7

Modul
PHOTOGRAPHY
Combining Digital Photography

into Multimedia Presentation

Image Editor - Photoshop

By : M. Taufik, ST.

AMIR HAMZAH VOCATIONAL SCHOOL

2012
PREFACE

Module entitled "Photography - Combine Digital Photography into Multimedia Presentation" is a teaching material that is used as a guide practicum training participants Vocational School (SMK) to form one part of the competency areas of expertise in Information and Communications Technology Multimedia Skills Program. This module describes the steps that necessary to perform Digital Photography Technique starting from the Photography Introduction, using Digital Camera, combining Digital Image and Creating Digital Image art. This module is linked with other modules that discuss the Combining Audio into a Multimedia Presentation. Therefore, before using this module participants have taken the required training module.

Indrapura, Juni 2012 Author,

M. Taufik, ST.

MAP OF MODULE

JUNIOR HIGH SCHOOL & EQUAL TO IT

PASS FROM VOCATIONAL HIGH SCHOOL

D A

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DESCRIPTION :

A B C D E F G H I J K L M N O P Q R S T

Preparing Proposals Understanding the Production Process Flow OF Multimedia Products Assembling Personal Computer Understanding Etymology of Multimedia Create and Manage Web Pages Applying the Techniques of Production Shooting Caring for Multimedia Equipments Perform Basic Operating System Installation Create Key Animation Stop-Motion Mastering How to Draw a Clean-Up and Insert Applying the Principles of Graphic Arts in Visual Communication Design for Multimedia Combining Text in Multimedia Presentation Combining 2D Images into a Multimedia Presentation Combine Digital Photography into a Multimedia Presentation Health and Safety, and Environmental in Working Combining Audio into a Multimedia Presentation Creating a Storyboard Multimedia Applications Explains the Basic Lighting Applying Special Effects to the Object of Productive

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GLOSSARY
instant camera - a camera producing finished pictures, directly from the camera within a short time of taking. lens - One or more glass elements used to focus an image onto the focal plane. lomography - movement that promotes (and exploits) the use of Lomo cameras (predominantly the LC-a) and a "shoot from the hip" attitude. medium format - A film format larger than 35mm but smaller than large format (typically 120 film) wound onto spools. metering - measuring the amount of light for an exposure. monopod - A one-legged camera support. parallax - An effect in photography where the image seen in the viewfinder is not the same as the image seen through the lens, due to the viewfinder being slightly apart from the lens. point-and-shoot - Camera designed to eliminate the user's need to make focus and exposure settings. red eye - an unwanted effect achievable with a flash near the lens, common with compact cameras, where eyes appear to have red dots. This comes from the flash reflecting back from the eye's retina. RGB - Red/Green/Blue - a method of representing colours in a digital image. shutter - The mechanism that opens and closes to make an exposure. tripod - camera support with 3 legs. viewfinder - The part of a camera you look through when composing your shot. wide-angle lens - a lens whose focal length is less than the "normal" length for the film format. zoom lens - a lens that adjusts to cover a range of focal lengths.

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TABLE OF CONTENT

FRONT COVER INSIDE COVER PREFACE ..................................................................................................................................... MAP OF MODULE .................................................................................................................... GLOSSARY ................................................................................................................................. TABLE OF CONTENT .............................................................................................................. CHAPTER I : INTRODUCTION .......................................................................................... A. DESCRIPTION ................................................................................................................ B. PREREQUISTEST ........................................................................................................... a. b. E. For Student .............................................................................................................. For Teacher .............................................................................................................. C. INSTRUCTION FOR USE MODULE 7 8 8 9 11 12 12 12 12 40 44 55 70 88 88 88 88 i ii iv v 7 7 7

D. FINAL DESTINATION ................................................................................................. STANDARD of COMPETENCE ..................................................................................

CHAPTER 2. LEARNING ...................................................................................................... A. STUDENT LEARNING PLAN B. LEARNING ACTIVITY ................................................................................................. 1. Learning activity : Using Digital Camera .............................................................. a. The purpose of Learning b. Description of Learning Activity ...................................................................... Image Editor Software 1. Choosing Digital Image Editor Application ........................................... 2. Insert Digital Image into Image Editor Application ..............................
3.

Photo Editing & Post-Processing ..............................................................

4. Image Correction ........................................................................................ 5. Saving Image ............................................................................................... c. Summary ............................................................................................................... d. Task ........................................................................................................................ e. Formative test ...................................................................................................... f. Answer ...................................................................................................................

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CHAPTER 3. EVALUATION ................................................................................................ A. TASK ................................................................................................................................ B. EVALUATION CRITERIA ............................................................................................

90 90 91 92 93

CHAPTER 4. CONCLUSION ................................................................................................... REFERENCES .............................................................................................................................

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CHAPTER I : INTRODUCTION

A.

DESCRIPTION TITLE Module entitled "Photography - Combine Digital Photography into Multimedia Presentation" is a teaching material that is used as a guide practicum training participants Vocational School (SMK) to form one part of the competency areas of expertise in Information and Communications Technology Multimedia Skills Program. This module describes the steps that necessary to perform Digital Photography Technique starting from the Photography Introduction, using Digital Camera, combining Digital Image and Creating Digital Image art. This module is linked with other modules that discuss the Combining Audio into a Multimedia Presentation. Therefore, before using this module participants have taken the required training module.

B.

PREREQUISITE Before continue this module participants have taken the required training module. To continue the next module, participant have to pass this module.

C.

INSTRUCTIONS FOR USE OF MODULE 1. Instructions for Participant Training Training participants are expected to play an active role and interact with learning resources that can be used, because it must consider the following matters: a. Learning steps to be taken 1. Prepare tools and materials! 2. Please read carefully the description of the material in each learning activity! 3. Watch for job steps in any learning activities before working, if not clearly ask the instructor! 4. Return all equipment used practice!

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b. Equipment must be Prepared To support the safety and smoothness of task/ work to be done, then prepare all equipment needed, learn this first module and books that support. c. Training Results Training participants are able to Using Camera operation task to perform in accordance with the manufacture of Using Camera procedures. 2. Role of Teachers Teachers who will teach this module should prepare the best possible strategy of including aspects of learning, mastery of the material, selection of methods, tools and media learning tools. Teachers must prepare a draft learning strategy that is able to realize the training participants were actively involved in the process of achievement/ mastery of competencies that have been programmed. Preparation of draft learning strategy refers to the performance criteria (KUK) in each sub-competencies that exist in GBPP. D. Final Destination Training participants able to perform using camera and image editing process according to the procedures.

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E. STANDARD of COMPETENCE
BASIC COMPETENCE 1. Using Digital Camera INDICATOR Digital Camera Operated Correctly Viewing input and output by Tools and Firmware Features Viewing editing software and features correctly Digital image is saved and viewed by available image format LEARNING MATERIAL Using Digital Camera LEARNING ACTIVITY Understanding Manual Instruction of Digital Camera Observe Turn On Camera process according procedure Perceiving Turn on process Identify buttons on camera Understanding button function Understanding camera menus and features Understanding focus and lighting effects Configure Exposures, resolution, lighting, brightness and contrast to produce image Shooting image correctly Convert digital image into any available format Copying image that saved in digital camera to any other media storage and format. Choosing multimedia image editor software Operating image editor software Inserting digital image Perform image editing process Correcting and configuring digital image Combining digital image into multimedia presentation Evaluate editing result as presentation display ASSESSMENT Written Test Verbal Test Practical Test Product Observation TIME ALLOCATION TM PS PI 2 4(8) MATERIAL SOURCE Digital Camera Manual Instruction Camera Handbook Additional book Computer Internet

2. Combine digital image into multimedia presentation

Creating digital image using image editor software Edit digital image and save image using image editor software Digital image is Combined into multimedia presentation

Digital Image and 2D Graphic Art

Written Test Verbal Test Practical Test Product Observation

Digital Camera Manual Instruction Camera Handbook Additional book Computer Internet

3. Create Digital Image and 2D Graphic Art

Edited image evaluated and interpreted as final result and viewed as multimedia presentation Creating Digital Art and modifying image.

Saving digital image into any available format

Digital Image and 2D Graphic Art

Operating digital image editor software Load Digital Image Arrange digital image, adjust correction to be printed as relevan procedure Saving digital image into any available format

Written Test Verbal Test Practical Test Product Observation

Digital Camera Manual Instruction Camera Handbook Additional book Computer Internet

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CHAPTER 2 : LEARNING

A. Student Learning Plan Instructors initials

No

Type of Activity

Date

Place

Time

Change

Using Digital Camera Combine digital image into multimedia presentation Create Digital Image and 2D Graphic Art

Class

Lab

Lab

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B. Learning Activity

1. Choosing Digital Image Editor Application

The are many image editor softwares that use to edit image, such as Adobe Photoshop, GIMP, Ulead Photo Impact, etc. Adobe Photoshop is the one of professional image editor software to edit and manipulate image (image-editing).

a. Adobe Photoshop : Introduction

Choosing Adobe Photoshop as image editor in this modul because this application have been used by many professional photographers to enhance image that captured by digital camera. This application also easy to use and have many feature to edit and manipulate images. Adobe Photoshop is a very powerful and versatile image editing/graphics creation application that is the industry standard in its category. Though Photoshops interface is intuitive enough for an absolute beginner to learn basic image editing tasks such as cropping and resizing, to be able to fully master and utilize all of its tools takes a considerable amount of time.

b. The Photoshop Workspace

Photoshops out of the box workspace consists of the following components:
Menu Bar You will probably already be familiar with the menu bar from other

programs. This runs across the top of your Photoshop window, and contains various menu options for Photoshops tools.

