticeisthattheSetForegroundandBackgroundColorSwatchesintheToolboxchangetograyscalevalues.Thisisbecause,aspreviouslymentioned,alayermaskisagrayscalebitmapimage.Youcaneditthelayermaskpaintinthefollowingways:

Black.Theblackgrayscalevalueaddstothelayermask.

White.Thewhitegrayscalevaluesubtracts,orerases,fromthelayermask.

Gray.Thegraygrayscalevaluespartiallyaddtothelayermaskandproduceasemitransparentmaskingeffect.Thecloserthegrayvalueistoblack,thelessthetransparency.

2. SelecttheblackswatchfromtheSwatchespalette.

3.

Selectabrushsizethatwillworkwellwiththeareasoftheimagetobemasked.Onthetooloptionsbar,clickontheBrushPresetPickerandselectasize,suchasaSoftRound35pxbrush,fromthedropdownlist.

Moveyourmousepointertoyourcanvasandbegintopaint,asshownintheexampleontheleftinFigureE.

FigureE.

4.

Continueaddingtothelayermaskuntilyouhavecompletelymaskedthearea

5. youwantinyourimage,asshownintheexampleontherightinFigureE.

Asyougo,youmighthavetocleanupareasofthemaskthathaveaccidentallycoveredsmallsectionsoftheimage.Toremovethem:

1.ClickontheSetForegroundColorswatchintheToolbox.TheColorPickerdialogboxappears.

2.SettheR,G,andBvaluesto255,respectively,tochangetheswatchtowhite,andtheneraseunwantedmaskedareaswithyourmousepointer.

Copyandpastethemaskedimage

Nowthatwe'vemaskedourimage,wecanselectitandthencopyandpasteitontoanewlayer.

1. SelecttheMagicWandtool fromtheToolbox.

2. SettheTolerancelevelto10onthetooloptionsbar.

Clickonyourmaskandaselectionborderappears,asshowninFigureF.

FigureF.

3.

4.SelecttheBackgroundlayerintheLayerspaletteandpress[Ctrl]C( ContheMac)tocopyyourselection.

5.CreateanewlayerbyclickingtheCreateANewLayerbutton ontheLayerspalette.

6.

Press[Ctrl]V( VontheMac)topasteyourselectionontoanewlayer,asshowninFigureG.

FigureG.

7.

Double-clickonthenewlayerintheLayerspalette,andenteranameintheLayertextbox.WeenteredOrchidgroup.Yourorchidgroupselectionisreadytobeincludedinyourprogrambrochure.

Saveyourwork

Thefinalthingyoumustdoissaveyourfilesoyoucanplaceitinadocumentsuchasourprogrambrochure.IfyousaveitasaPSD(Photoshopdocument)oralayeredTIFFfile,youcangobackandmakefurtherchanges.

1.ChooseFile Save,andwhentheSaveAsdialogboxappears,enterafilenameintheSaveAstextbox.

2. SelectPhotoshoporTIFFfromtheFormatdropdownlist.

3. SelectafilestoragedestinationfromtheWheredropdownlist(Maconly).

4. SelecttheLayerscheckbox.

ClickSave,andyourfileisreadytobeincludedinapublication.

5.

Marvelousmasks

Masksareaterrificwaytoselectareaswithinalayerthatyoucancopyfirstandthenfurthertransformormanipulate.SinceyoupaintlayermaskswiththeBrushtool,youbenefitfromthecontrolandprecisionderivedfromthatpaintingtool.

Editingwithvectormasks

Masksaregreataidsineditingphotosandartworkbecausetheyallowyoutoworkonoreditspecificareasofanimage.Asmentionedearlier,amaskisolatesanareaofanimagebyprotectingitfromediting.Forexample,ifyouwanttoapplyafiltereffectorcolortoonlyaportionofanimage,usingamaskisaperfectsolution.YoucanproducetwotypesofmasksinPhotoshop:layermasksandvectormasks.Wheneveryouneedtocreateaclean,sharp-edgedshapeforuseasamask,suchasforgeometricshapesororiginaldrawings,theVectorMaskcommandistheonetouse.

Note

Formoreaboutthedifferencesbetweenlayermasksandvectormasks,read"Layermasksvs.vectormasks,"laterinthischapter.

Greatcover-ups

Vectormasksaredefinedwithapath.YoucancreatepathsinavarietyofwaysbyusingaShapetool,thePentool,oraSelectiontool.Notonlydotheyproducesharp-edgedmaskshapes,butthey'realsoresolution-independentandeasilyeditedwiththePenandPathComponentstools.

WorkingwithaShapetool

1. LaunchPhotoshopandchooseFile Open.

2.

Navigatetoanimageyou'dliketoaddavectormaskto.Becausevectormasksareappliedtolayers,firstunlocktheoriginalimagelayer,whichbydefault,isnamedBackground.

3.DisplaytheLayerspaletteanddouble-clickontheBackgroundlayer.TheNewLayerdialogboxappears.

4. EnterSelectionintheNametextbox,andthenclickOK.

Makingavectorpath

1.SelectaShapetool,suchastheEllipsetoolicon,fromtheToolbox,andclickthePathsbuttonicononthetooloptionsbar.

2.

DraganellipticalpathonyourimageliketheoneshowninFigureA1onthepreviouspage.

FigureA1.

ChooseLayer AddVectorMask CurrentPath,andavectormaskisappliedintheshapeoftheellipsethatyoudrew,asshowninFigureA2.AvectormaskthumbnailisaddedtotheSelectionlayerintheLayerspalette,asshowninFigureB1.

FigureA2.

3.

FigureB1.

Ifyouwishatanytimetodisablethevectormask,chooseLayer DisableVectorMaskandaredXappearsacrossthevectormaskthumbnail,asshowninFigureB2.Whenyoudothis,thefullimageintheSelectionlayerappearsagainwithoutthemask.Toenablethevectormaskagain,chooseLayer EnableVectorMaskandthevectormaskisrestored.Ifyouwishtoremovethevectormaskaltogether,youcaneitherselectLayer DeleteVectorMask,orselectthevectormaskthumbnailanddragitontotheDeleteLayerbutton locatedatthebottomoftheLayerspalette.WhentheDeleteVectorMaskmessageboxappears,clickOK.

FigureB2.

Movingthevectormask

LocatedbetweenthelayerthumbnailandthevectormaskthumbnailisaLinkedicon .Whentheiconisshowing,itmeansthatthelayerislinkedtothevectormask.IfyouselecteithericonandthenselecttheMovetool ,youcanclickanddragthelayerandthevectormaskmovesaswell,asshowninFigureC1.Ifyoudeselectthelink,selectthelayericon,andthenselecttheMovetool,youcanclickanddragthelayerwhilethemaskstaysinplace,asshowninFigureC2.

FigureC1.

FigureC2.

Changingtheshapeofthevectormask

Ifyouwanttochangetheshapeofthevectormask,youcanuseeithertheFreeTransformcommandortheDirectSelectiontool.TousetheFreeTransformcommand:

1.Clickonthevectormaskiconthumbnail,andthenchoosetheDirectSelectiontool fromtheToolbox.

2.

SelectEdit FreeTransformPath,chooseahandleontheboundingbox,dragittoadjustthevectormask,asshowninFigureD1>,andpress[Enter].

FigureD1.

TousetheDirectSelectiontool:

1.SelecttheDirectSelectiontoolfromtheToolboxandthenchoosetheportionofthevectormaskpathyouwanttochange.

