D) | ej ne AN i b=) PVG op aio} Photo Editing B A Guide For pe ~ steele cm to improve G. your photo pty editing skills Rr Tae vat -mcrala ale 0-33 used by the professionals + l Step-by-step Photoshop ha) tutorials and projects / ‘ tfDiscover more of our complete manuals on Readly today... Tgcompete ee "Thaconplae Nikon Photoshop htroom Manual A Manual anual es F the Complete SF The complete The Complete The Complete iPhone 11 iPhone 11 Pro Photoshop Manual Manual iPhone Elements iOS 13 Manual 2 Manual The Complete Mac Manual Meo Instagram Manual ‘The Complete May cy. Ni i(DIGITAL | CES Photo Editing A Guide For oe es The digital photography and photo editing revolution has put high quality photo manipulation within reach of everyone, so now with our help it’s time for you to join the revolution. tng "ean Important part of the day jonal photograp! e-rich to Keep pé ¥id of photo editing and manipulation, Ce eeelt BOLE) ail WS NTT) CONTENTS DIGITAL PHOTO EDITING - A GUIDE FOR BEGINNERS Getting Started Main Interface Healing Tools Menus Clone Stamp Tool The Tool Bar Brushes and Eraser Keyboard Shortcuts Bucket and Gradient Fill Selection Tools Basic Editing Techniques Making Selections Crop and Resize Modifying Selections Quick Masks Using Layers Using Layer Masks ‘Adjustment Layers Content-Aware Fill and Scale Curves and LevelsDIGITAL] = Photo Editing AGuide For Beginners ‘DN Create Seis Dighal Phato Editing A Gude Foe Beginner Volume Seen ISSh2 20503970 bles Black Ong Ms Lined 60%) Frewstens at Detor Man Ayano ovata detion Photo Editing Skills Adjusting Exposure Correcting Lens Distortion Colour Correction Panaroma Stitching Contrast and Saturation Colour Replacement Monochrome Techniques Soft Focus Technique Graduated Filters 72 What is Raw Mode? Processing Raw Files Photo Editing Projects Pencil Sketch Effect 2 bit HDR ilt-shift Effect ’aw Processing Skin/Beauty Retouching ea eas ae Light Grafitti Little Planets Compositing DI sky Replacement Artistic Borders 160 Glossary BL DotaProEsteg-AcuseFoBagmmes 5| aun! You've taken your first step into a larger world! EO Re ce eae rie ce Re ed fraction of its capabilities, and mastering its subtleties can take many years. Thore ee oe ete eee ores Perea oe era eee Cee ee Poe ree eer eee eee ee eee ee cee Cor eC eC oy FePau) cl oe ney er oe oreeceyencns Tord fc seer Pine ure tg ee | eo hrMain Interface Photoshop has a great looking interface, with a dark slate-grey work area, slightly lighter menu and palette bars and sharp white text. It looks great and really makes photos stand out from the background. Let's take a look at what it has to offer. Menu Bar 1" rd the options menus here fr more datas Tool Palette Hore you'l ind your main editing tool 12:25 fora look at the individual to's and what you can 4 with them Tool Option Bar softness. You'l find them in this are, Document DetailsMAIN INTERFACE PS | Palettes Workspace Option to accurately measure postions on your image, and crag guide lines from hereto help There ae interchangoableg avaiable, which yo rom the W an choose ingluing user options up text ane leer. ru Fly-out Palettes Layer Palette Layer Options Youcansetup yur owncusom Here youl roles of Hoe yu can a tics oF Reqvent 86d pat, re ogo yee cureny and te options Yo working on. active layers these butions,10 MENUS document, Open..te open an ern eens eee ‘As. hich gives youthe option eer aot ena pesshearanmenniiretor™ eee peaerer eran Perret eto Paneee tenement) ere eee Saree Seed Cay aL Oks Se ee ee nee ne De ln a eee) ee er eee eee tee eran ee eet hors the Adjustments sub-e, See ere) hvebsena separate msinmenu. | protosnop, Over the ong, rere ans peer erie See a er teers Penreetrtd eee te ear erea es eee perenne Cente Tema rhenri ners emcee pierre tere an er eer peer ret neta Ole ese Dit Pearce Mace complexity and versatilityee Seer ee eed eed Ed ee eee) eee ery eee ‘arazng Adaptive Wide Arla euro that wel explore on page eee poner) baste wewing controls such 2s peereeceeetie ees ets nes aren MENUS eed eet eee ees Cerra CeresTHE TOOLBAR Ps The Toolbar Let’s take a look at Photoshop's main editing tools home with the latest version In common with previous versions, ‘most ofthe tools have alternate options, denoted by a small arrow in the bottom he main eloments of the Photoshop ‘Toolbar haven't changed all that much since the introduction of Layers and the Move too! with version 3.0, back in 1984, ‘customised via a link in the Eait menu, but of the default keys, among the most Useful are “C” for the Crop toc, "MM" {for Marquee selection tool, and “E” for the Eraser. ‘The shape has changed abit, elongating into a single column to take advantage of today’s larger monitors, and a few more tools have been added over the years, but ‘anyone who's familar with ary previous version of Photoshop will soon feel ight at move MARQUEE ‘MARQUEE ASSO ate WAND noe eveDnoPPER POT HEALING BRUSH CLONE STAMP Tony BRUSH Rast oraoient SMUDGE ure Fev Fe PATH SELECTION une i) 00M STEN COLOUR SET COLOUR (lok MASK MODE SSOREEN MODE 12 notteCrteseie right comer ofthe tool icon. Click and hold on any tool bearing this mark to ‘S00 a pop-up menu showing the other options that are available. Most of the tools can also be selected by using a hotkey shortcut. These shortcuts can be Move se to mava pit informatin onthe active ner arses, Can ls be used to ret seo layer Aao-slet ie checked on he toot opto ta. The Mowe ‘oot hs no atleates. Magic Wand “Yet another ara section tal this oe can soc an area based cnt cou. The _aterate options ick Salen, whieh yo Marques eee) The Marque s used to slet an area ot the cto layer eat opons nee anelpical shape and sng ow er Eyedropper The Bectppe ars cere st of stern proves ou whoo at an a youre aout he mage are wating Lasso tool for courting abjcts n an image. The Lasoo ued to make aca sector to the ace yet, fie th shape canbe re, mated cat dng renga fe arudha sreato boo eee at a Co Beco (Over the allowing pages we'l lookin ‘more detall at what these tools can do ‘and how they should be used, but for now here's a quick run-down of what you have available on the Toolbar. Crop “he Gop tot as san amr ovata Photoop CSB, tat til does he same Jo Use sect one area ot an iage lca eet, por ere Patch Toot Spot Healing seotar el ats sen sore hrs nite osin Pe Spear gos ‘roman sala sh ay Path Selection Pata used fx mary purposes Photosho, Use ts fool ands arateBrush “he Bra too ne ofthe mst base a most use eal yes of mage ost, pant and craving. Atemaisincae tho ‘quay uses Pencl ol, a wall a eur reploceent and cola mong Clone Stamp quad he mst powertuot Potoson's ray foo, he Cre tarp eda Cony one sea fan mage orto anche Aus he power fhe Cone Sato ‘ter rages has gt many pepe me ere tobe than you'd betove History Brush Usaain corjnctn vith ho Har alta the ety Brush canbe used to ect restore cela areas ofan mage toa revous tate, Ws sek #youe making 8 lotofehanges to an mano Eraser ‘Asthe nae res, Eola ‘pect bush tat can dean areacan image. aver eselcton Peel Gradient Te Gaertn apy tn an sre a aes oc) tom one court {robe ortom a coor a taneeancy Smudge The Smug tok dong wn is teats ‘Bly and Sharpen oo, canbe usd fo lens and ater cna and tae arer sroxsof te mage. THE TOOLBAR ety n Petes wna to 0d fo Line “he Lino aris tt ae acto Crete shaes er pss on your mages, its very use fr gaphes werk suchas theron ontne dag be Burn fm, sds temas Doge and Spore. sre based on paraphe doom fecmejn snd we into soletay Ken cove desta sala of ora. Pen Tor ins or slctens, use somating cal Bev curves. Tey tke some Practon bua can prodice eet eats Type Tepe tlisanor aoe hats Con trom ut oa pone tye fatty erent Hand Ts an tool seo iat od alge mages mest fin sed i out ktoad shor te space bar Zoom This tol spy 200m to an 9 fhe nage gan tis most fen used via & Switch Colour ekg ont swans the cent ‘acre colo forthe cure. ‘oregon cob Set Colour ‘rca rere ngs uh cour conse fet, wh ts you crocs he feegeund or tacyo.na ccs Quick Mask mode Irvooucea n Protosrep St, he Quek Mask ed a great ay of maling complex sectors ung the caving and antng to Screen Mode (chert sien between the cent seoen mode sa ut sre Wow oF your irage DgtaPraoEserg-AcuceForBagemam 13& KEYBOARD SHORTCUTS Keyboard Shortcuts There's always a quicker way of doing almost everything... 1 of Photoshop's best features is its huge ist of fully customisable keyboard shortcuts, Almost all ofthe programs functions can bo accessed quickly by pressing various combinations of keys, and once you learn those shortcuts your workflow will speed up immensely. You can even make up your own for your most frequently- used operations, Customising Shortcuts Your the keyboard shortcut ‘operations already have thei own will agpeer hee If the combination is preferences menu atthe bottom of default shortcuts. You can easily ‘oad used by another shortcut youl the Ect menu, although natualy change these, or even add your own 988 a notiation warring you ofthe, ithas ts onn keyboard ew ones. To oelya shorteut toa and askng yeu want to proceed with Als Shit ‘operation frst ateitin the Ext, and the chango. you click Acoopt the new exfnausive Ket of al Photoshop then cok nthe space to the ight shortcut wil be applod immodiatey functions, broken down inte category ofthe name, You' se a smal tx ke care when making your own headings matching the names ofthe window gopeay, and the next kay or shorts that you det ocidentaly main menus. You'E fd that mary combination of keys that youpress_overwrto some useful 14 eottsCesKEYBOARD SHORTCUTS TING STARTED & Some Useful Default Shortcuts Hore ar some ofthe more commeniy-wsed shortcuts forage eding, There ‘27 mary mare of course, butts wert aking te ten to memos these ones, they'l make youre ato lt easier. ‘CREATE NEW DOCUMENT PASTE FROM CLIPBOARD AS INVERT SELECTION NEW LAYER + + "+a lee _ ‘CREATE NEW LAYER FREE TRANSFORM CURRENT LAYER ZOOM IN VIEW a -- |e- +e) ‘CLOSE CURRENT DOCUMENT 00M our VIEW on) * (oe a]+(G ‘CLOSE ALL DOCUMENTS cunves FIT ON SCREEN ne we a ‘SAVE CURRENT DOCUMENT INCREASE BRUSH SIZE 100% zoom a+ i + (al + SAVE AS DECREASE BRUSH SIZE SHOW RULERS oy) + (pee) + (eal | . vunoo/ReD0 ‘BRING CURRENT LAYER TO TOP ‘SHOW OR HIDE GRID ee -- | e- UNDO LAST STEP ‘MOVE CURRENT LAYER UP SHOW OR HIDE GUIDES J++ a+ _)+| REDO LAST STEP [MOVE CURRENT LAYER DOWN ‘TURN SNAP ON OR OFF (een) + a) +(e) | Le + (ca) + ca + (ea) (COPY CURRENT SELECTION Cony Coane SELECTALL ON CURRENT LAYER HELP +e m+ a ‘CUT CURRENT SELECTION TO Hoy DESELEGT ALL eB + DgtPreoEstrg-AcuseFoBagomes 15& SELECTIONTOOLS Selection Tools Photoshop provides multiple methods for isolating areas of your image he ability to select discreet areas of an image to select regular shapes such as rectangles, ellipses and change them in isolation is fundamental to and lines. For irregular shapes there are several Lasso Photoshop editing, and to help with this there are tools, which let you craw the area to be selected. For many diferent ways of making that selection. The most quicker selections there are the Magic Wand and Quick ‘frequently used are the Marquee tools, which allow you Selection tools. ERs Red backed Shrike.jpg @ 33.3% (RGB/8#) Common Options erolotine frst row of four buttons ae: Now Selection, which the deat setng, Ad To Saeton, which an aso bo acted tory by naling conn tho Sit ky, Sua From Set smnen tool options ection tools. The jon, also activated by the Alt key, and Intorsoct With Selection, wi areas already selected, 18 only from Feather Edge ‘The next option is Feat which softens the edge of the selection, useful for gradual effects, The edge (ofthe selection can be futher adjusted by using the Refine Edge menu, which uses sophisticated edge-detection techniques to ‘automatically select around things ko fine hal or blurred ed 16 soHtecrenessSELECTION TOOLS & rectangusr area of any 20 or aspect to st eck an rag othe gh sia. Hold down the Stat ky ‘shape, and use the arow kya to rove the selection sea, “This ol uses edge-dteton trytomaten our slotiono the 28 of the suo n the mage ‘ou sry craw a ine a dosely a8 possbet0 what you want, ana t Shout automatcaty srap tote ed. Untorunety ihe egos teed or of our corrat then th ge dtacton raya, so again ts tools best sed sharp high-contrast edges, Posshiy the most ust slacton teak the Peygona Lasso ls you ‘raw a point topo ne around your subj an ony ew sit nes, but by ung very hoe sections its josebie to approemate a cued ine the Fen too fanatical shape of any se cr properon. As wih herectang rare, ust clk ane crag tothe te Ths opton creates asoection of ust | ar shaps you need, and hold down ‘angie verioa column of pes. Tas || the Shit ay to daa orc. you leueeultr tong un ofr asetione hak don the At hoy te elie willbe (or erops that are just ite to be, centecon the starr eit, proportion. As wh the rectangle marquee, jus clk and crag othe ize land shape yeu need and hold down the Shit key © raw acl. you “This th samo as Single Cok hold dovnthe At key the allo wilte | Marque, but thie imo elects a ‘cored en the tain poi Shoe orizontal row of rs, ‘Arewer oo added h Phetosbon “Triste another esection toc tat (C59, thistocl ets you paint a ses contrast detection. ets you selection anc ke the Macnee Lasso ‘selec area ofthe same colour and a uses edge detect oy tommatcn Dighinass nd by using the the slection to the nearest eda n tolerance and whather or not il te image. Again t's ote ony an soc coniguous areas, you can ‘proxi, and wl Pave problems Use todo things he automatiosly wth bed or low corres eos, but state shy in your mage {es have is uses. You can aust Again i's ery usetlunder parieuer |) thosize of th election brush inthe ‘erumetarens, out with a ste same way a8 you would painting tweaking i oan be very ual tok bush, Seepage 22 for deals DgtaPraoEserg-AcuceForBagemam 17HEALING BRUSH Healing Brush Tools Clean up minor blemishes, dust spots and stray hairs with the Healing Brush tools ven with a modern digital camera your ‘photos may have slight imperfections. Maybe it’s just astray hair or an unwelcome skin blemish in a portrait, or maybe some dust has managed to get of causing dark spots on your photos. natever the ro E toremove some: images, and the best tools, Healing tools There are five healing tools in Photoshop, whic and hold on the Spot Healing Brush tool icon in the too palette this are the n see if you click ry Resa yeas The Heing Bush ea uetooel arabes erperer wren) fierce aes oer) a ae Ce eter Pete) eet terrane ee cr eee eta Set) fer Tae rene eee eee ee Cee ai een ec) See es rete ee ey Se ee ee ee ecu er Fae Patch Tool eee ged eet enter pret fither draw around er ee eee Is ent ee he sample to an erent etert peeredPee ee Cee eee ere td ee etc Cece peer anny re eet etre Cee ead Oe en De eee ae fetter! For removing smal objects such as dust spots and stray hairs, Pee eee ees your disposal. though i's very easy to uses actually quite Se ee See ee oer) Pee a ee eee! eee net sence) Se ee ee ees eee Ce ee)& CLONE STAMP TOOL The Clone Stamp Tool Remove unwanted elements from your photos he Clone Stamp tool (Also known as the Clone Brush in some programs) is one of the most useful Items in your image editing too kit. Despite recent developments such as Photoshop's Spot Healing tool and Content-aware fil is still te most precise and reliable way to retouch photographs, allowing you to remove unwanted elements such as dust spots, ‘kin blemishes, lens flare and other intrusive objects fom your pictures. Because the process is ently ‘manual itcan be very time-consuming, but the results are often superior to the output ofthe more modern ‘automatic tools, ‘The Clone Stamp works by Ng (cloning) peas s froma selected target aroa and placing thom over tho unwanted objects, Using the Clone Stamp itis rlatively : straightforward to remove even quite large unwanted ‘objects from a photo, Take this photo for example: Tis otherwise pleasant an pois spoled by ne wires inthe foreground. With ‘twenty minutes using the Cione Stamp the wires have beon completely removed, leaving a much ricer picture: Le the obirsive telep! Selo the Gna Brn td frm the toa pate. The alae wor Be Oe een used in Ptoshop Cs Sup. At opuer mage tothe Mens bar youl the ding rogers. thepre-setbmish manu lowng yout 20Formost Cena Stamp warkon protographs a delat runs, sot-2oged ‘sh she bet coe. Yu can ac the ste ung te cop- down ie re Forte ter cnt, fr e-oucirg proto wea Noma rsng mode, and make sue Algred eres ‘he, This very wekt determine lahat he samping ait wl flow he ‘movements your bush crramainin tte same locaton. For the mst prt retuctng operat yur have ‘tesarpe gant alana wth fe bth “Tho bch so that oul ond wt epancen the sz ft photo yeute ‘woking wan, utr he 18-mocapacl amp were whg hee 846 deters a god place to tat. You can uy vary the 0 fhe brah ing ‘hokeybeat struts, he open and cose aque backetshays and Tre Coretnhwotsty [ caroing ssa rom one positon and coping em oer ek at he ‘uush boat, Wn be Agrent box entre Optors tr creda te sarong print tow te movers ofthe ‘rush order st tho samp pton, hot oun fe At yaa youl 2 ‘te ceror crane cosa Clk ‘sco nen te age, eae he Aha, tbn move the crsrastat tance ana. Frcochop C35 you see apredawof he sald pie ‘siperereosd on he bh postin. To ‘ant nese pas oro ne rage ck agin Yui see hat pon ofthe image fem ho saree postion copied carey poatorg he sande ‘wee ote aa yout charge, youcan uly match fe chron