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 Options Bar The options bar sits beneath the menu bar and holds contextualized

options for different tools. It also contains the workspace menu, where you can save and load arrangements of palettes.
Toolbox By default, the toolbox sits to the left of your Photoshop window, and

contains shortcuts to Photoshop tools.

Palettes Individual panes that hold information or options for working with your

file, known as palettes (or panels), float on the right-hand side. Each palette is labeled with a tab, and can be minimized, closed, grouped with other palettes, or dragged in and out of a panel dock. In the example that follows, the Navigator palette contains a thumbnail of the image that allows you to zoom in or out of the image quickly, and to change the part of the image displayed on the screen.
Document Windows Each open document has its own document window with a

status bar along the bottom. The status bar sits to the right of the zoom percentage displayed in the bottom left-hand corner, and displays information thats specific to the document.

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c. Working in Photoshop
Now that youve been introduced to the Photoshop workspace and have a basic idea of where everything is, lets getting started. Creating New Documents

You can create a new document by selecting File > New from the menu bar, or pressing the keyboard shortcut Ctrl-N on a PC or Command-N on a Mac. The New dialog box will appear,where you can specify the document size and other settings. Opening Files Open files by selecting File > Open from the menu bar, or pressing Ctrl-O (Command-O on a Mac). You can select and open multiple files by holding down Ctrl (Command on a Mac) and clicking on all the files you require in the file dialog box. Saving Files

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Save a file by selecting File > Save, or pressing Ctrl-S. For a newly-created document, this will save your work in Photoshop Document (PSD) format. If you would prefer to save a copy of the document, you can use File > Save As or pressing Ctrl-Shift-S instead. Snappy Presets If youre designing for a web site with a minimum screen size of 800600 pixels, Id recommend you start with a 750550 pixel document. The smaller dimensions give you a better estimate of your actual screen area after you take into account scroll bars and menu bars. Also, be sure to set the resolution at 72dpi to reflect the actual screen resolution. If you want easy access to these dimensions for other new documents, its probably a good idea to click Save Preset and give the settings a name like Web Page. The next time you create a new document, you will be able to load your Web Page settings from the Preset list. Saving Files for the Web Photoshop files themselves cant be embedded into a web page. You will need to export your file and save it in a web-friendly format. There are three formats for web graphics: GIFs, JPEGs, and PNGs. GIF The GIF format (pronounced jiff or giff depending on which side of the tracks you grew up) can have a maximum of 256 colors. GIF files support transparency and animation, and work best with graphics that have large areas of the same color, as shown in the logo below. JPEG The JPEG format (pronounced jay-peg), works best with photographic images or images that have more than 256 colors and gradients, such as the flower on the opposite 15

page. Images saved in JPEG format are compressed, which means that image information will actually be lost, causing the image to degrade in quality. PNG

The PNG format (pronounced ping) is similar to the GIF format in that it supports transparency and works best with solid-color images like the logo shown to the right, but its superior to the GIF format as it has the ability to support true levels of transparency for colored areas. Transparent PNGs are currently not in widespread use on the Web because older versions of Microsoft Internet Explorer do not support them; however, theyre often used in Macromedia Flash movies. PNGs can produce a better quality image at a smaller file size than can GIFs. Photoshop allows you to save an image as a PNG-8 file (which works the same way as a GIF would with 256 colors) or a PNG-24 file (which allows for millions of colors as well as variable transparency). GIF/PNG-8
Colors Adjusting this setting reduces the number of colors used in the image. This

will usually make the biggest difference in the final image.

Dither Amount and Type (No Dither, Diffusion, Pattern, Noise) This setting has

nothing to do with being nervous or agitated (although its quite possible that you may have been a few moments ago!). Dither refers to a

compression technique in which the pattern of dots is varied to give the illusion of a color

gradient. Changing the dither will

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result in a more noticeable degradation for images that involve a large number of colors blended together.
Transparency If you want transparent areas in your graphic, check this box. Well

look more closely at transparency in Chapter 2.

Matte Color For transparent images, the matte color is used to help blend the edges

of your image into the background of the web page. For non-transparent images, the matte color defines the background color of the image. Using matte color with transparent images is covered in more detail in Chapter 2. JPEG Quality Changing the value in the Quality drop-down box alters the level of compression for the image. Reducing the quality may result in blurring or pixelation, but too high a setting will produce a large file that will take users too long to download. A good approach is to decrease the quality value gradually until you notice the degradation of your image becoming unacceptable. A reasonable compromise will be somewhere around this point.

d. Photoshop Layers

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Layers are a powerful feature of Photoshop that allow you to work on one part of an image without disturbing the rest of it. While the concept of layers may seem intimidating at first, once you get the hang of using layers youll wonder how you ever survived without them! The examples on the next page show how the layers in the Photoshop document to the right stack together. The transparent parts of any layer, shown by the checkered grid, allow the layers beneath that layer to show through. You can show and hide each layer in an image by clicking on its corresponding eye icon in the Layers palette, as shown at the bottom of the following page.

To organize your layers, you can arrange them into layer groups by going to Layer > New > Group<. Each layer group displays in the same way as any ungrouped layers on the Layers palette. A layer group is signified by a folder icon. You can collapse or expand layer groups by clicking on the triangle to the left of the folder icon, and nest layer groups within each other by dragging one folder icon into another. Layer Shortcuts and Tasks
Rename layers by double-clicking on the layer name.

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 Change the transparency of a layer by changing its opacity with the Opacity slider, or

typing a value into the Opacity box (which is visible when you have the Selection, Move, or Crop tools selected).

Duplicate a selected layer by pressing Ctrl-J (Command-J on a Mac). You can also

duplicate a layer by dragging it while pressing the Alt (Option) key.

Select multiple layers by holding down Ctrl (Command on a Mac) and clicking the

layer names. This forms a temporary link between the selected layers that allows you to move them as one unit, delete them all, and so on.
You can also link layers together. Select layers by clicking on them while holding

down Shift or Ctrl (Command on a Mac). Once you have selected all the layers you wish to link, click the Link Layers button at the bottom-left of the Layers palette (signified by the chain). Linking layers allows the link relationship to remain even after you select a different layer (unlike the process of simply selecting multiple layers).
To unlink all the layers, select one of the linked layers and go to Layer > Unlink

Layers. To unlink a single layer, select the layer you wish to remove from the link and click its corresponding link icon; the other layers will stay linked. To temporarily 19

unlink a layer, hold down Shift and click on its link icon (a red X will appear over the link icon). Reactivate the link by holding down Shift and clicking the link icon again.
Rearrange layers by dragging the layer above or below other layers. Use the move

down shortcut Ctrl-[ (Command-[ on a Mac) and the "move up" shortcut Ctrl-] (Command-]) to move selected layers up and down. Shift-Ctrl-[ and Shift-Ctrl-] (ShiftCommand-[ and Shift-Command-] on a Mac) will bring layers to the very top or the very bottom of the stack.
Select a layer by using the keyboard shortcuts Alt-[ and Alt-] (Option-[ and Option-]

on a Mac). These keystrokes let you move up and down through the layers in the Layers palette.
Create a new layer by pressing Shift-Ctrl-N (Shift-Command-N on a Mac). This will

bring up the New Layer dialog box. Want to create new layers quickly without having to deal with the dialogue box? Simply press Shift-Ctrl-Alt-N (Shift-CommandOption-N). Merge a layer into the one beneath it by pressing Ctrl-E (Command-E). If you have selected layers, this shortcut will merge those selected layers together. Quick Keyboard Shortcuts Naturally, most of the tools in the toolbox have a keyboard shortcut. You can learn each tools shortcut by hovering your cursor over a tool for a few seconds: a tooltip box will appear, displaying the name of the tool and its shortcut. If additional tools are available in the flyout menu, you can cycle through them by pressing Shift-[keyboard shortcut]. Keyboard shortcuts can save you valuable time pressing V to bring up the Move Tool is certainly a lot quicker than moving the

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cursor over to the toolbox to select it. It may not seem all that significant right now, but the time you take to access tools will add up over the course of a project! For your convenience, whenever I mention a tool, Ill list its shortcut in parentheses, e.g., the Move Tool (V).

e. Photoshop Toolbox

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Youll notice that some of the tool icons have small black triangles in their bottom righthand corners. These icons contain hidden treasures! The triangle indicates that there are more related tools available; if you click on the tool icon and hold it down, a flyout menu will appear,displaying the additional tools. 22

Secret Selections Selections can have varying levels of transparency, known as the degree of opacity. Its actually possible to make a selection with an opacity of 100% in one area, but only 20% in another area. If a selection contains any pixels for which the opacity is more than 50%, they will be displayed with a border of dotted lines. Photoshop wont visibly outline areas with less than 50% opacity (though they will still be selected). Selection tools automatically select at 100% opacity. Well learn about creating transparent selections using Quick Masks and alpha channels later in this chapter. Selection Tools You can use the selection tools to select certain areas of your document for editing. If you use a selection tool, only the area thats selected will be affected by any changes you make. You can feather selections (specify a fuzzy radius for them) using the Feather field in the options bar. The example at the top of the next page shows two rectangles: one created by filling in a selection with a feather of zero pixels, and one thats created by filling in the same selection with a feather of five pixels.