2.

Selectacontrolpoint,dragittoadjustthevectormask,asshowninFigureD2,andpress[Enter].

FigureD2.

Whenyou'vefinished,closeyourimagefile,becausewe'regoingtouseitagaintocreateavectormaskusingthePentool.Ifyouwanttosaveyourwork,youcansaveitasacopy.ChooseFile SaveAs,andwhentheSaveAsdialogboxopens,selecttheAsACopycheckbox,andthenclickSave.

MakingavectormaskwiththePentool

1.Openthefileagain,followingtheprocedurewedescribedearlier.(Don'tforgettounlockyourBackgroundlayer.)

SelectthePentool fromtheToolboxanddrawapath,asshowninFigureE1.

2.

FigureE1.

3.

ChooseLayer AddVectorMask CurrentPathandPhotoshopappliesavectormaskintheshapeofthepathyoudrewwiththePentool,asshowninFigureE2.

FigureE2.

YoucanadjustthepathyoudrewinthesamewayyouwouldanyotherpathusingtheDrawingtools,theFreeTransformcommand,andtheDirectSelectiontool.Forexample,toadjustthesectionofthevectormaskatthetopofthephoto:

1. SelecttheDirectSelectiontool,andthenselectthepath.

2.

ChoosetheConvertPointtool fromtheToolbox,selectthetopanchorpoint,anddragadirectionpoint,asshowninFigureF.Howeveryouadjustthepath,thevectormaskisalsoadjusted.

FigureF.

ProducingavectormaskwithaSelectiontool

TheSelectiontoolsincludetheMagicWand,theMarquee,andtheLassotools.YoucanusetheSelectiontoolstocreateaselectionborderthatyoucanthenconverttoapath.

1. SelecttheMagicWandtool fromtheToolbox.

2.Setatolerancebyentering15intheTolerancetextboxinthetooloptionsbar,andselectboththeAnti-AliasedandContiguouscheckboxes.

3.

Clickontheblankareaoutsidethemainobjectinyourimage.Toaddmoreareatoyourselection,[Shift]-click.Toremoveareasfromyourselection,[Alt]-click([option]-clickontheMac).

ChooseSelect Inverseandyouhaveaselectionareaofjustthemainobject,asshowninFigureG1.

4.

FigureG1.

Convertingaselectionbordertoapath

Let'snextconvertourselectionbordertoapath.Beforewedo,weshouldfeathertheselectionsoourpathissmooth.

1. ChooseSelect Feather.TheFeatherSelectiondialogboxappears.

2. Enter10pixelsintheFeatherRadiustextboxandclickOK.

3. DisplaythePathspalettebychoosingWindow Paths.

4.ClicktheMakeWorkPathFromSelectionbutton locatedatthebottomofthePathspalettetochangetheselectiontoapath.

5. Double-clickonWorkPath.TheSavePathdialogboxopens.

6.

EnterSelectionPath3intheNametextbox,andthenclickOK.

Note

Workpathsaretemporarypaths,whichPhotoshopdoesn'tsavewithanimagefile.Tosaveaworkpath,usetheSaveAsoptionfromthePathspalette'spop-upmenu.

7.

ChooseLayer AddVectorMask CurrentPath,andPhotoshopappliesavectormaskintheshapeofyourselectionborder,asshowninFigureG2.Toadjusttheshapeofthevectormask,applyanyofthemethodswedescribedearlierinthisdiscussionusingtheDrawingtools,theFreeTransformcommand,andtheDirectSelectiontool.

FigureG2.

Applyingalayerstyleeffecttoavectormask

Wecanapplylayerstyleeffects,suchasdropshadowsandinnershadows,tovectormasks.Theeffectsappearalongthevectormaskpath.Let'saddanouterglowlayerstyleeffect.

Todoso:

1. Double-clickontheSelectionPath3layer.TheLayerStyledialogboxdisplays.

SelecttheOuterGlowstyle.IntheElementssectionofthedialogbox,enteravaluelargeenoughsoyoucanseetheeffect,suchas160pixels,intheSizetextbox.Then,clickOKandPhotoshopappliesanoutergloweffect,asshowninFigureH.

FigureH.

2.

Vectormasksuncovered

Applyingavectormasktoalayerisasimpleandquickwaytoisolateorprotectanareaofanimage.Avectormaskissharp-edged,resolution-independent,andeasytoadjust.Sinceavectormaskispathdefined,youcansaveitwithanimagefileanduseitatanothertime.

Layermasksvs.vectormasks

Masksareagreathelpwhenworkingwithimages.Theyprotectandisolateareasofanimagefromeditingactions,suchaspainting,drawing,anderasing.Asmentionedearlier,Photoshopincludestwotypesofmasks:layermasksandvectormasks.Althoughtheybothperformthesamefunctions,eachiscreatedinadifferentwayforadifferentpurpose.

Layermasksarerasterimagesthatyoucreateusingthepaintingtools.Likeotherrasterimagestheycanhaveareasthataresolid,transparent,andpartiallytransparent,aswellashardandsoftedges.YouuselayermaskswhenamaskrequiringintricatedetailthatcanbebestproducedutilizingtheBrushorPenciltool,asshowninFigureA,iscalledfor.

FigureA.

Vectormasksarevectorshapesthatyoucreateusingthedrawingtools,aswellastheshapeandselectiontools.Avectormaskcanhaveareasthataresolidandtransparent,butnotsemitransparent.Vectormaskshavehard,clean-cutedges.Youusethemwhenamaskrequiringsimple,pureshapesthatcanbebestproducedusingthePentool,aswellasaShapeorSelectiontool,asshowninFigureB,isneeded.

FigureB.

Problem:SolutionFixaccidentalsilhouettes

Problem:Objectsintheforegroundofanimageappearsilhouetted.

Solution:Adjustthetonalvaluesofyourimagetobringadarkforegroundintothelightwithsomehelpfromamask.

Haveyouevertakenapicturedirectlyinfrontofawindow?Ifyouhave,andyoudidn'tuseeitheraflashorafill-flashtoreducethelightingratios,thenyourfinalprintwasprobablylessthandesirable.Duetostronglightingandverydarkshadows,anythinglocatedinfrontofthewindowwillbesilhouetted.Happily,Photoshopoffersthetoolsyouneedtolightenthingsup.

Makinganegative

1. OpenanimagethatyouwanttoretouchinPhotoshop.

2.MakeaseparatecopyoftheimagebychoosingImage Duplicate.TheDuplicateImagedialogboxopens.

3. NameyournewdocumentNegativeandclickOK.

4.

ChooseImage Mode GrayscaletochangethemodetoGrayscale.If,atthispoint,theAdobePhotoshopdialogboxdisplays,askingyoutodiscardcolorinformation,clickOK.

5. ChooseImage Adjustments Inverttocreateanegativeimage.

6.ChooseFilter Blur GaussianBlurtosoftentheedgesofyourimage.SettheRadiusofyourblurto5pixelsandclickOK.

7.

SaveyourfinalNegativedocumentasaPSDfile,butdon'tclosethedocument.We'renowreadytoapplythisimagetoouroriginalinordertodefinetheareasweneedtoaddlightto.

8. Clickonyouroriginalfiletomakeitactive.

Loadingyourselection

ToapplyyourNegativeimagetoyouroriginal,youhavetoloadtheselection.

