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Practical Photoshop

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Amrit Shivlani
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481 views

Practical Photoshop

UK

Uploaded by

Amrit Shivlani
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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crn got by PS TOUCH . Discover how to use Photoshop on the gousing a tablet or phone mere (tl IN 24 HOURS Understand selections, layers , masks, learn how to how to add creative effects and more... - VIDEO GUIDES EEL Ton. E PETA a ELD LAL eS PE OTE EUMETSAT as PTT UE Le ee ; i Twitter BATES ACN oe oct ott fe -cae 1 > Tap here to get issue 34's resource pack You'lllearn How to make accurate selections, combine shots anduse blend modesin Photoshop Touch You'llneed Photoshop Touch onan 'Pad, iPod or iPhone Itilltake Five minutes Photoshop THE ART OF MONTAGE Make evocative Photoshop art by combining anude portrait witha gnarled tree, then add fog, sky and texture effects The team at Practical key Photoshop skill from using gsr Photoshop love a moody, selections and masks, toblending Yowittearn surreal montage. Ifyoushare our —_textureswiththe BlendIf controls. >> Howto combine images enthusiasm forcreatingfantasy —_Welllevenaddalittledigital mist. _withlyers,masksand : jendmodes, and how to scenes then thisisthe tutorial toenhance the moody eters peceeeel foryou,Welllshowyouhowto atmosphere. Soif you want to drop ina different sky transforma boring tree into a find out how to create surreal You'llneed stunning montage by blending Photoshop art andlearna few ten CS ot oss thetrunk with anude portrait. fundamentallskills, thenreadon -Wiltake Along the way we'llencounter or watch the included video. >> Tap here to get issue 34's resource pack Photoshop MASK THE TREE Open tree_before.pg then grab the Crop tool, Right click and choose Reset, then drag the top middle point upwards to enlarge the frame. Double click the background layerand name it tree. Grab the Quick Selection tool and paint over the tree, then switch to the Lasso tool and Shift-drag over the rest of the land and water to roughly selectit. DROP IN THE SKY Click the Add layer mask icon, open skyjpg, then right click the layer in the Layers panel and choose Duplicate Layer. Set Destination: tree_ before,jpg. Go back to the other image and drag the sky layer below the tree layerin the Layers panel, then hit Cmd/ Ctrl+T to transform itand drag the bounding box to resize and position until youre happy. SELECT THE MODEL Open nude,jpg then grab the Quick Selection tool and paint over the figure. Click the Refine Edge button, grab the Refine Radius tool and paint the hairto increase the area of refinement. Set Radius 1.4, Shift Edge -10. Choose Output to: New Layer with Mask. Copy thenew layer into the main image, right click itand choose Convert to Smart Object Photoshop POSITION THE NUDE Hit Cmd/Ctri+T then transform, rotate and resize ‘the nude so that she fits snugly onto the tree trunk. To tweak the curvature of the trunk to match the figure, highlight the tree layer then go to Filter>Liquify and warp the shape of the trunk slightly. Next, click the Create adjustment layer icon, choose Black and White and click Auto. BLEND THE TORSO Highlight the nude layer and click the Add layer mask icon, Grab the Brush tool and hit 5 for 50% opacity. Paint black over the model's torso to blend itwith the tree. Next, highlight the mask thumbnail on the tree layer and paint black to hide any parts of the tree that may be showing behind the model. Paint to blend the sky with the water inthe background. POSITION A ROOT Grab the lasso tool and draga selection overa root that looks similar tothe right arm. Highlight the tree layer then hit Cmd/Ctrl+] to copy the selection toanewlayer. Drag the layer above the nude layer, then hit Cmd/Ctrl+T. Resize and position the root over the arm, then right click and choose Warp. Drag the warp box to shape the root to the arm. Photoshop BLEND THE TEXTURE Set the blend mode to Overlay, then double