sear covert wih cies pil may ke aoe 1 9 ‘te poston eat fh, owe the OZ sort roa ita, rou exe mage the tp sett teoprone wires ae agaist he most ‘he boeken thom rao oy 0 cor up. Howerer ‘where the ins rss eta, sch ashe tose onthe ae tee very ant vans tomes on roti aoeroach i rbot Byrenening th sarple poston ‘whens neces youcan match plete ofthe baker 0 ciner up hereto he ps you wih toda W's a goo oa to cago tho snp poston regu wren coning cutlrgp arcs, because ahawéea repetve pte bude up when very ‘eaey'osetin tne rine ice, even ‘compara uorm res euch a8 they. Ta hen eyes ver good at spotng repeating pate. Tiss ssrecty mporartoervamber wren rat ae news cures of waren ride eato is, a8 kere ctogrphar decor acai of yrs 200 Isao a goodie to charge tte so your ba 0 work arn the deta, or cover gor eas mre. Ato ering no 200 percent vl mek ease were on fr deals. Tha aut esa ores or zooming nerd seCTRL + and CTRL + eone rs trery ecm omercnre retort iranltelyseanrng Seen ne pnig tn prdtevenrae went rmeon teaomc CLONE STAMP TOOL Likes where te wre crosses theres, by capyng pars fhe 90 ofthe Wece we oa rete anew ‘ge to coverup te ho. Bocas of thea ratue ofthe shane af he te branches one part of he ed ok mucha ay cer, 20 aga te ion sito conning er anyone wowing theinage. ‘Where he wires ros he gras of the fk again the anom nat of he bockgound works cur asareage ‘ang a te acing ie ane, one area of ass ocks much ho moter, sowe can samp ry neaoy ra to covar over he vires. Again tis poate charge the poston of he senegal to avd bung wp east rocognind repeating pats eas reeqatiaapzoncsioa BE or creiven tonne tne ‘oar eet moet how te ‘ro seats emer he peer vow he eed gees prt atom be pa 2 = rg tetloccmcng teen pete pte satin oeo wth rane ot alba dey ee ert pn beck Ty cee rat cfs docer he nape ihe rerahngtlios pend Gets, rts pry mh et tse cae ren gs fom Peg enter 2 ar tn Gfeoneo'shaceranrtrg Poe potest roman DgtaPraoEstrg-AcuceForBagemam 21& BRUSHES & ERASER Brushes, the Pencil and the Eraser Photoshop has many tools to help you create images as well as edit them Ithough it is primary designed and best known as an image exiting program, Photoshop also offers a range of versatile tools for painting and drawing, allowing you to create original artwork as well as, adapting existing images. The most useful drawing ‘more options and more lemplement isthe Brush (keyboard than ever before, ving you shortcut B), whichis @ mutt Lnparaleled versatity for creating purpose tool that can emulate your own masterpieces. ‘almost any type of drawing too You select the Brush tool by imaginable, bot afine penci, a clicking an its icon in the took folt-ip markor pen, a soft-bristle palette, but to get the most out ‘brush, an airbrush, or anything _of it you need to open the new in between, The Brush too! Brush palette by clicking on the has recolved a major upgrade ttle folder-shaped icon in the for version CS6, and now has options ber. The Pencil Tool et] eee tee eee et eens Pee reels ee ee uses though. The Pencil dary brush, which ean eave time ec Se eetWhen you take a look at the ew Brush Options pale you'll be ust blown away by just how customisable its, You can adjust the shape of the brush ti, the density, length, thickness, stifness and angle ofthe brush bristles, and adiust or disable brush spacing. As well as this there are many more options, allowing you to add random edge simulation, abrushike build-up, and both shape and colour dynamics, I this degree of contrt is too time-consuming there are aso dozens of pre-set brushes, a small sample of which you can 2@ in the picture to the right. The Eraser Tool ene eee aenty ner are pre-set brushes to Smulate aorushes, pastel crayons, big soft brushes, all sti bites, penis, ft pens, sponges, and even template brushes to quick craw grass cor eaves. The options and adjustments can be eoolied to pre- set brushes, so you can customise them for your own needs, As appearance and texture ofthe brush, there are also options for how it interacts with the layer that you paint on. These ‘well as options for the are called Blond Modes, and you can choose which one to use by Clicking on the Modes buiton in the too! options bar, Cee oe Eee BRUSHES & ERASER Many people wil Use Photoshop with pen and tablet device, such as the Wacom Intuos 4 shown here, The Brush tool includes cptions for pen tablet users, such as aowing pen pressure o contol feather brush size or opacity. eee er) ea Se et ee ty beneath to show through. i used on the layer eee See tty eee eee layers. The Mode options for the Eraser are Se ent eat ete ene een Peete eer ener rod Pee et ea = eee otal er)& PAINT BUCKET AND GRADIENT The Paint Bucket and Gradient Fill Fill layers and selections with colours, textures and gradients 24 eouecemess reat way to add gradient fiers for enhancing photographs, or to create effects such as vignettes and centre-spot soft-focus. Let's take a closer look at how it works. You'l find the Gradient tool about half-way down the Too! Palette I has its own unique set ‘of options in the Too! Options bar, the main one being tho Gradient Picker, which ets you choose from alist of pre-sot gradients.PAINT BUCKET AND GRADIENT & Like the Brush tools the Grafent has blend modes that [Next to thie isarow of buttone that crate citlerent let you mite graent coir il with the lyer below it gradient shapes. The delat eating is sbaightinaar in various ways. This sa great way to enhance sunset ‘Adjustment menu, they all have one thing in common. When you apaly them to an image the effet they have 's destructive, because they discard information from the orginal mage. For example, it you apply Curves, the I's impossible to avoid this image degradation altogether, but by using ‘Agjustmant Layers we can raduce it as much ‘a possible, Adjustment Layers st above the x ayer inthe stack. and their ffects are ‘applied in realtime asthe layers are displayed ‘That way if you change your mind about an feftect, or which to change i afer i has been ‘appiled, your alteration doesn't have any luther effect on the layer below it, and the Image degradation isn't applied untl the ayers 34 HuelSaturation, then add a Photo Fier effect, that's three operations ‘that have discarded! information, ‘each one degrading your image ‘quality. I you apply an operation repeatedly, such as mutiple Curves conection, you'll actually be able to see the degradation. The only way to undo the damage done by these ‘masifcations is to revert to an earlier version by using undo or the History palette, but that also undoes all your subsequent editing as well. This legradation is much worse with 8-bit than with 16-bit images, since there's less information to start with ‘10 mexged when fattaning the image. You can apply Adjustment Layers in several ways, Fist, you'l find alist of avaio layers inthe Layer > New Adjustment Layer ‘menu. Second, f you have the Agistments palette open (i's open inthe defaut interface workspace) you can click onthe button forthe layer you want to apply. Third, you can click on ie middle button at te bottom af the Layer Paleo. Al of these offer exactly the same ist ‘of options and produce the same resuts,ADJUSTMENT LAYERS. a The Adjustment Layer palette (Gick on ary ofthese buttons to instant create anew adustment layer Brightness/Contrast Photo Filter, Levels ae Channel Mixer Curves ap Colour Lookup Exposure Invert Vibrance Posterize Hue/Saturation Threshold Colour Balance Selective Colour Black and White Gradient map Before and After This photo iy base compact camer, ends akeady sting fram ibe carta when acustng & not © mak some mage& CURVES AND LEVELS Curves and Levels The most versatile way to adjust tone and colour balance in your digital images Y attra menu ose re teyboas ait cauringt «gap th agonal pc oma homens eng be crdvounta oor raing crest Aeavtring wage wi une ote ore inthe input and output a all tones; the output is exactly the ‘same as the Input, as you'd expect. It's by adjusting the line and altering the ratio of input tones to output tones, that we can achieve a number of effacts. The ltt-hand fend of the horizontal axis represents the darker tones, while the right-hand end represents the hight ‘The Curves graph can be manipulated in several ways, You can move the ine diecty, by clicking oni to plac ‘ew anchor points and then dragging these points ito ew postions. ‘can also use the arrow Kays to nudge 2 selected point up, down, lt or right. There's no Emit 10 where the Ine can stator fish ‘between, which can lead to some extraordinary resus, In later versions of Photoshop there's an even more sell way to use Curves. Just tothe lower lf ofthe were it goes in jstograr you'l soe a button witha hand and two arrows ont. I you cick this button and then move the 36 oe camaser‘cursor over the image you'l notice a point ‘on the ine move up ancl down as the cus cover lighter anc spot that you want to lighten, ‘rag upward, and you'l see the ton move to match. Using this a you can selectively Ighten or darken prety much every tone in the image. Levels A quick, easy and accurate way to adjust brightness and contrast {prondee a mathod fo fang th he of the image, tat conta ot of leaving the mid tones re tobe aust CURVES AND LEVELS Boosting contrast xt wo anchor port ene cane eu Ssh acing the upper hao he cure ard oneing he aver hat of, lean tha mt pant bron the iter areas o the mage fila ddtening he dave areas, creas he contact Emphasising Shadows tater teens ‘upwards int, thtering cave ar brightening the iho Brightening Mid-tones se wh neo Seirage cots troponin te tae, andthannion ern upas cows and hehe& CROPPING AND RE-SIZING Cropping and re-sizing Changing the size of a digital photograph ‘ometimes a ciital photograph can be the wrong size. Maybe youve ‘901 to0 much or tha surroundings in the Picture, when you wanted to concentrate ‘on jst the main subject, or maybe the ‘whole image is too big, and you need ‘to make it smal to send via email ‘or publish on a website, Doing both of ‘these things i very quick and simple in Photoshon. ‘Asa staring image we'l use his picture of Saran-Jane. What we want to do fist Is crop it down so we just have t main part ofthe mode! inthe picture. The best too for the job is, not surprisingly, the Crop too, Youtl owe find tin the tool pata, fourth down from eee aes The crop tools very easy to use. Ktcesor” “Sie KE simply cick near one corner and — then drag a box around the area you want Neovo to crop. Don’t worry if you don't get the } ae ea = Soe Reamaoeee es asi Press Enter to perform the crop, Celution. 'Noxt well re-sze the image. To Inthe Image Size didogue box, do this you'll need to got tothe check the box marked Resample Image menu and select image Size, Imago, and open the drop-down option fr use the keyboard shortcut Panel below it We're reducing the sizeof CTRL + ALT «1 this picture, so select icubic Sharper. 38 WeCieia See | tre SeCROPPING AND RE-SIZING a . ‘ioe etelates You't 26 the curent siz in pixels at the top ofthe panel, withthe with as 800 pies. Inthe lower window putin a height of 480 pies. your main subjct I nt in tha conto ofthe frame youl can alter the anchor pont by clicking on the arrows surrounding the box below. Gick OK to perform the re-size. You" get Inthe Pel Dnensions pene KEE ort tne wich that you went your image to appear. we ware propeing this pictie fora webste, a width of 800 pines Next, go back to the image menu, J 8 warning that you're about to chop off ‘ould be ideal. The height wil change but ths time choose Canvas Size, Part of tha image, but just ignoe it ‘automaticaly to keep the aspect ratio the || or use the keyboard shortcut CTRL + Now wi've resized the image to 800 x ees eet ic eseeeeant ef etal AT Adjustments menu You can adjust the parameters of the laok and White effect withthe sors fon the window that appears. The results are a matter of personal taste, s0 adlust the parameters until you're nappy. ‘The layer Mesk can be used to produce any kind of selective cffct like this, and the great part of itis that the original image is sill intact in the background layer, 80 if you're unhappy with the finished recut you can just delete the effect layer and start again, However as you can se, the effact is pretty much DgtiPreioEitng-ACuieFoRagmnes 43& CONTENT AWARE Content-Aware Fill and Scale Photoshop contains image processing technology so advanced it looks like magic Content-Aware Scaling Photoshop CS4 introduced the world to.an amazing new technology called CContent-aware Scaling, which can re-size {an image while preserving the proportions of important image elements. It works by analysing the image and removing has also been reduced by 75 percent lines of pixels that contain relatively litle If we resize the image vertcaly by 75 percent using the standard Photoshop image Size menu option, the boats will end up looking fattened ‘and out of proportion, since ther height information, s0 However i we use Content Ave that fora plain ‘Scalng, the clever algorithm background will bo atfacted before the main subject. The best way to iMustrate the effect Youll inc Content-Aware Sealing in etocts tat the areas that are just water the Ealt menu, but it allbe grayed contain elatively ite iniormation, anc so this time when ve scale the image it deletes those pics f ut unless you've corwered the image ioalayer. preserving the ieiathexomotee J rekomatin-ch pl tat ht he — nes aa detasincuding the boats. AS a resulta 75, =o picture of some | Percent height reduction leaves the beats boats at anchor. | looking rately unchanged, athough their masts have got noticeably shorter, ‘You use Content-Avare Scaling in Just the same way asthe norma mage Si i2e option. Ether crag the handles on each edge inthe drecton you want, or direct en the proportions into ‘he tox owes on the too ations ber CContent-Aware Scaling works fr both height and with, and can also be used to enlarge an age 44 o00He caseCONTENT AWARE a Content-Aware Fill and Move Photoshop OSS took the content-aware technology further with the Next, go tothe Select menu and cick on introduction of Content-Aware Fil. This extremely useful function can Mody > Expand, Increase the eolction area {illin blank areas of an image with an approximation of the surrounding by a decent amount; for this picture 10 pixels should area, which makes it particularly handy for filing those triangular black do roel ‘edges that ae left after rotating an image, for example when levelling the horizon line. Again it's relatively easy to use, Stating with an image that has just been rotated, leaving the ‘empty triangles, take the Magic Wand tool and select the plain aoas. Content-Aware Move i a new feature introduced with Photoshop CS6, and uses the same technology a Content-Aware Fil. The idea is that you can selact an object on a background and move it to @ new area ‘ofthe image. The Contant-Aware algorithm shoud automaticaly filin the area that you moved from and ‘leo blend in the moved object. In pra object to be moved ison a virtually plain background, You find Flin the Ect men, Click on it and you'l see the Fill in which case i's often simpler to use the Clone Stamp options window appear. Content-Aware should be selacted by anyway, but some poople it usetu default, but pot choose it from the drop-down menu i i's not actually much use unless the hore will bea short pauso while Photoshop analyses the image, but then it wl filin the blank areas witha texture derived from the tent of tho immediately surounding area. OgtiPeicEatrg-AcuieFoBagmres ASI PLU asa nL Building - Apply the techniques we've learned in the last section to the art of photographic manipulation. Cee eee ee eee See ee ee eee apply the techniques we've leamed over the last thity-odd pages to the art of photographic ‘manipulation. From simple techniques lke correcting exposure and white balance to more " ee en ee ee es Photoshop has the tools to help you get the most out of your photographs, and tum simple SeenContents Bil Adjusting Exposure J Monochrome Bil colour correction cal ane Do OEE eee ie one See 7° Reuse renter fs etary eae = oe Pitas El colour Replacement& ‘ADJUSTING EXPOSURE Adjusting Exposure Correcting your exposure mistakes is easier with Photoshop ven with the sophistcated technology found inthe light metering ystems of ‘modem digital cameras, they ae not ifalible. Some lighting conditions can ‘confuse them, resuting in pictures that are over or under-exposed, ‘Al cameras havea ited dyna range, levels of lumination at which they record featureless pure white of featureless pure black. The tonal variation avallable between those two extremes depends on the qualy ofthe lens, sensor an image processor that captured i, and the bit-depth ofthe fle type used to record it. For "maximum bit-depth its always best to use Raw mode, since ths wil usualy store images in 42-bit or even 48-bit form, capturing rester dynamic range, Photoshop C56 can handle images ofthese bit-depths, and we'lllook at Raw processing in "more detallon page 72, but for now we'llock at improving the exposure ofthe ‘more common JPEG images rom a compact camera. JPEG images are usually ony 24-bit so have ess lattude for exposure recovery. (Over-exposure tends to be more of a problem than Lnder-exposue, since burned-out highighs contain no detal, but the JPEG format is surprisingly good at capluring detal areas that might itil