1. ChooseSelect LoadSelection.TheLoadSelectiondialogboxdisplays.

2. SelectNegative.psdfromtheDocumentdropdownlist.

3.MakesureGrayisselectedfromtheChanneldropdownlistandtheNewSelectionoptionbuttonisselectedaswell.

4. ClickOK.Thedarkareasofyourimageshouldnowbeselected.

Lightingshadows

1.KeepyourselectionactiveandcopythedarkportionsofyourimageontoanewlayerbychoosingLayer New LayerViaCopy.

2. NamethislayerLight.

3. ChooseEdit FilltodisplaytheFilldialogbox.

4.

Select50%GrayfromtheUsedropdownlistandselectColorDodgefromtheModedropdownlist.LeavetheOpacityofyourfillat100%andselectthePreserveTransparencycheckbox,whichwillpreventyourfillfromaffectinganyareasofthelayerthataretransparent.

5. ClickOK.Atthispoint,yourimageshouldlookmuchlighter.

Addingthefinaltouches

Althoughyourimageislookingmuchbetter,itstillmayneedadditionalretouching.Forexample,someareasofyourimagemaybetoowashedoutandothersmaystillbetoodark.However,withalittlefine-tuningyoucanremedythis.Let'sseehow.

Darkeningyourimage

Perhapsthebackgroundofyourimagewaslightenedtoomuch.Tocorrectoverlybrightenedareas:

1.ClicktheAddLayerMaskbutton ontheLayerspalettetoaddamasktoyourLightlayer.

Usingasoftroundbrush,withtheSetForegroundColorswatchsettoblack,

2.paintouttheportionsofyourimagethatyouwantdarker.Formoresubtleresults,trypaintingyourmaskusinggray.Ifyouwanttodarkentheentireimage,justlowertheOpacityoftheLightlayerontheLayerspalette.

Lighteningyourimage

Ifyouwanttolightenportionsofyourimageevenmore:

1. MakeacopyofyourLightlayerintheLayerspalette.

2.

Maskoutanyareasthataretoolight.Formorefocusedretouching,saveaflattenedcopyofyourretouchedimage.Then,usingtheDodgetool withalowExposure,paintdirectlyoverareasthatneedtobelightened.

Puttingittothetest

Besidesworkingwonderfullyonpicturestakendirectlyinfrontofawindow,thistechniqueisgreatforretouchinganyimagewithalotofcontrast.Also,trymodifyingthetechniqueabitsoyoucanuseittoadjustthelightanddarkvaluesinallofyourimages.

Problem:SolutionRestorelosthighlightdetail

Problem:Highlightsappearwashedoutinahigh-contrastimage.

Solution:Usealuminositymask.

Asweallknow,itcanbechallengingtotaketheperfectpicture,especiallywhendealingwithhigh-contrastscenes,suchasthatinourProblemimage.Usuallyinthissituationhighlightsappearwashedout,anditcanbedifficulttobringbackdetailintotheseareaswithoutaffectingtheentireimage.However,withthehelpofaluminositymask,youcanselecthighlightareasseparatelytorecoverthehighlightdetail.Youcanusealuminositymasktoadjusttheshadowareasofanimageaswell.

What'saluminositymask?

Generallyspeaking,aluminositymaskisagrayscaleselectionthat'smadeupofthelightvalueswithinanimage.Whenyoupressaspecificcombinationofkeys,Photoshopautomaticallyselectsthehighlightsofthecontentswithinanactivelayer.Thewhiteareasareselected,thegrayareasarepartiallyselected,andtheblackareasareunselected,creatingaluminositymask.

Toseehowitworks:

1. OpenanRGBimageinPhotoshop.

2.Press[Ctrl][Alt][~]( [option][~]ontheMac).Upondoingso,allofyourhighlightareasareselected.

3. ChooseSelect SaveSelection.

4.ChooseNewfromtheChanneldropdownlistandnameyourchannelLuminosityMask.

5. ClickOK.

6.

Deselectyourimageatthispointbypressing[Ctrl]D( DontheMac).YourmaskwillnowbestoredintheChannelspalette.Toaccessit,allyouhavetodoisselectitintheChannelspalette.

Focusingonhighlights

Nowthatyouhaveabasicunderstandingofwhataluminositymaskis,it'stimetouseitforphotoretouching.

OpenanRGBimageinPhotoshopthathasoverlystronghighlights.

1.

2.Createaluminositymaskbypressing([Ctrl][Alt][~]( [option][~]ontheMac).

3.Copytheselectedareasothatit'sonitsownlayerbypressing[Ctrl]J( JontheMac).

4.

Changetheluminositymasklayer'sblendingmodetoMultiplyintheLayerspalette.Thisenhancesthehighlightsinyourimage,makingthemappearclearer.

Workingwithshadows

Aluminositymaskisalsoperfectforselectingshadowsinanimage.Allyouhavetodoisinvertyouroriginalselection.Toseehowitworks:

1. Createaluminositymaskaswedidbefore.

2. Press[Ctrl][Shift]I( [shift]IontheMac)toselecttheinverse.

3.

Press[Ctrl]J( JontheMac)toplacetheselectedareaontoanewlayer.Then,todarkenyourshadowareas,changethelayer'sblendingmodetoOverlay,andtolightentheshadows,changetheblendingmodetoScreen.

Takingitastepfurther

We'vejusttouchedonhowaluminositymaskcanhelpkeepyourimageslookinggood.However,youcantakethisastepfurtherbyexperimentingwithallofthedifferentblendingmodesPhotoshophastoofferandbyadjustingtheOpacityofthelayerthatcontainsyourluminositymask.Also,ifnecessary,adjusttheoriginalselectionPhotoshopmakesbyswitchingtoQuickMaskModeandpaintingoutareasyoudon'twantadjusted.Becauseeveryimageisdifferent,weprovidedyouwiththecoreofthetechnique;therestisuptoyou.

GlossaryAdjustmentlayer:

Layerthatbehaveslikealayer,butisreallyacustomizedfilterorlensthroughwhichyoucanviewyourimage.

Anti-aliased:

Soft-edgedratherthanjaggededges.

Aspectratio:

Theratioofanimage'sheighttowidth.

Brightness(orLightness):

Intensityvalueofanimage,whichisdescribedintermsofanyhuetoblackortowhite.

Burning:

Addinglighttospecificareasinaphotograph.InPhotoshop,theBurntoolallowsyoutolightenportionsofanimage.

Chromaticaberration:

Adigitalimageflawcausedbyaprocessingerrorinthedigitalcamerawhereoneormoreofthethreecolorchannelsdon'talignproperly.Theresultisacyan,yellow,red,blue,orgreenedge.Alsoknownasfringing.

Colorcast:

Unnaturalcolorveilthathidesthenaturalcolorofanimage.

Dodging:

Controllingtheexposureinphotographicprintingbyreducingtheamountoflightreachingspecificareasofthepaper.InPhotoshop,theDodgetoolallowsyoutodarkenportionsofanimage.

EPS(EncapsulatedPostScript):

Fileformatthatallowsvectorandrasterinformationtobesavedtogether.

Flat:

Adescriptionofaphotowithalow-contrastscenecontainingallthetonesoftheoriginal.Thisoccurswhentheimagecontainsnotruewhites,orhighlights,andblack,orshadows;everythingissimplyatoneofgray.

Fringing:

Adigitalimageflawcausedbyaprocessingerrorinthedigitalcamerawhereoneormoreofthethreecolorchannelsdon'talignproperly.Theresultisacyan,yellow,red,blue,orgreenedge.Alsoknownaschromaticaberration.