click the layer to access the Blending Options. Go to the Blend If options, hold Alt and drag the right half of the Underlying Layer black slider to about 126 ‘to blend the tree with the arm. Hit OK, then Alt-click the Add layer mask icon. Grab the brush tool and paint over the armto reveal the tree texture, DODGE AND BURN Repeat steps 06 and 07 to add more texture, then Shift-click between the top and bottom texture layer and hit Cmd/Ctrl+G. Highlight the top layer and hit Cmd/Ctri+Shift+ Alt+E. Grab the Burn tool and set Range: Shadows, Exposure 10%. Burn around the body to deepen the shadows. Switch to Dodge, set Range: Highlights and pick out the highlights. ADD THE FOG Click the Create new layer icon, hit D then Alt+ Backspace to fillit with black. Goto Filter>Render>Clouds, then Filter>Blur> Gaussian Blur. Set Radius 120px and hit OK. Change the blend mode to Screen, then Alt-click the ‘Add layer mask icon. Paint with white to reveal the fog. Finally, adda Curves adjustment layer and plot an S-shaped curve. STR _ Your quick~ _ toimage editing in Photoshop If you're relatively new to editing in Photoshop, or you just don’t know where to begin, then this section is the best place to get started. Over the next six pages, youll find an overview of the different versions of Photoshop available, a breakdown of the start guide and reference typical image-editing workflow in Photoshop, an overview of raw file editing, a guide to the sixmost useful layers, anda glossary of the most useful shortcuts. This guide condenses most of the tools and techniques you'll use every time you import a new rollof pictures. ) THE PHOTOSHOP FAMILY Four versions of Photoshop with varying capabilities... PHOTOSHOP CC e ZY 20GBonline storage SQ) y Behance Prosite v There are constant updates to the program as soonas new features are introduced Y Subscription model saves large initial outlay X Monthly subs not everyone's cup of tea LIGHTROOM 5 iE r VY Showcases outstanding image-processing features X There are no layers or masks, so compositing multiple images isn'tan option ELEMENTS 12 Great value, no subscription fees X Camera Raw 71 doesn't include any selective or gradient adjustments, andis limited compared with Lightroom 5 or Photoshop CC X No Curves adjustments PHOTOSHOP TOUCH ¥ Ideal for smartphone image editing, especially while youre outand about v Photoshop Touch includes layersand Curves Atthese prices, it'sano brainer Photoshop THE IMAGE-EDITING WORKFLOW Manage your photos from capture to output in three stages The image-editing process begins as soonas you've transferred your photos from your memory card to your computer. Bi The first stage is to begin sifting through your pictures to discover which are the keepers. The image organiser that comes with Photoshop is ideal for this task. Adobe Bridge has controls for keywording, rating and filtering your images, and there are handy tools. for batch renaming files, creating panoramic stitches, making contact sheets and more. Launch Adobe Bridge and navigate toa folder containing new images. Use the cursor keys to quickly flick through the images and click below a thumbnail to add a star rating, or use the keyboard shortcut Cmd/Ctrl+1-5. You can then filter your images by the star rating to group the ones you want to work on. BiThe next stepis to open the images from Bridge into Adobe Camera Raw. ACR is the best place to make initial changes to your images to boost tones and correct any problems with exposure and so on. Itdoesn't enable you to combine images - you'll use Photoshop for that - but it does enable you to make the kind of edits photographers need. Bi InPhotoshop, you can further refine the image with layers and adjustment layers, which offer a much more flexible way of working than ACR. Once you've finished, it's time to share it with a wider audience. Go to File>Save, and your image will be saved asa Photoshop document (PSD). This keeps all the layers intact, which means you can go back and retweak the image at alater date. However, PSD files are large and take up lots of hard