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Fotogra e Documentatie

40 Photoshop Bewerkingen
11 maart 2013

Inhoudsopgave
Inhoudsopgave i

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Photoshop Bewerkingen
101 PHOTOSHOP tips you have to know 1.1 Quick PHOTOSHOP Tips . . . . . . . . . . . . 1.2 Tips 16-25: Essential PHOTOSHOP shortcuts 1.3 Adobe Camera RAW and Bridge Tips . . . . 1.4 Tips for using Brushes . . . . . . . . . . . . . 1.5 Quick brush effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Add A Realistic Rainbow To A Photo With PHOTOSHOP 2.1 Step 1: Add A New Blank L AYER . . . . . . . . . . . . . . . . . . . . 2.2 Step 2: Select The Rainbow Gradient . . . . . . . . . . . . . . . . . 2.3 Step 3: Select Radial Gradient From The . . . . . . . . . . . . . . 2.4 Step 4: Drag Out A Rainbow With The Gradient Tool . . . . . . . . 2.5 Step 5: Change The Blend Mode Of The Rainbow L AYER To . . . . 2.6 Step 6: Apply The Gaussian Blur F ILTER . . . . . . . . . . . . . . . 2.7 Step 7: Add A L AYER M ASK . . . . . . . . . . . . . . . . . . . . . . . 2.8 Step 8: Choose The Black To White Gradient . . . . . . . . . . . . 2.9 Step 9: Choose Linear Gradient From The . . . . . . . . . . . . . 2.10 Step 10: Drag A Black To White Gradient On The L AYER M ASK . . 2.11 Step 11: Duplicate The Rainbow L AYER To Increase Its Brightness 2.12 Step 12: Group The Two Rainbow L AYERS . . . . . . . . . . . . . . 2.13 Step 13: Add A New Blank L AYER . . . . . . . . . . . . . . . . . . . 2.14 Step 14: Re-Select The Rainbow Gradient . . . . . . . . . . . . . . 2.15 Step 15: Flip The Order Of The Colors In The Gradient . . . . . . 2.16 Step 16: Drag Out Another Rainbow Gradient . . . . . . . . . . . . 2.17 Step 17: Change The Blend Mode To Screen . . . . . . . . . . . . . 2.18 Step 18: Apply The Gaussian Blur F ILTER . . . . . . . . . . . . . . 2.19 Step 19: Copy The L AYER M ASK Onto The Second Rainbow L AYER 2.20 Step 20: Move The Second Rainbow Into Position . . . . . . . . . 2.21 Step 21: Lower The Opacity Of The Second Rainbow . . . . . . . . Add Colour Tones To Greyscale An Easy Way To Find Neutral Gray In An Image With PHOTOSHOP 4.1 Step 1: Add A New L AYER . . . . . . . . . . . . . . . . . . . . . . 4.2 Step 2: Fill The New L AYER With 50% Gray . . . . . . . . . . . . 4.3 Step 3: Change The New L AYERs Blend Mode To Difference 4.4 Step 4: Add A Theshold Adjustment L AYER . . . . . . . . . . . 4.5 Step 5: Click On The Black Area With The Color Sampler Tool 4.6 Step 6: Delete The 50% Gray and Theshold L AYERS . . . . . . .

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INHOUDSOPGAVE 4.7 4.8 4.9 4.10 5 Step 7: Add A Levels Or Curves Adjustment L AYER . . . . . . . . . Step 8: Select The Set Gray Point Eyedropper . . . . . . . . . . . Step 9: Click With The Eyedropper On The Marker In The Image Step 10: Remove The Marker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 76 77 79 80 82 85 89 90 93 94 95 96 97 100 101 102 103 104 115 117 118 119 120 121 121 122 123 124 125 127 127 128 130 130 132 133 135 136 136 137 138 144 145 148 148 156

Blend Photos Like A Hollywood Movie Poster - PHOTOSHOP Tutorial 5.1 Step 1: Drag One Image Into The Document W INDOW Of The Other Image 5.2 Step 2: Resize And/Or Reposition The Images As Needed . . . . . . . . . . . 5.3 Step 3: Add A L AYER M ASK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.4 Step 4: Drag Out A Black to White Gradient On The Mask To Blend The Two 5.5 Step 5: Merge Both L AYERS Onto A New L AYER . . . . . . . . . . . . . . . . . 5.6 Step 6: Desaturate The L AYER . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.7 Step 7: Add NOISE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.8 Step 8: Add A Solid Color Adjustment L AYER . . . . . . . . . . . . . . . . . . 5.9 Step 9: Set The L AYER Blend Mode To Color . . . . . . . . . . . . . . . . . . Blend Photos With Apply Image In PHOTOSHOP 6.1 Step 1: Open The Images You Want To Use . . . . . . . . . . . . . 6.2 Step 2: Select The Photo You Want To Use As Your . . . . . . . . . 6.3 Step 3: Duplicate The B ACKGROUND L AYER Of The Target Image . 6.4 Step 4: Open The Apply Image Command . . . . . . . . . . . . . .

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Colorizing A Photo With Multiple Colors - PHOTOSHOP Tutorial 7.1 Step 1: Add A New V ERTICAL Guide Set To 25% . . . . . . . . . . . . . . . . 7.2 Step 2: Add A Second V ERTICAL Guide Set To 50% . . . . . . . . . . . . . . 7.3 Step 3: Add A Third V ERTICAL Guide Set To 75% . . . . . . . . . . . . . . . 7.4 Step 4: Make Sure Snap To Guides Is Turned . . . . . . . . . . . . . . . . 7.5 Step 5: Select The Rectangular Marquee Tool . . . . . . . . . . . . . . . . . 7.6 Step 6: Drag A Selection Around The First Section On The Left . . . . . . . 7.7 Step 7: Add A Hue/Saturation Adjustment L AYER . . . . . . . . . . . . . . . 7.8 Step 8: Select The Colorize Option In The . . . . . . . . . . . . . . . . . . 7.9 Step 9: Choose A Color With The Hue Slider . . . . . . . . . . . . . . . . . . 7.10 Step 10: Change The Blend Mode Of The Adjustment L AYER To . . . . . . 7.11 Step 11: Drag A Selection Around The Second Section . . . . . . . . . . . . 7.12 Step 12: Add A Hue/Saturation Adjustment L AYER . . . . . . . . . . . . . . 7.13 Step 13: Click The Colorize Option And Choose A Second Color With The 7.14 Step 14: Change The Blend Mode Of The Adjustment L AYER To . . . . . . 7.15 Step 15: Repeat Steps 11-14 For The Remaining Two Sections . . . . . . . 7.16 Step 16: Clear The Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7.17 Step 17: Add A Stroke To One Of The Sections . . . . . . . . . . . . . . . . . 7.18 Step 18: Copy The Stroke L AYER Style . . . . . . . . . . . . . . . . . . . . . . 7.19 Step 19: Select The Other Three Hue/Saturation Adjustment L AYERS . . . 7.20 Step 20: Paste The Stroke Onto The Adjustment L AYERS . . . . . . . . . . . 7.21 Step 21: Add Another Hue/Saturation Adjustment L AYER Above All The . 7.22 Step 22: Drag The Hue Slider To Change All Four Colors At Once . . . . . Colorizing Images With Gradients In PHOTOSHOP 8.1 Step 1: Create A Custom BLACK AND WHITE Version Of The Image 8.2 Step 2: Add A Gradient Map Adjustment L AYER . . . . . . . . . . . 8.3 Step 3: Create A Custom Gradient . . . . . . . . . . . . . . . . . . . 8.4 Step 4: Change The Blend Mode Or Lower The Opacity . . . . . .