Gamma:

Relationshipbetweenthebrightnessofapixelandthenumericalvalueofthatpixel.Affectsthebrightnessandcolorsaturationofimages.

GIF(GraphicsInterchangeFormat):

Agraphicfileformatdesignedtorecordimageswithflatcolor,suchaslogos,lineart,screenshots,andcartoons,wheretherearelonghorizontalrunsofasinglecolor.

Guides:

Horizontalorverticallinesthatappearoveranimageonscreen.

High-contrast:

Conditionthatoccurswhenascenehasmanymoretonesthancanbereproducedbyfilmoranimagecard.

Histogram:

Agraphicofthepixelsinanimageorcolorchannelwhichrepresentsthetotaltonalrangeofanimage.

Hue:

Colorspectrumvalueofanimage,whichisdescribedintermsofred,orange,yellow,green,cyan,blue,violet,andmagenta.

Imagemanipulation/alteration:

Processofeditingpixelsinanimagetoreachadesiredresult.

Importing:

Processofbringinginafilefromanexternalsource,suchasadigitalcamera,scanner,etc.

Inputlevels:

Originalintensityvaluesofanimage,whicharegraphedalongthehorizontalaxisofahistogram.

JPEG(JointPhotographicExpertsGroup):

Agraphicfileformatnormallyassignedtorecordandcompressfull-color,continuous-toneimages.Colorphotos,color-richillustrations,andgraphicswithsubtlegradientandshadingeffectsarethepurviewoftheJPEG.

Layermask:

Aresolution-dependentgrayscalebitmapimage,whichyoucancreatewiththepaintingandselectiontools.

Losslesscompression:

Filecompressionthatreducesfilesizewithoutchangingcolorvaluesanddegradingtheimage.

Lossycompression:

Filecompressionthatchangessomeofthecolorvaluesinanimagetosavediskspace.Thegreaterthecompression,themorevisiblethepixelcolorchangesappear;withlowamounts,theeffectofcompressionisalmost

unnoticeable.

Low-contrast:

Conditionthatoccurswhenascenehasfewertonesinitthancanbereproducedbyfilmoranimagecard.

Luminositymask:

Agrayscaleselectionthat'smadeupofthelightvalueswithinanimage.

Mask:

Isolatesanareaofanimagebyprotectingitfromediting.

Noise:

Conditionthatoccurswhenpixelswithrandomlydistributedcolorlevelsareaddedtoanimage.Canbetheresultofadigitaldisturbancethatreducesthesignalreceivedbyadigitalcamera.

Normal-contrast:

Conditionthatoccurswhenascenehasthesamenumberoftonesascanbereproducedbyfilmoranimagecard.

Outputlevels:

Intensityvaluesthatareappliedwhenyou'vemadechangestoyourimage,whicharegraphedalongtheverticalaxisofahistogram.

Oversaturation:

Conditionthatoccurswhenadigitalcamera'simagesensormisreadsorbecomesoverlysensitivetoacolor,causingthelightinformationtoberecordedwithfewergrayvaluesandbecomemoresaturated.

Pixelation:

ResultofrasterizingafileinPhotoshopbeyondthemaximumresolutionofimages;stretchingimagedatatoofar.

PNG(PortableNetworkGraphics):

AgraphicfileformatdevelopedasanimprovedsubstitutefortheGIFformat.

Rasterization:

MethodofinformingPhotoshophowtoopenfilesbyinputtingyourdesiredsettings.

Resample:

Tosampleexistingcolorinanimageandthenaddorsubtractsimilarcolorpixelsuntilyoureachthedesiredresolution.

Saturation:

Thestrengthorpurityofacolor.

Sharp:

Descriptionofaphotoofahigh-contrastscenethatdoesn'tcontainallthetonesoftheoriginal.Thisoccurswhenithastoomanyhighlightsandshadows.

Sharp:

Conditionthatoccurswhenaphotoofahigh-contrastscenedoesn'tcontainallthetonesoftheoriginalimage.

TWAIN:

DriverwhichallowsthescannerandPhotoshoptospeakthesamelanguageandalsoputsthecontroloverhowthescannerperformsinyourhands.

Tonalrange:

Therangebetweenthebrightestanddarkestvaluesinascene.Whenthetonalvalueofasubjectishigherthantherangethefilmorimagesensorcanhandle,theobjectsappearwhite,eventhoughtheyreallyaren't.

Uprating:

ShootingatahigherISOspeedthanfilmisdesignedfor,whichinitiallyunderexposesthefilm,andthenpushing(overexposing)thenegativesduringtheprintingprocess.

Vectormask:

Aresolution-independentvectorpath,whichyoucancreatewiththePenand

Shapetools.

Appendix.Appendix

PhotoshopCSkeyboardshortcuts

Viewing

Action Shortcut

Windows Mac

Fitimagetowindow [Ctrl]0

Viewimageat100%magnification [Alt][Ctrl]0

Zoominorout [Ctrl]+or[Ctrl]-

RepositionimagewithHandtool

Press[Spacebar]anddrag

Press[spacebar]anddrag

Moveviewtoupper-leftcorner [Home] [home]

Moveviewtolower-rightcorner [End] [End]

Cyclethroughopendocuments [Ctrl][Tab] [control][tab]

Coloradjustmentdialogboxes

Action Shortcut

Windows Mac

DisplayAutoColor [Ctrl][Shift]B [shift]B

DisplayAutoContrast [Ctrl][Alt][Shift]L [option][shift]L

DisplayAutoLevels [Ctrl][Shift]L [shift]L

DisplayLevels [Ctrl]L L

DisplayCurves [Ctrl]M M

DisplayHue/Saturation [Ctrl]U U

Filecommands

Action Shortcut

Windows Mac

Createnewdocument [Ctrl]N N

DisplayFileBrowser [Ctrl][Shift]O [shift]O

Reverttosavedfile [F12] [F12]

Saveascopy [Ctrl][Alt]S [option]S

Closeallopendocuments [Ctrl][Alt]W [option]W

Selecting

Action Shortcut

Windows Mac

Deleteselection [Backspace] [delete]

Deselectselection [Ctrl]D D

Invertselection [Ctrl][Shift]I [shift]I

Reselectselection [Ctrl][Shift]D [shift]D

Addtoselection Press[Shift]whileusinganyselectiontool

Press[shift]whileusinganyselectiontool

Deletefromselection Press[Alt]whileusinganyselectiontool

Press[option]whileusinganyselectiontool

Moveselectionusingthekeyboard Useoneofthearrowkeys Useoneofthearrow

keys

Moveselectionusingmouse

Positionpointerinselectionanddrag

Positionpointerinselectionanddrag

Constrainselectiontosquareorcircle

Holddown[Shift]whileselecting

Holddown[shift]whileselecting

Selectall [Ctrl]A A

Hideselection [Ctrl]H H

Workingwithtools

Action Shortcut

Windows Mac

Cyclethroughhiddentools [Alt]-clickontoolthumbnail

[option]-clickontoolthumbnail

Displaytooloptions Right-clickinworkspace

[control]-clickinworkspace

Changecursortocrosshairs [CapsLock] [capslock]

Usingthefunctionkeys

Action Shortcut

Windows Mac

Undolastaction [F1]

ToggleBrushespalette [F5] [F5]

ToggleColorspalette [F6] [F6]

ToggleLayerspalette [F7] [F7]