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Marquee tools (M) are used to create rectangular or elliptical selections, including selections that are single row (one pixel tall, stretching across the entire width of the document) and single column (one pixel wide, stretching through the entire height of the document). To make single-row or single-column selections, click with the appropriate tool on the image area where you want to select a row or column.

You can use the Lasso tools (L) to create freeform selections. The Lasso Tool comes in three different forms:
Lasso Tool (L) Click and drag the Lasso Tool to

draw

aselection

area. Releasing the

mouse

buttonwill close the selection by joining the start and end points with a straight line.
Polygonal Lasso Tool (L) Click at different points to create vertices of a polygonal

shape. Close the selection by moving your cursor to the beginning and clicking once, or pressing the Enter key. No Selection Sometimes Equals All Selected If youve made a selection, only the pixels within the selection are active and can be worked on. Some tools can be used without making a selection at all. However, be aware that if you have not made a specific selection, Photoshop will assume that you are working on the entire layer and any changes you make will affect all pixels in the layer.
Magnetic Lasso Tool (L) If you think you need help with making your selection, try

the Magnetic Lasso Tool. Photoshop will attempt to make a smart selection by following the edges of contrast and color difference. Click once near the edge of an object and follow around it Photoshop will automatically lay down a path. You can 24

also click as you follow the line to force points to be created on the path. Close the selection by pressing the Enter key or clicking at a point near the beginning of the selection. Magic Wand The Magic Wand Tool (W) selects areas of similar

color. You can change the tolerance (how close the color values should be to the sampled color in order to be selected) of a Magic Wand selection, and choose whether you want the selection to be contiguous (pixels that are touching) or not (in which case, matching colors across the entire document will be selected). Selection Shortcuts and Tasks Hold the Shift key to add another selection to the first. Hold the Alt key (Option key on a Mac) to subtract your new selection from the first. Hold Shift-Alt (Shift-Option) to select the intersection of your first and second selections. Use the arrow keys to move the selection pixel by pixel. If you feel that this doesnt move your selection quickly enough, hold down Shift and use the arrow keys to move the selection ten pixels at a time. Press Ctrl-J (Command-J on a Mac) to copy the selection into its own layer. To cut the selection into its own layer, press Shift-Ctrl-J (Shift-Command-J). If this seems familiar to you, its because I mentioned earlier how to copy a layer using the same keyboard shortcut. Now that you know that not selecting anything sometimes means that everything is selected, it makes sense that simply by selecting a layer in the Layers palette, you can copy the entire layer by pressing Ctrl-J (Command-J). To deselect a selected area, click outside of

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it with one of the Marquee tools, or press Ctrl-D (Command-D on a Mac). To reactivate your last selection, press Shift-Ctrl-D (Shift-Command-D). The Move Tool The Move Tool (V) moves a selected area or an entire layer. You can invoke the Move Tool temporarily when using most other tools by holding down the Ctrl key (Command key on a Mac). Move and Copy Shortcut For most tools, holding Ctrl-Alt (Command-Option on a Mac) and dragging a selected area will

temporarily invoke the Move Tool, allowing you to move and duplicate the selected layer quickly. You can also duplicate a layer by holding down the Alt key (Option key on a Mac) while using the Move Tool, as shown in the image below. The Crop Tool The Crop Tool (C) is used to trim images. Create a selection using the Crop Tool, then double-click the center of the

selection, or press Enter, to crop the image to the size of the selection. To cancel without cropping, select another tool or press the Esc key.

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Crop Outside the Box You can use the Crop Tool to resize your canvas. Expand your document window so that its larger than the image area, and create a crop selection that

includes the image and extends onto the gray areas outside the image. Applying this crop will resize your canvas to include those extended boundaries, making your canvas larger. Drawing and Painting Tools

Apart from its extraordinary photo editing abilities, the multi-talented Photoshop also provides drawing and painting tools that allow you to create your own shapes and backgrounds. Brush

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The Brush Tool (B) is suitable for soft-edged painting or drawing. Draw strokes by clicking and dragging the mouse over the canvas. You can change the brush size and other settings in the options bar at the top of the window. Pencil The Pencil Tool (B) is suitable for hard-edged drawing or painting and has similar options to the Brush Tool for setting its size, opacity, and more. The Pencil Tool is often used for drawing on, and editing individual pixels in, zoomed-in images. Eraser The Eraser Tool (E) removes pixels from the canvas. You can choose between Pencil, Brush, or Block mode from the Mode drop-down menu in the options bar. Aliased vs Anti-aliased Unlike the Brush Tool, the Pencil Tools edges are aliased. The term aliased refers to the edges of an object being jagged, in contrast to an anti-aliased object, in which the edges are smooth. In the two examples shown here, the top shape in each example was created using the Pencil Tool, while the bottom shape was created using the Brush Tool. Notice the difference in the jaggedness of the edges of these curves. Well look more closely at anti-aliasing when we discuss the Text Tool. Paint Bucket The Paint Bucket Tool (G) fills a selection with a flat color. To use the Paint Bucket Tool, click once in the area that you wish to fill. If the chosen area is not within a selection, the Paint

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Bucket Tool will fill all similarly-colored pixels within the vicinity of the clicked area.

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Gradient The Gradient Tool (G) fills a selection with a blend of two or more colors, known as a

gradient. You can easily create your own gradient, or use any of the preset gradients

available in Photoshop. Display the gradient presets and tools by clicking on the small triangle on the right-hand side of the Gradient Tool. Apply a gradient by setting your desired colors, choosing your gradient style, then clicking and dragging the cursor over the area to be filled. I find that I use the first two gradients the foreground-to-background gradient, and the foreground-to-transparent gradient most often. The former will blend your foreground color into your background color, while the latter will blend your foreground color into a transparent background, giving it a fading out effect. Text Tool The Text Tool (T), true to its name, creates text layers. This ones easy to use just select the Text Tool, click on the canvas, and start typing! You can also click and drag to create a rectangular text area that will force text to wrap within its boundaries. You can change the font size, color, and other text properties using the options bar along the top of the window. When the Text Tool is active, you can move the cursor outside of the text area. The cursor will change from the text insert cursor to the move cursor, and youll be able to move the text layer around. 30

Its worth noting that when the Text Tool is active, you cant use keyboard shortcuts to access other tools. This may seem like an obvious thing to point out now, but it wont always be so apparent especially when your text mysteriously starts spurting strange characters because youve been trying to use the shortcut keys! To finish using the Text Tool, press Ctrl-Enter (Command-Return on a Mac). You can then resume your regular keyboard shortcutting! Shape Tools You can create shapes simply by clicking and dragging Photoshops Rectangle, Rounded Rectangle, Ellipse, Polygon, Line, and Custom Shape tools (U). The specific options for each shape tool are displayed in the options bar, and you can access additional options by clicking on the arrow to the right of the Custom Shape button. For example, the Line Tool has options for displaying arrowheads, and for controlling the shapes and sizes of those arrowheads, as shown in the example below. If you look at the options for each shape, youll notice that there are three different methods you can use to create a shape: Your shape will be created as a solid-colored layer covered with a vector shape mask. Confused? Think of the mask as a sheet of dark paper that has a hole (your shape) cut out of it so that the color shines through the hole. To change the color,double31

click on the color block in the Layers palette as shown in this example. To change the vector shape mask, use the vector editing tools.
as a path Your shape will be created as a path in the Paths palette, as shown in the

example above (in which the path has been named Work Path).
as filled pixels Your shape will be created on whichever layer is currently selected.

I created a new layer, then created a shape using the Fill pixels option on Layer 1 in the above example.

Selecting Colors Set foreground and background colors by clicking on the appropriate tile and choosing a color from the Color Picker, as demonstrated in the example below. Color Picker Shortcuts Press X if you want to switch the foreground and background colors. Press D if you want to revert to a black foreground and white background.