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Create A Portrait Studio B ACKGROUND - PHOTOSHOP Tutorial 159 9.1 Step 1: Create A New PHOTOSHOP Document Set To 72 Pixels/Inch . . . . . . . . . . . . . . 160 9.2 Step 2: Fill The New Document With Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 ii

INHOUDSOPGAVE 9.3 9.4 9.5 9.6 9.7 9.8 9.9 9.10 9.11 9.12 9.13 9.14 Step 3: Create A New Blank L AYER . . . . . . . . . . . . . . . . . . . . . . . . . . Step 4: Apply The C LOUDS F ILTER To The New . . . . . . . . . . . . . . . . . Step 5: Lower The Opacity Of The C LOUDS L AYER To 40% . . . . . . . . . . . . Step 6: Merge The L AYERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Step 7: Apply The Spatter Brush F ILTER . . . . . . . . . . . . . . . . . . . . . Step 8: Fade The F ILTER Effects Opacity To 50% . . . . . . . . . . . . . . . . . Step 9: Apply The Sprayed Stokes F ILTER . . . . . . . . . . . . . . . . . . . . Step 10: Fade The F ILTER Effects Opacity To 50% . . . . . . . . . . . . . . . . Step 11: Increase The Image Resolution To 300 Pixels/Inch . . . . . . . . . . . Step 12: Add A Hue/Saturation Adjustment . . . . . . . . . . . . . . . . . . . Step 13: Save The PHOTOSHOP Document . . . . . . . . . . . . . . . . . . . . . Step 14: Drag The Person From Their Original Photo Into The B ACKGROUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 163 165 166 166 167 168 169 169 170 173 173 178 179 180 182 182 182 184 187 188 192 199 207 211 212 213 214 215 216 218 218 220 221 222 223 223 225 226 226 227 228 230 230 232

10 Creative FOCUS with LENS Blur In PHOTOSHOP 10.1 Step 1: Duplicate The B ACKGROUND L AYER . . . . . . . . . . . . . . . . . . 10.2 Step 2: Add A New Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . 10.3 Step 3: Select The Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . . 10.4 Step 4: Lower The Opacity Of The Brush To 50% . . . . . . . . . . . . . . . 10.5 Step 5: Turn The RGB Channel On . . . . . . . . . . . . . . . . . . . . . . . 10.6 Step 6: Paint With White On The Alpha Channel To Control The Blurring 10.7 Step 7: Select The RGB Channel And Then Switch Back To The L AYERS . . 10.8 Step 8: Apply The LENS Blur F ILTER . . . . . . . . . . . . . . . . . . . . . . . 11 Dramatic Sky 12 Dual View Photo Editing In PHOTOSHOP 13 Elegant S EPIA Tutorial 14 Gallery Style Photo Frame Layout - PHOTOSHOP Tutorial 14.1 Step 1: Create A New Document . . . . . . . . . . . . . . . . . . . . . . . . . 14.2 Step 2: Fill The New Document With Black . . . . . . . . . . . . . . . . . . 14.3 Step 3: Add A New Blank L AYER And Name It Photo . . . . . . . . . . . . . 14.4 Step 4: Drag A Selection Around The Main Photo Area . . . . . . . . . . . . 14.5 Step 5: Fill The Selection With Gray . . . . . . . . . . . . . . . . . . . . . . . 14.6 Step 6: Align The Photo Area HORIZONTALLY With The Document . . . . . 14.7 Step 7: Add A Thin White Border . . . . . . . . . . . . . . . . . . . . . . . . 14.8 Step 8: Make A Copy Of The Photo Area L AYER . . . . . . . . . . . . . . . . 14.9 Step 9: Rename The L AYER And Drag It Between The Original Two L AYERS 14.10 Step 10: Lower The Fill Of The Border L AYER To 0% . . . . . . . . . . . . . 14.11 Step 11: Use Free Transform To Add Space Around The Photo Area . . . . 14.12 Step 12: Increase The Thickness Of The Outer Border . . . . . . . . . . . . 14.13 Step 13: Open The Photo You Want To Display . . . . . . . . . . . . . . . . 14.14 Step 14: Select And Copy The Image . . . . . . . . . . . . . . . . . . . . . . 14.15 Step 15: Select The Photo Area L AYER . . . . . . . . . . . . . . . . . . . . . . 14.16 Step 16: Paste The Photo Into The Document . . . . . . . . . . . . . . . . . 14.17 Step 17: Create A Clipping Mask . . . . . . . . . . . . . . . . . . . . . . . . . 14.18 Step 18: Resize And Reposition The Photo With Free Transform . . . . . . 14.19 Step 19: Add Your Text Below The Image . . . . . . . . . . . . . . . . . . . . 14.20 Step 20: Align The Text HORIZONTALLY If Needed . . . . . . . . . . . . . . .