look tke featureless black. As a rests often possible to rescue shots that are quis bacly under-exposed, although this willabo amply any igen the image, 0 there isa ‘rade of for mage quatty Take a lok at his shot. Iwas taken using centre weighted metering against quite strong backightng, ‘ends a resi the subjct iin dark shadow ard vory under egpesed. It would have been a better iden to use spot meteeng, but we can ail rescue this photo using Ey an image ety grogam, Brightness/Contrast ‘Tne quickest and easiest way to brighton the photo is to simply tum up the brighiness.You'l find Brightness! Contrast as an adjustment layer in the palette on the right, orn the Image > Adjustment menu, The Brightness/Contast function in Photoshop C86 has been changed to improve contrast and tonal balance ‘when adjusting brightness, By moving the Bxghness sider othe right, the oveal brightness ofthe entre photo is increased, but he new algorithm retain a reasonable balance in shadow tones. You can tweak the etfect with the Contrast ser, the result Is reasonably acceptable 4B 0H Cisne | tee‘ADJUSTING EXPOSURE Levels Photoshop offers ancther way of aterng brighinoss and contrast, but this time with more subtty ‘and contr by adjusting the Levels histogram. You fr Leven the same Image > Adjustment sb menu as Bighiness/Corirst, and as ‘an adjustment layer option. “Thalevels histogram i basicaly _agaph showing the proportion of xan tha mage at each colour iy. Te fa e-rand end ofthe ‘20h roprosents black, andthe right hand end is white, wth every tone inbetween represented by a spike ‘on the grap, On the bottom axis of ‘the raph are three pins, haat representing the black cut-f point, the ight the white cut-off pont, and ‘he one in the mile representing the mig-tone por. ‘As you can see ram the anh our image i al highignis and shacows, with very ie te mic tone ange, ‘so we need to brghten some of hose ‘shadows into mic-tones. The way we do thisis by moving the midtone point lt towards the shadows This has the atlec of bringing out lat ofthe dotal om th shacow ‘areas without bung out any mere Pighights, alo eaves the deeper shadow areas intact. tis afar better ‘way of adusing the exposure ofa ‘hotograph than simpy tering tho ‘Biighness/Contast, however isn't ‘uit the best way. Adjusting the Levels mic: points sti stcty near n is aqustmont Curves ‘The Cuves adjustment option, again found nthe Image > Adjustment menu and as ‘an agfustment layer option, is a method of changing the relative brightness of speci tonae and ranges of tenes within an image, ‘ving pracce contrat aver exposure. Leamiag to use it proper isa core ski in image eating ‘and will erable you to make precise and subte changes to bighiness and relative contrast not just ofthe image as a whole, but also of individual colou channel, ‘You can crag the Quves output ne around by ciokng at ery pont, then moving the Mane ‘hat aqpeers. To improve this picture we need ‘bight the shadows and mic tones, while ‘Smuttnoousty darkaning tha highlights, so we should cag the loner side ofthe cure upwards, ‘and te upper par ofthe cune dowrwards, creating a sm S-shaped curve. As wih many Photoshop techniques, the key hore is subtly. Pash the cure too far and youl ruin the picture, but gett just gt and you can rescue even guile bagly under-exposed pictures. DgtPraoksteg-ACucaFarSagoem AQ& COLOUR CORRECTION Colour Correction Correcting colour casts and white balance problems most all digital cameras have prevent this problem, but itis also some sort of vite balance possible to correct colour tints later selection, but i's a feature that Using photo editing software. Thee ‘most people seem to ignore. ‘are several ways todo tis. ‘most cases this isn'ta problem, This photographs lurinated by a because the default automatic combination of socium vapour sree white balance feature handles most lighting, uorescent ight and coloured everyday lighting situations perfectly tungsten Ightng, using automatic Well However sometimes, usualy __wite balance, and as you can S60 ‘when shooting without the flash the camara has gota bit confused, in artificial ight, your pictures may ting in a heavy colour show a strong colourtint, caused by However by adjusting the cob incorrct white balance geting, Using 0 the pre-set white balance options to largely corect his fault, recut In your camera's menu willnomally a much better picture Bin Levels is used to ecust the Cie on the grey point button, Photoshop. One ofthe quickest and levels ofthe various tones in the image. lalogue panel. You'l see that the cursor most fective is to use the Levels and can aso be used to set particular has changed into an eye-dropper tok function. You fad ths in tho image points on the histogram. The one wo' | Cick tis on any part he image that menu under Adjustments, orby using the J interested in isthe grey point, the shouid be a mid-tone grey, in this case keyboard shortcut CTAL +L middle one of three buttons onthe right the lower part of the Blackboard on the of the dialogue panel right. The colour balance of the image wil Immediately change to make this point the naw grey, which wil help correc the colour cast 50 once‘Anothor way of correcting tho mage isthe Vlatons function. ‘You'l lg find ths inthe image menu, under Adjustments COLOUR CORRECTION PS | 1 ck on tho closely matches the corect colour balance, examine the result, and then keep clicking untl you've ‘something that z= 2 selection that Variations is abit hit-or-mis ot ‘a perfect result. Sometimes "good his you can do, rd fiters would be added in steps to try and bring the colour close to the desired results, DgtPeioEstra-AGuceFoBxonnen 5]& CONTRAST AND SATURATION Contrast and Saturation Using curves and blend modes to Improve colour saturation and contrast in your digital photos hen you take a digital photo of @ scene, you are relying on your camera to be able to capture all the colours and tones that you see. Unfortunately most digital cameras simply aren't ‘capable of recording the full range of colours and shades that the human eye can see, so your photo of what was a bright and colourful scene ‘may prove to be a bt of a disappointment when ‘you See it on your monitor. Fortunately there are many diferent ways to improve both contrast ‘and colour eaturation, which might help to restore some of the sparkle to your photos. Let's take @ look at some of the alternatives, As an example well use this snapshot of some rocks on the coast ofthe isles of Sel. In reality emer et ety aire & The simplest way to improve the & ‘A much more contiotable way Intense that kooks here, but the older saturation sby adding a Hue/ to aajust both saturation and eel rere eer iota Saturation adjustment layer. Like many Contrast to use a Curves adjustment Piatra etre tte eres thor paris ofthe program, Hue/Saturation layer. We've already looked at Curves in of capturing the colour, leaving itlooking has been improved in Photoshop, the section on correction exposure, but plo and washed out producing a smoother rut than previous | by using Blend Modes we can also use versions, Boosting the saturation skier Curves to enhance saturation. In Normal by about +30 helps to restore some of blond mode the curve will change both the miasing colour, but isa scatergun Contrast and saturation. We're using the approach and dovsn’t affer much fa same S-shaped curve, which boosts conto It canals increase nose ia brightness atthe upper end of the scale shadow areas in JPEG images. and darkens shadows at the lower end. 52. oooCONTRAST AND SATURATION eet ere By changing the blend mode to Luminosity, the curve wll and the most saturated areas least. On a nly affect brightness, so the same Conversely, by using a Color icture Ike this it can hop, but it has to S-shaped enhancement curve will blend mode, the S-shaped curve | bo usad wth contrast enhancomont for improve contrast, lghtening highlights mater colour saturation without best effect, which may again cause an and darkening shadows without affecing | afecting brightness, so shadows and increase in noise. Vibrance is best used Colour saturation nighlights are unaffected, when processing @ aw image fle,MONOCHROME TECHNIQUESMONOCHROME TECHNIQUES a AX thease eer petoarany hes been ‘around since at least the 1940s, monochrome oF “black and white” photography remains popular to this day. There's something about black and white that realy works for some subjects, bringing cut texture, form and detal that the mora realistic depiction of colour somehow misses. With the right choice of subject, a good well-xposed monochrome Image can become a work of at. Almost all digital ‘cameras include a black and white mode, and as you'd probably expect Photoshop offers multiple methods for converting colour images into stylish black and white, For this section we'll use this 50's style composite. I's got some strong shapes and colours, and the excellent textures will also prove Useful for the conversionsMONOCHROME TECHNIQUES Tho quickest and easiest way totum a colour picture into a monochrome one sto simpy remove the colour. I's called Desaturaton, but i's very crude wort Pie and offers no creative conte at all The resting image looks flat and ieless, with reduced contrast and tonal variation, and the texture doesn't stand out at al, Nonathelece, Hall you want ie ‘a quick-and- Adjustments menu.“Another method for removing the colour from an image isto convert it fern @ normal RGB Fed Green Blue) colour image into a monochrome greyscale mage. This simply discards the colour MONOCHROME TECHNIQUES information trom each piel, leaving nly the brightness information. will preserve the full range of tones rom the orginal picture, but ike Desatuate it offers no creative Contral. The resus do 1ook slightly botter, with greater tonal range, but t etl looks abit fat, and furthermore greyscale limits some further edting options. You'l find Greyseale in the image menu Under Mode. DgtaPraoksteg-ACucaFarSagoem 5758 MONOCHROME TECHNIQUES Most colour pictures that you'll come across are made Up of a mixture of three primary colour channels, ‘one each for ed, green and blue. With these three ppemares t's posse to make any other non primary Colour, Mest modern forms of colour imaging use his method. Digital cameras have an RGB colour itor mask in front of the sensor to provide colour information, TVs and monitors display colour images as an array of tiny red, groen and blue dots, and even your eye detects red, green and blue pigments, which is why some people can have colour bincness in ‘one oF more of these colours. Photoshop also uses ‘colour channels, and you can see how this works by activating the Channels palate ‘You can see what each channel Jocks tke independently by cicking oni, which wil turn off the other two. Compare the three channels, nating how the relative brightness of cfferent araas such as the blue ofthe background or the red of tne modet's dress change trom one channel to the next. You Coan select and save just one channel by activating itand using the Greyscale mode option to discard the other channels. This does offer a bt of creative Control, but i's a bt onde(One of the best ways to convert a colour image to monochrome isto uso the (Channel Miser. This takes the RGB colour Channels that wo just discussed, and offers a way of mbsng their output into ‘black and white image. Youll find the ‘Channel Mose in the Image > Adjustments Unti the itroduetion of the Black and White menu and agustment layer option in Photoshop C83, the Channel Mixer was the prefered method of converting to monoctrome for many photographers. ‘Open the channel mixer and chock the box for Monochrome atthe bottom of the panel. The image wil immediately convert to monochrome, but now you can adjust the channel siders to ater the relative brightness ofthe tones in the image. MONOCHROME TECHNIQUES a gtPriokateg-AculeFartegonn 5860 MONOCHROME TECHNIQUES nti Photoshop $8 came along in.2008 you would find dozens of onine tutorials offering home: brewed methods for converting colour images to monochrome while For our sample picture her, the best resus ‘obtained by decreasing the lve of red and creasing yellow, while boosting cyan and magenta. This bringng out the tot, én and retiring detain the background ‘creates good tonal bala hai a and strengthening overall contrast. Black and White offers complete control over the tonal balance of your image, with channel sliders forthe primary ed, green and blue, as wel as non-primary yellow, cyan and magenta, so you can fine-tune tone and contast, emphasising any other colour range. Each sider adusts the relative brightness of a particular channel retaining complete contro over tonal balance, The Channel Mixer offered ‘one acpreach, giving some contol ‘over te ralave levels of tone, but the Black and wivte function takes thet control and offers even more What's more its availabe as an ‘Adjustment Layer, 60 It can be used on-destuctvey,“The Back and White function also provides an easy and fect mathed of apo}ing trts to monochrome mages, accurately relating od but porular processing techniques such as Sopa or cyanotype toning, bot of which can adda lot of amoschere tothe right gor of picture, Staring wth the same settngs as before, withthe lack and White sides set to enhance the Image chock nthe Tint box. The dota stings someting that ooks a ot lca sepia, but infact I's not ut right, according to most popular opnion. you're using the Black and White neti from the meru option you'l see Hue and Saturation siders atthe bottom ofthe contol window, Fora rice approximation tothe pale blue tone typical of cyanctype toring, set the hue sider to about 210-220, and ‘ave the saturation sider tothe let go that he blue tnt s ule pal. youre using the Black and White adustment layer tocnique fa much better method), check the tn box and then clckin the smal coloured square next to 8. this wal beng up a Photoshop colour picker window, ofling a ‘much beter way of controling the colour and itensty ofthe tit. For an accurate recreation of sopia toning, set the hue 027 andthe saturation to 21 MONOCHROME TECHNIQUES a Sepia toring works well with {a wide range of subjects, but its best with certain images. The war time feo of this bomber deca has an antique cok to it. works extremely wol with s9pia toning ing ita 40's vibe that would look abit odd iit were using ote of saturated colous, DgtiPeicEitrg-AGuseFoBagmes 61& ADDING A GRADUATED FILTER Adding a Graduated Filter Gradient filters can improve photos by bringing out the detail in the sky hhotographers use graduated fiters placed infront of the camera lens to selectively change the exposure and sometimes the colour of part of a picture, usually to darken the shy to bring out details in the clouds and balance the exposure with the landscape in the foreground, They come in many diferent shapes, sizes and colours to fit all types of camera system. {As with most photographic techniques, i's possible to duplicate the efect of graduated fiters using Adobe Photoshop, and as usual there ar everal ways to ‘accomplish this. For our example wo! use this dramatic [Photograph ofa cloudy evering sky, taken on the South Deven coast 62 xHeCiein See | tre SnADDING A GRADUATED FILTER a Graduated Filter in Camera Raw ‘Since this photo was taken using Raw mode, we can use the Graduated Fier to! in Abobe Camera Raw to add athe effect ‘during processing, This e by far the bast way to dot, since it preserves the maximum amaunt of deta n the photograph 710 ae cine ta mone ote yallocearonafucteom’ | suenwtenerni sora the ine by moving the cursor let ‘and rig To constrain the Ine to (© Seu 20] @ the vertical old down the Shit key — e0| I white cagsin. ° = = The red dotted ine marks the Ka ier, east saturated edge When you click on the ofthe gradient eect, but thoes (22 Graduated Fitericon you'll also green ine at the op ofthe 20 the control pane on theight | frame. This mars the top or mest ofthe screen change. The fiter saturated edge of the wet, wih can apply many diferent effects, ‘smooth graentbetven the but the one we want to use is @ ‘wo nes. you cag this green ine reduction in exposure. A setting ‘down, more ofthe image wi be at (of mnus two should produce @ maximum efect andthe gracert stable etect for this picture. vibe shorter Graduated filter in Photoshop tfyour photo wast teken in Raw ‘Nat, nthe too options bar, eck Topol the gradint othe pictur, ‘mode you can apply 2 graduated 12 onthe gradiert edo anc select OXY start atthe top o he frame, cick fiter using the Gracent Tool. To setup the | Foraground to ansparert, cick onthe ar crag down othe horizon Sno. you acuta ier, rst slect tho Gracent biton for Linear Gradiont, atthe blanding | hold down the hit kay wl constan the Tool, then set he foreground cou to mode to Muto. andthe Opacity to 75 Ine tothe voricl The result should lok back, by cleking onthe foreground parent. Mako su th boxes for ite seretirg tke tis: [Left man batt) ‘quer ard then using he colourpcks:. na Transparency ae checked DgtaPraoksteg-ACucnFarBagomam 63Correcting Lens Distortion Correct the optical distortion of ultra-wide lenses with Photoshop's Adaptive Wide Angle 64 Adept vid flatts leerererecticn Foray Reanaea owe oi prsongmostt edo no Pon, Ya Wn eh CORRECTING LENS DISTORTION Qin ne ei rant ont tn Pateton C28 cated Adaptive Wide Angle, which can