Eyedropper 32

The Eyedropper Tool (I) lets you sample another color from your image, and set this as the foreground color. In fact, its actually possible to sample colors from anywhere in your display and even from other applications outside of Photoshop. Simply click inside the document window, then drag the cursor to the color you wish to sample. Click to select that color. The Eyedropper Tool also allows you to set the background color. To do so, hold down the Alt key (Option key on a Mac) as you select colors using the eyedropper. The Paint Brush, Pencil, Paint Bucket and any of the other painting or drawing tools can temporarily be turned into the Eyedropper Tool by holding down Alt (Option). The Hand Tool The Hand Tool (H) moves your canvas, which is handy (pardon the pun!) when youre zoomed in to an image, or have a very large document open. Whats even handier is the fact that you can invoke the Hand Tool while youre using any other tool (except the Text Tool) by holding down the spacebar. This is a neat way to position your image exactly where you want it without having to chop and change between tools to do so. Other Useful Tasks and Shortcuts Zooming Zooming right into your image is the only way to make subtle changes at the pixel level. Use Ctrl + to zoom in and Ctrl to zoom out. You can also zoom using the slider on the Navigator palette.

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Making a Selection Using the Layers Palette To select the pixels on a particular layer, press Ctrl (Command on a Mac) and click the thumbnail of the layer. This selection will also take into account the transparency of any pixels, so painting in the selection will recreate the transparency settings of the original layer. The example at the top of the next page shows a selection I made based on one of the text layers in my sunset document. Making a Selection Using a Quick Mask Quick Masks are one of those closely guarded trade secrets that professional designers use all the time, but beginners often are wary of trying because they seem complicated at first. Well, theyre not! A Quick Mask is an alternative way of making a selection. The usual way to use a Quick Mask is to go into Quick Mask Mode (Q) and, using a tool such as the Brush Tool, painting the things you dont want to select. This is called painting a mask, and the resulting reverse-selection will display as the transparent red color that you can see in the example overleaf. You can edit this red layer honing the mask shape, for instance using the drawing and painting tools. Those alterations wont affect your image, though: they impact only on your final selection. Switching back to Standard Mode (Q) will complete your selection. Why would we use this technique instead of those trusty selection tools that weve all come to depend on so heavily? Well, Quick Masks have a couple of advantages over the standard selection tools: 1. They allow you to control the level of transparency of your selection. 34

2. Its easier to color an object in, than it is to carefully draw a line around it. Initially, it can be difficult to get your head around the fact that you arent painting on your image: youre just painting the selection. But once you master that concept, youll feel confident to be able to make a selection quickly on any shape, no matter how difficult it seems!

Quick Mask Options I prefer to set Quick Mask Mode so that it lets me paint in the selected areas rather than the non-selected areas, as shown in this example. To alter your settings to do the same thing, double-click on the Quick Mask Mode icon and change the Color Indicates: option to Selected Areas.

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f. Alpha Channels and Selections

You can use alpha channels to create selections and save them for later use. If you open the Channels palette, youll see several channels, displayed in a similar way to layers in the Layers palette. By default, youll see the color channels, which represent how much of each color is represented in the document. You can click the Create New Channel icon at the bottom of the palette to create your own alpha channel. You can then use any of Photoshops painting or drawing tools to create a grayscale image that will represent your selection white areas represent

selected areas, black areas represent deselected areas, and grays represent the levels of transparency in the selection. To turn your alpha channel masterpiece into a selection, simply hold down Ctrl and click the channels thumbnail

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To return to the normal image view, click on the Layers palette tab, and select any layer. Your selection will still be visible. You can also create your own alpha channels from existing selections a capability that can be very useful! For example, lets say youve created a selection of an island silhouette like the one shown in the example below. You have a feeling that youll be reselecting this island pretty often, but youd rather not recreate the selection each time. No problem! Once the selection has been made, use Select > Save Selection. Name your selection (in this example, Land), and click OK. If you go to the Channels palette, youll see a new selection at the bottom of the list, named Land in the following image thats your saved selection. Now you can reload your Land selection as many times as you need to! The History Palette The History palette is your key to time travel (in Photoshop, anyway). It lists the most recent steps that youve made, and allows you to undo your actions by rolling your image back to a previous state. You can set the number of steps that are stored in the memory by selecting Edit > Preferences > Performance (Photoshop > Preferences > Performance on a Mac) and changing the value in the History States text box.

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Like most of Photoshops other tools, the History palette has a set of useful keyboard shortcuts for quick access:
Ctrl-Z (Command-Z on a Mac) lets

you undo and redo the previous step.

Ctrl-Alt-Z

(Command-Option-Z)

steps back through the History palette.

Shift-Alt-Z (Shift-Option-Z) steps forward through the History palette.

As only a limited number of history states are available, there may be cases in which you want to save asnapshot of your document so that you can revert back to it later if required. To do so, click on the small triangle on the top-right of the History palette and choose New Snapshot<. You can save a snapshot of the whole document, the current layer, or merged layers.

2. Insert Digital Image into Image Editor Application

1. Create new Image
Open Photoshop and create a new document [File > New]. In the dialog box enter the width and height of the layout. I usually design for a width of 780 pixels width. This works well in monitors with 800 x600 resolution as it leaves 20 pixels for the browser scroll bar. The resolution for the web is 72. 38

 You can choose between white, background color (the color will be taken from the background color specified in the toolbox) and transparent background.

Click OK.

A new Photoshop document/ canvas will be created with a locked Background layer in the 'Layers Palette'.

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 You can still change the background color by filling the Background layer with the color of your choice (specified in the Foreground Color of the Toolbox) and using the 'Paint Bucket Tool'.

Name and Save the document [File > Save]. Photoshop files have the extension .psd. You can name it "layout.psd".

2. Insert Images in Photoshop

If you plan to use stock photos you should find the appropriate images and keep them ready. You should also have logos, bylines and some sample text ready. If your home page has a different layout from the rest your site you will have to create 2 different layouts. For the home page design you should be clear about what you want to communicate, things that you want to highlight and other usability principles. You should also be clear on your navigation based on your site plan. Insert Images Insert any images that you plan to use [File > Place]

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Browse for the image file Select the file Click the 'Place' button The image will appear in a sort of grid (see picture below) and the cursor will change

Click on the image and drag it where you want to place it within the canvas You can also resize and rotate the image by dragging the corner nodes or hovering near the corner node till the rotate cirsor appear and then rotating.

Double click when you are happy with the placement, size and rotation of the image. The image will be placed there.

You will see that a new layer appear in the 'Layers Palette' where the image is placed. If you are unable to see the Layers Palette you can open it by via Windows > Layers.

Layers Palette

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3. Photo Editing & Post-Processing

1. Digital Photo Editing Workflow

This article summarizes the most important steps to incorporate into your digital photo editing workflow (aka "post-processing workflow"). It isn't necessarily a procedure that you'll want to implement with all of your photos, but whenever you want to get that "keeper" looking just right, these steps can make all the difference.

Before

After

The "after" image more accurately depicts how the scene appeared in person a good goal for most photo editing. Only white balance, exposure compensation, shadow recovery and sharpening were applied to produce the "after" image above all steps described in the workflow below.

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OVERVIEW: TOP 10 POST-PROCESSING STEPS Each is listed roughly in the order that they should be applied: a. White Balance - temperature and tint adjustment sliders b. Exposure - exposure compensation, highlight/shadow recovery c. Noise Reduction - during RAW development or using external software d. Lens Corrections - distortion, vignetting, chromatic aberrations e. Detail - capture sharpening and local contrast enhancement f. Contrast - black point, levels and curves tools g. Framing - straighten and crop h. Refinements - color adjustments and selective enhancments i. Resizing - enlarge for a print or downsize for the web or email j. Output Sharpening - customized for your subject matter and print/screen size Note: Clicking on any of the steps above (or scrolling down this page) will take you to a quick summary of the most important considerations for each. Within these sections, you can also click on links which will lead you to more in-depth reading on each topic. The above steps are virtually universal, so most photo editing software should work. If you've captured your images using the RAW file format (highly recommended), then the order of the above steps isn't as important, since they'll be intelligently applied when you develop using your RAW software. Otherwise it's critical that you follow the above sequence especially with steps involving sharpening, resizing and noise reduction. Be careful though, extreme edits can easily cause image posterization with JPEG files. 44

a. White Balance Simply getting the white balance right can often make the single biggest improvement in your photo's colors. An incorrect white balance will give your image a color cast, and can dramatically reduce both contrast and color saturation:

Incorrect White Balance

Custom White Balance

Controls. First adjust the "temperature" slider, then refine using the "tint" slider. The former controls the relative warmth of the image, whereas the latter controls the magenta-green shift.

Problem Scenes. Paradoxically, cameras typically make the biggest white balance mistakes with scenes that are the most dramatically lit (and often could have benefited the most). Pay extra attention to white balance when shooting sunsets, indoor lighting and low-light photos, etc.

Other Tools. If there's an object somewhere in the image which ought to be neutral gray, you can also use a "white point dropper" (or similarly named tool) to automatically set the white balance so that this object's color cast is subtracted from the entire image.

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b. Exposure: Compensation & Recovery This step presumes that you've done everything possible to get an accurate exposure at the time of capture. However, this isn't always possible (or practical).