ToggleInfopalette [F8] [F8]

Painting

Action Shortcut

Windows Mac

AccessEyedroppertooltoselectacolor

Holddown[Alt]whileusinganypaintingtool

Holddown[option]whileusinganypaintingtool

Fillselectionwithforegroundcolor [Alt][Backspace] [option][delete]

Fillselectionwithbackgroundcolor [Ctrl][Backspace] [delete]

Constrainpaintingtoastraightline [Shift] [shift]

DisplayFilldialogbox [Shift][Backspace] [shift][delete]

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

ActualPixelscommand(Viewmenu)AddLayerMaskbutton2ndAddNoisedialogboxAddNoisefilter2nd3rd4th5thAddToSampleiconAddToSelectioniconAddVectorMaskcommand(Layermenu)AdjustmentlayersHue/Saturationcommand2ndAdjustmentscommand(Imagemenu)AdobeGammaforWindowsAirbrushoption2ndbasecoloraddition2ndBrushtoolBrushespalettehighlightcolorsmid-tonecoloradditionretouching2ndScatteringoption2ndsettingAlignedoptions,HealingBrushtoolAlteringimagesAirbrushoption2ndbasecoloraddition2ndBrushtoolBrushespalettehighlightcolorsmid-tonecoloradditionretouching2nd

Scatteringoption2ndsettingburningedgescolorburn2nderasing2ndpreparation2ndscorchedges2ndcombiningimagesadjustinglayersExtractcommand2nd3rd4th5thpreparation2ndfiltersaddingtexturewithgrain2nd3rd4th5thcombininglayers2nd3rd4th5th6th7th8thFilterGallery2nd3rd4thportraits2nd3rd4thGradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2ndplanningmovesplottingpathssplittingareaslightingaddingHistorypalette2ndselectingdarkareasmaskscuttingimageparts2nd3rd4th5th6thlayering2nd3rd4thselections2nd3rd4th5th6th7th

vectormaskediting2nd3rd4th5th6th7threflectionscopyingandflippingimageGlassfilterincreasingimagesize2ndLiquifyfilteropacityadjustmentpositioningAmountslider,UnsharpMaskfilterAnti-aliasingreducingfilesizeselectionApplications,plug-ins2ndArchitectureretouchingclearingclutter2ndcomplexpatcheswithlayerscorrectingslantusingotherpartsofimages2ndArtisticimagemanipulationAirbrushoption2ndbasecoloraddition2ndBrushtoolBrushespalettehighlightcolorsmid-tonecoloradditionretouching2ndScatteringoption2ndsettingburningedgescolorburn2nderasing2ndpreparation2ndscorchedges2nd

combiningimagesadjustinglayersExtractcommand2nd3rd4th5thpreparation2ndGradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2ndplanningmovesplottingpathssplittingareaslightingaddingHistorypalette2ndselectingdarkareasreflectionscopyingandflippingimageGlassfilterincreasingimagesize2ndLiquifyfilteropacityadjustmentpositioningAutobutton,CurvescommandAutoColorCorrectionOptionsdialogboxAutoContrastcommandAutoLevelscommandAutomaticsharpening,avoidingnoiseAutomatingtasks,FileBrowser

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

BackgroundlayerBlackClipbox,Shadow/Highlightcommand2ndBlendingmodesColor2ndColorReplacementtoolHue2ndOverlaySoftLightBlueskies,avoidingnoiseBlurcommand(Filtermenu)BrightnessColorCorrectionslidertonalrange2ndaddingmissingdetails2nd3rd4thadjustingAutoContrastcommandBurntool2nd3rd4th5thcontrast2ndDodgetool2nd3rd4th5thhistograms2nd3rd4thShadow/Highlightcommand2nd3rd4th5th6thBrightness/ContrastdialogboxBrowsecommand(Filemenu)Brushdropdownlist,HealingBrushtoolBrushSizesliderBrushtoolBrushescommand(Windowmenu)BrushespaletteBurntool2nd3rd

application2ndpreparation2nd3rdBurningimageedgescolorburn2nderasing2ndpreparation2ndscorchedges2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

CachefileexportingCacheLevelinformation,HistogrampaletteCachedDataWarningbuttonCalibratingmonitor2ndcolorcastsCameras,digitalavoidnoiseimportingimagesCancelbuttonCanvasSizecommand(Imagemenu)Cardreaders,importingimagesChanneldropdownlistChannelinformation,HistogrampaletteChannelscommand(Windowmenu)Channels,Curvesdialogbox2ndChromaticaberration,ColorReplacementtool2ndClearGuidescommand(Viewmenu)CloneStamptool2ndCloning,addingmissingdetails2ndCMYK(Cyan,Magenta,Yellow,Black),colorspacesColorBalancesection,VariationsdialogboxColorCorrectionsliderColorIntensitysliderColormode2ndColorPickerdialogboxColorRangecommand(Selectmenu)ColorReplacementtoolchangingeyecolors2ndchromaticaberration2ndfringingreplacement

haircolorchangesoptionsColorscastsLevelscommand2ndMatchColorcommand2ndcorrectionadjustingtonalrangeadjustmentlayerscolorbalanceColorReplacementtool2nd3rd4th5thCurvescommand2nd3rd4th5th6th7th8thevaluation2ndHue/Saturationcommand2nd3rd4th5th6thMatchColorcommand2nd3rd4thReplaceColorcommand2nd3rd4th5thsharpenimagesspecialeffects2ndVariationscommand2nd3rd4th5thsaturationspaceCombiningimagesadjustinglayersExtractcommand2nd3rd4th5thpreparation2ndCombininglayersCutoutfilter2ndDiffuseGlowfilter2ndextralayeraddition2nd3rdleveladjustmentspreviewing2ndsavingsettings

Texturizerfilter2ndCommandsEditmenuFadeFillFillFreeTransformTransformFilemenuBrowseImportOpenSaveAsSaveforWebFilemenu(FileBrowser),ExportCacheFiltermenuBlurDistortExtractFilterGalleryLiquifyNoiseOtherSharpenStylizeFormatmenu,PictureImagemenuAdjustmentsCanvasSizeDuplicateImageSize2ndModeInsertmenu,Picture

LayermenuAddVectorMaskDeleteVectorMaskDisableVectorMaskNewAdjustmentLayerSelectmenuColorRangeFeatherInverseModifySaveSelectionViewmenuActualPixelsClearGuidesLockGuidesMasterNewGuideNormalRulersSnapToolbarsWindowmenuBrushesChannelsHistogramInfoLayersPathsSwatchesCompression,JPEG(JointPhotographicExpertsGroup)2ndCompuServe,GIF(GraphicsInterchangeFormat)ContractSelectiondialogboxContrast2nd

adjustingtonalrangeAutoContrastcommandMidtoneContrastsliderContrastsection,VariationsdialogboxControlpoints,Curvescommand2nd3rdControlsection,Variationsdialogbox2ndControlledsharpening2ndConvertPointtoolCorrectingcolorsadjustingtonalrangeadjustmentlayerscolorbalanceColorReplacementtool2nd3rd4th5thCurvescommandchannels2ndcontrolpoints2nd3rddialogboxaccessdrawingwithPenciltoolloading2ndpurpose2ndreadingcurve2ndsaving2ndshortcuts2ndevaluation2ndHue/Saturationcommandreducingsaturation2ndselectingarea2nd3rd4th5thMatchColorcommand2nd3rd4thReplaceColorcommand2nd3rd4th5thsharpenimagesspecialeffects2ndVariationscommand2nd3rd4th5thCountinformation,HistogrampaletteCreateNewFillOrAdjustmentLayerbutton