warp and bend an image to undo the optical distortion common to all very wide angle lenses. We've all seen photographs taken with “ish-eye" lenses, These lenses are called ultra- wide-angle, because the angle of view that they can capture can be as much as 180 degrees. Natualy the abilty to squeeze half a room into the ‘same shot comes at a price, and that is extreme optical distortion. Straight ‘and parallel ines appear to be bent, perspective is massively shortened and familiar objects take on almost unrecognisable proportions. In the photo opposite, the straight uprights of the shelving racks seem to curve inwards, the roof seems to bulge upwards and the workman's lags seom isproportionately short. ps _ ——s Bre = aoe =o ae ee a ee ——— =e = is The line wil automaticaly wa i warp the picture to make the curved line straight. You'l soe that there is a Cirle overai on the line, with two more Control handles whore they intersect, You ‘can drag these handles, rotating the ina te brig into vetical. If you hald down the shit key it wil automatically snap to vertical right may.Pick a ine on the oppose {25 sic ofthe picture anc repeat the process, cragoing ane down the upright ote eck. Ts co a automaticaly straighten. CORRECTING LENS DISTORTION ‘Again, crag the hance on tha Croular ine to mee the upright into vertical poston. you've dane it right the vertical curvature dlstorton of the image ‘should now be pretty much corected. You may natice thatthe correction srt ito perfect; there's stil some sight curvature of the irmer uprights, butts certainty a great improvement, and the workman looks ‘lot happier row his legs are the right length. You can camy on and tr o correct the horzontal curvature as wel, but you't ‘probably discover that this wil only cause further distortions. Glick OK when you're done to aise the correction, Jap The process wil ave let some {2T5 emoty spaces at the comers ofthe ‘age, s0 11 be necessary to crop the image to remove these. Tis does mean losing some of he orginal photograph, but the results much less dstorted than twas at he start. DotaPraoEsteg-AcucaFarBgoms 65& PANORAMA STITCHING Panorama Stitching . Get the whole of the landscape into one ultra-wide picture any digital cameras have a feature known as "Panorama Stitching” or "Panorama ‘Assist” mode. I's thereto help wth a particular type of photograph, or rather series of photographs, in which successive shots are taken asthe camera is panned across a scene. ‘After you take the fst shot, the camera shows the edge ofthat shot superimposed on the ‘moritor so you can match up the position of features in successive shots, producing along ‘continuous photo showing an entre panoramic scene. When i's done wel the results can be breathtaking, but getting a satisfactory result in't as easy asi looks. on For the purposes of this tutorial wot use this specially-shot example ofthe Blockhouse, but back in 1548, that ‘veriooks O14 Gimsby harbour on Tresco, in the sles of Sci. ving downloaded our panorama ictures from the camera into folder on the PC, i's time tothe up Photoshop ard stitch them together into ‘panorama, Locate the les on your hard ve and open all thre in Photoshop. you goto the Window > Arrange menu See cataerpareeere aan you can view them all at once in 3-up In Photoshop yout find ‘Auto option should work fine. Ck on the Vertical mode, Not essential, but it gives SEA Photomerge inthe Fle menu ‘Add Open Files button to add the three youa chance to make a last-minute Under Automate along with several other ‘shots tothe Photomerge It, and check ‘exposure check automatic processes. al three option boxes, 66 one cam:PANORAMA STITCHING When it's done well the results can be breathtaking, but getting a satisfactory result isn’t as easy as it looks. BE Rieter ES een Sight out ay igh in your rendered, you! soe that there are horizon, but hopefully you won't naed it large blank borders where the program ‘The fished result should look something has had to warp the pictures to coroct Fe ths, Once you cick OK the merging for porspectve. You can attempt to use process stats, andit is completely | Content Aware Fil to acl something that ‘automat, ft wil taka a while to looks a bit Ike sky and seato these, but complete, possibly quite along whe it for this type of shot look fot better if yu have a stow computer and/or very you ust crop these oft large image fles.COLOUR REPLACEMENT & Colour Replacement Swapping one colour for another ne relatively simple operation that you can do in Photoshop isto place one colour with “another. By using some ofthe selection tools we looked at eater, along with the Hue/Saturation Controls, we can change the colour of individual ‘objec in our photos. Here's how its done, win tne Magic Wand, it's best to add abit at atime. Gick on an area that's mig-tone forthe total area ‘you want to select, and youl find that the ‘wand tool wil select an area around . The size of he selection wil depend on a the tolerance setting. By holding down the Shit key and caretuly cicking on areas around your starting selection, you can add more areas. ithe wand selects part ofthe background, use Ci-Z to undo that stop, and try agin more careful, possibly adjusting the tolerance downwards iit keeps happening, Magic Wane Tool (W) Selecting large areas of the same colours one of those faw ‘ecasions where the Magic Ward tools actualy use 50 well use it asa starting pont here, With a tlerance seting of 20It should be abl to pick out the car bodywork without too much trouble Wen you've rached the it FEE crn! ou con vst coc Uamg the Mege Wed tot, ou can fish your selection ving the Poigonal Las took By setng tha Feathar to 210 you can produce a sharp-edges selection. ‘Alternatively, use the Selection Brush took 6B nxt Cisne | Ytre Son ‘Again hold down the Shit key to ‘add more areas fo your selection. Ifyou need to remove any areas from the selection, such as door handles or the number plate, you can subtract by holaing down the Alt key and gong around them withthe Lasso.COLOUR REPLACEMENT & Sem Rt ACT TT EN) looked pretty good in purple ‘Atough there ar several mers we could use a his port, the most versatle way too change the colour (ofthe soloted area isthe Hue'Saturation/ Lightness option. This is commen to most ‘eating programs. In ements youl tind tin the Ennanoe menu. Oo {yu want to repaint, you can save ‘he selection for ater use, to save you doing al that work again if you chenge your mind. go When you've selected al he bits eer eee en out hap th Cod ie sreso tas nec te tent ren pa oy Comteton Vail amttertette | Uoetiy, yuan caw saci snd satvaten sderemove orew | byvsng hekobewd sone Gr pater acferecanl eater peg eae Canmeossltern thera postion | talinape asa PSDMei Posh topresawetie lochs ctthegoss | Earatn andeond adecore ne pele ere caer eee ere eT Saturation and Hue sliders around. You ‘can produce eubtie colour changes with low saturation settings, or say to hell wth subtlety and go for broke with full saturation. Dotaraoksteg-AcucnFarBigomm 69& ‘SOFT FOCUS Soft focus Technique Adding a soft focus effect gives your portraits a romantic feel oftfocus is an effect used widely in television and in the movies, as well asin many commercial and advertising photographs, for producing a Greamy romantic look, I's also big favourte with wedding photographers. n traditional photography the effect is achioved with a special itr fitted over the camera lens. Many digital cameras, row include soft-focus as a digital effect, but we can produce the same results in Photoshop with ase using Gaussian blur and layer transparency, 70 e01HecrasiaserTho fist stop isto tum tho picture into to identical layers. To do this, go tothe Layer mend, and select Dupicate Layer, Don't wary abou ramming this layer, t's the only one we're going to mako. palette, set the transparency ofthe buted layer to ‘around 65 percent. This lts the sill-sharp Tower layer to show through, mitigating the effects ofthe Gaussian blur tapes Pat Nox, select Inverse from the Solect menu to chango the selection so that everything outside the ellpse i selected. SOFT FOCUS Next, go tothe Fiter menu, move down fo Blur, and select Gaussian Blur. This is special type of blurring that can be adjusted to produce cartain etfects ee ett) We can further enhance the romantic look of the picture by ‘ding an eliptical vignette of further luring around the subject. This is a technique that portrait photographers have been using almost since the jon of photography. Fist, select the Eliptical Marquee too "Now ad Gaussian bur fi bigger rac than betere; around 25 pies should Go the jb, Now you can cop and fatten your nenty mantis porta, We don't need very much bluring o produce the sot-focus fect, s0 for a typica-sized porta shot set a radius of 2 pits. You may need sightly moce for very large images, but oop it subtie, Drag an eliptical marquee selection around the portalt ‘subject. This may take a few tie to get right, so use CilsD to de-salectifyou get It wrong, When you're happy wath it, goto he Select menu and cick on Feather. Set fa radius of about 15-20 pals. tothe selection, ging tamuch AeakirBognnen 71CO Se ay What is Raw Mode? Get the most out of Meigen Rete Oran nates Ce eee a) eet Be ees Coe Say Ce eee ‘Compact System Camera or advanced compact, you have the option to shoot your photos in something called Raw mode, and you'll be glad you did. Raw mode offers several advantages, including better colour ee a Ce ee eC ee saturation, and even better; you have to make all those adjustments yourself. Infact, it's just ike developing ee nee ee FP cere eeProcessing Raw Files To get the best possible image quality, always shoot in Raw mode 7% RAW PROCESSING I digital SLAs and Compact, ‘System Cameras, and most of the better compact cameras, have a shooting option called Raw mode, You'll usually find It in the ‘menu as an option under image quality. Raw mode offers greatly Improved image quality over the Usual JPEG image fle format, and Is recommended forall serious What is Raw Mode? aw modo s a special image recording option thats avaiable ‘on cgtal SLRS, Compact System Cameras, and other Figh-qualty clgtal cameras. your carmera has this onton, you have accoss to ‘much higher image qualty than the standard JPEG fe form First, the name, For some reason Raw is often writen 23 FAW, athough nobody seems to know why isn't an arorye, so t dover need to be wnten in capt he that. We use the o—§ photographers. Let's take a closer look at Raw mode, find out hove it works and see how it can help you produce better photographs. Processer JPEG Output uf RAW Ouput more senable “Raw” for his arte, Essential, Raw mode i ust what it sound ke, I's the raw data prety much staigt from the cameras ‘senso. In a algal camera the photographic image i, asm sure you're aware, captured by an eectonic image sensor. This sensor has mins ofr photocets that produce a charge \when they ae exposed fight; the brighter the Sight, the higher the charge Dalal camera sensors don’ record the colour ofthe ight hing them, just ‘he brightness, s0 a special mosaic of ‘coloured fits i placed in font ofthe sensor, called a Bayer fie. Natural, the mage generate by ‘he sensor and fiter woulent make much sense othe unaided eye, $0 the signal from the sansor feeds into the camera's image processor, a ‘combination of computer elactronies and sofware which ts the brightness data from the sensor, ‘dusted forthe colours in the Bayer fit, into a ful colour cgtal image that you can vew and pint, Par ofthat process includesRAW PROCESSING ;oducing the bit depth ofthe basic mage data can make the processing adjustments afer RA le wl be around 25M, over thee times the amount af 1s and Os used by a cemputer the shat has been taken, andi you the she, to deserbe each pie, usualy tem 36-bit (12 change them you can do so Many ofthe more recent DSLRs have the bits per channel or even 48-bit (16 ts per——_—have the crignal Raw le, abit to record Raw and JPEG image fles channel to it bits per char, “The downside to Raw fle recording iso multaneoush, This has the advantage ofthe makes @ male and more easly processed _courge that the saved fles are much larger, co. convenience of JPEG with the versatity and fio, but loses some colour dapth because of they tako a lot anger to save to the mamory aly of Paw, but takes up even mere space the smaler palette that canbe represented card, and youcan ft fewer of them on there your memory card. Fortunately the price of by thal mary bts. Other adjustments tothe Fora typical 16MP DSLR, ‘very lerge memory cards & fling simost colour balance, such as unusual white balance aLhigh quality JPEG. daly, so tis needn't be much of a settings, can also reduce image quality, aa wil fl willbe around problem. raw noisa reduction. MB, while a In cxdor to save space onthe memory Card, produce faster transtors and make kt Poorerte ‘easier to disclay ad print the photograch on ‘a computer, the image fs usually converted to ‘a compressed JPEG fle, Unfortunately JPEG ‘compression alsa reduces the image qual, ‘and can introduce artetacts into some areas of the mage, = = cd ‘The main advantage of Faw shooting, ‘apart ram the improvement in overalmage ‘ually, is that bypasses te in-camera image rocessing, such as white balance, saturation, sharpness etc. This sounds logical, but t's not ally, The processing that takes place inthe ‘camera's pre-set before the shots taken, an reversible nea the mage has bean converted to a JPEG fle. By shooting in Raw mode, youNa AVAXHOME?Rae ce Peg ae eee Le OM ee ee Ce Oe Ree ma es Unlimited satisfaction one low price Cheap constant access to piping hot media Protect your downloadings from Big brother Safer, than torrent-trackers 18 years of seamless operation and our users' satisfaction PNT A019 Team AWmeo1sa elec AvaxHome - Your End Place We have everything for all of your needs. Just open https://avxlive.icuRAW PROCESSING Adobe Camera Raw Interface Adobe Camera Raw isn’t as difficult as it looks hhotoshop comes with Adobe Camera Raw, widely regarded Camera Raw is a very complex piece of software, but thanks {as the best Raw file processing software currently available, to a well-designed interface that breaks down the processing It offers a wide range of processing options that enabie you ‘workfiow into easy managed sections isnot all that citficult to get the best out of your photographs, including exposure 101. Like the rest of Photoshop, it's easy to get started, but adjustment, sharpening, noise reduction, colour correction and mastering the subtleties of is more advanced options takes tine ‘automatic correction for lens distortion tis regularly updates and practice. Let's take a look atthe interface and see what it to™maintain compatibilty with al the latest cameras and lenses. has to offer. Toolbar Oo vv anseeso 76 “Thisholds al the main selectable tool, ‘most of which ae simi to tools in the main Photoshop interface, nouang Zoom, Hand, Cop, Sight, Spot Removal, Rec Eye Removal, and a ew addod feature that can acd a ‘raduted file to your pict Control Palette “This ithe main calogue palette, ‘which contains the contrls for each tabbed section, Moat ofthe controls are siders, and you can see the results of each adjustment in real tine on the histogram and in the main image window. Image Window “Thies the man window decaying the image you're curenty working fn. Al changes that you meke dug Faw editng willbe vist here, You can 200m into the mage using the ‘magniaton conto atthe bottom left or use the ueuel CTRL + and CTAL - shortcuts. You can see what eect {your eating has nad by checking ancl Lnchecking the preview option at the top right Output Options {the bottom ofthe screan you find the controler when you've hed your edn, you cikon fet You'2ee range coup otns, sho Adobo Camera Paw can process youpictures in range of sz, You Can as sve your eats back ro the Faw fie keep them ortControl Tabs Camera Paw breaks the werélow ‘down into dscrete sections, each ‘wits owm tabbed palette, anc you can saitch between them by Clckng here. The tabs are, rom loft to right: basi, Tone Cune, Dota, HSL/Greyscate, Spit Toning, Len Correction, Efcts, Camera CCatbation, Presets and Snapshots, RAW PROCESSING Information Palette ‘The ot side ofthis pane! shows the RGB colour values atthe cursor position. The larger right side of the erea deplays the exposure information forthe erage, including the aperture, shusterspoad, SO sating and focal ength of tha ans. Histogram The Histogram shows you the number (fps of each tone your image in realtime, and changes as you make exposure and colour balance ‘acustments. The graph represents the Colour in digital form, with ves ram 0 40 255, withthe dvcst on the let and the brightest onthe right. The white ‘area represents the combined co}ous, tut you can also look at each colour ‘channel indi, 7RAW PROCESSING Adobe Camera Raw Workflow Getting the most out of your Raw files { you ask any five professional photographers about the process they use to create their pictures, youll {get ten different answers. The amount of processing and adjustment used varies depending on the job at hhand and the type of final image required, as well as the type of camera used to take the photo and the use to which the photo will be put. However there are ol Ityou look atthe histogram at the top ih ‘ofthe screen you'l notice