Under-Exposure (clipped shadows in blue)

Ideal Exposure

Over-Exposure (clipped highlights in red)

Fortunately, exposure can be fine-tuned by using the "exposure compensation" adjustment tool. Some general tips include:

Image Histogram. Use this as an objective guide Viewing. View the photo at a small size on-screen to make it easier to judge exposure. Also keep in mind that exposure isn't something that necessarily has a "right" answer; it often also depends on your artistic intent and just "looks right."

Extreme Tones. Pay careful attention to whether there are any blown highlights or lost shadow detail. If your software supports it, you might be able to recover these by using the "fill light," "recovery" or "black point" tools.

Limitations. Avoid excessive compensation; if you increase exposure too much, noise will become visibly worse in the shadows, whereas decreasing it too much will make blown highlights more apparent. In either case, this probably means that your original exposure was way off, and you're likely better off working on a different photo.

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c. Noise Reduction If your image was taken at a high ISO speed, it will likely benefit from noise reduction:

High Image Noise Original (taken at high ISO)

Photo on Left After Noise Reduction

Best Case Scenario (taken at low ISO)

Order. Noise reduction is most effective when applied before any other image

editing (with the exception of steps 1 & 2 above: exposure compensation and white balance).
Types. Image noise has many types; some are easily removed while others aren't.

Fortunately, noise from a high ISO speed is the type that is most easily addressed. Refer to the tutorial on image noise for a background on this topic.
Limitations. Aim for noise reduction as opposed to complete removal, since the

latter can make subjects appear unnaturally smooth. Some noise is OK and even expected.
Dedicated Software. For problematic images, it is worth experimenting with

dedicated noise reduction software such as Neat Image, Noise Ninja, Grain Surgery, or others.
Sharpening. Noise reduction often goes hand in hand with sharpening, so this

step may need to be applied in conjunction with step 4 (depending on your software). This is because they can offset eachother: sharpening increases noise, but noise reduction often decreases sharpness. 47

 In special cases, another technique is Noise Reduction by Image Averaging

d. Lens Corrections The three most problematic (but correctable) lens imperfections include:

Vignetting

Distortion

Chromatic Aberration (CA)

Vignetting is most prevalent when you're using low f-stops, although some lenses

are also more susceptible to this than others. A little vignetting is often beneficial, since this can draw attention to the image's center and make the frame's edges less abrupt. Also be aware that correcting for vignetting increases image noise near the corners. However, if your vignetting is actually due to physical blockage (such as a lens hood or filter), then this unfortunately cannot be corrected.
Distortion will be most prevalent when you're using wide angle or telephoto

lenses (or are using a zoom lens at either extreme). Don't try to fix this unless it's clearly visible, since doing so can slightly reduce corner resolution and alter your composition. Distortion is often acceptable with landscapes, but not in architectural photos.
Chromatic Aberration will be most apparent at low f-stops, near the corners of

your image and in regions with high contrast detail. When correcting for CA, use a high contrast edge near the image's extreme corner as a guide. However, be aware that not all types of CA can be easily removed. If the CA doesn't appear to be helped using standard tools, you might also want to try other 48

settings. For example, Lightroom and Adobe Camera RAW have a "fringing" tool which can reduce the more persistent types of CA (but potentially at risk of reducing detail). e. Detail: Sharpening, Clarity & Local Contrast The aim of this step is to offset any inherent softening caused by your camera's sensor and lens ("capture sharpening"). It's also important that it be applied conservatively since you'll also be applying "output sharpening" in a later step. Sharpening should be performed with care because it can exacerbate other image quality issues (such as noise, chromatic aberrations, etc.). However, when done right, it can make a tremendous difference in the perceived quality of your photo:

Unsharpened

Original Sharpened

f. Contrast: Levels & Curves Tools Images taken into the sun or near a bright indoor light source often suffer from low contrast (since these are leading causes of lens flare). Improving contrast often gives the long sought after "pop" or 3D look to your images:

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Before Levels

Lower Contrast

After Levels: Higher Contrast

Too much contrast can make your subject look unrealistic if this was actually a trait of

your scene (such as photos in the fog or haze).

Higher contrast can also make colors appear more saturated.

g. Framing: Rotate & Crop The vast majority of snapshots can be dramatically enhanced simply by cropping them to strengthen their composition. While there's no universal rules, some good principles are outlined in the tutorial on composition: the rule of thirds.

Unaltered

Original

Rotated & Cropped

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You may also want to crop your image so that it exactly matches a given print size (such as 8x10 inches). The aspect ratio of your crop can often be specified within your photo editing software making this process much easier.

h. Refinements - Colors & Selective Enhancements

Original Photo with Dust Spots on Sensor

After Digital Spot Removal

This is really a catch-all category, but typical adjustments might include:

Colors - saturation, vibrance and other color adjustments. However, these are often

overdone, and frequently aren't necessary if white balance, exposure and contrast have all been properly set.
Selective Enhancements - spot removal of dust/blemishes (as shown above), creative

sharpening (such as at the eyes of someone in a portrait) and selective noise reduction (in otherwise smooth areas such as the sky or skin). Important tools include: the healing brush, clone tool, layer masks and adjustment brushes. Consult your software's help file or manual to browse what options are available. Once these have been applied, make sure to save a copy of your image, since all subsequent editing steps only depend on how and whether you intend to share this photo. This way you don't have to redo everything each time you plan on using your

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image for something else. Regardless, at this stage the image should now appear finished when viewed on your screen. i. Resizing: Upsize for Print, Downsize for Web Whenever you alter the display size of your image, you need to resize the file (using a process called "digital image interpolation"). The resize strategy can be quite different, depending on whether you want to make it larger or smaller. When enlarging your image for a print:
Always try to perform enlargements yourself instead of having this done by the

printer (otherwise it's easy to accidentally create prints which appear digital/pixelated).
If you see haloes around sharp edges, then your earlier capture sharpening may have

been applied too aggressively (or with too high a radius value).
Also refer to this tutorial: Optimizing Digital Photo Enlargement

When downsizing your image for the web or email display:

Avoid introducing non-image patterns such as the moir artifacts shown below. Also refer to this tutorial: Image Resizing for the Web and Email

Original Image

Downsized50% (unrealistic moir artifacts)

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Either way, what's often even more important than how you resize is that you make sure to follow this up with output sharpening (in the next step).

j. Output Sharpening Output sharpening is generally the very last image editing step applied to an image. Its settings are therefore customized for a particular output device, which may include special considerations based on the size, type and viewing distance of a print. Output sharpening can also offset any softening caused by resizing an image for the web or email. Refer to the guide to image sharpening for more on this topic. OTHER RECOMMENDATIONS
Backups. Once you're done, it's a good idea to make sure that you're properly

archiving your digital photos using backup files. It would be a shame to lose all of this hard work spent in photo editing (and in the original photo capture).
Monitor Calibration. The time spent photo editing is only beneficial if what you see

on your screen is accurate. This is absolutely critical. If you haven't done so already, see the tutorial on monitor calibration for digital photography for more on this topic.

4. Image Correction

1. Retouch and Healing

Photoshop offers a large selection of tools and features for retouching photographs and images. In this tutorial, youll learn how to use the common touch-up tools. 53

Spot Healing Brush Tool The Spot Healing Brush is primarily used to quickly remove blemishes, imperfections or other unwanted elements from an image. To use it, paint over an imperfection youd like to get rid of using a suitable brush (brushes can be selected and modified in the options bar). The Spot Healing Brush Tool will automatically try to repair the imperfection by sampling the surrounding area.

Careful! Although the Spot Healing brush can be a great tool for quick fixes, its not always guaranteed to work if the area surrounding the imperfection is busy. Generally

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speaking, the surrounding area should be an approximate match in color & texture to what you want to take place of the unwanted element in your image. Healing Brush Tool The Healing Brush Tool performs a similar function to the spot healing brush tool mentioned above. Instead of automatically trying to determine the lighting, shading, and texture from the surrounding area, the healing brush tool lets you manually select a source, and then paint over an imperfection. To select a source, hold alt and click the desired part of the image. Then paint over the area you wish to replace. As with the Spot Healing Brush Tool, settings such as brush size can be controlled in the options bar.

Patch Tool

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With the Patch Tool, an entire area can be repaired with pixels from another area. Just like the healing brush tool, the patch tool will try to correct lighting, shading, and texture. To use the patch tool, first draw a selection with any of the selection tools (or the patch tool, which will function as a lasso tool). Then, using the patch tool, drag that selection over the destination you want to use to repair that area.

Clone Stamp Tool The final tool well cover in this tutorial is called the Clone Stamp Tool. The Clone stamp tool allows you to paint with a sample of an image.

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Keep in mind that you are not healing/repairing an image when you use the Clone Stamp Tool. Therefore, lighting and shading will not be maintained when you paint over an area. What you see is literally what you get when you paint from a given source, making it very useful in certain situations. Blur & Sharpen Tools The Blur and Sharpen Tools allow us to manipulate edges by making them softer or harder. They do exactly what you would expect them to do; blur and sharpen. Both tools have similar attributes such as Strength (increase or decrease the strength of the tool, or how much it will blur) and the brush, all of which can be adjusted in the Options Bar for each tool. To use the blur or sharpen tool, simply set up the brush to your specification, hold down the mouse button, and hover over the areas youd like to alter in your image.