CreateNewSnapshotbuttonCroppingselectionsguides2ndcreating2ndmeasuringimageCurvescommandchannels2ndcontrolpoints2nd3rddialogboxaccessdrawingwithPenciltoolloading2ndpurpose2ndreadingcurve2ndsaving2ndshortcutsAutobuttonCMYKmodeEyedroppertool2ndCurvesdialogbox2ndCutoutfilter2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

DeleteLayerbuttonDeleteVectorMaskcommand(Layermenu)DesktopView,FileBrowserDestinationoption,PatchtoolDialogboxesAddNoiseAutoColorCorrectionOptionsBrightness/ContrastColorPicker2ndContractSelectionCurves2ndDuplicateImageDuplicateLayer2ndExtractFeatherSelectionFilterGalleryFormatPictureHue/Saturation2ndImageSize2ndLayerMaskDisplayOptionsLevels2nd3rd4thMatchColorMaximumMedianModifyQualitySettingNewGuideNewLayer2nd

RasterizeGenericEPSFormatReplaceColor2nd3rdSaveForWeb2nd3rdSaveOptimizedAsSavePathSaveSelectionSavedOptimizedAsShadow/HighlightshortcutsUnsharpMaskVariations2nd3rdDiffuseGlowfilter2ndDigitalcamerasavoidnoiseimportingimagescardreadersplug-ins2ndDirectSelectiontoolDisableVectorMaskcommand(Layermenu)DisplayCalibratorAssistantDisplaydropdownlistDisplays,calibratingmonitor2ndDistortcommand(Filtermenu)DocumentSizepanelDodgetool2ndapplication2ndpreparationbrushselection2ndExposureoption2ndRangeoptionDragging,creatingnewguide2ndDuplicatecommand(Imagemenu)DuplicateImagedialogboxDuplicateLayerdialogbox2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

EdgeHighlightertool2nd3rdEditInQuickMaskModebuttonEditInStandardModebuttonEditmenucommandsFadeFillFillFreeTransformTransformEnlargePreviewWindowbuttonEPS(EncapsulatedPostScript),importingfilesoptionsrasterization2ndresolutionconsiderationsErasertool2ndEvaluatingimages2ndExportCachecommand(Filemenu-FileBrowser)Exporting,cachefilesExposureoption2ndExposure,tonalrange2ndaddingmissingdetails2nd3rd4thadjustingAutoContrastcommandBurntool2nd3rd4th5thcontrast2ndDodgetool2nd3rd4th5thhistograms2nd3rd4thShadow/Highlightcommand2nd3rd4th5th6thExtractcommand(Filtermenu)Extractdialogbox

EyedroppericonEyedropperPlusiconEyedroppertoolCurvescommand2ndEyes,ColorReplacementtool2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Faceeyes,ColorReplacementtool2ndlines2ndskinflaws2ndFadeFillcommand(Editmenu)FadesliderFeathercommand(Selectmenu)FeatherSelectiondialogboxFileBrowser2ndautomatingtasksexportingcachefilesFilemenucommandsBrowseImportOpenSaveAsSaveforWebFilemenucommands(FileBrowser),ExportCacheFilesFileBrowser2ndautomatingtasksexportingcachefilesformatsGIF(GraphicsInterchangeFormat)2ndJPEG(JointPhotographicExpertsGroup)JPEG2000(JointPhotographicExpertsGroup)PNG(PortableNetworkGraphics)2ndselectionbasedoncontent2nd

openingdigitalcameras2ndEPS(EncapsulatedPostScript)2nd3rdscannerimporting2ndreducingsize2nd3rdFillcommand(Editmenu)FilltoolFilmGrainfilter2ndFilterGallerydisplayingfilterspreviewing2ndsettingoptionsstackingfilters2nd3rdFilterGallerycommand(Filtermenu)FilterGallerydialogboxFiltermenucommandsBlurDistortExtractFilterGalleryLiquifyNoiseOtherSharpenStylizeFiltersAddNoise2ndgrainoptionsaddingtexturewithgrain2ndAddNoisefilter2ndFilmGrainfilter2ndTextureGrainfilter2nd

combininglayersCutoutfilter2ndDiffuseGlowfilter2ndextralayeraddition2nd3rdleveladjustmentspreviewing2ndsavingsettingsTexturizerfilter2ndFilterGallerydisplayingfilterspreviewing2ndsettingoptionsstackingfilters2nd3rdMaximum2ndportraitssharpensoftareas2nd3rdsoftensharpareasUnsharpMaskapplication2nd3rdhowitworks2ndFine/CoarsesliderFireWires,importingimagesFocus,Gradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2ndplanningmovesplottingpathssplittingareasForceForegroundoptionFormatmenucommands,PictureFormatPicturebuttonFormatPicturedialogbox

ForwardWarptoolFreeTransformcommand(Editmenu)FreeTransformfeature2nd3rdFringingFunctionkeys,keyboardshortcutsFuzzinessslider

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Gammas2ndGaussiannoiseGaussianoptionbuttonGIF(GraphicsInterchangeFormat)2ndlossycompressionGlassfilter,reflectionsGradientbars,readingcurvesGradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2ndplanningmovesplottingpathssplittingareasGrainAddNoisefilteraddingtexture2ndAddNoisefilter2ndFilmGrainfilter2ndTextureGrainfilter2ndGraphicsInterchangeFormat(GIF)2ndlossycompressionGrayscalecolorspacesHue/SaturationcommandGuides2ndcreating2nd

Infopalettepositioning2ndresettingruleoriginpoint

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

HealingBrushtool2nd3rd4th5thHighcontrastHighlightandFilldropdownlistsHighlightsAirbrushoptionmutingHighlightsAmountsliderHistogramcommand(Windowmenu)HistogrampaletteHistograms2nd3rd4thpalette2ndreading2ndHistoryBrushtool2nd3rdHistorypalette,lighting2ndHuemode2ndHue/Saturationcommandcombiningcolorandgrayscaleimagerypreviewingimagereducingsaturation2ndselectingarea2ndinvertarea2ndmakingselection2nd3rdsavingtoolselectionHue/Saturationdialogbox2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

ImagemenucommandsAdjustmentsCanvasSizeDuplicateImageSize2ndModeImageoptionbuttonImageSizecommand(Imagemenu)2ndImageSizedialogbox2ndImagesburningedgescolorburn2nderasing2ndpreparation2ndscorchedges2ndcolorcorrectionadjustingtonalrangeadjustmentlayerscolorbalanceColorReplacementtool2nd3rd4th5thCurvescommand2nd3rd4th5th6th7th8thevaluation2ndHue/Saturationcommand2nd3rd4th5th6thMatchColorcommand2nd3rd4thReplaceColorcommand2nd3rd4th5thsharpenimagesspecialeffects2nd

combiningadjustinglayerscontrast2nd[Seealsocontrast]importingdigitalcameras2ndEPS(EncapsulatedPostScript)2nd3rdscanners2ndoptimizingforwebJPEG(JointPhotographicExpertsGroup)2nd3rd4th5th6th7th8th9th10thlogofiles2nd3rdreflectionscopyingandflippingimageGlassfilterincreasingimagesize2ndLiquifyfilteropacityadjustmentpositioningImportcommand(Filemenu)Importingfilesdigitalcameras2ndEPS(EncapsulatedPostScript)2nd3rdscanners2ndInfocommand(Windowmenu)InfopaletteInfrared,importingimagesInputlevels,readingcurvesInsertmenucommands,PictureInversecommand(Selectmenu)Invertingselections2ndISOsettings,avoidnoise