thatthe line at the right forightast) end ofthe graph is Rat. This is because the K-7 tends to slightly undar-expose in bright sunlight. Ideal the r ithe area betiveen the lightest and darkest ends ofthe range, 78 wottsCretnS certain operations that will be commen to most photos that you'l want to process, 50 well take a look at a ccomman general purpose workflow that willbe suitable {or most types of photo. We'll be using a landscape photo of Start Point in Devon, England, shot on a Pentax K-7 digital SLR using the popular Adobe DNG Raw format, so we need to ight boost th without causing over exposure. To ensue that olighte end ofthe raph don't lose too much deal to highight clipping, cSck onthe omer ofthe histogram weow tums on the highight cpping waming, Any over areas wil turn bright ed in te image wi the fet buon tune on aroun the top right This v. Clicking on 1adow ciping warring.RAW PROCESSING @ [BE] Whi hating down thet key Option on Mac), move the exposure Ed str to the ight. With the key hold down, al you'l see willbe the ‘ver-exposad areas. You can do this with any of he fst sx dors, and i's a (00d way io rake adjustments without going to fa We can spend a whale ES carey ajusng the various sie by hand to try and {equals the histogram, but the uickest way to get close to the ‘optimum results tolet Camera Faw do the hard werk, Hf you click on Auto the software wil ‘automaticaly adjust the image to produce a good approximation to 1a perfect exposure. I's probably at going to be ideal, but give Usa good staring pont You atice thatthe white ighthouse and the sale o the boat ae cover-exposed, but that’s OK ‘We're looking fora good spread of tones, and tha Incudes white ‘The Auto adjustment has made a good ob ofthis particular picture, but for landscape shots a itl bit of extra saturation usualy looks good, 20 we'll boost the saturation sicer by +15 to gat the colours ot the ‘grass and the sea to realy pop out ‘Adobe Camera Raw also provides a second method Of adjusting contrast, by altering the fone curve. Although i's no mare ‘accurate than using the sliders ‘many people will prefer it because It's rice and simple and gve a good sual representation of what we're ing. Is also alot harder to burn ‘out the highights vsing curves, ‘boosting the highlights aft, and then boosting the other siders in docreasing amounts we can quickly ‘equalse the histogram without losing too much quay. DgtaPraoksteg-AcucaFartagmem 79& RAW PROCESSING BBR] Tre ctromatic aeration is just as easy 0 Ck on the Color tab in the Len Correction palette and simply check the box Remove Chromatic Aberration. You'll ned to zoom in a lot near the edge ofthe frame to see the ference, but you'l notice the effect at once, (One of the best things about Adobe Camera FRawis its lens corracton feature. The SMC. Pentax DA 18-55mm 13.5:5.6 AL? Kr lens used to take this picture fant a Bad bit of glass, but t's not perfect. Although i's hard 10 s9e at a glance, this Wide-angle shot does suffer rom some pincustion lstorton and slight chromate aberration. Frtunataly Camara Raw comes pre-loaded with corrction profes fora huge ist of popular lenses, including this ‘one. All you need to do to automaticaly correct the ‘optical cistrtion caused by the ens isto check the box Enable Lene Profle Corrections, Youll see the change happen immediatly. ‘The next step is largely a matter of personel taste, but you can also choose to use a ‘camera prole forthe colour caltoration too. In tho Camera Calration tab, cick on the Camera Profle button, and from the drop-down menu select Camera Standerd. This sets the colour rendering profieto the embedded prote recorded by the camera. The Pentax K-7 doos produce some realy nico bright Colours, so for ths shot we'll use the camera prot BO BEHtCetneSre | ine SveFly we have the output options. Camera FRaw gives you the option to output the processed image in a number of diferent ways, but which one you use will epend on what you want 10 do withthe ished image. For most purposes the dofauitsatings wil be ideal, but you may ‘need to select a aiferent colour space, and for ‘maximum colour fidelity you can output in 16-bit format. You can also choose an image size ciferent ram the nave resolution of your camera, but be aware that choosing a larger size doesn't matically create new piel; the mage willbe enlarged using Photoshop's bicubic resampling algorithm. I you're planning to print the picture you might also want 10 look atthe sharpening options. When you're hapoy with your chalca, cok OK. and the Open Image. The picture wil nw open in Photoshop, from where you can either cary out mexe eating, lor save the pictur in JPEG or TIFF format RAW PROCESSING his particular image, the sky is abit lighter than it needs to be, but we can easly darken it down a bit by adding a high qualty dlgtal graduated tern Camera Raw. Glick on the Graduated Fiter button a the top of the sorean, and youl eee the fiter central palette appear. Set the exposure slider to about -1.5 0° -2, than in the image window drag dawn from the top ofthe picture to just below the horizon fre to apply the fter. Wf you hold ‘down the shit key while dragging i wl stay paral to the top of taProeatng AcuseFotegenes 81rr Cea} mie omrs Editing Project, LN Bee eaters rnin Ee nee rn See eee eee i paraliooenantespenaceetaaptntee espe mension SE 1 NUNC eur Deteouied eoart © Kiseley Andrey Valerevich @stutterstock Ce een ei . ee §Contents > PR cic’ er ad Tilt-shift Effect Daa)Unleash your inner artist by converting your favourite images into pencil sketch masterpieces here may have been occasions ven you have rite photographs and wondered, what would it ook laa ii were drawn in pencil instead of being a photo?’ Photoshop and alts photo-eding counterparts offer various artic fAors that can tum your image ito a watercobour or an olipainting, Some of ham can be quite effective, Inmy mind, however, the penci sketch fier offered by Photoshop does not realy capture the essence of ahand-drawn image. looked at one of you fay Ityou search on mpanios that offer their services. You can upload a shot and they use fiers to convert itinto a drawing, Again, to my mine heres ehways something not quite right about the reauit. Not to mention the fact that they may not 0 offer a truly high resolution end result not aying for he prviege at any rat) However, theres an approach in Photoshop th may take 10 boing abe to create fe roakstc pencl skotch affect. requis Your patience You don't need tobe Lecnardo Da Vinge Just the ability to sorbet 84 eoHnsceiese CREATIVE TECHNIQUES Converting images into pencil sketchesTHE PENCIL SKETCH EFFECT& CREATIVE TECHNIQUES Fist things frst. Open your Image in photoshop andi label tnat layer base’. This is ust a bit of housekeeping as we willbe creating mutiple copies ofthe base image as we progress. g We need to create all the d materials that wil give us ou [Peel sketch look. First sa grey layer that wil be our paper colour ick on LayersNew Fil Layer>Sald Clr. nthe atalog box that opens, ‘name tis new layer ‘paper colour ‘and clek OK. The colour picker 'box wil open next to allow you to ‘choose a colour for your paner. (Choose a ight grey colour forthe ‘moment and cick OK. A new layer will appear above your base image ‘named ‘paper colour A.small amount of texture wil od axis creaty to our sketch. ick ‘on Layer>New Fil LayersPattern Once again, a new dialog box wit appear to let you name this naw layer. Call t paper texture! and click OK “The Pattem Fil calog box wil open and you can choose a texture for your paper. Avoid anything with colour in it for the moment, Choose something fay uti in black and white. Select ‘your preferred texture and click OK. “The new ‘paper texture’ layer wit ‘appear above the ‘paper colour’ ayer. FR Meking sure the texture layer is stil selected, set is opacity to 50% and ole on the Blend Modes button and set the blend mode to Mutt. The texture layer wll naw blend into the grey paper layer beneath. Both texture and colour layers are kopt separate so you can 0 back to each at any time and ‘exit ther values if you want to 86 Ne CamaserTHE PENCIL SKETCH EFFECT a Now go back to your base BS ayer and click on it to make active and go to the top mers ‘and select Layer>New Layer. You ——— ‘can use the shorteut Gmabi i you a aS peer. Name this layer ‘outino ad Mako sue that this new layers at the top of your layer stack. We an : want fo turn this image ino an = : ‘outline reference for when you = : start your drawing, To do this go car E to LayersFiter Gallery to open the titer dialog box and select Glowing ig from the Size option panel, The settings you use wil ——s 'be dependent onthe resolution of oc your image. What you are lacking aa for is mostly black image with = o Just the basic features ofthe face eat Showing. When you are happy — with the res, id OK PAPA At tne moment, this outine image is noe ‘aa [acoso usinitscurent state of white a nena detat on black. Make sire your outine layar is | ‘active and select Imaga>AcjustmentssInvert (Cds!) Now your image wil have dark — a! facial etalon @ white background. Go to Sher ll Image>Adjustments>Desaturate(Shit+md+U) Seen to remove any cclour from the image. From the Layers menu, make the opacty 6036 and set the Blend Mode to Multiply. The outine wit now be blended into the grey textured paper yer below iin the stack WIR As you cdi stop 5, cick your base TELA tayorto maka activo, upicatt ramet 'seteh’ and ag this ne ayer to he ver top ofthe stack. We now need to conver this mage to back and white. Goto mage>Acjustments>Black & White (AksShitsCma). How you convert back and wits avn to perso taste, but isa (00d idea to make the mage qute contrast lp wh the sketch lect ate Now make sure your black and white sketch layer is active and select Add 2 Mask from the bottom of your layers Panel. f your layer mask is white, just hit (Cmds! to inert it so tis black, Whan you do this, wl be Fiddan trom view becausa the ‘mask is now black and preventing the image ‘rom showing through, 60 all you wil se isthe outine and paper layers below. We ‘are almost ready fo start, but fst we ned something to sketch wth ae si a 7 cgtiPeioEatrg-ACuieFoRagmres 87& CREATIVE TECHNIQUES Make sure you have the brush too selected from your toolbox on th let side or jst press B. You can ‘ether select a brush from the top let options menu or click (nthe Brush Presets tab pinned to your layer panel on the right. Atnough you might want to choose a pencl atfact brush. s actualy betta to choose a bistle-type brush ‘The bristles act ke many pencis atthe same time and wal ‘save you time labouriously sketching away with a single point. In his instance thave chosen the lat Curve Trin Soft Bristos brush with ts default settings. ocause ofthe resolution of my image, Ive set the brush size to 300 iva. Now make sure your Foreground Colors set to white. Pressing D wil make sure foreground and background defaut to black and wit, Yu can press X to toggle the foreground and background colours to make sire white is set. So now you can stat your sketch. Make sure your sketch layers active and click BULB» your ayer mask thumbnal to confer tht ts selected. You are gong to be using your brush on this layer mask, not the image. You have your out on the layer blow as a rterence so you know where to start applying your brush, Ciek and hold the le mouse button ana dag your bush across the layer mask with broad strokes asi you sre brushing paint witha eal brush onto a wall As you 4d, you vl sce you are painting white ono the mask. Each stroke of white gradualy stars to rveal your topmost black ‘and white image, Because the mage is being revealed through the strokes of he brush, the image appears to have been sketched ke perc Using a mouse to rains anion canbe abt ; BEA occ, tas you process you rat becomes gute T= teoy- Foren oto cre yrs ets : : This is where you draw the mouse across the image at saa Ron cpposing angles bung th Sans fhe mage = you Kr ose, However ts own 0 youratsi son fo teh x aay away hat peas you aay ie you ake é a atk, you canopy press Xo Toggle your bah to Deckand pant ery trustee ou. The pres Xegsn and rosie raving with your white bh 8B oDHeCaTHE PENCIL SKETCH EFFECT a 14, The idea now i 10 te oF as much ofthe black and 16. At this point | ke to change the opacity of white image as you prefer. Bear in mind that as you build the number BED tne outin layer to about: tend to think this ‘ 1s the attic fect and sels the sketched fee BUtt-lc-B Vole aL-\U-9 it. Photoshop has released your inner artist. Any black and white image can be treated in Da R UW It’s just up to you to load up your favourite images and get scribbling!I COLO see ca COSCO TEU soa) Potente RCs enters ito tis often the case when out on _areas are correct then the sky SEO ESL ad) SSR a ee lie ae Le Se ee eee eee eee ee eee ae ee Crear ee ee ney ee ee ee en ee eee eed Sa eo ee oor SU ee ces ‘expose the scone so the shadow can range from -3 EV (3 stops oie ye eee!GETTING THE MOST OUT OF YOUR LANDSCAPES 70 bogin with | cid some very basic ealting of each Faw fen Adobe (Camera Raw: Not least, to make sure the horizon was straight and the shadows and highights in each fle ata was, ecng erent so extreme that imag les. FRB] you ate using Adobe Wilt Bridge, you can select the ‘multiole images required and rit mouse click to open a context ‘menu. From here you can select a Photoshop > Merge to HOR Pro Image Processor tobegin the merging process. You Cpenwith > toed Fes ito Potashoo Lares can also navigate to your chosen " tes via Fle > Automata > Merge toHOR Pro. 92 paca32 BIT HOR IMAGES PS | ian he ses ae merge, os) ‘the Merge to HDR Pro dale box va cponFrom he tis a single proces, Maka sur hak the Mode seecton tab i set to 82 bt yourmatipe mages have moving obets (sucha ous) then make sue that be Pemove Ghosts chackbot slated. You an ck on any of your mages to nna he torso for the co- ‘host process. “The Set White Point Preview = sider actualy has no effect decal Adeptation: fn the resuting image. It is ust ‘Set White Point Preview: therefor you to choosa which sce the dynamic range scale you Want to use asa preview, Cck Ok ‘and the 32 it fle willbe created, —) == jlrcotiting. AckioFobaghoen 93& GETTING THE MOST OUT OF YOUR LANDSCAPES atm y New * Open. * [a Browse In Bdge x comes Brow In Min Bdge. ae Open as Smart Objet. earn ‘Open Recent cose : Rea Close A xe es Clove and oo Bridge... O38 Ee win cae Pen ae This newt created image Fie tit im: Place wile dsplayedin Photoshop, The op lt comer Import of your mage document window pen ‘should now indicate that the pictures now 82 bt. Dont be Automate woe fit doesn't ook ata he ser sid you expected. Next, you need Fle no to Save ths fe, From the mar manu eolct Fi > Save A and Print. seve the Frage. nthe Save As Print Ge Copy claleg bax, make sure that the Format s sat to TIFF, narne your fie and cick Save. 16 bean One Chanel (RRCCBE) ‘The TIFF Options box i oppee Make sure pee that 82 bt oats checkedin the Bt Dopn socton and tat Image Compression et © eeaiaeaye NONE. The other sections can ee be kept at defauit, Click Ok to save andyour i ready wort nating tat 2b foc point es ors mach goer than sanded mages gen ho araunto! Smamisrarge dle itcontane Praca 94 o0HnecamaserBIR acc) Dente 32 BIT HOR IMAGES Add to Favorites Rename Reveal in Bridge Slideshow Review Mode Place Con Photoshop > Photoshop Camera Raw Default Application In ou example, in Mini Brge you can click ‘on the 22 bi fle and select (Open With > Camera Raw. Alteratvly, as long as your {PEG and TIFF handing ‘options are active in he Camera Raw Preferences you can just double-click the fig and it wil open in ACR by default. Upon opening, you ‘may thnk the image looks pretty tebe. Not to worry. Auto Default Exposure +10.0¢ ee Contrast o ee Highlights ————————— Shadows Something to bear in mind is that when nd ecting @ fle you only have 10 stops of exposure range ftom -5 EV up to +5 €V. With your newly opened 3 bit fe you actually have 20 stops of exposure ‘avakabe to you. The ex sider wl po up to +10 EV,96 GETTING THE MOST OUT OF YOUR LANDSCAPES The next stage isto process your image. This of course comes down to personal taste, but the startng point isto ator the Highights and Shadows sliders to reduce the exposure in the highights and bghten the shadows, You can then ater the other siers to finesse the image to your taste, Because you ‘16 working on a 82 bit image, you can push the ‘agjustments much further than you could with 2 ‘ingle Raw fle before it staris to degrade. —_ A S/S) eo) Basic White Balance: (Custom ei Temperature 5600 es, Tint +10 ‘Auto Default Exposure —_—_——————— Contrast ° Highlights Shadows +100 Whites “55 Blacks ° Carty 125 _—__ Vibrance ° SERED Saturation +3032 BIT HOR IMAGES 10 | You could save your image now and say ‘job done’. However, if you wanted, you can now use this image as a jumping off point to do even more post-processing to lift the image to another level. yg. suas ah. 0 nif Atte bottom centre ofthe ean you need) on your Worktow Options. Ths willopen the Workllow Options Dialog box. Make sur thatthe Bt Depth tb s set to 16 bt and lek OK. Now you can cick the (pen image button atthe bottom right ofthe sooen, The mage vl now open in Photoshop wt bitdepih of 16 bt Photoshop fle ft withthe image open in PPhotoshop you need to go tothe main menu and select Fle > Save As and save tha image as 16 D1 TIFF with a naw floname, ‘You can keep the TIFF options as default and click Ok.PS | GETTING THE MOST OUT OF YOUR LANDSCAPES biAe so) onnz This new image can now tenn on bbe opened ance agaln in = ‘Adobe Camera Raw and processed Sa ‘al over again. You can relly 20 =. to town onit and add all sorts of al fagjusiment brushes, colours, grads pa 2 and eects. 