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15 How To Blend Textures With Photos In PHOTOSHOP 234 15.1 Step 1: Select And Copy The Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 15.2 Step 2: Paste The Texture Into The Photos Document . . . . . . . . . . . . . . . . . . . . . . 238 15.3 Step 3: Resize The Texture If Needed With Free Transform . . . . . . . . . . . . . . . . . . . 239

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INHOUDSOPGAVE 15.4 15.5 15.6 15.7 15.8 Step 4: Select The Move Tool . . . . . . . . . . . . Step 5: Cycle Through The L AYER Blend Modes . Step 6: Desaturate The Color From The Texture . Step 7: Try Inverting The Texture . . . . . . . . . Step 8: Lower The Textures Opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 241 245 248 249 255 256 258 259 260 260 261 263 265 266 267 269 272 273 273 274 275 275 276 277 277 280 281 283 284 285 286 286 288 288 290 291 292 293

16 Interweaving Photo Strips - PHOTOSHOP Tutorial 16.1 Step 1: C ROP The Image Into A Square . . . . . . . . . . 16.2 Step 2: Duplicate The B ACKGROUND L AYER Twice . . . 16.3 Step 3: Fill The B ACKGROUND L AYER With Black . . . . 16.4 Step 4: Turn The Top L AYER Off For Now . . . . . . . . . 16.5 Step 5: Turn On PHOTOSHOPs Grid . . . . . . . . . . . . 16.6 Step 6: Drag Out A Series Of H ORIZONTAL Selections . 16.7 Step 7: Add A L AYER M ASK . . . . . . . . . . . . . . . . . 16.8 Step 8: Turn The V ERTICAL Strips L AYER . . . . . . . . 16.9 Step 9: Drag Out A Series Of V ERTICAL Selections . . . . 16.10 Step 10: Add A L AYER M ASK . . . . . . . . . . . . . . . . 16.11 Step 11: Select All The Strip Intersection Points . . . . . 16.12 Step 12: Save The Selection . . . . . . . . . . . . . . . . 16.13 Step 13: Deselect Every Other Square Selection . . . . . 16.14 Step 14: Copy The Selection To A New L AYER . . . . . . 16.15 Step 15: Create A Clipping Mask . . . . . . . . . . . . . . 16.16 Step 16: Reload The Saved Selection . . . . . . . . . . . 16.17 Step 17: Deselect The Opposite Square Selections . . . 16.18 Step 18: Copy The Selection To A New L AYER . . . . . . 16.19 Step 19: Create A Clipping Mask . . . . . . . . . . . . . . 16.20 Step 20: Add An Outer Glow L AYER Style . . . . . . . . . 16.21 Step 21: Copy And Paste The L AYER Style Onto L AYER .

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17 Matching Colors Of Objects Between Photos - PHOTOSHOP Tutorial 17.1 Step 1: Duplicate The B ACKGROUND L AYER In The Original Image . . . . . . 17.2 Step 2: Select The Object That Needs A Color Change . . . . . . . . . . . . . 17.3 Step 3: Select A Large Area Inside The Object In The Second Image . . . . . 17.4 Step 4: Switch Back To The Original Image . . . . . . . . . . . . . . . . . . . 17.5 Step 5: Open The Match Color Command . . . . . . . . . . . . . . . . . . . . 17.6 Step 6: Select Your Second Image As The Source . . . . . . . . . . . . . . . . 17.7 Step 7: Tell PHOTOSHOP To Use The Selections Youve Made In The Images 17.8 Step 8: Add A Levels Adjustment L AYER . . . . . . . . . . . . . . . . . . . . . 17.9 Step 9: Drag The BLACK AND WHITE Point Sliders In Towards The Center . . 17.10 Step 10: Change The Levels Adjustment L AYERs Blend Mode To . . . . . . 17.11 Step 11: Deselect Your Selection . . . . . . . . . . . . . . . . . . . . . . . . . .

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18 How To S HARPEN An Image 295 18.1 Technique one: H IGH PASS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 18.2 Saturation and sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 18.3 Technique two: U NSHARP MASK/Smart S HARPEN . . . . . . . . . . . . . . . . . . . . . . . . . 298 19 Tilt-Shift Photography PHOTOSHOP Tutorial 19.1 Step 1: Photo Selection . . . . . . . . . . 19.2 Step 2. Enter Quick Mask Mode . . . . . 19.3 Step 3. Choose Gradient Tool . . . . . . 19.4 Step 4. Draw A Line . . . . . . . . . . . . 19.5 Step 5. View Mask Area . . . . . . . . . . 19.6 Step 6. Return To Standard Mode . . . . 19.7 Step 7. Open LENS Blur Interface . . . . 304 304 304 305 305 306 306 307

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INHOUDSOPGAVE 19.8 Step 8. Review Effect And Tweak Settings . . . . . . . 19.9 Step 9. Exit LENS Blur Interface . . . . . . . . . . . . . 19.10 Step 10. Remove Selection Boundary . . . . . . . . . . 19.11 Step 11. Open Hue/Saturation Adjustment Interface 19.12 Step 12. Boost Saturation . . . . . . . . . . . . . . . . . 19.13 Step 13. Open Curves Adjustment Interface . . . . . . 19.14 Step 14. Adjust Curves . . . . . . . . . . . . . . . . . . 19.15 Step 15. Finished . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 308 308 309 309 310 310 311 312 313 315 317 318 318 320 323 324 324 325 326 327 330 331 332 332 333 333 334 335 335 336 336 337 337 338 339 340 341 341 342 342 343 343 344 344 345 346 347 348 349

20 Giving A Photo Rounded Corners In PHOTOSHOP 20.1 Step 1: Add A L AYER M ASK . . . . . . . . . . . . . . . . . . . . . . . 20.2 Step 2: Add A Vector Mask . . . . . . . . . . . . . . . . . . . . . . . 20.3 Step 3: Select The Rounded Rectangle Tool . . . . . . . . . . . . . 20.4 Step 4: Select The Vector Mask Thumbnail In The L AYERS Palette 20.5 Step 5: Drag Out The Shape . . . . . . . . . . . . . . . . . . . . . . 20.6 Step 6: Add A White Stroke To Create A Photo Border . . . . . . . 21 How To Straighten Crooked Photos 21.1 Step 1: Select The Measure Tool . . . . . . . . . . . . . . . . . . . 21.2 Step 2: Click And Drag Along Something That Should Be Straight 21.3 Step 3: Choose The Rotate Canvas - . . . . . . . . . . . . . . . . . 21.4 Step 4: Click OK To Rotate And Straighten The Image . . . . . . . 21.5 Step 5: C ROP The Image With The C ROP Tool . . . . . . . . . . . 22 Recreate the super-saturated look of Fuji Velvia in PHOTOSHOP 22.1 Step 1: RAW settings . . . . . . . . . . . . . . . . . . . . . . 22.2 Step 2: Adjust hue and saturation . . . . . . . . . . . . . . . 22.3 Step 3: Reduce NOISE . . . . . . . . . . . . . . . . . . . . . . 22.4 Step 4: S HARPEN up . . . . . . . . . . . . . . . . . . . . . . . 22.5 In camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Replace boring skies with PHOTOSHOP selection tools 23.1 Step 1: Start selecting . . . . . . . . . . . . . . . . . 23.2 Step 2: Modify your selection . . . . . . . . . . . . 23.3 Step 3: Make a mask . . . . . . . . . . . . . . . . . . 23.4 Step 4: Sample sky colour . . . . . . . . . . . . . . 23.5 Step 5: Draw a sky . . . . . . . . . . . . . . . . . . . 23.6 Step 6: Reveal delicate details . . . . . . . . . . . . 23.7 Top PHOTOSHOP tip . . . . . . . . . . . . . . . . . .