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

JointPhotographicExpertsGroup[SeeJPEG]JointPhotographicExpertsGroup(JPEG2000)JPEG(JointPhotographicExpertsGroup)ModifyQualitySettingcommand2ndadjustqualityareas2ndcomparequalitylevelsettings2ndselectingsubjectarea2ndoptimizingforwebcompressingimage2nd3rdresizingdimensions2nd3rdsavingfileJPEG2000(JointPhotographicExpertsGroup)

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

KeyboardshortcutsdialogboxesfilecommandsfunctionkeyspaintingselectionviewingworkingwithtoolsKeywordspane,FileBrowser

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Lab(Luminosity,Alpha,Beta),colorspacesLabmodeLassotool2ndLayerMaskDisplayOptionsdialogboxLayerMaskSelectediconLayermenucommandsAddVectorMaskDeleteVectorMaskDisableVectorMaskNewAdjustmentLayerLayerVisibilityiconLayersadjustmentHue/Saturationcommand2ndcombiningCutoutfilter2ndDiffuseGlowfilter2ndextralayeraddition2nd3rdleveladjustmentspreviewing2ndsavingsettingsTexturizerfilter2ndmaskscreating2nd3rd4thediting2ndimagesetupmodification2nd3rdversusvectormasks

Layerscommand(Windowmenu)LayerspaletteLevelinformation,HistogrampaletteLevelscommand2ndcolorcasts2ndunderexposurecorrection2ndLevelsdialogbox2nd3rd4thLightingaddingHistorypalette2ndselectingdarkareasLimits,ColorReplacementtoolLinkediconLiquifycommand(Filtermenu)Liquifyfilter,reflectionsLoadbutton2ndLoadPathAsASelectionbuttonLockGuidescommand(Viewmenu)Logofiles,optimizingforweb2nd3rdLossycompression,reducingfilesizeLowcontrastLuminanceslider

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

MagicWandtoolMagnification,ZoomtoolMakeWorkPathFromSelectionbuttonManipulatingimagesAirbrushoption2ndbasecoloraddition2ndBrushtoolBrushespalettehighlightcolorsmid-tonecoloradditionretouching2ndScatteringoption2ndsettingburningedgescolorburn2nderasing2ndpreparation2ndscorchedges2ndcombiningimagesadjustinglayersExtractcommand2nd3rd4th5thpreparation2ndfiltersaddingtexturewithgrain2nd3rd4th5thcombininglayers2nd3rd4th5th6th7th8thFilterGallery2nd3rd4thportraits2nd3rd4th

Gradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2ndplanningmovesplottingpathssplittingareaslightingaddingHistorypalette2ndselectingdarkareasmaskscuttingimageparts2nd3rd4th5th6thlayering2nd3rd4thselections2nd3rd4th5th6th7thvectormaskediting2nd3rd4th5th6th7threflectionscopyingandflippingimageGlassfilterincreasingimagesize2ndLiquifyfilteropacityadjustmentpositioningMaskscuttingimagepartscreatinglayermask2nd3rdeditinglayermask2ndoptionchangespasting2ndsaving2ndlayerscreatingmask

imagesetupmodification2nd3rdselectionsediting2ndhidingbackground2nd3rdimageselectioninvertingselectionsaving2ndtoolvectormaskeditinglayerstyleeffectPentoolShapetool2nd3rd4th5th6thMastercommand(Viewmenu)MatchColorcommandcolorcorrection2ndmatchingcolor2ndMatchColordialogboxMaximumdialogboxMaximumfilter2ndMeaninformation,HistogrampaletteMediandialogboxMedianinformation,HistogrampaletteMetadatapane,FileBrowserMicrosoftPowerPointadjustingimages2ndcreatingtemplatesimagepreparationresizingimage2ndsavingMid-tonecolors,AirbrushoptionMidtoneContrastsliderModecommand(Imagemenu)Modedropdownlist,HealingBrushtoolModifycommand(Selectmenu)

ModifyQualitySettingcommand,JPEG(JointPhotographicExpertsGroup)2ndadjustqualityareas2ndcomparequalitylevelsettings2ndselectingsubjectarea2ndModifyQualitySettingdialogboxMonitorscalibrating2ndcolorcasts2ndMonochromaticcheckbox,AddNoisedialogboxMovetoolMultiplecontrolpointadjustments

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

NewAdjustmentLayercommand(Layermenu)NewEffectLayerbuttonNewFillOrAdjustmentLayerbuttonNewGuidecommand(Viewmenu)NewGuidedialogboxNewLayerdialogbox2ndNewSelectioniconNoiseAddNoisefilter2nd3rdaddingmissingdetails2nd3rdavoidinginimagesblendingmodes2ndblurring2ndchangingcolorslocatingproblemNoisecommand(Filtermenu)Normalcommand(Viewmenu)Normalcontrast

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

OpacitysliderOpacity,reflectionsOpencommand(Filemenu)Openingfilesdigitalcameras2ndEPS(EncapsulatedPostScript)2nd3rdscannerimports2ndOptimizationfileformatsGIF(GraphicsInterchangeFormat)2ndJPEG(JointPhotographicExpertsGroup)JPEG2000(JointPhotographicExpertsGroup)PNG(PortableNetworkGraphics)2ndselectionbasedoncontent2ndMicrosoftPowerPointadjustingimages2ndcreatingtemplatesimagepreparationresizingimage2ndsavingprecisecroppingselectionsguides2nd3rd4th5thmeasuringimagereducingfilesize2nd3rdwebfilesJPEG(JointPhotographicExpertsGroup)2nd3rd4th5th6th7th8th9th10th

logofiles2nd3rdOptionsbuttonOrganization,FileBrowser2ndautomatingtaskexportingcachefilesOriginpoints,guidesOthercommand(Filtermenu)Outputlevels,readingcurvesOverlaymodeOversaturation[Seesaturation]

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

PaintBuckettoolPaintingAirbrushoption2ndbasecoloraddition2ndBrushtoolBrushespalettehighlightcolorsmid-tonecoloradditionretouching2ndScatteringoption2ndsettingkeyboardshortcutsSpongetoolPatchtool2nd3rd4th5thPathscommand(Windowmenu)PathspalettePentool,vectormaskseditingPenciltool,drawingcurvesPercentileinformation,HistogrampalettePicturecommand(Formatmenu)Picturecommand(Insertmenu)PixelationPixelsgammas2ndreducingfilesize2nd3rdPixelsinformation,HistogrampalettePlug-ins,importingimages2ndPNG(PortableNetworkGraphics)2ndPolygonalLassotool

PortableNetworkGraphics(PNG)2ndPortraits,filterssharpensoftareas2nd3rdsoftensharpareasPositioningguides2ndPowerPointadjustingimages2ndcreatingtemplatesimagepreparationresizingimage2ndsavingPreviewpane,FileBrowserProblemsandsolutionsblurringincompressedwebfiles2ndcolorcasts2ndcorrectingcolorcasts2ndeliminatingsilhouettes2ndfaciallinesandwrinkles2ndobjectremovalfromphoto2ndoversaturation2ndremovingimagefrombackground2ndremovingnoise2ndresizingimages2ndrestoringhighlightdetail2ndrestoringoverexposure2ndrestoringunderexposedshadowdetail2ndsharpeningimages2ndskinflaws2ndunderexposedcolorrestoration2nd