drive space. If you want to share your images online or via email or social media, save them as JPEGs. Cae Photoshop m9 THE BASICS OF RAW PROCESSING Discover how to process your raw files to perfection Thelatest version of the raw file rather than in Photoshop, you'll ensure the processor included with Photoshop isso best possible image quality, because raw files powerful that most photos canbeprocessed contain more picture information than bitmap entirely in the raw processor, withnoneed for _ images such as un-layered PSDs and JPEGs. further editing in Photoshop. And by making _ Here's our reference to the features you'll use your adjustments in Adobe Camera Raw the most in the Basic panel. CONTRAST THE BASIC ce: Makes light pixels brighter PANEL IN ACR and dark pixels darker White Balance: [as Shot Temperature fo HIGHLIGHTS TEMPERATURE oa 5 c Controls the brightness Use this slider to warm ofthe lightest pixels or cool an image if the auto Default WhiteBalancetoolfailsto Exposure +0.90 cmecaaoucs | ————=s | SHADOWS Controls the brightness ghights [o_o the darkest pixels TINT —_——_— Thissliderenablesyouto See corectagreenormagenta Wats WHITES cast, again, if the White a sets apoint onthe tonal Balance tool falls Bods range at which pixels should be pure white EXPOSURE oa __,- = Controls the overall Vibrance CLARITY : ; ————. ——_ — brightness of the image - Controls the amount ewe of midtone contrast cree SATURATION VIBRANCE range at which pixels Controls the overall colour Adjusts the intensity of should be pure black intensity of the image the less-saturated colours Photoshop SIX ESSENTIAL LAYERS FOR PHOTOS The six most frequently used Photoshop layers for image editing, and how to use them to improve almost any photo Photoshop hasmany typesoflayers used may seemalittle daunting for beginners, andadjustment layers available, but _ but once you've got to grips with them, youll therearesix that you'llfind youneedtouse —_ find they playapartin the creative process of again and again. Learning how they shouldbe —_almost every image you make. LEVELS This should be the first layer youadd toan image, because it fundamentally alters the tonal range of the entire image. Create aLevels adjustment layer, drag the Black Point slider inwards until it touches the left- hand edge of the histogram, and drag the White Point slider inwards to the right-hand edge. This remaps the tones of the image to make more of the available tonal range. CURVES Curves is one of the most powerful adjustment layers. An S-shaped curve brightens the highlights and darkens the shadows, resulting in extra contrast. Create a Curves adjustment layer and click the middle of the diagonal line to adda central control point. Drag down on the lower part of the line and drag up on the upper part of the line to improve image contrast. HUE/SATURATION This adjustment layer is best used foraltering the intensity and brightness of individual colour channels in an image - greens and blues in landscapes, for instance. Create a Hue/Saturation adjustmentlayer, click the Master menu and choose the colour channel you'd like to adjust. Small changes are usually the most effective, Cae Photoshop 0 HEALING LAYER Most photos contain unwanted marks or blemishes. The Spot Healing Brush toolis effective at removing these. The best way to apply the healing is on anew blank layer, so that you can easily tone down or remove selected healing work later without having to start from scratch because you healed directly on the background layer. To do this, create a new blank layer, choose the Spot Healing Brush tool from the Tools panel and tick Sample All Layers on the Options Bar, then continue as normal. 0 DODGE AND BURN One of the best ways to enhance a photo is by lightening or darkening selected areas of the image. This can be done with ‘the Dodge and Burn tools, but rather than, use them directly on the image, a separate grey layer gives you greater control. To create a Dodge and Burn layer, hold down Altand click the Create a new layer icon in the Layers panel. Give the layeraname, then choose Mode: Overlay. Check Fill with Overlay-neutral color and click OK. Now use the Dodge and Burn tools (with Range set to Midtones) to work on the new layer. 