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24 Snowakes Photo Border In PHOTOSHOP 24.1 Step 1: Create A New PHOTOSHOP Document . . . . . . 24.2 Step 2: Select The Custom Shape Tool . . . . . . . . . . 24.3 Step 3: Load The Nature Shape Set . . . . . . . . . . . . 24.4 Step 4: Select One Of The Snowake Shapes . . . . . . . 24.5 Step 5: Select The Fill Pixels Option . . . . . . . . . . . . 24.6 Step 6: Drag Out A Snowake . . . . . . . . . . . . . . . 24.7 Step 7: Create A Brush From The Shape . . . . . . . . . 24.8 Step 8: Open Your Photo . . . . . . . . . . . . . . . . . . 24.9 Step 9: Add A New Blank L AYER . . . . . . . . . . . . . . 24.10 Step 10: Fill The New L AYER With White . . . . . . . . . 24.11 Step 11: Select The Area Where The Photo Will Appear 24.12 Step 12: Delete The Area Inside The Selection . . . . . . 24.13 Step 13: Expand The Selection . . . . . . . . . . . . . . . 24.14 Step 14: Apply The Gaussian Blur F ILTER . . . . . . . . v

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INHOUDSOPGAVE 24.15 Step 15: Select The Brush Tool . . . . . . . . . . . . . . . . . . . . . . . . . 24.16 Step 16: Select The Snowake Brush . . . . . . . . . . . . . . . . . . . . . 24.17 Step 17: Set The Brush Dynamics Options . . . . . . . . . . . . . . . . . . 24.18 Step 18: Convert The Selection Outline Into A Path . . . . . . . . . . . . 24.19 Step 19: Set The Foreground Color To White And Lower The Brush Size 24.20 Step 20: Stroke The Path With The Snowake Brush . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 351 352 353 355 356 360 362 364 365 367 368 369 370 373 377 378 380 382 384 384 385 386 389 392 396 397 399 399 401 402 404 405 407 407 408 410 412 414 415 415 417 418 419 421 424

25 Tearing A Photo To Reveal Another - PHOTOSHOP Tutorial 25.1 Step 1: C ROP The Main Photo Around The Persons Face . . . . . . . . . . . . . . 25.2 Step 2: Duplicate The B ACKGROUND L AYER . . . . . . . . . . . . . . . . . . . . . . 25.3 Step 3: Add More Canvas Space And Fill It With Black . . . . . . . . . . . . . . . . 25.4 Step 4: Fill The Entire B ACKGROUND L AYER With Black . . . . . . . . . . . . . . . 25.5 Step 5: Add A L AYER M ASK On L AYER 1 . . . . . . . . . . . . . . . . . . . . . . . . 25.6 Step 6: Paint With Black On The Mask To Blend The Edges Of The Image In . . . 25.7 Step 7: Colorize The Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25.8 Step 8: Add Some Dramatic L IGHTING With A Curves Adjustment L AYER . . . . . 25.9 Step 9: Select The Area To Tear Out Of The . . . . . . . . . . . . . . . . . . . . . 25.10 Step 10: Select The L AYER M ASK On L AYER 1 . . . . . . . . . . . . . . . . . . . . 25.11 Step 11: Apply The Spatter F ILTER To . . . . . . . . . . . . . . . . . . . . . . . . . 25.12 Step 12: Drag The Second Image Into The Document . . . . . . . . . . . . . . . . 25.13 Step 13: Resize And Reposition The Image With The Free Transform Command 25.14 Step 14: Desaturate The Second Image . . . . . . . . . . . . . . . . . . . . . . . . . 25.15 Step 15: Add A L AYER M ASK To The Second Image . . . . . . . . . . . . . . . . . . 25.16 Step 16: Paint With Black Around The Edges Of The Second Image . . . . . . . . 25.17 Step 17: Add Some NOISE To The Image . . . . . . . . . . . . . . . . . . . . . . . . 25.18 Step 18: Add Another New L AYER And Set Its Blend Mode To . . . . . . . . . . . . 26 Placing An Image Inside Of Another In PHOTOSHOP 26.1 Step 1: Select The Area You Want To Paste The Second Image Into . 26.2 Step 2: Copy The Second Image To The Clipboard . . . . . . . . . . 26.3 Step 3: Paste The Second Image Into The Selection . . . . . . . . . 26.4 Step 4: Resize The Second Image With Free Transform . . . . . . . 26.5 Step 5: Add An Inner SHADOW L AYER Style . . . . . . . . . . . . . . . 27 Placing An Image Inside Of Another In PHOTOSHOP 27.1 Step 1: Select The Area You Want To Paste The Second Image Into . 27.2 Step 2: Copy The Second Image To The Clipboard . . . . . . . . . . 27.3 Step 3: Paste The Second Image Into The Selection . . . . . . . . . 27.4 Step 4: Resize The Second Image With Free Transform . . . . . . . 27.5 Step 5: Add An Inner SHADOW L AYER Style . . . . . . . . . . . . . . .