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You should have a pretty good feel of the basic retouching tools by now. The next step in mastering Photoshop is usually learning how to use the painting tools to compliment your photo remastering abilities!

2. Photoshops Painting Tools

In Photoshop, the painting tools are used to paint strokes, and fill areas with color or with colors that blend together. Knowing how to use the paint tools is a must for any artist who wishes to use Photoshop.

The Brush Tool In order to use the brush tool to its full extent, its important to understand what exactly a brush is in Adobe Photoshop. A brush uses brush presets that are predefined (or user defined). A brush preset is any brush tip with defined characteristics (such as size and shape). Think of brushes in Photoshop as a large collection of different paintbrushes, each with a different shaped tip. Imagine when you press the tip of one of these paintbrushes against a canvas, the shape of the tip is imprinted immediately. Its a rough explanation, but it gets the basic idea across. Brushes in Photoshop have plenty of other

characteristics which make them entirely unlike a real world paint brush. By manipulating these attributes, we can create entirely new brushes that act in unique 58

ways. You could create a brush that changes in shape and size as you are painting, a brush that scatters itself in random directions, and even a brush that becomes more and less transparent while creating strokes. The possibilities are literally endless. Lets Create a Quick Brush for demonstration purposes. Create a new document, 200px by 200px with a white background. Select the Brush tool, and in the options bar select the first brush preset from the brush preset picker (activated by clicking on the small down arrow next to the current brush). Go ahead and give this brush preset a whirl in your active image area. Select a foreground color youd like to paint with, point your cursor to where youd like to start painting, hold down the mouse button, and create a stroke. Modifying Brushes This brush preset creates a 1px hard stroke. We can modify some of the characteristics of this brush to create something entirely different. To modify a brush preset, youre going to need to access the Brush Palette. To open the brush palette, go to Window > Brushes. Heres a quick overview of the palette.
A. Brush Settings Various settings for the selected brush tip.

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B. Brush Stroke Preview A preview of the current brush stroke will look when used. C. Selected Brush Tip The currently selected brush tip. D. Brush Tip Shapes A list of all brush tip shapes available. E. Brush Options Options for modifying the currently selected brush tip. Changes will not be permanent unless a new brush preset is saved.

From the Brush Tip Shape settings, a user can select a brush tip shape from a list of available shapes (predefined or user defined). By clicking any of the various brush settings on the left, a panel of options will be displayed that can adjusted to your own preference.

In the Brush Tip Shape area, set the diameter of your brush to 20px. By changing the diameter, you affect the size of the brush.

Now go to Shape Dynamics and set the size jitter option to 100%. By changing shape dynamics, youre adjusting how a brush mark changes during a stroke.

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Finally, go to Scattering, and set scatter to 300% with a count of 1. Scattering will affect placement and number of brush marks. Try painting with your brush now, and you ought to see a huge difference from when you first started! Modifying brushes is really that simple! If youre interested in learning more about brushes, then you may want to take a look at our guide on installing new brushes in Photoshop which youve downloaded from elsewhere. Eraser Tool Were not going to go into too much detail with the eraser tool, simply because you should already have a pretty good understanding of how it works. How so? Well, like many other tools in Photoshop, the Eraser Tool uses brushes which effect the size, shape, and hardness of the tool. Essentially, the eraser tool is controlled in the exact same way as the brush tool, only it erases rather than paints. Watch Out! If youre erasing directly on the Background layer, youll leave the currently selected background color wherever you erase. Always be sure to set your background color before erasing from the Background layer. Paint Bucket Tool The Paint Bucket Tool is used for filling areas with solid colors. It can be used to fill selections with a selected foreground color, or fill areas that are similar in color to the part of an image that is clicked. To use the paint bucket tool, select a foreground color youd like to paint with, and click anywhere in the active image area youd like to fill.

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Gradient Tool The Gradient Tool is very similar to the paint bucket tool, in that it fills entire areas or selections with colors. However, rather than filling an area with a solid color, the Gradient Tool creates a series of colors than blend into one another. When the gradient tool is selected, a preset gradient can be selected from the gradient picker in the options bar. A gradient can then be created in the active image area by clicking and holding the mouse button, and dragging in the direction youd like the gradient to go. Release where youd like the gradient to stop.

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There are 5 different gradient styles which can be selected to create different effects. You can set them from the Options Bar.

Using Transform in Photoshop In Photoshop, Transform is used to scale, rotate, skew, and just distort the perspective of any graphic youre working with in general. This tutorial will teach you how to use Transform to adjust your images.

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Scaling Graphics One of the most basic transformations Photoshop is capable of is scaling a graphic. Scaling allows you to enlarge or shrink a graphic around a reference point. To scale a graphic, we go to Edit > Transform > Scale. A set of handles will appear around our selected elements in the document ( such as layers, or shapes). By moving anyone of these handles, we can adjust the size of the object. To apply the transformation, hit Enter.

Constraining Proportions while Scaling Often times, youll find it necessary to constrain the proportions of your objects when scaling. This can easily be achieved by Holding Shift while dragging a transformation

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handle. You can additionally scale from the center reference point by Holding Alt (or Option on Mac OS), or combine the two by holding shift and alt at the same time while scaling.

Rotating Objects in Photoshop To Rotate an Object in Photoshop, go to Edit > Transform > Rotate. Handles will appear as they did with a Scaling Transform, but instead of dragging one of these, go just outside of the object until you see a curved arrow rotate icon. At this point, simple drag left or right to rotate the selected object. Once again, you must finish applying the transformation by pressing Enter.

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Be Precise with your Rotations! You can rotate in 15 Degree Increments with this useful little shortcut. While youre rotating an object, simply hold down the shift button. Skew, Distort, and Perspective Transformations The next 3 transformations are all similar, because they are all controlled by dragging handles. That is not to say that they are used to do the same thing, they simply all operate in the same manner. You can apply a Skew, Distort, or Perspective Transformation from Edit > Transform. Skew: Skew transformations slant objects either vertically or horizontally. Distort: Distort transformations allow you to stretch an image in ANY direction freely. Perspective: The Perspective transformation allows you to add perspective to an object.

Warping an Object The Warp Transformation is quite a bit different compared to the other transformations. The entire shape of the object can be modified, making this transformation useful for several different effects. To use a Warp Transformation go to Edit > Transform > Warp. A Mesh will appear over your object that you can adjust by dragging control points, lines, or any other area inside of it. You can additionally apply a preset warp from the options bar. 66

5. Saving Image
To save an image in the native Photoshop file format, you would simply choose File > Save or Ctrl-S/Command-S. To save the file under a different name, you would choose the File > Save As command (Shift-Ctrl-S/Shift-Command-S). Instructions 1. Choose "File," then "Save." The short key command is "Ctrl+S." 2. Type what you want to name the file into the "File Name" field.

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3. Choose a file location from the dropdown menu. If you want to locate a folder or drive aside from the default one, click on the drop down menu at the top of the dialog box and select a new location. 4. Determine the file format you want to use and select it from the "Save As" pop-up menu. Most files will save better if they are flattened first. If you want to keep your layers, choose the "Photoshop PDF" format. 5. Check any options that you want included in the "Save" section of the dialog box. If your file contains an embedded profile, click the box on "Color: Embed Color Profile." Click "Save."
Note: If a supported file format does not appear in the appropriate dialog box or submenu, you may need to install the formats plug-in module.

Choosing a file format Graphics file formats differ in the way they represent image data (as pixels or vectors), and support different compression techniques and Photoshop features. To preserve all Photoshop features (layers, effects, masks, and so on), save a copy of your image in Photoshop format (PSD). Like most file formats, PSD supports files up to 2 GB in size. For files larger than 2 GB, save in Large Document Format (PSB), Photoshop Raw (flattened image only), TIFF (up to 4 GB), or DICOM format. The standard bit depth for images is 8 bits per channel. To achieve greater dynamic range with 16- or 32-bit images, use the following formats: Formats for 16-bit images (require Save As command) Photoshop, Large Document Format (PSB), Cineon, DICOM, IFF, JPEG, JPEG 2000, Photoshop PDF, Photoshop Raw, PNG, Portable Bit Map, and TIFF.

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Note: The Save For Web & Devices command automatically converts 16-bit images to 8-bit. Formats for 32-bit images (require Save As command) Photoshop, Large Document Format (PSB), OpenEXR, Portable Bitmap, Radiance, and TIFF. About file compression Many file formats use compression to reduce the file size of bitmap images. Lossless techniques compress the file without removing image detail or color information; lossy techniques remove detail. The following are commonly used compression techniques: RLE (Run Length Encoding) Lossless compression; supported by some common Windows file formats. LZW (Lemple-Zif-Welch) Lossless compression; supported by TIFF, PDF, GIF, and PostScript language file formats. Most useful for images with large areas of single color. JPEG (Joint Photographic Experts Group) Lossy compression; supported by JPEG, TIFF, PDF, and PostScript language file formats. Recommended for continuous-tone images, such as photographs. JPEG uses lossy compression. To specify image quality, choose an option from the Quality menu, drag the Quality pop-up slider, or enter a value between 0 and 12 in the Quality text box. For the best printed results, choose maximum-quality compression. JPEG files can be printed only on Level 2 (or later) PostScript printers and may not separate into individual plates.