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

RadiussliderShadow/HighlightcommandUnsharpMaskfilterRangeoptionRasterization,EPS(EncapsulatedPostScript)2ndRasterizeGenericEPSFormatdialogboxRectangularMarqueetool2ndReflectionscopyingandflippingimageGlassfilterincreasingimagesize2ndLiquifyfilteropacityadjustmentpositioningRegularcurvemodeiconRemovablestoragemedia,importingimagesReplaceColorcommanddeterminingcolor2nd3rd4thsettingcolorReplaceColordialogbox2nd3rdResetbuttonResizingimages,JPEG(JointPhotographicExpertsGroup)2nd3rdResolution,EPS(EncapsulatedPostScript)Retouchingtechniquesarchitectureclearingclutter2ndcomplexpatcheswithlayerscorrectingslant

usingotherpartsofimages2ndHealingBrushtool2nd3rd4th5thPatchtool2nd3rd4th5thskinflaws2ndSpongetool2nd3rd4th5thRetouching,Airbrushoption2ndRGB(Red,Green,Blue),colorspacesRulerscommand(Viewmenu)

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Sampling,ColorReplacementtoolSaturationcolorscorrectingoversaturation2ndreducing2ndSaveAscommand(Filemenu)SaveAsDefaultsbutton,Shadow/HighlightcommandSavebuttonSaveforWebcommand(Filemenu)SaveforWebdialogbox2nd3rdSaveOptimizedAsdialogboxSavePathdialogboxSaveSelectioncommand(Selectmenu)SaveSelectiondialogboxSavedOptimizedAsdialogboxSavingJPEG(JointPhotographicExpertsGroup)selectionsScanners,importingimages2ndScatteringoption,Airbrushoption2ndScorchingimageedges2ndSelectmenucommandsColorRangeFeatherInverseModifySaveSelectionSelectionoptionbuttonSelections

guides2ndcreating2ndinvertingarea2ndkeyboardshortcutsmakingselection2nd3rdmasksediting2ndhidingbackground2nd3rdimageselectioninvertingselectionsaving2ndtoolMatchColorcommand2ndmeasuringimagesavingtoolselection2ndSerialports,importingimagesSetForegroundColortoolSetGrayPointeyedroppertoolSetToEnableAirbrushCapabilitiesbuttonShadow/Highlightcommand2ndadvancedadjustments2nd3rddefaultsettingsloadingmutinghighlightsRadiusslidersavingTonalWidthslider2ndShadow/HighlightdialogboxShadowsAmountsliderShadows,avoidingnoiseShapetool,vectormasks2nd3rd4thSharpencommand(Filtermenu)Sharpeningimages

UnsharpMaskfilterapplication2nd3rdhowitworks2ndShortcutsCurvescommandAutobuttonCMYKmodeEyedroppertool2nddialogboxesfilecommandsfunctionkeyspaintingselectionviewingworkingwithtoolsShowdropdownlistShowHighlightandShowFilloptionsSinglecontrolpointadjustmentsSizingfileformatsGIF(GraphicsInterchangeFormat)2ndJPEG(JointPhotographicExpertsGroup)JPEG2000(JointPhotographicExpertsGroup)PNG(PortableNetworkGraphics)2ndselectionbasedoncontent2ndreducingfilesize2nd3rdwebfilesJPEG(JointPhotographicExpertsGroup)2nd3rd4th5th6th7th8th9th10thlogofiles2nd3rdSkies,avoidingnoiseSkinflaws2ndSmartHighlightingoptionSmoothslider

Snapcommand(Viewmenu)SoftLightmodeSolutionstoproblemsblurringincompressedwebfiles2ndcolorcasts2ndcorrectingcolorcasts2ndeliminatingsilhouettes2ndfaciallinesandwrinkles2ndobjectremovalfromphoto2ndoversaturation2ndremovingimagefrombackground2ndremovingnoise2ndresizingimages2ndrestoringhighlightdetail2ndrestoringoverexposure2ndrestoringunderexposedshadowdetail2ndsharpeningimages2ndskinflaws2ndunderexposedcolorrestoration2ndSourceoptionsHealingBrushtoolPatchtoolSpecialeffects,colorcorrection2ndSpongetoolcolorsaturationpaintingpreviewingwithHue/Saturationcommandsettingselection2ndStdDevdata,HistogrampaletteStylizecommand(Filtermenu)SubtractFromSelectioniconSwatchescommand(Windowmenu)Swatchespalette

Index

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Templates,MicrosoftPowerPointTextureGrainfilter2ndTexture,addingwithgrain2ndAddNoisefilter2ndFilmGrainfilter2ndTextureGrainfilter2ndTexturizerfilter2ndThresholdlevels,UnsharpMaskfilterThumbnailspane,FileBrowser2ndTolerances,ColorReplacementtoolTonalranges2ndaddingmissingdetailscloning2ndnoise2nd3rdadjustingAutoContrastcommandBurntool2ndapplication2ndpreparation2nd3rdcontrast2ndDodgetool2ndapplication2ndpreparation2nd3rdhistogramspalette2ndreading2ndShadow/Highlightcommand2ndadvancedadjustments2nd3rd

defaultsettingsloadingmutinghighlightsRadiusslidersavingTonalWidthslider2ndTonalWidthslider,Shadow/Highlightcommand2ndToolbarscommand(Viewmenu)Transformcommand(Editmenu)TrashbuttonTWAINdrivers2nd

Index

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UncachedRefreshbuttonUnderexposedimages,avoidingnoiseUniformnoiseUnsharpMaskdialogboxUnsharpMaskfilterapplication2nd3rdhowitworks2ndportraitfiltering2nd3rdUSB,importingimagesUseAChannelToModifyQualitySettingbuttonUsePatternoption,PatchtoolUSMfilter[SeeUnsharpMaskfilter]

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

Variationscommanddialogaccess2nd3rdmakingadjustments2nd3rdVariationsdialogbox2nd3rdVectormaskseditinglayerstyleeffectPentoolShapetool2nd3rd4th5th6thversuslayermasksVectorpathsViewmenucommandsActualPixelsClearGuidesLockGuidesMasterNewGuideNormalRulersSnapToolbarsViewing,keyboardshortcutsVisualfocus,Gradienttooladjustmentsapplyingtolayer2ndconvertingpathtoselectionborderfindingfocus2nd

planningmovesplottingpathssplittingareas

Index

[A][B][C][D][E][F][G][H][I][J][K][L][M][N][O][P][R][S][T][U][V][W][Z]

WebfileformatsGIF(GraphicsInterchangeFormat)2ndJPEG(JointPhotographicExpertsGroup)JPEG2000(JointPhotographicExpertsGroup)PNG(PortableNetworkGraphics)2ndselectionbasedoncontent2ndoptimizingfilesJPEG(JointPhotographicExpertsGroup)2nd3rd4th5th6th7th8th9th10thlogofiles2nd3rdreducingfilesize2nd3rdWhiteClipbox,Shadow/Highlightcommand2ndWindowmenucommandsBrushesChannelsHistogramInfoLayersPathsSwatchesWorkspace,calibratingmonitor2ndWrinkles2nd

Index

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Zoomtool2nd