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28 Wedding Couple in Wine Glass 28.1 Step 1: Drag A Selection Around The Couple With The Elliptical Marquee Tool . . . . . . . 28.2 Step 2: Feather The Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28.3 Step 3: Drag The Selection Into The Wine Glass Photo . . . . . . . . . . . . . . . . . . . . . . 28.4 Step 4: Resize and Reposition The Wedding Couple With PHOTOSHOPs Free Transform Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28.5 Step 5: Add A L AYER M ASK To The Wedding Couple L AYER . . . . . . . . . . . . . . . . . . . 28.6 Step 6: Paint With Black Around The Edges Of The Wedding Couple . . . . . . . . . . . . . 28.7 Step 7: Use The Blend If Sliders To Bring Back Some Glass Highlights . . . . . . . . . . . Index

vi

Deel I

Photoshop Bewerkingen

H OOFDSTUK

1
101 PHOTOSHOP tips you have to know
Are your photo editing skills a little on the slow side? Could your PHOTOSHOP knowledge be better? If so, youre in the right place. Below weve culled from experts 101 of the best PHOTOSHOP tips and tricks you need to streamline your photo editing skills and start working faster and smarter. Weve broken our list down into categories of Quick tips, Adobe Camera RAW and Bridge tips, Tips for using L AYERS, Tips for using PHOTOSHOPs many tools and, nally, Tips for using Brushes. We hope our round-up of cunning techniques, shortcuts and cool effects gives you the help you need, and if you have a suggestion for something we missed. . . let us know!

1.1 Quick PHOTOSHOP Tips


1.1.1 Combine images with text
Theres a really easy way to overlay an image on top of text. Drop an image L AYER over a type L AYER then hold down Alt and click the line between the two L AYERS in the L AYERS Panel to clip the image to the text.

1.1.2 Rotating patterns


You can make amazing kaleidoscopic patterns with the help of a keyboard shortcut. Cmd/Ctrl+Shift+Alt+T lets you duplicate a L AYER and repeat a transformation in one go. To demonstrate, weve made a narrow 2

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW glowing shape by squeezing a LENS are effect, but you can use any shape, image or effect you like. First, make an initial rotation by pressing Cmd/Ctrl+T and turning slightly, then hit Enter to apply. Next, press Cmd/Ctrl+Shift+Alt+T repeatedly to create a pattern.

1.1.3 Birds Eye View


When zoomed in close, hold down H and drag in the image to instantly dart out to full screen then jump back to another area.

1.1.4 Quick full L AYER Masks


You can Alt-click on the L AYER M ASK icon to add a full mask that hides everything on the Layer.

1.1.5 Easier marquee selections


Hold down Alt to start a selection at the centre point with any Marquee tool, and then hold Space to temporarily move the selection around.

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.1.6 Funky backgrounds


Want to change the default grey B ACKGROUND to something more funky? Shiftclick over the B ACK GROUND area with the Paint Bucket tool to ll it with your foreground colour. Right-click it to go back to grey.

1.1.7 1000 History states


Go to Edit>Preferences>Performance to change the number of History states up to a maximum of 1000. Beware though of the effect that this has on performance.

1.1.8 Colour code L AYERS


Use colour coding to organise your L AYERS Panel. Right-click over a L AYERs eye icon to quickly access 8 colour code choices.

1.1.9 Close all images


To close all of your documents at the same time, Shift-click any image W INDOWs close icon.

1.1.10 Spring-loaded Move


While using any tool, hold Cmd/Ctrl to temporarily switch to the Move tool. Release to go back to your original tool. Note that spring-loaded keyboard shortcuts work for other tool shortcuts, too.

1.1.11 Interactive Zoom


For interactive zooming, hold Cmd/Ctrl+Space then drag right to zoom in, or left to zoom out. The zoom targets where your mouse icon is, so its one of the quickest ways to navigate around an image. 4

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.1.12 L IGHTNING fast L AYER copies


Hold down Cmd+Alt and drag any L AYER to instantly make a copy.

1.1.13 Diffuse effects


The Diffuse Glow F ILTER can give highlights a soft ethereal feel, especially when you combine the effect with desaturation. Hit D to reset colours then go to F ILTER>Distort>Diffuse Glow. Keep the effect fairly subtle, then go to Image>Adjustments>Hue/Saturation and drop the saturation down to complete the dreamlike effect.

1.1.14 Undo, Undo, Undo


You probably know that Cmd/Ctrl+Z is Undo, but you may not know Cmd/Ctrl+Alt+Z lets you undo more than one history state.

1.1.15 Cycle Blend Modes


Shift + or will cycle through different L AYER Blend Modes, so long as you dont have a tool that uses Blend Mode options settings.

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.2 Tips 16-25: Essential PHOTOSHOP shortcuts


1.2.1 Cmd/Ctrl+Shift+Alt+E will merge a copy of all L AYERS 1.2.2 F Cycle through workspace backgrounds 1.2.3 X Change your foreground and B ACKGROUND colours 1.2.4 D Reset foreground and B ACKGROUND colours to BLACK AND WHITE 1.2.5 ] and [ Change your brush tip size 1.2.6 Cmd/Ctrl+J Duplicate a L AYER or selection 1.2.7 Space Bar Hold Space and drag to navigate around the image 1.2.8 TAB Hides or shows all panels and tools 1.2.9 Cmd/Ctrl+T Transform a L AYER 1.2.10 Cmd/Ctrl+E Merge selected L AYER down, or merges several
highlighted L AYERS

1.3 Adobe Camera RAW and Bridge Tips

1.3.1 Use Select All


To quickly batch process a group of images, open them all in Adobe Camera RAW (the easiest way to do this is through Adobe Bridge) and then click Select All. Now, any changes you make to one image will be 6

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW applied to all the open les.

1.3.2 Open Smart Objects


Hold down Shift in Adobe Camera RAW and the Open Image button switches to Open Object. Now the le opens as a Smart Object, which means you can double-click the L AYER thumbnail in PHOTOSHOP to go back and edit the L AYER in ACR.

1.3.3 Mask Sharpening

The Masking slider in the Detail Panel lets you control which areas of an image are sharpened, but its impossible to J UDGE unless you hold down Alt as you drag. This displays a greyscale view, in which black areas are protected from sharpening, enabling you to isolate the sharpening to edge areas.

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.4 Reset the sliders quickly


Double-click any slider to reset it to 0. If you click once, then the slider jumps to the point youre over. So if you keep the mouse still, you can single-click, then double-click over a point for a quick before and after view of any adjustment youve made.

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.5 C ROP ratios


Square crops can help to make your images stand out from the crowd. For a list of different C ROP ratios, hold down the mouse button over the C ROP tool. Remember, like everything else in ACR, CROPPING is non-destructive, so you can try out different ratios and adjust the C ROP at any time.