98 pHs CsiaSe32 BIT HOR IMAGES a Ptr en possil ies and gives you gi just ‘ordinary’ to ‘extraordinary’,The Tilt-Shift EffectRo Reece a TERS een aT Drees RLS won't. Generally, een ORC un PIN Rete Ciena Py sicen Cee ee |PS | CREATIVE TECHNIQUES wth your image loaded the fist thing wo nood i to make ‘170 the Gradlent Tool is selected in the tootbar (press G). We now need to speciy the Kind of gradient we are gcing to apply, Because we are simulating extremely shallow death of fled, we have to have a horzontal area our mage thas sharp and contains the main focus of ourimage: Above and below this sea, we have to have an inoreasingly out of focus oct to create the look’ we ave afta. With ‘our Gracient Too! selected we can 0 o the top menu bar and select Reflected Gradient as ou fl type. ‘No, make sure that fill option versa is not checked, Ths will ve Us the graciont ype that we need. The next step is create a mask that wil protect the areas wo want to stay sharp and alow the ret of the image to be blued. From the et tootbar, osc the Ealt n Quick Mask Mode button {press Q), Quick Mask allows us to to add a mask using the various dravang and painting to's that Photoshop oft. In this case, we are going to create gradient mask as we want the fect to be applied gradually. 102. ecescestaseTHE TILT-SHIFT EFFECT a you clek and hols the if rignt mouse button on your mage in the place that needs to remain the sharpest [nou ‘example iis the fishing boat right (of contro) you can craw your line upwards tothe point where you want the Blur effect to begin. Holding the Shit key while you & constrained othe vertical to o@p your gradient horzantal fn ‘ur example, itis above tne top mast of the fehing boat When you let the mouse bution go, your ‘gradient wil be appled. Because ‘he fil type was set as Reflected GGracsent, the mask wll appear red both above and below the star point you selected (Gliking back on the Ea SE in Cuick Mask Moc for pressing Q again) wl ake you cut ‘of masking mode and leave the Blur > Blur walcall up the 103Stes orr mere Fore le ‘Smart sharpen, To my eye, just helps tose the slighty sureal eft. PAR] = mentioned in tho introduction, since version C36 Photoshop ‘now includes a specitc Tit-Shift blur toa. tcan be found under Fite > Bur > Tish The dalog screen is elatvaly straightforward and dicts you define your stat point of sharpest focus and ‘the points at which the blur is started to1be applied to it's ‘maximum blur point based on vals you can input. You can ‘also rotate the effect o any angle. mary cases it works well Ifyou do find that you need more fine control over how the burs apple, stireckon the manual mode has alot gong fort. Ether way, you can create some minc+-bendingilusion | right there on your computer screen, 104 s0Hsceses CREATIVE TECHNIQUESTHE TILT-SHIFT EFFECTGETTING THE MOST OUT OF YOUR LANDS Atma celeeK Tale) and Smart Cregeen After os ere ae probably many times when you've been out and about ‘on the hunt for a great landscape to photograph, that you've happened upon a scene begging to be immortalised by you and your sera, You set yourself up, gt the camera ona tripod, make sure you are shooting in Raw mode and snap away. Have there been times when the shots, when reviewed on your ‘camera's LCD, never qute seem to match up to expectation? Maybe the exposure forthe scene is abit of a challenge. Perhaps the weather 'sfaling and the lights just not doing it for you anymore. Now you may be tempted jst to consign those shots tothe digital Objects waste bin of your computer when you get home, or worse, just hit the “Delete AIT option on your camera, but don't be hasty With abit of know-how even some ofthe most lacklustre images can shine, and is not that hard to do, 1. go as farto say that with abit of practice, the next ime you're ‘ut, armed with your camera, bemoaning a sub-par lands ‘you would have ignored before, you will now be able to envision @ ‘masterpiece hidden in there somewhere that just needs your to help to bring toutRAW PROCESSING AND SMART 0 ANA aya eed < ae o.oo Ce as Se ‘So what isthe big deal Cras Pe ieey) Send = ed Fa - een) a Cue es a Cte ees ety ees 7 ete fee : ree) io on-destructively once Pats 2 gear ee eee : ere eed Cad Ce eee enna eet’ aed Cr oa eee eg ey ae Cras Cee ey Perea tree Peer er eet techniques, create a much Cees108 Split Raw Conversion Pees Pee ty process the image twice, using Patent ere ers resulting images in Photoshop to eet ens Fst, open your Raw fe in Adobe Camera Raw which is supplied with Photoshop. tis 8 fay feature-rich Raw extor ‘and is great for quicty working ‘on multiple images. Raw edting Is also non-destructive 90 your fginal image can aways be recovered no matter what kind of processing you apo tot, The ‘main thing you are looking to-do Intalio even out tne exposure ofthe image. The rocks are way to derk 90 increasing the valuos ofthe Blacks and Shadows sliders wil start toi the shadow areas ‘away trom deep black and start reveal some deta GETTING THE MOST OUT OF YOUR LANDSCAPES Ive also added a tle Clary, \which is mic-tone contrast, as Well as Vibrance and Saturation toenhance the colour Also, by ‘dragging he Highights sider to the et, you can retrieve some etal in the brightest areas of the shy.RAW PROCESSING AND SMART OBJECTS a Next we can start to enhance the image in (Cicking this too wll open Ea spoctic ars by using tha Adjustment Brush Adjutant Brush pats on the toot ocated in the menu bar on the top let rght of your screen, Here you can eal i —— =e oht of 0 Here y of your screen = sot the vues ofthe achstment ———* You stray gong to paint onto oom ime eae FF Fo) 44 | 4 oO — “ale Ive sat the Brush quite lage and soft with an orange under-exposure vale int and an hat cen the sunset colours inthe top right of tre image. You ‘can add adtional adjustments by clicking the New tab, sting new valves, and painting mere use to bring stents throughout your image as you see ft sergio In this case I've added a new =———-=°* ‘adjustment to darken and add a. more blue o the sky on the top left ofthe image. A the moment I think the sy i litle 00 bright and needs some more drama. Clicking (n the Graduated Fiter tool inthe top let of your soreen opens tha Graduated Fiter palate on the right which wilt allows you to darken (or ighten you \ish) the sky but progressively fade out its effect. oH 4/4 Fo) // Ok ve kept the colour ofthis fiter neutral and set to Lnderexpose by one stop as wel as adding some contrast ‘and saturation. I've started the darkest part ofthe fiter at the top ofthe image and drawn the fend point of the effect down tarthe horizon, You may notion that the rocks inthe foreground ‘are der again but that isnt @ problem. For this image, we lust need the far cls and sy looking ther best Podno ‘So, part one of our two image process is reac, KEEEE vit now? at ris pont you could open the image and get going with te next par, but now fs 8 00d tne olen a tle about Smart Objects. you 0 tothe bottom ght of your screen you have the Usual ‘Open image’ button that wil take your shot and open fin Photoshop, appying ll the acjustments you've jst made. _.--— So, What urls Object? Dee een ea) ae uae Deer) risers Pee need inalayerin Photoshop, you can Cees the source image in Camera Raw. eee eos Cee eet Pee ee) Se ee Now that we are in Photoshop, we need to create our second image. If ‘you right-click your mouse on the image thumonal, a menus wil appear with a number of choioes. You need to alick on the New Smart Object via Copy option. Tis partis important to remember. You have to do this rete because you need to create a a second Smart Object that you can edit independently of the frst f you had just duplicated the layer, you would also have duplicated the same Smart Object andi you edited one, the changes would appear on bot. GETTING THE MOST OUT OF YOUR LANDSCAPES However if you press the Shift key on your keyboard, you'l see that the button changes to Open Object. Cick this button and it wll open in Photoshop wit all your adiustments in aiflerence. It's now opened as a Smart Obect Jace but now with ane major GE Reereer aoe a is amendments done to them. In his case | have ‘one layer called Foreground and one layer called Sky. Click the Foreground layer to make sure itis active, This the now image that we want to edt to make the foreground rocks and sand a bit brighter with ‘more deal Il you double cick tis layer, because itis ‘8 Smart Object, it wil open the source fle in Camera Faw so you can edt —RAW PROCESSING AND SMART OBJECTS a ‘re now back in the Faw editor so we can ‘amend this version to squeeze fetal out of the foreground. I've increased the colour temperature to make the foreground a ite warmer and I've increased the exposure sightly and boosted the Shadows and Blacks slars tolit darkest areas and reveal more detail. you click OK bottom right, the 3s you just performed wil be transferred back to Photoshop. You now have two stint layers. The Sky layer has all the depth and drama, while the Foreground layer has the brightness and detai, These ‘are the choices made for thie particular image, but because Prosress this is all non-destructive, fee Preparing Sart Obect. free to experiment ana i brings you aa! Cancel ae agtiPoicitrg-AcuieFoBagonen 111GETTING THE MOST OUT OF YOUR LANDSCAPES Fine Tuning Your Creation in Photoshop WV 2 eezsres ur orga and aku image ino wo ele smart objects, laced in Photoshop on yes that between ‘them make the most ofthe scene. Now we need to be able to combine them into single image utlsing the best bits of both PRT s mentioned in the previous part ofthe tuto, we Ud sow nave a PSD tle with he Sy and Foreground layers. We row need to be able to seamless combine these layers into a single mage. A layer mas wil do the trick nicely. n this case we have the Sky ayer above the layer, ck onthe sy layer to make sure is Now, at the boom of your layer palate, you need ‘on the Acid Layer Mask button, Your layer wil now ty sot as white oe i | | ca PRP Meee cue your ayer mask Medals active. twat have brackets Fighighting it. Loft cok and hold your mouse just below the horizon {and draw the cursor upwards tojust above the horizon. Ifyou hold Shit atthe same time, i wa constrain the ange so you can get a perfect vertical alignment. You wil S20 ine that indicates where the graquaton wil appear. > 112. somes he thing to remember about a layer mask Is Bead that anything on the mask that is black wil alow Whatever ison the layer below to show through that spot, while anything white wil hide the layer below. In this case we need to create simple blend between the shy layer and the foreground on the layer below. ‘A graaiont trom Diack to white wil do the [0 nicaty {and create a sof transition. I you press D on your keyboard it will set your colour palette to ts defaut of black forthe foreground and white fr the background. ‘fit happens to be the other way around just press X and it wll toggle the order ofthe colours. | fo create our grad clck onthe Graciont Teo! in you toals paket (or cress G). Check your too! ries atthe tp let of the sereen to confirm your (gaxkent goos from black to ransparent. eC ec a et Ee fee ge Nea)FINE TUNING YOUR CREATION IN PHOTOSHOP a Let 90 of your mause and the gradient wil be placed ‘on your layer mask. Two things will happen. Your layer mask thuribnal inked to your Sky layer, that ‘was blank white, now shows the gracient you have just applied. ‘You should aso see a ciference inthe mage, What Is happening is thatthe mask, inthe area thats ‘white, continues to show the sky, but the area ofthe ‘mask thats black is allowing the foreground image (on the layer below to show through as wal Now it's tim fora fow extra Ieaks 1 realy get the mage to shine. With the Sky a ‘active, click on the Adjustments tab and a panel wth valable Pr ‘adustmant options wil aepear. a CCl on the Levels button the Levels properties panel wil ‘appear and a Levels Adustment layer wil be added at the your layers plato Itneds to be above all other layers as you want this adjustment to affect the entre ‘document. Using the siers you ‘can adjust your Shadow, Midtone ‘and Highight values to add some Contrast and punch to the image. periment with the sicers to ‘ee what suits you best. Try 0 avoid any settings th to blow out highight detail or ° parts the image to ‘a point where deta is lst. There are a couple of ways to avoid losing detal in he shadows and ' show you a personal favourite Tater in this ttc DgtiPeiokitrg-ACuseFoBagmnen TIS& GETTING THE MOST OUT OF YOUR LANDSCAPES ‘a another global adjustment we're making 60 make sure your topmost layer is currently active {and cick on the Adjustments tab ‘again and this time select the Photo Fitar button. Photoshop's Celaut ie a Warm Orange fiter eat at 25%, Actually, his is just about right. Now repeat tha last step and cre layer, but set its opacity to 100%, At thie point the image is looking litle too warm, FRR] Satct tis second Photo BRA Friter Aciustment layer art inthe blending mode panel select Soft Light asthe bend mode for this layer. Once again the image wal 1 change quis camatcaly Seting the opacty for that layer clown to about 30% wll sort that ou Yue ackod contrast anda warm ‘coiourcastin one go. Now we need ‘tohave a lock at ou foreground rocks again, asthe last fw steps have darkened them again 114 soe CesneFINE TUNING YOUR CREATION IN PHOTOSHOP a WA this pont if your press Shift + Alt + Cmd + you can create a new layer that consists ofall FPS itn ust your new merged previous layers and adjustments merge into one. $e] layer selocted, press Shift “+ Cmd + N to create a new layer and name it ‘Dodge and Burn” ‘Anew blank layer appears above ‘your merged layer, Dodging and burning is 2 reference an ld darkroom technique for selectively lightening o- darkening an exposure. Dodging refers 10 hnoreasing the exposure of an image and Burring isthe reverse. Photoshop's Dodge and Burn tools are destructive and applied directly to your image. There is however a lite technique that means you can apply Dodge ‘and Burn effects safely while presening your base image. ‘withthe Dodge and Burn layer active, goto your menu and select Edit > Fil or Shi + F) = ‘Also, a8 matter of good housekeeping, i you selec the other layers and press Gmd + G you can drop them Into a fold all ‘out the way, but that's entirely optional, —— ‘A dialog box will appear; select 150% grey as your il colour. Your image will disappear and a grey ‘one appears, ea Now with the Dodge and Burn layer active set the blend mode for this ayer to Soft Light and your image wil reappear. The (rey is stl there, above ion the ‘ext ayer, but at 5095 wth a soft light blend, it has no effect onthe V image. at east, not yet Cee eect DgtiPeickitrg-AcuseFoBagmes TIS6 From your tools palette, select a large soft brush (press 6), Make sure tis set to ‘foreground colour of white and ‘adjust the opacity so tis about 20%. Now, start painting onthe (rey Dodge and Bum layer with your brush, You' notice that every cab ofthe brush wil increase the exposure ofthe mage by a ‘mal amount. You can use this, technique to bring out all the foreground shadow areas inthe rocks or any area thats too dark ‘and needs a itl it. Because ‘your brush ie et at 209 # you want to increase the exposure for given area by a greater amour, lust paint over that area again adjusting the bush size if you need to work more praciealy, unt yous have the look you are aftr Conversely, while sion the Dodge and Bur ayer if you ‘ew salt a brush colour of lack ‘and sett to 20% you can aso paint ‘eas that are too bright and need tobe underexposed. In his case, the sandin the foreground has been derkened to hep entance the pale water reflection, a wel as some oer parts ofthe rocks and the far ifs. Once again if you were to preview this layer on its own, you would seo both the white and black (or dodged and burned) areas al applied non-cesructivey, you wanted to alter any ofthese arees, you cou get your brush, setit for 50% gry, and jst paint cut any ‘se that weren't needed. GETTING THE MOST OUT OF YOUR LANDSCAPES layer on its own at tis point, you wil see the areas paintd in white against the orginal 50% gray background. These are the areas Ir you were to preview the dodge and burn that you have "Dodge teens this pont, want to erop the image. Select the Crop Tool (press (©) and using the contol ports ‘around the cop box, adust the size ‘and shape of your new erop. In this ‘case just want the composition to ‘obey the Rule of Thirds.FINE TUNING YOUR CREATION IN PHOTOSHOP a image in ha rie to the crop, cetera Per SSC LA BB We aro on the home straight now. ve added i anchor Levels Adjustment layer to lighten the rmid-tones and to decrease the amount of black very slighty ‘now layer comprised ofthe layers below. Those layers bow have then been | ‘Once Im happy wih that have pressed Shift + Alt+ Cmd + Eto create a grouped as we dd eae, COntop of that ve axed a Brightness and Contrast layer just to make sure thors