0 SELECTIVE SHARPENING Onceall other adjustments have been made, you need to sharpen the image for output. The traditional way is to createa merged layer at the top of the stack, apply Unsharp Mask, then paint on the mask to. remove the sharpening from those parts of the image you want to remain soft. However, the Sharpen tool enables more control over the process by enabling you to build up the effect by brushing repeatedly with alow opacity brush. Create a new blank layer, select the Sharpen tool, tick Sample All Layers and seta Strength of 50% or lower. Caen Photoshop 9 14 ESSENTIAL KEYBOARD SHORTCUTS 14 keyboard shortcuts that will massively improve your speed and efficiency while working in Photoshop Reset the foreground and background colours to black and white ALT+ISCROLL WHEEL] Zoom in or out of the image CMD/CTRL+SHIFT+ALT+E Create amerged copy of all the layers in the layer stack SPACE BAR Temporarily switch the current tool to the Hand tool, for moving around the image while zoomed in ALT+LEYE ICON] Switch off the visibility ofall other layersin the layer stack, for before-and-after comparisons CMD/CTRL+ Invert the colour of a layer mask to black SHIFT+[LAYER MASK] Disable the effects of a layer mask X Switch the foreground and background colour swatches [OR] Resize the brush tip SHIFT+[ OR] Cycle backwards or forwards through the layer blend modes CMD/CTRL+ALT+Z Undo the last change made to the document. Works multiple times CMD/CTRL+{LAYER MASK] Load the currently active layer mask as anewselection CMD/CTRLT Activate the Free Transform tool CMD/CTRL+) Duplicate the current layer arn ® SENSATIONAL IMAGES MADE 10f Future Publishing, 30 Monmouth Street, Bath BA1 2BW_ Editorial +44 (0)1225 442244 + www.digitalcameraworld.com ‘Subscriptions and Customer Services 0844 848 2852 YOUR TEAM Ben Brain Editor benepracticalphotoshopmagcom James Paterson Technique Editor Jamesepracticalphotoshopmagcom Rebecca Shaw Art Editor rebeccashawefuturenet.com ‘Steven Raynes Operations Editor steven raynesatuturenetcom ‘Angela Nicholson Head of Testing Paul Newman Senior Editor Steve Gotobed Group Art Editor ADVERTISING Penny Stokes Senior Advertising Manager (01225 442 244 ext 2080 pennystokesafuturenetcam Sasha Dodimead Advertising Manager (012257881186 sasha dodimeadepfuturenet com Matt Bailey Senior Sales Executive (01225732345 matt balley@futurenetcom Clare Coleman Straw Bath Sales Director (01225 442 244 ext 2175 dare.coleman-strawefuturenetcom James Ranson London Sales Director (0207042 4163james.anson@futurenet.com “ela ive Mark Wood Non-executive Caiman 0742 4000 andor Te CIRCULATION AND MARKETING ‘Samantha Book Marketing Executive Liza Austen Trade Marketing Manager INTERNATIONAL LICENSING Regina Erak Syndication and Licensing Director SENIOR MANAGEMENT Robin Abbott Creative Director Douglas Editorial Director Matthew Pierce Head of Photography Group matthewpierce@futurenet.com ‘Stuart Anderton Chief Information Officer SUBSCRIPTIONS & BACK ISSUES Ifyou havea query regarding a subscription or back issue, or would lke to place an order, please contact our customer services team: Telephone: +44 (0)844 848 2852 Email: future@my favouritemagazines.co.uk Cover image Markus Miller on GroupFinance DiectorCzahamtarding (ouzesaazzaa ath) Future ples pubic company quotconthe London Stock Exchange symbol FUR) wwfutureplecom Alinformaton contained this magazines fr formatinalpurpas FuturePublshing Usted cannot accept any espa: with eoarato ubmesons Pract Photos lensed eations worldwide nd photog apty-elated websites Ary Future Publishing Limited noritsage be abo loss” damage © Future Publishing Lied 2013. Al 0 reproduced without hewn permisionof the pis pebest 1 knowledge. corectat the tine of going to press do contact manufacturers ad etalers rect ne sdbmissionn Pacts Photoshop magazine i reserved. Nopart of ts magazine may be

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