1.3.6

EXPOSURE before colour

Its always best to adjust EXPOSURE before you move on to colour correction.

1.3.7 Adjustment Brush controls


The Adjustment Brush is perfect for selective toning in ACR. The brush works by setting pins, each linked to a painted mask that species the area you want to tweak. Youll need to view the mask when painting, and hide it when using the sliders to adjust the area. Hit Y to switch the view of the mask on or off.

1.3.8 Erase masks


When painting with the Adjustment Brush, hold down Alt to erase parts of the mask.

1.3.9 Clip the blacks


Deep blacks give an image extra punch, so its okay to clip the blacks a little. For deep blacks, drag the Black point slider inwards while holding down Alt until a few dark spots appear.

1.3.10 Straighten horizons


Hold down A and drag a line to straighten your images.

1.3.11 Clipping views


Hold down Alt while dragging the EXPOSURE, Blacks or Recovery slider to see any clipped pixels, or click the icons at the top right and left of the HISTOGRAM to see them all the time.

1.3.12 Screen real estate


Make the most of your screen size by hitting F to switch the ACR display to Full Screen Mode.

1.3.13 3D carousel view


Hit Cmd/Ctrl+B to see your images in a snazzy 3D carousel. Scroll through the images with the left and right arrow keys and hit down to remove an image from the view.

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.14 Paste ACR settings


You can copy ACR treatments from one le to another in Bridge. Right-click any le with the circular ACR icon, then go to Develop Settings>Copy Settings. Right-click another le (or hold down Cmd/Ctrl and click toselect more than one) then choose Paste settings.

10

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.15 Stack similar images


Stacks can help you keep your workspace tidy and easier to navigate by grouping similar images together. Select a group of les (hold down Shift and click the rst and last) then go to Stacks>Group as Stack.

1.3.16 Open in Adobe Camera RAW


RAW les open automatically into Adobe Camera RAW, but you can open JPEGs and TIFFs, too, by right-clicking them and choosing Open in Camera RAW, or simply hit Cmd/Ctrl+R.

11

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.17 Open as L AYERS


You can load a group of images into L AYERS of a single document by going to Tools>PHOTOSHOP>Load Files into PHOTOSHOP Layers.

1.3.18 Step-by-step Solarisation in Adobe Camera RAW

1.3.19 Make a cone-shaped curveOpen an image in ACR, then click the


Tone Curve Panel. Drag all the points off the curve to delete them, then make one single point in the middle. Drag this down, then drag the bottom left of the curve to line up to the top, making an inverted cone shape.

12

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.20 Convert to monoClick the HSL/Greyscale Panel andcheck


Convert to BLACK AND WHITE. Use the sliders to tweak the BLACK AND WHITE conversion. If you want to add some colour, go to Split Toning and adjust the sliders to add colour to the shadows and highlights.
PHOTOSHOP

Tips for using L AYERS

1.3.21 Converting L AYER Styles


Converting a L AYER Style to a normal pixel-based L AYER gives you greater control to edit the contents. To do so, add a style then right-click Effects and choose Create Layer. 13

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.22 View one L AYER


If youre working with multiple L AYERS and you want to view one L AYER on its own, theres no need to hide all the others manually, simply hold down Alt and click the Eye icon of a L AYER to make every other L AYER invisible. Hold down Alt and click again to reveal them.

1.3.23 Invert a L AYER M ASK


After adding any Adjustment L AYER, hit Cmd/Ctrl+I to invert the L AYER M ASK and quickly hide the effect, then paint back over the image with white to selectively reveal the adjustment.

1.3.24 Unlink L AYERS and masks


You can move either a mask or an image independently of one another by clicking the link between the two thumbnails in the L AYERS Panel. Highlight the thumbnail you want to reposition, then grab the Move tool.

1.3.25 Quick copy


Hold down Alt and drag a mask, style or L AYER to quickly duplicate it.

1.3.26 Convert the B ACKGROUND


Double-click the B ACKGROUND L AYER and hit OK to convert it to an editable Layer.

1.3.27 Adjustments
Always use Adjustment L AYERS rather than directly editing a Layer. This gives you three advantages: you can edit it at any time, control the strength with Opacity, and use a mask to make it work selectively.

1.3.28 Move query


When using the Move tool, right-click over a point in the image for a list of all the L AYERS youre hovering over.

1.3.29 Panel Options


The L AYERS Panel is the most important box in PHOTOSHOP, so youll want to make sure its set up properly for your needs. Choose Panel Options from the Fly-out menu to select different thumbnail sizes and content.

1.3.30 Move L AYERS up or down


You can move L AYERS up or down the stack in the L AYERS Panel while watching the image change. Hold down Cmd/Ctrl and press ] or [.Add in Shift to move a L AYER right to the top or bottom.

14

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.31 Fill shortcuts


You can press Alt+Backspace to ll a L AYER or selection with the Foreground colour, Cmd/Ctrl+Backspace to ll a L AYER or selection with the B ACKGROUND colour, or Shift+Backspace to quickly access the Fill Options.

1.3.32 The 50% grey L AYER


A new L AYER lled with 50% grey is useful in lots of situations. For example, you can dodge and burn with it, add texture, or manipulate a LENS Flare effect, all in a completely non-destructive way. To create a

1.3.33 % grey L AYER, make a new L AYER then go to Edit>Fill,


then set the Blend Mode to Overlay.

1.3.34 L AYER Group shortcut


L AYER Groups are incredibly useful, but dont bother clicking on the L AYER Group icon, as youll have to add L AYERS to the new group manually. Instead, you should highlight several L AYERS and either drag them to this icon or alternatively hit Cmd/Ctrl+G.

1.3.35 Edit multiple type L AYERS


To apply a change of font or size to multiple type L AYERS at once, hold down Cmd/Ctrl and click the L AYERS in the L AYERS Panel to highlight them, then simply select the Type tool and change the settings in the Options Bar.

15

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.36 L AYER M ASK views


Hold down Alt and click a L AYER M ASK thumbnail to toggle between a view of the mask and the image. Hold down Shift and click to turn the mask on or off.

1.3.37 Select similar L AYERS


To quickly select all L AYERS of a similar kind, such as shape or type L AYERS, highlight one of them and then go to Select>Similar Layers.