stl some visual punch to the mage, “Ther isa smal visual traction in the image ust above tne large rock on the right. Using the Clore ‘Stamp Too! (cess 5) ave cloned part ofthe beach vert. Just hover your mouse over a clan aa that you want to use asa replacement, press the At key and your andy ave dtd ur bao rt re Aaa 4 text wt part, Yuen ow bush sare ero he pa eae ea fering doecion edo ated aol amour fo Sharpening anus a et pun caled Topaz DNase Oe to reduce the nose in the image. ‘Ard thera you have, From a fey hum beginning this mage has come a long way. Maybe now i's time to «3g through your Raw image calecton, You never know there i probabiy a long forgotten rough - Color Range. ‘and hold ‘Adalog box will appear anc you — a Shit while Zz can now start selecting the blues ae you select, a cfyour od 30 069 288g 0 ae = maton sll a selection. ‘ct Our toa wil appear — 5 = ext to your cursor which . = wil now be inthe shape of on 2 pipette, > M 120 echscesa SeDON'T LET A DULL SKY SPOIL YOUR SHOT a ‘You can select multiple colour values, and as you do, you can see the range ofthe selections you've made in the small previow window, What you 8 aiing fori or ll the green ofthe trees to remain unselected (black) and ll the blue tones ofthe sky to be chasan (white). Te sider hamed ‘Fuzainess is there to increase or decrease the sensitiv ofthe 3 ‘current salaction. Once you are happy you have made a thorough selection ofthe blue tons click OK on the Color Range dialog box. @Selection ()Image layors pate, cfck the Add Layer Mask button, ‘couple o things shoud all happen at tho same tie. layer ‘maki added to your naw sky Yu naw have the combsnation of egal mage with lyr anecalse you hacen ‘rice or eto, austere ecto coecion tne Suto lhe fo an esha be ey swears eine oon ata arp, The aes oe eck hat i a Wt prevent hele tel fon qoangay ounannaratnannpaarines Showing Bre bt he at acento agen a tare isbecvalttocorcerarg— |f Br oon athily ey oth noe eb tance ak creo iatyarownaete opin aanc yor eh orton me tuto het pan fe pune 3s. 121Beauty re-touch tutorial using frequency ec eun canes See eee ee ed eC erect Cee een ete enter Rot eee erent eee er et eet eee entre ener eg ea tee aBasic Cleanup Technique our retouch ith a basic skin cleanup. It doesn't have tobe detailed and in-depth, 5 minutes spots and wrinkles and is a fallow 3D View _ Window Help il start withthe age opened, pre d+ nto in the manu bar, make sure 3, Tiss your basic skin clean up. rs rd ae ee ‘Select the Spot Healing Brush Too! from the ‘toal bar or by pressing the J key. Change the brush size to about 45 poses (this will vary depending ‘on the size of your image - however, smaller is bettor in this case). Make sure the brush typ is set to "Content-Aware’ 124 HotereBASIC CLEANUP TECHNIQUE You can now start erasing any major imperfections and spots, As you work, notice that even though you are working on a bank layer, because you selected ‘Sample All Layers’, every time you cick the brush it places image data from the layer Below into your blank layer without altering the layer ‘below. This means you are working non-destructivaly and your base image is pee The next part of the process is the eyes, Most of us tend to have afew veins showing in the whites of our ayes but they can be reduced or removed altogether. Switch tothe Crone ‘Stamp Tool or press S, Select a soft brush of about 15 pixels and 50% opacity and zaom in nice and clcse tothe subjects eye, Find a cleen area ofthe eye between the veins and press the Alt key and click with your left mouse button to define that Clean area as your brush. You can start painting out the veins that are acfacent to the clean area. As you move your brush, & ‘small crosshair shows the area that is about o be used as the ‘brush and painted onto your image. Watch out for your cursor poston as you may start to paint in unwanted dota. Just move your mouse back toa clean area and press the Alt key and clk with your mouse again and move your cursor to the next area, that needs to be painted, With a ite practice, this wil become ‘second nature Ifyou view your adit layer on t's own, you wil now sae al your re-touching and brush stokes. i i | dl e-ACakstoreegenen 125,& BEAUTY RE-TOUCHING Full Skin Retouch Technique ‘Ths is where the magic happens. We can now build upon our basic skin cleanup by utlising the Frequency Separation technique to produce magazine syle results. A litle practice i allt needs and it wil Become a great adcition to your retouching arsenal! [Now comes the main part of the r-touch, With both your base layer and the ect layer turned on, press Shit + Alt + Omd + Eto create a new layer tha Is @ merged version af the two layers. Name this new layer ‘blur layer’ Now press Omd + J 10 create a new duplicate layer above and ‘ame ths ‘deta layer’. For the moment tun off ‘etal ayer visbilty and select the ‘blur layer View _ Window ‘Convert for Smart Fiers Fier Galery ‘Adaptive Wide Angle... 384 Lens Corecton. oma Lui onx. 0 Pant. Vanishing Point. xv Fre lu. Dstor tse Note Tish Prclte Renger vere Sharpen aur Seve Blur More Video > tox Other > Deimare > Neat Image Nie Sofoare > Topaz Labs > oto the main menu and select Fiter > Blur > Gaussian Blur ‘and in the pop up menu set the blur value to about 20 pixols (depending on your image size). What you are doing is ading {enough blur to this layer to remove ary sharp deta Things tke eyelashes should now be indiscerible. Browse Filters Online 126 somite | teeFULL SKIN CLEANUP TECHNIQUE al ai, Turn this "blur layer off and go back and tur on the ‘detail layer’, Go tothe menu and select Image > Apply Image nd this wil bring up the dialog box. At this pont, this tutorial ‘assumes you are using a standard bit image. ames ase Under the ‘Layer’ tab make sure you have ‘blur ayer” selected. This tells Photoshop thatthe ‘detall layer’ wil be interacting with the “blur layer’, Now make sure the ‘iver cheokbax is selected Under the ‘Siending! tab set the bland mode to ‘Add’ and make ‘sue the ‘Seale’ box is set to 2. All the other settings should remain untouched. ‘What you should have now isa desaturated image that Contain the detal of your picture. Under your ‘Layers’ menu, make sure youhave both your ‘blu and ‘detail layers turned on. Select your etal layer {and setts blending mode to ‘Linea Light. Ths blends the deta nto the blurred image below. The result of his should lok tke Your original image but made up ofthese two layers. ‘At this point, select your ‘etal layer and go to the main menu {and select Image > Adjustments > Hue/Saturaion and move the ‘Saturation’ slider all the way tothe left. This wil make sure there ie no colour inthe deta layer. DgtaProoEsteg-AcuseForgemem 127& BEAUTY RE-TOUCHING \Witn the ‘detail layer selected. Goto the menu and choose JAS you didn step 4, you can select an area of clean skin and use your Cione Stamp Too! again. Set the brush size to about this to paint out any ines, wrinkles or even irs on your subjects 100 pixels and the opacty to about 50-75%. face, and because you are using existing skin deal as the replacement, it wil stl look natural as human fash should do. w Window Help Cimeios CurrerN& Below Aligned Samph(@@ah ented rs tis important at this point to make sure your ‘Clone Sample Mod’ button is set to Current Layer | ‘What is happening here is that you are ONLY cloning detail from ‘one area to another, not colour or tone. Just be careful not to cone over detailed areas eyelashes, lips or nose il 128 Hotere | otFULL SKIN CLEANUP TECHNIQUE Keep working onthe ‘detail layer" until you achieve the desired level of smoothness. Keep using clean skin areas, ‘and clone then into areas that need attention, 'By now you should see a noticeable improvement in the look of Yyour subjct if you activate your eriginal layer and do a before and after comparison. Now we can turn tothe "blu layer. You would normaly edit this layer if your subject has blotchy or uneven skin tone or perhaps has areas you want 1 ighten/darken. Select your ‘blur layer’ and using the Lasso Tool draw out an area that you want to ‘ven out, Be careful not to select large areas. Try to doit in eal sections and be methodical We don't want the effect to be hard-edged so, inthe main {90 to Select > Mody > Feather (or Sit + F) and set a feather radius of about 50 pixels Gaussian Blur atid cancel Preview a a Radius: 50 Pixels Now go back to the main menu and eelectFiter > Bhur> Gaussian Blur an set the blur value to about 50 pixels or enough {blur the skin othe pont it becomes nice and even. Try to keep the values as low as possibe to got the affect you want. Large values wil wash out all colour and tone and wil start to look fat Keep working in this fasion until your ‘bur layer’ has been ‘evened out to your requirements. The skin cleanup is complete! From here you may want to:do further manipulations of lip colour or perhaps the brightness of the eyes or even change the colour of your subject's hair. The possibilties are endless, DgtracEstrg-AcuseForBgemem 129Lips & Eyes Techniques Now that we have our mode's skin looking Clean and glowinaly healthy. We can add ‘a couple of simple make-up effects that will add the rishing touches for that extra touch of glamour. Using our previous PSD file pressing Shift + Ait+ Cmd +E wil Create a new layer that is a merged version ‘fall your previous ayers. Tho frst area that needs some altention are the lips - ust to aven fut the pstick that has been applied by the mode! prior to the shoot. Goto the too's palette (or press L) and pick the standard Lasso tool so we can maka ‘a marquee section af the lp area, In this case we wll make a selection of the Upper lip rst, Let-cck on the corner of the mouth whist holding down the At oy and you can stat to stat to draw a sexes of connacted straight ins that can roughly follow the shape of the upper Ip basicaly a po}ygon, Sill hong the Alt oy, I you want, cok and hald the lft mouse button anc your cursor wil change shape to stow you are now selecting in freehand mode ait clawing with a penci. Folow the upper fo all tne war back tothe pont you startod an let the mouse butt and A key go. The upper ip wi now nave the ‘marching ants around it showing itis a current 130 BEAUTY RE-TOUCHING You can adjust what area you are using as your clone at any time by ust A+ eft click to choose a new source area. When We can stat to tidy up the lip area, From the menu you are happy withthe result pressing (Gmd + D wil delete the selection bar go to Select > Mossy > Feather (shit 6) anc soften the edge of the selection by just a fow pixels, otherwise any amends made tothe lip area that border the retouched skin wal be un-naturaly hard-edged and look odd, Go tothe tools “The procedure for retouching the bottom lipis exacty the same asthe top. Now that we have a perfect application lipstick, we should give the colour aite boot From the Adjustment Layers paste, selection Hua/Sauuration to create an adjustment layer and layer mask that ste at the top ofall your current layers, Make sure the layer ‘mask thumbnal i actwe and, using the estar ta | pate palette and select the Crone Stamp Too or press 8). From the tool ‘option barat the top let ofthe workspace, make sure your have a soft brush of about 20 pixels selected at 60% opacity Now you can Al + lft ick to sample a smal area of wal-appied lipstick and gently brush on the cloned fpstck ento areas that naed a touch-up, ‘samme lasso technique you employed for selecting the upper and lower Ips, make a solection ofthe entire mouth this time, Once again you should see the ‘marching ants’ to let you know your selection has ‘boon made.From the main menu go Edt > ame Fil (or prose Shit ++ F5) ane from the Fil Menu that appears select Black as your fil fi colour to use, ‘At the moment the mask is a ite too hard-edged. You can quickly The layer mask wil now be filed with ater this in @ non-destructive way by back within the area you defined. At Cclcking the layer mask thumb to make the mament the mask is set to et the sure itis actve and ater the Feather Hue/Satuation changes you make properties dialog box. A setting of about LIPS & EYES TECHNIQUES a << ll een 5 plies shoud do the trick. Now you can nthe HuovSaturation thumbnal ‘the propertas box wil change to allow you to aust ‘and ightness. You can go mad or just make a subt ers to alter the lp hue, saturation change, your choice. Now it's the tur ofthe eyes. Create a new Hue/Saturaton Adjustment layer mask just lie you od before for the lips and make sure the layer mask thumbral is active, Now, there ae various matheds of making sections in Photoshop, but for now, b ve show through everywhere except he just got used to using the asso tool, we . tn. Weoed to cerge hi 9 Gar uve the sure method for selening Fa eee eer ate the eyes as we dd with the lips. The Bose veya nee tne Sees selection doesn't have to be super-perfact just as fong as its only the eyes that nave been chosen, Once again fil your selection with black, press Gmd + 0 19 olete the selection, and invert using Omd +1, You should be lat witha black mask with two small holes whe the ayes ae, be active 90 you can press Cd + D “Make sure the Hue/Saturation layer thumnal is active and set this ayers blend ‘made to Overlay. Ths ensures that eny shadows In tha eye area are maintained, Adjust the sidors unt you get the aye colour you are after. Because you are working on an Adjustment layer, these changes are all non-destructive and be aered as much as you want without destroying your original starting image, ‘to delet i, Make sure the layer mask thuménalis active he four shouid be highighted in white) and simply press colours, Now your mask should be ‘completly black wt just the Ips showing asa whit are. rd +10 invert the ‘And that’s. You've now explored the essential techniques of retoucring of sk, ‘yes anc lips. So whether it's a subtle ch or a fulton makeover. t's Up 10 agtdPeicEatrg-AcuseFoBagmrer 131on fe emit eral vity and put it up in lights!Tene DUEL say cS] | Mecdchulphepshuc anual See eee ree one Cee Lae eee Of this technique. One extreme version is to one ee ere eens it on fir. As it burns, it gives off a shower Ce en ed Pea coe etree a ey slightly more sedate version. With @ Mini as er ee en eeu o ri aes ‘around the outlines of the car, in sections, See See eee ee eae tg Cees Sone RS eee es) Ces a ‘We can show you how itis easy to combine Pg kL Peron taatTH MULTIPLE Ih Original Reference image All the grafitti elements to be assembled as. 1 First, the shots need to be processed, Tiss also an opportunity to make sure the mages ‘are as clean as possible. the exposure settings were correct, you should see nothing in the shot apar the bight tral tom thelight source and possibly some reflactons trom the car's pant or creme, or maybe nearby street ighs ate. The rest ofthe shot needs to be ae dark as ble wih no other ns visible Image fles that wil maka up your painting and from the top menu salact fools > Photoshop > Load Flesinto Photoshop Layers. tis worth noting at this point, f you have alot of mag and they are shot at high resolution, the sulting Photoshop document is going to be very largo so be warned. You can always output your orignal images at @ reduced s20 it raeds be. Photoshop wil now layer your images in numeric or alphabetic from top to bottom. Here you aso have the chance to assess the imag ard remove any duplicates or shat ont work, o even just thin out the ‘amount of ight paint in the shat 134IGHT PAINTING PS | Next, we need to select a the shots, lek Navigate tothe top o the layer pane cick onthe d Shift and than Blend Mode button and then click on Lighten to wil be BY ths blend type to all you nag on the topmost layer, ha the bottom layer ard all the highigted ready forthe next step, Your ght art should appear. Hfyou are happy with the resut, now might be a good time to ross ShiftsCmd4E ‘which wll combine athe layers into ‘one document. the image neods tidying Lp, is probably ‘easier to work on one layer than dozens! SSB He a Probeatrg-AcuseFotegores 14, light p etm ht painting tutorial.BPR Mate sur your lant ar HES ss tne top tay. cick on Ito highight it and once again select Lighten as your blend ‘made from the Blend Medes panel BB Tho ight painting willbe BLE combined with the shot (ofthe Minion the ayer below. be nice to-add ite extra ‘low tothe light. Cick your ight paint layer then press Codd ‘which wl dupe Name the top layer ‘sharp’ ant this layer. the one below ‘blu’. Click on your ‘blu’ layer nd from the top ‘menu select Fer > Blur > Lens ur. This wl call up the Bx dialog b You want to add enough blur o soften the lines but nat so much BEA as 0 destroy al deal. nour example a radius of 55 pals was just ‘enough, Cick OK and your blur ayer wal be softened to adda tle extra low tothe light painting layer above. ‘sparklers as their light source or torches that flash intermittently with different colours. One inspired | ‘created a video of a light painted figure skateboarding around town. I can't even begin to imagine how | LIGHT PAINTING BRB 1s paint you ae froo to expertnent wit any final tweaks you want to make to the image in terms of brightness, contrast and colour et. | decided to add an Adjustment Layer over the top cof my layers to ater the Hue! Saturation. selected Colorize and altered th his orange duotone efect. 