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CCITT A family of lossless compression techniques for black-and-white images, supported by the PDF and PostScript language file formats. (CCITT is an abbreviation for the French spelling of International Telegraph and Telekeyed Consultive Committee.) ZIP Lossless compression; supported by PDF and TIFF file formats. Like LZW, ZIP compression is most effective for images that contain large areas of single color. Save in TIFF format TIFF is a flexible raster (bitmap) image format supported by virtually all paint, imageediting, and page-layout applications. 1. Choose File > Save As, choose TIFF from the Format menu, and click Save. 2. In the TIFF Options dialog box, select the options you want, and click OK. Bit depth (32-bit only) Specifies the bit depth (16-, 24-, or 32-bit) of the saved image. Image Compression Specifies a method for compressing the composite image data. If youre saving a 32-bit TIFF file, you can specify that the file be saved with predictor compression, but you dont have the option to use JPEG compression. Predictor compression offers improved compression by rearranging floating point values, and works with both LZW and ZIP compression. Note: JPEG compression is available only for opaque RGB and grayscale images that are 8bits-per-channel and no more than 30,000 pixels wide or high.

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Pixel Order Writes the TIFF file with the channels data interleaved or organized by plane. Previously, Photoshop always wrote TIFF files with the channel order interleaved. Theoretically, the Planar order file can be read and written faster, and offers a little better compression. Both channel orders are backward compatible with earlier versions of Photoshop. Byte Order Selects the platform on which the file can be read. This option is useful when you dont know what program the file may be opened in. Photoshop and most recent applications can read files using either IBM PC or Macintosh byte order. Save Image Pyramid Preserves multiresolution information. Photoshop does not provide options for opening multiresolution files; the image opens at the highest resolution within the file. However, Adobe InDesign and some image servers provide support for opening multiresolution formats. Save Transparency Preserves transparency as an additional alpha channel when the file is opened in another application. Transparency is always preserved when the file is reopened in Photoshop. Layer Compression Specifies a method for compressing data for pixels in layers (as opposed to composite data). Many applications cannot read layer data and skip over it when opening a TIFF file. Photoshop, however, can read layer data in TIFF files. Although files that include layer data are larger than those that dont, saving layer data eliminates the need to save 71

and manage a separate PSD file to hold the layer data. Choose Discard Layers And Save A Copy if you want to flatten the image. Note: To have Photoshop prompt you before saving an image with multiple layers, select Ask Before Saving Layered TIFF Files in the File Handling area of the Preferences dialog box. Save in JPEG format You can use the Save As command to save CMYK, RGB, and grayscale images in JPEG (*.jpg) format. JPEG compresses file size by selectively discarding data. You can also save an image as one or more JPEG using the Save For Web & Devices command. JPEG supports only 8-bit images. If you save a 16-bit image to this format, Photoshop automatically lowers the bit depth. To quickly save a medium-quality JPEG, play the Save As JPEG Medium action on the file. You can access this action by choosing Production from the Actions panel menu. 1. Choose File > Save As, and choose JPEG from the Format menu. 2. In the JPEG Options dialog box, select the options you want, and click OK. Matte Offers matte color choices to simulate the appearance of background transparency in images that contain transparency. Image Options Specifies the image quality. Choose an option from the Quality menu, drag the Quality pop-up slider, or enter a value between 0 and 12 in the Quality text box. Format Options 72

Specifies the format of your JPEG file. Baseline (Standard) uses a format recognized by most web browsers. Baseline Optimized creates a file with optimized color and a slightly smaller file size. Progressive displays a series of increasingly detailed versions of the image (you specify how many) as it downloads. (Not all web browsers support optimized and Progressive JPEG images.)
Note: Some applications may not be able to read a CMYK file saved in JPEG format. Likewise, if you find that a Java application cant read a JPEG file, try saving the file without a thumbnail preview.

Save in PNG format You can use the Save As command to save RGB, Indexed Color, Grayscale, and Bitmap mode images in PNG format. Note: You can also save an image as one or more PNG files using the Save For Web & Devices command. 1. Choose File > Save As, and choose PNG from the Format menu. 2. Select an Interlace option: None Displays the image in a browser only when download is complete. Interlaced Displays low-resolution versions of the image in a browser as the file downloads. Interlacing makes download time seem shorter, but it also increases file size. 3. Click OK.

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Save in GIF format You can use the Save As command to save RGB, Indexed Color, Grayscale, or Bitmap mode images directly in CompuServe GIF (known as GIF) format. The image is automatically converted to Indexed Color mode. Note: GIF is only available when the image is 8 Bits/Channel (it only supports 8 Bit/Channel). 1. Choose File > Save As, and choose CompuServe GIF from the Format menu. 2. For RGB images, the Indexed Color dialog box appears. Specify conversion options and click OK. 3. Select a row order for the GIF file, and click OK: Normal Displays the image in a browser only when download is complete. Interlaced Displays low-resolution versions of the image in a browser as the file downloads. Interlacing makes download time seem shorter, but it also increases file size.
Note: You can also save an image as one or more GIF files using the Save For Web & Devices command.

Save in Photoshop EPS format Virtually all page-layout, word-processing, and graphics applications accept imported or placed EPS (Encapsulated PostScript) files. To print EPS files, you should use a PostScript printer. Non-PostScript printers will print only the screen-resolution preview. 1. Choose File > Save As, and choose Photoshop EPS from the Format menu.

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2. In the EPS Options dialog box, select the options you want, and click OK: Preview Creates a low-resolution image to view in the destination application. Choose TIFF to share an EPS file between Windows and Mac OS systems. An 8-bit preview is in color and a 1-bit preview is in black and white with a jagged appearance. An 8-bit preview creates a larger file size than a 1-bit preview. See also Bit depth. Encoding Determines the way image data is delivered to a PostScript output device. Encoding options are described below. Include Halftone Screen and Include Transfer Function Control print specifications for high-end commercial print jobs. Consult your printer before selecting these options. Transparent Whites Displays white areas as transparent. This option is available only for images in Bitmap mode. PostScript Color Management Converts file data to the printers color space. Do not select this option if you plan to place the image in another color-managed document.
Note: Only PostScript Level 3 printers support PostScript Color Management for CMYK images. To print a CMYK image using PostScript Color Management on a Level 2 printer, convert the image to Lab mode before saving in EPS format.

Include Vector Data

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Preserves any vector graphics (such as shapes and type) in the file. However, vector data in EPS and DCS files is available only to other applications; vector data is rasterized if you reopen the file in Photoshop. This option is only available if your file contains vector data. Image Interpolation Applies bicubic interpolation to smooth the low-resolution preview if printed. Photoshop EPS encoding options ASCII or ASCII85 Encodes if youre printing from a Windows system, or if youre experience printing errors or other difficulties. Binary Produces a smaller file and leaves the original data intact. However, some pagelayout applications and some commercial print spooling and network printing software may not support binary Photoshop EPS files. JPEG Compresses the file by discarding some image data. You can choose the amount of JPEG compression from very little (JPEG Maximum Quality) to a lot (JPEG Low Quality). Files with JPEG encoding can be printed only on Level 2 (or later) PostScript printers and may not separate into individual plates. Save in Photoshop DCS format DCS (Desktop Color Separations) format is a version of EPS that lets you save color separations of CMYK or multichannel files.

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1. Choose File > Save As, and choose Photoshop DCS 1.0 or Photoshop DCS 2.0 from the Format menu. 2. In the DCS Format dialog box, select the options you want, and click OK. The dialog box includes all the options available for Photoshop EPS files. Additionally, the DCS menu gives you the option of creating a 72-ppi composite file that can be placed in a page-layout application or used to proof the image:

DCS 1.0 format Creates one file for each color channel in a CMYK image. You can also create a fifth file: a grayscale or color composite. To view the composite file, you must keep all five files in the same folder. DCS 2.0 format Retains spot color channels in the image. You can save the color channels as multiple files (as for DCS 1.0) or as a single file. The single-file option saves disk space. You can also include a grayscale or color composite. Save in Photoshop Raw format The Photoshop Raw format is a file format for transferring images between applications and computer platforms. The Photoshop Raw format is not the same as camera raw. 1. Choose File > Save As, and choose Photoshop Raw from the Format menu. 2. In the Photoshop Raw Options dialog box, do the following:
o (Mac OS) Specify values for File Type and File Creator, or accept the default

values.
o Specify a Header parameter.

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o Select whether to save the channels in an interleaved or non-interleaved order.