1.3.38 Change Opacity


When not using a painting tool, you can change L AYER Opacity simply by pressing a number key. Hit 1 for 10%, 5 for 50%, and 0 for 100%.

16

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.39 Quick masking


You may be familiar with Color Range in the Select drop-down menu. But did you know that you can access a similar command through the Color Range button in the Masks Panel? (Window>Masks). This allows you to quickly make a mask by sampling colours, which can be used for making a quick spot colour effect.

1.3.40 Step-by-step Blend re effects

17

HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.41 Copy in the reOpen our les re_before01 and


re_before02, then grab the Move tool and check Auto-Select L AYER and Show Transform Controls. Drag the re image into the girl image to copy it in, then change the Blend Mode of the L AYER to Screen.

1.3.42 Position and warpClick the bounding box to transform the re


L AYER, then resize, rotate and position the Layer. Right-click while in Transform mode and choose Warp to wrap the re around the body. Hit Cmd/Ctrl+J to copy the re L AYER and transform again to build up the effect. Tips for using PHOTOSHOP Tools

1.3.43 Right-click for contextual menus


Almost all tools have a contextual menu thats accessed with a simple right-click. This usually gives you the tools major controls and a few handy shortcuts. As well as the tool you have active, where you rightclick affects the menu, too. For example, a right-click over a L AYER thumbnail or mask thumbnail gives different options.

1.3.44 Speedy navigation


Being able to quickly and easily move around your image and zoom in or out will speed up your workow more than anything else. Use Cmd/Ctrl and + to zoom in, Cmd/Ctrl and to zoom out. Hold the space bar to temporarily access the Hand tool and drag around the image.

1.3.45 Crucial selection shortcuts


With any selection tool, hold Shift to add to an existing selection and Alt to subtract from it. Shift+Alt together allows you to intersect selections.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.46 Paste in place


Cut and paste a selection to a new L AYER and PHOTOSHOP will place it in the middle of the screen. If you want to paste it to a new L AYER, but keep the position the same, use Cmd/Ctrl+X to cut and Cmd/Ctrl+Shift+V to paste in place. Similarly, you should hold down Shift while dragging L AYERS between documents with the Move tool to keep the same position.

1.3.47 Hide the Marching Ants


Press Cmd/Ctrl+H to hide or reveal a selections marching ants line. Cmd/Ctrl+Shift+H does the same for a Path line.

1.3.48 The amazing Cmd/Ctrl+click


Use the Cmd/Ctrl+click shortcut on any L AYER thumbnail, mask thumbnail, Channel or Path to load its shape or contents as a selection.

1.3.49 Switch lasso


When using the Lasso tool, hold Alt then release the mouse button to temporarily switch to the Polygonal Lasso tool.

1.3.50 Fixed Ratio selections


The Rectangular Marquee tool has a useful Style setting in the Options Bar that lets you make a selection at a xed ratio or size. This is helpful if you want to select a specic area to use as a wallpaper or for web pages.

1.3.51 Transform a selection


You can transform a selection in just the same way as a Layer. Just go to Select>Transform Selection. Right-click to choose from familiar transform modes like Skew and Warp.

1.3.52 Pen tool rubber band


If youre a newcomer to the Pen tool, it can be frustrating when plotting anchor points, as often youre not entirely sure how your next curve will behave. Theres a useful feature hidden in the Options Bar that can be a godsend for beginners. Click the Geometry options drop-down (next to Auto Add/Delete) and check Rubber Band. Now, as you use the Pen tool youll see an interactive preview of your next curve before you add it.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.53 Non-destructive crops


A little-known feature of the C ROP tool allows you to hide, rather than delete CROPPED areas. To do this, youll need to make the B ACKGROUND L AYER editable rst, so double-click it then hit OK. Next, grab the C ROP tool and drag a C ROP W INDOW, then instead of applying the C ROP, check Hide in the Options. Now you can re-crop at any time by dragging outside the W INDOW to reveal the previously CROPPED areas.

1.3.54 Tweak anchor points


When using the Pen tool, hold down Cmd/Ctrl to temporarily switch to the Direct Selection tool. This lets you move anchor points and control handles.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.55 Add a point


To add a point, hover over the existing path line and the Pen tool will automatically change to the Add Anchor Point tool.

1.3.56 Remove handles


Remove handles from a point and make it into a SHARP angle by Alt-clicking over it.

1.3.57 From selection to path


Turn any active selection into a path by clicking the Make Workpath from Selection icon at the bottom of the Paths Panel.

1.3.58 Add handles


Add handles to a point by holding Alt then dragging outwards from the point

1.3.59 Path options


Once youve made a path with the Pen tool, right-click for lots of options, including Make Selection, Fill Path and Stroke Path.

1.3.60 Magnetic Pen


For a magnetic Pen tool that behaves just like the Magnetic Lasso tool, choose the Freeform Pen tool from the Tools Panel then check Magnetic in the Options Bar.

1.3.61 Step-by-step Select sky with Channels

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.3.62 Copy Blue Channel


Go to W INDOW Channel then drag the Blue Channel to the New Channel icon to duplicate it. Hit Cmd/Ctrl+L to access Levels, then drag the white and black point sliders in dramatically to make the sky totally white and the land black. Now use the Brush tool and paint with black to tidy any bits in the land.

1.3.63 Load a selection


Hold Cmd/Ctrl and click the Blue Copy Channel to load a selection of the white areas. Click back on the RGB Channel then go to the L AYERS Panel and add a Curves Adjustment Layer. The selection is automatically turned into a mask. Drag down on the curve to darken the sky.

1.4 Tips for using Brushes


1.4.1 Try Adobe Eazel
For tablet owners, Adobe Eazel is both fun and a serious painting tool. Finger-painted brush strokes have a uidity thats difcult to create on a computer. Wireless transmission between tablet and PHOTOSHOP streamlines the painting process.

1.4.2 Change the brush angle


When using a non-circular brush, you may nd the need to change the angle of the brush tip. To do this, click the Brush Panel in the Options Bar then highlight Brush Tip shape and drag the circle to change the angle of the brush. You can also ip it HORIZONTALLY or VERTICALLY with the check boxes.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.4.3 Rotate the clone source


Clone around corners by rotating a clone source. To do so, use Shift+Alt+ < or >. It helps if you have Show Overlay checked in the Clone Source Panel, so that you can see the rotation.