137| COU ee Mas ene Nai Roe Ste ee ns eeu eee rks Se eee also covers a full 180° on the vertical as well. However, to create one of those does require some skill and some specialist equipment. Fear not though, there are ways you can create your own worlds quite easily in ee aan er nce neta SFr eed etLITTLE PLANETS Cn ay CI Fates cheeks nee aka ee estates ee eg ncaa aio Seater MUA Ain cod ON tena Praia ats eco aC ees ee eee ae eee ee eS ee rr 'be very ight on deta: Simple things like a calm sea and a blue sky are some Perera oe ene ee SO ene Seon Sa oes should match as close as possble. Renee ee Ceo Circe eee eer eet Cee ees ON end the far lft ofthe image. Copy it toa new ee era res) Sea See ee ee eran ee a)‘THE POLAR CO-ORDINATES EFFECT Now we can make a start on ol First of al we need to load up our ourlittle planet using the the Suerer ee manual Photoshop method. achorsto te checks cue cart File fait TTB aver Type Select iter 3D Mode > Adjustments > Image Se a SST Fl Denne: 1.4 as 34300 ‘sto Contrast ORL a [200d] (Ps ‘autoColor OB ‘Camas Size... CHC Docume Sie Image Rotation > wan: (i693 | (animes iS gh [1653] Camis Dupliate. ‘Apply rage. Cleuations. Now we nee arte the moment he example iraige = (oP cimensons of the ig. From FE] coco wis by 20000% igh nthe the fp menu select mage > mage Sze ‘og box change the with to 20006 ard (asc Tha wi call up tha age ake su thet the ConstanProportcrs ‘Sze dog Box hector i not selected cthersie re tre mogp wl scale proportional 140 echscsta SeHit oan the mage wal now be a square 2000p on each sid [The mage wi ok ctor hats ok wll make sre the fect is apples corey sharpen Convert fr Smart Fiters er Clery ‘Adaptive Wide Angle {ene Corecton, uy on Pat Vanishing Pin. or Ripe Shen. Sphere. wi Wve 22ag ieee ‘rom the man menu salet Fer > ‘aig box up he Polar Coordinates LITTLE PLANETS & Aatesimens . econ OB “rim, oer cow ‘est ase Flip Cama Vera! Giiatos. ‘Te nt tage orotate he mage TED". From the main mee sect maga > maga Rotation > 1. Tha maga now upsie {donm. Once again, tis is equirod to make sure the tect witum cut conecty Mako sue that the Rectangular to Polar option I hacked. The alos FOZ be A snow yout preven to carte your slecton DgtaPraokateg-AcucaFortagmam 141& ‘THE POLAR CO-ORDINATES EFFECT Heme oK ‘rage wil wanton to your on Lite Pane! You can rotate the mage unl you you wat. ve roto this eameteby 180° tohavethe eos at he top. Youcan ty up sy impertections hat show opin the cp and save yur fished pant. eee inom Ente oo eee Parr awe Segoe 142 eoetscestnSe | ene SanLITTLE PLANETS your image and elect mage > Faring Per > Fly 2 from youre ist cone rout as equrectangusr and Ou ae Tem MAE Re dg build some brave new wotCOMPOSITING Compositing Compositing tutorial using one foreground element and a background C creaatratstte compring of oval elements tom spate sources tang mags often to ratte sion at a those elements are parts of the same scene. There are a number of ways to produce composite images. In this tutorial we will be looking ata fairy typical approach which isthe grey/neutral background compositing technique. When shooting your subject fr this kind of technique, having a fat, featureless background is a key consideration. It doesn't necessary have to ba groy to agin with, You can alter the background colour ‘once you have it up and running in Photoshop. When I fist stated leering this technique, tne ont fat surface I could call uoon was ‘ou ving room wall which was painted a plum colour. Assuming | wasn’t wearing anything the eame colour, this actually worked out ‘ok ones | desaturated the plum colour to grey. You can purchase 2m tal collapsible backgrounds of varying colours which are ideal for this kind of work and aren't too expensive, The downside to these is that if you want to shoot full body, you are going to need a bit more space and a bigger background, These days | have a Gm wide x 144 scam 12m lang rol of mic-grey photogreohic backdrop paper. Great for wider full body work - not so easy to transport or store! sentially, what you are looking for is a rice clean edge betwoen your subject and their background when you photograph them ‘which wil aid you when you come to mask them out This composite consists of 2 images. A background image of a warehouse and our foreground subject, Steve, the guitarist. Steve was shot against my rey paper roll background. Ha ist by 3 lights (One either sido of him set bright enough fo create the highlights you ‘888 on his arms, logs and face and a third ight whichis at camera, height just to my right a ook at my subject fr flee146 |POSITING the documen containing your foreground. his case, make sure the layers om andthe ayer ‘warehou back und ay For the moment, tur off the layer “wareh sil) ofthe wand to about 25 and mak and make eu the box marked hecked. Thi tale Photoshop to ony s jour under the cursor and i's nearest reight ‘Type Select. Filter_3D _ View Window _Help A Ae eeCOMPOSITING andthe wend cursor te, Take cae just ck on gry areas around your ase the eubjectoifrs in bright {AL this pont, f you were to 200m in close and look at the ction you've made, There's every chance it wl 20k quite rough. This isn't a problem as the next stage will lean that ight up. wingow HeIp a ar th the selection sil activa, Cick onthe Pane Edge bu the top menu bar. This open the Reine Edge clog ‘ive you access to one of Pt 3 powerti too& COMPOSITING Your image selection can naw be amended. At this point would suggest thatthe viww mode of Overay (press Vis Useful to show areas that are selected asi lays a bright red er ‘transparent mask across your image asa reference. ‘As the name suggests the Rafina Edge tolls you fine-tune {your selection. Depending on the complexity of your mage you may find you have to tweak the settings @ bit, but as rough guide, the settings used inthis tural are @ good staring peint and usualy yold good recut. { y [Now you can use the Refine Radius brush at a sizeof about 80 ‘Pixos to paint over any area that contain fne datas, such as hal, ‘making sure your brush overlaps the border between your subject {and the background. Ths forces the tool to make much fner adjustments tothe areas you spect in order to give you as clean a result as possible. Now click tha OK auton and your mask now bbacomes a selection again. Only now itis much more refined than ‘when you state. TAB soUcesnesere | teurlayers panel you wil see a series in icons, Click on the Adc Layer Mask icon a umonal indicating the addition of a layer mask your foreground madel shouid now be showing through the ground. The layer thumbnal should sh Jbject a8 a black sihouette on @ white background h this rewy modified selection active, Layers panel and select the ‘warehouse’ layer and marching ans’ in the Sect four background, What We layer that through. 5 ] » layer masks, black wil block an image, whist white wl lat an image show through. tis the opposite, make sure the layer mask thumbnail is selected (he thumbnai's corners wil be highlighted in write to let you know itis) press Gmd + D to delete any active (tne ‘marching ans! wi Invert the mask. Black becomes whit, white b ‘key thing to remember wihan you want ton lack to white ete. I your ‘marching ant’ are active then 's inside them wil e inverted, Make sure& COMPOSITING ‘Solect your ‘warohouso' layer ‘thumbnail and then go to the Bland Mode panel and set the blend mod to ‘Overay. Now, unless your grey background surrounding your subject was a perfect fat mid grey, you wil tice a sight shit in the brigninass and contrast of your ‘warehouse! layer. f you want you can adjust the brightness end contrast ofthis layer, but the image is fr from firished anyway. ‘Sotting the layer to Overay creates an ‘even blond between your foreground and your masked background image with no loss of deta even if your mask is not perfect. This fs a neat ile technique that lets you avoid having ‘0 physically cut-out your foreground subject. It does mean you have to work in a sightly diferent manner than if you had simply Cut the subject out and placed it above your background layer Firstly, our model Steve the gutarist, needs litle more contrast, Compared to the background, he looks & bit at Making sure te ‘steve layer s active. Select the Adjust button and a dialog bax will opon, Select Lovals and and ‘Adjustment layer wll be added to your layers palette bel ‘steve’ and ‘warehouse’. You wil now have the Levels Properties Panel 3 acyst the shadow, hight and midtone range of your image. 150 sors cameser bbut to my mind the pros outweigh the cons inthis situation. The trick now is to make your foreground and background look tke they were shot at the same time under the same lighting conditions. Bear nmin thet any ate wil aoc the layers blow it “nat abave. Soin th However, you will notice that you adjust the ovals, not only is case you ae oniy affecting the layer the ‘steve’ layer changing but also the ‘warehouse’ layer above. Ths is because iti blended into the layer below and any change to the brightness ofthe grey background wil atfect it 00. Aa layer maskCOMPOSITING a Compositing is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. ‘Because we aeady have a nice clean mask. We can copy it to the Levels Adjustment Layer. Make sure the ‘warehouse’ layer is selacted, Now ifyou A + Left Clek on the thumbnail of our sthouetted guitarist, you can view the mask fn it's own (At + Left Click again to restore normal view). It you now Gmd + Left Click your cursor wil changa to the hand witha small dotted box beneath it and you will have activated the selection that made this mask. Ck back on your Levels ‘Adjustment thumbnal, the selection is now ready to create @ new mask for you. agtiPeicEatrg-AcuseFoRagmrer 151‘EN cr trae Now if you go back and adjust the Levels Adjustment properties. Only our subject is being altered. The grey background he ison (blocked by the mask you just created) remains unatfected and therefor the ‘warehouse’ layer ‘bows is unchanged. You are free now to adjust the levels ‘8 you wish, 152, b01te Cress COMPOSITING to Est > ll colour inthe alog box and click ok, What we noed i fo ‘our new mask to prevent the Levels Adlustment tram affecting the (rey background that surounds our subject. Rernomber that, on your black wil block any adjustment tothe layer below. If the mask colours are the wrong way around, press Gd + D to make sure ary selection is deleted and than press Cd + Ito wer the black and white mask. So In this case wo need a white qutarstoutine ona black background, it lor pros Shit + F5) and select black as your mask, white lets afustments though to the layer below WhiCOMPOSITING a Wie want to.go for afaily ity, industrial look to this image. There are some nest effects we can apply now to achiove that. At the moment the colours too vant. With your ‘steve the adjustments tab and se Hue/Saturation, This will open the HuevSaturation properties ddalog box and a new adjustment layer wil appear in your layer palette above your subject duce the saturation to about 55, Our guitarist now locks less ‘garish and sults the tane ofthe background better layer active. Open Using the same procedure as the last step. We can also change the saturation of the ‘warshouse! layer. Make eure ‘warehouse’ layers acve and open. the Adjustments tab again and select Hue/Saturation ‘once more, Anather adjustment layer wil appear, above the warehouse layer. As we've mentioned before, ary ‘adjustment wil alter al ayers below. ‘Since we have or subject as we wantit, We ust ‘need to make sure that his paricular adjustment only changes the ‘warehouse layer. Whist holding the Alt kay. Hover your cureor over the border between your new Hue/Saturaton layer and the ‘warehouse layer below. You al see the cursor change toa smal downward pointing arrow with a smal box next 0 it This isan instruction to make sure the adjustment layer Is ‘cipped' to the next layer below and wil only affect that one. You can now change the saturation ofthe warehouse’ layer without any effect on the other layers Reduce the warehouse image to about -60 saturation and we're ready for the next step, DgtaPracEsteg-AcuceFoagomem 153& COMPOSITING \With the warehouse’ layer active go to Fite > Sharpen > Unsharp Mask and in the clalog box that appears make the Amount value 35, the Racius value 35 and set Trveshold will sharpen your image but the large radius value also e contast. Ifyou Cick on our ‘stave’ layer and apply imlar values the ot incstia aie Now to set the mood with some Colour. With ‘steve layer active ‘cick on the new Adjustment tab and select Photo Fir. A new adjustment layer wil appear above it. St th fer ‘colour to Underwater and the density ‘0 about 40%, This adds a global ‘colour cast that will start to pull the final image together 154 oorscemeserCOMPOSITING the ‘warehe cpety subject from the back can as value 10 250 pixels tSe Re& CREATIVE TECHNIQUES Artistic Borders Add a distinctive and decorative border to frame your images pen the picture you want to work with, Navigate down ki Layer buat. A new ‘appear and you can create your border. 158 pote Crn SeNow go (or press M) and select the Rectangular Marquee Tool. Click your Tool Pate rectangular selection that datas where the inner 6 30 of your border wil appeer, a eens ed crevice ne my nto rtm areca your selection is cleered. Hit Omd + Dto de-select, You should no marching ants n longer ee the outine of your border with the so neg Sie I, rss shes ceamene geri Se aye ronnie soft edge to [A this point wo can get creative and apply a itr that wil create an iteresting texture on our border. From the top menu select Fler > Pilate Crystalize, Choose a cal size that gives you some nice chunky facets. nour example, a cel size of 5 pixels dose the jb nicoly. ick on the Blend Modes tab and set your blend to Sorgen, Your chunky design and the image below ill border. This design just with your ne app Color Hafone ect. Enjoy! With your new layer act ms Xorcom ersin = = FS) and select ack as the : A cole Make cure tis eto 1008. Cick OK and your borer layor il be ld soi black a combine to create your fished image wth an eye-catching ch. You can experiment Serer by applying diferent types of fiters such as the ARTISTIC PICTURE BORDERS ass coed a This area AyersGlossary A ‘tive layer Tele crety sia nee Bj ‘Adjustment ayor ‘lg ato scat ‘tran rig itd poranty Sangrg phates asso ays etn aan ger ah mt europe sae Sev thea Adobe ROB Te RS co sce prc by te Sot wept tones pire ‘Feu Sa Aiasing Tels os sma he ips oa nea and oon cay gD ‘esto ton ‘Alpha channels Hang ab EB nano, be Poel ang. 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Asn ot sey te age at eto te pes (plc THF maescote ogee ey ‘Transform ‘wera. aa, an dst, ms, Gang he ete ais: et oa ‘Transparency ‘tatty oto at ‘Spprstangant as an ragéer maps ie Catan mage arts a rama Unaharp Mask ‘ogni al tapers as an mage tere he cott tae 8 (Same evans crs tom aseral fruoparty. war crm rowed) ‘ona tod nae oe on v ‘vector graphics Ute aes ae: aire ‘opie acim afora at eos (oma rasa be rape ‘Senet Fr msraton eri se ‘nec dgaston ef mage, re hoe {Ferojatein ne wat ate eae Saver gages pan vignetting Dre nie Ne ts nina aah fait Waring ‘oot tar agen 9 xd ‘val sopes arrose ee cn Deuapsdn fe ape anacere “nite balance ‘Nunes a const re ort ‘casing ef rsa ar ue at ‘Suez nance, Rae ‘smi, rs ‘write point ‘tee pa st ee iT ‘clare pvt eto oe es ‘kun meio DgtaPraocserg-AcuceForBagon 161a Black Dog Media Master Your Tech From Beginner to Expert To continue learning more about Photography & Photoshop visit us at www.bdmpublications.com FREE Guides & Tips _ Re EXCLUSIVE Offers on our Guidebooks © Print & digital editions © Featuring the very latest updates © Step-by-step tutorials and guides © Created by BDM experts Check out our latest titles today! Special Deals and Bonus Content Sign up to our monthly newsletter and get the latest updates, offers and news from BDM. We are here to help you Master Your Tech! Prt Ter RM oe ee Ene tC een een ten images for free! Simply sign-up and get creative.The Complete iPad Pro Manual Neyo U eo aes (ea aiaea! Apple Way, oT TI She hote Internet ee) PC RaU iting Li ciate i) Manual | ASTI ee eee Android eae eins im Ubuntu Cloud Manual Manual Manual Manual Computing eS Ma nual Black & White Photography For Seniors ‘Samsung Galaxy For Seniors Photoshop Smartphones & Tablets For Seniors Lightroom For Seniors For Seniors(DIGITAL) #28 Pera) Photo Editing A Guide For Beginners Within the pages of this beginners’ guide you will discover the techniques that professional photographers use to edit and enhance their photos. From using filters and colour correction to panorama stitching and compositing. Our jargon free step-by-step guides will show you how to make the most of your photographs. Giving you all the knowledge and skills you need to produce professional and highly creative images with ease. Digital Photo Editing Made ‘cropping Al = ale Inside these pages you will find exclusive guides, tutorials and user projects including: im Pencil Sketch Effect m Artistic Borders m Tilt-shift Effect = Colour Correction = The Little Planet Effect = Panorama Stitching = Monochrome = Light Grafitti Techniques = Colour Replacement = Correcting Lens = Raw Processing Distortion = Sky Replacement = Contrast and = Skin/Beauty Saturation Re-touching = Filters and Effects = Compositing = Adjusting Exposure _ m= Soft Focus Technique