Save in BMP format The BMP format is an image format for the Windows operating system. The images can range from black-and-white (1 bit per pixel) up to 24-bit color (16.7 million colors). 1. Choose File > Save As, and choose BMP from the Format menu. 2. Specify a filename and location, and click Save. 3. In the BMP Options dialog box, select a file format, specify the bit depth and, if necessary, select Flip Row Order. For more options, click Advanced Modes and specify the BMP options. 4. Click OK. Save in Cineon format (16-bit images only) RGB images that are 16 bits per channel can be saved in Cineon format for use in the Kodak Cineon Film System. Choose File > Save As and choose Cineon from the Format menu. Save in Targa format The Targa (TGA) format supports bitmap and RGB images with 8 Bits/Channel. It is designed for Truevision hardware, but it is also used in other applications. 1. Choose File > Save As, and choose Targa from the Format menu. 2. Specify a filename and location, and click Save. 3. In the Targa Options dialog box, select a resolution, select the Compress (RLE) option if you want to compress the file, and then click OK. 78

Where things can get tricky is when you need to save the file in a different format. Save for Web allows you preview up to four different settings and compare the results before committing to the Save. One important thing to know about Save for Web is that your image will always be exported with a resolution of 72 ppi, so if you need to retain the print size and resolution, it's best not to use Save for Web. Saving Images for the Web When saving for the web, its always important to consider the quality of the image, and the size of the image in order to provide visual clarity without slowing performance. This tutorial will teach you what you need to know about saving images for the web. The internet is probably one of the largest mediums for distributing art, graphics, and photographs nowadays, making it very important to have some basic knowledge on saving media for the web. Essentially, saving for the web is a balancing act you must balance the quality of the graphic and the file size of the media to suit your personal needs. In a place where speed is important (ie: quick loading websites), you may need to sacrifice some quality of a graphic. Where quality is important, you may need to sacrifice some speed. This lesson aims to show you ways in which you can balance these two factors, and at the same time produce terrific image quality. Lossless vs. Lossy Data Although there are many different image formats out there (JPEG, GIF, and PNG to name a few), all images can be further divided into two separate categories of compression: Lossless and Lossy. Lossless data compression allows media to be represented without any loss in quality or information, while Lossy data compression may result in a loss of quality and information.

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The most common Lossless media types in Graphic Design include GIF, PNG, and TIFF, while JPEG is the most common of Lossy graphic media. How to Save for Web in Photoshop Adobe Photoshop has a great way to optimize images for the web. In Photoshop, go to File > Save For Web, or click Ctrl + Alt + Shift + S. A new box will popup with all of the settings for saving and optimizing an image for the web:

Saving Photographs for the Web Photographs are almost always required to be saved as a lossy data type due to their huge filesize. Even when taking a picture, cameras tend to save the photo as a compressed filetype (JPEG) versus the RAW format, which can be exponentially larger in filesize. The usual preferred file type of photographs is JPEG, which is named after its creators, the Joint Photographic Experts Group. The reason why jpeg has become the standard is

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due to its ability to compress image data while at the same time being able to retain high quality and closely resemble lossless images (in regards to information). There are several Save For Web Presets that you can choose when saving photographs. For a photograph, you should consider using JPEG Low, JPEG Medium, or JPEG High. See the graphical comparison below to see how well an example photo is compressed without a huge loss in quality. Compared to the original photograph, which is over 250 KB, we can get a reasonable quality photo using Medium quality or High quality compression presets that are less than 30 KB in file size.

GIF Images Sometimes, youll be required to save in a lossless format in order to best optimize your graphics for whatever you are working on. This is often seen in website design, as layouts often use far less colors than an ordinary photograph. GIF, or Graphics Interchange Format, is an image format that uses a palette of up to 256 individual colors, making it a great candidate for web graphics that dont use a wide range of colors. GIF can also set single pixels to be transparent, which we will not be discussing in this tutorial. The comparison below shows a GIF image (using all 256 colors) and a jpeg comparison, both at about the exact same filesize. The lossless GIF graphic resembles the original image much better as you can see.

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Because GIF images have a limited palette of 256 colors, they should almost never be used for Photographs, but they are excellent for graphics that use solid colors, or a limited number of colors. For Photographs, either JPEG compression, or the PNG Lossless format should typically be used. High Quality Images & Lossless PNG PNG, or Portable Network Graphics, are lossless data formats, similar to GIF, except they support a much greater number of colors (also making them larger in some cases), and can support alpha transparency channels as opposed to single transparent pixels (again, we wont be discussing transparency in this tutorial). PNG images are replacing GIF images more and more, mostly because they are typically able to compress better than GIF images while supporting a much larger number of colors. They are not as widely supported as GIF images yet, but are certainly heading in that direction. For graphics that must be transported over the web while retaining full image quality, PNG is the prime choice. Youll typically result in a larger image size than JPEG when transporting photos, but at times, this can be an essential sacrifice. Typically PNG is the better choice when a graphic contains sharp lines, or text that must remain very clear , but its ultimately up to the designer to decide what format to choose. 82

SUMMARY

1. Adobe Photoshop is a very powerful and versatile image editing/graphics creation application that is the industry standard in its category. Though Photoshops interface is intuitive enough for an absolute beginner to learn basic image editing tasks such as cropping and resizing, to be able to fully master and utilize all of its tools takes a considerable amount of time. 2. Many file formats use compression to reduce the file size of bitmap images. Lossless techniques
compress the file without removing image detail or color information; lossy techniques remove detail.

Task
1. Describe about how the camera works.

Formative Test
1. Describe about the component in Photoshop Workspace?

Formative Answer Key

Photoshops out of the box workspace consists of the following components:
Menu Bar You will probably already be familiar with the menu bar from other

programs. This runs across the top of your Photoshop window, and contains various menu options for Photoshops tools.
Options Bar The options bar sits beneath the menu bar and holds contextualized

options for different tools. It also contains the workspace menu, where you can save and load arrangements of palettes.
Toolbox By default, the toolbox sits to the left of your Photoshop window, and

contains shortcuts to Photoshop tools.

Palettes Individual panes that hold information or options for working with your

file, known as palettes (or panels), float on the right-hand side. Each palette is labeled 83

with a tab, and can be minimized, closed, grouped with other palettes, or dragged in and out of a panel dock. In the example that follows, the Navigator palette contains a thumbnail of the image that allows you to zoom in or out of the image quickly, and to change the part of the image displayed on the screen.
Document Windows Each open document has its own document window with a

status bar along the bottom. The status bar sits to the right of the zoom percentage displayed in the bottom left-hand corner, and displays information thats specific to the document.

Worksheet Camera, Manual Instruction, Computer, Adobe Photoshop Software, Photoshop Handbook. Health and Safety 1. Lets Pray before starting revision. 2. Read and understand the instructions and procedures on each piece of lab work and learning activities. 3. Make sure the computer and camera are in good condition, the computer is ready to used. 4. When finished, check the result according to the procedure! Step Work 1. Prepare all the equipment needed! 2. Check Computer, Camera, Parts and Equipments. 3. Edit Digital Image according SOP. 4. Make sure the computer and photoshop application are ready to use. 5. After perform Edit Digital Image, please collect the parts and equipments tidy in its place.

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CHAPTER III : EVALUATION

A. QUESTION

1. What are the first time to do before perform Edit Digital Image? 2. Mention some Digital Image Editor Software that you know!

B. CLUES 1. The first time to do before perform Assembling a PC are : - Make sure the computer equipment is complete and ready to run. - Make sure the computer has the Image Editor Software Application to edit the digital image. - Acquire the Parts that you want to build. 2. Some Image Editor : - Adobe Photoshop - Corel Photo Paint - Ulead Photo Impact - GIMP - Picasa - Photobie

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B. EVALUATION CRITERIA Score (1-10)

Aspect

Weight

Value

Information

Cognitive (questions # 1 s / d 3) Clip an interesting, varied and creative. Value End Timeliness Category graduation: 80-89

Terms passed a minimum

value of 80 and score every aspect of

at least 8

: Meeting the minimum criteria. Can work without guidance.

90-100 : On the minimum criteria. Can work without guidance.

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CHAPTER IV : CONCLUSION

After completing this module and do all the tasks and the evaluation criteria and based on assessment, training participants training participants can be declared pass / no pass. If it passed then it can proceed to the next module in accordance with the flow map of modules, whereas if it did not pass the training participants had to repeat this module and not allowed to take the next module.

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REFERENCES
http://sixrevisions.com/graphics-design/35-basic-tutorials-to-get-you-started-withphotoshop/ http://www.sitepoint.com/getting-started-photoshop/ http://www.vineyardesigns.com/tutorials/photoshop/index.shtml Posted by David Leggett in Photoshop Tutorials on April 25th, 2008 http://help.adobe.com/en_US/photoshop/cs/using/WSEC964A47-477C-4487-8CF4332F92636117a.html http://graphicssoft.about.com/od/photoshop/l/bllps502h.htm http://www.ehow.com/how_4557820_save-photoshop-image.html#ixzz1zLyqMMvM http://help.adobe.com/en-US/photoshop/cs/using/

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