1.4.4 Real paint ridges


The Bevel and Emboss F ILTER is often used by digital painters to make brush strokes look like ridged L AYERS of paint. Merge a copy of all the L AYERS, then set the Blend Mode to Overlay and apply the Bevel and Emboss Filter.

1.4.5 Interactive brush settings


When using the Brush tool, hold down Alt and the right mouse button for a preview of the Brush tips size and hardness. Drag down and up to increase or decrease hardness, and drag right or left to change the size.

1.4.6 Tilt Canvas


When painting, its often easier to rotate the canvas rather than try to bend your wrist into an uncomfortable position. Just as a sketcher would angle a piece of paper, you can angle your canvas by holding down R then dragging it around. Release R and youll ip back to your original tool. To revert back to normal, hold down R and click Reset View in the options.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.4.7 Smudge painting


Smudge painting is quick and immensely satisfying. To paint with the Smudge tool, ll a L AYER with an off-white tone, duplicate the B ACKGROUND L AYER and set it at the top of the stack, with Opacity at about 13%, then highlight the Smudge tool, check Sample All L AYERS, and start painting. Its that simple.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.4.8 Add texture to paintings


As a nishing touch, you can make your paintings look much more authentic by adding a paper texture. Copy a texture on top of your image, then experiment with Blend Modes and Opacity until you get the right effect. The Darken or Multiply modes will usually provide you with good results.

1.4.9 Draw straight lines


To draw a straight line with the Brush tool, hold down Shift and then click two points.

1.4.10 Sample a colour


With the Brush tool selected, hold down Alt and click to sample a colour and then set it as your Foreground colour.

1.4.11 Precise painting


Press Caps Lock to switch your cursor to a crosshair.

1.4.12 Cycle through the brushes


Use , and . to cycle left or right through the brushes in the Brush Preset Picker.

1.4.13 Dodge or Burn


When painting with the Burn tool, you can hold down Alt to switch instantly to the Dodge tool.

1.4.14 Get a pen and tablet


If youre into digital painting, but dont own a graphics tablet, youre missing out on a whole new world of creativity. There are plenty of good, entry-level tablets available, but if you want mid-range features that include multi-touch input, treat yourself to a Wacom Intuos 5.

1.4.15 Change hardness


As you probably know, the ] and [ bracket keys change your brush size, but you can also use Shift+ ] or [ to change the brush hardness.

1.4.16 Quick Opacity change


When using the Brush tool, press any number between 0 and 9 and the Brush Opacity will set to it. 1 for 10%, 9 for 90%, 0 for 100%. Press Shift and a number to adjust Flow.

1.4.17 Create a brush


You can create a brush tip from any image you like. Simply convert to monochrome, then make a selection and go to Edit>Dene Brush Preset. Only dark parts are recorded; any parts that are pure white arent included in the brush tip. So if you want the shape of the brush to be clear, you need to isolate the object or shape against a white Background.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.4.18 Make sketch lines


If you want to turn a photo into a painting, adding sketch lines can make the effect look more realistic. To do so, duplicate your L AYER then go to F ILTER>Stylise>Glowing Edges, then invert the colours, desaturate and use the Darken or Multiply Blend Mode.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.4.19 Experiment!
The Brush Panel is the control centre for hundreds, if not thousands, of different brush effects and settings. The best way to nd out how it works is to grab the Brush tool, choose a colour, open a new document and start painting. To take it further, try painting on different L AYERS and use different Blend Modes, or add L AYER Style effects to your painted Layer.

1.5 Quick brush effects

1.5.1 Set up the Brush


Open your original image, then hit Cmd/Ctrl+J to duplicate the Background. Load Square Brushes from the Brush Picker drop-down menu. Select a square brush, then open the Brush Panel and use these settings: Brush tip shape: Spacing 631%. Shape Dynamics: Size, Angle, Roundness Jitter all 100%. Scattering: Scatter 638%, Count Jitter Colour Dynamics: Foreground/Background Jitter 20%, Saturation Jitter 20%. Brightness 30%.

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HOOFDSTUK 1. 101 PHOTOSHOP TIPS YOU HAVE TO KNOW

1.5.2 Paint mask and colours


Use the Lasso tool to select the girl then hit Shift+Backspace and choose Fill: Content-Aware. Hold down Alt and click the Add L AYER M ASK icon then set Foreground colour to white and paint on the mask over the girl to hide parts of the body. Next, add a new empty L AYER and hold down Alt to sample colours from the girl, then paint to add coloured fragments. Add a second new L AYER, paint larger strokes, then blur slightly with F ILTER>Gaussian Blur.

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H OOFDSTUK

2
Add A Realistic Rainbow To A Photo With
PHOTOSHOP
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, well learn how to easily add a rainbow, and even a double rainbow, to a photo! As well see, PHOTOSHOP ships with a ready-made rainbow gradient for us to use. Well learn where to nd it and how to load it in. Well also learn how to ip the order of the colors in a gradient, which well need to do to create a more realistic double rainbow effect. Of course, as with most photo effects, it helps if you start with the right type of image. In this case, a photo taken outdoors is a good place to start. If it happens to be a LANDSCAPE photo taken after a R AIN storm, even better! Ill be using PHOTOSHOP CS5 throughout this tutorial but any recent version will work. Heres the photo Ill be starting with:

Figuur 2.1 The original image. Heres what the image will look like after adding a double rainbow:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.2 The nal rainbow effect. Lets get started!

2.1 Step 1: Add A New Blank L AYER


With the image newly opened in PHOTOSHOP, if we look in the L AYERS panel, we see that we currently have one L AYER, the B ACKGROUND L AYER, which contains our image:

Figuur 2.3 The photo sits on the B ACKGROUND L AYER in the L AYERS panel. The rst thing we need to do is add a new blank L AYER above the B ACKGROUND Layer. To do that, click on the New L AYER icon at the bottom of the L AYERS panel: 30

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.4 Click on the New L AYER icon.


PHOTOSHOP adds a new blank L AYER named L AYER 1 above the B ACKGROUND Layer. Double-click directly on the name of the L AYER and change it to Rainbow, since well be adding our initial rainbow to this Layer. Press Enter (Win) / Return (Mac) when youre done to accept the name change:

Figuur 2.5 Rename the new L AYER Rainbow.

2.2 Step 2: Select The Rainbow Gradient


As I mentioned, PHOTOSHOP ships with a ready-made rainbow gradient for us to use. Its not one of the gradients that PHOTOSHOP makes available to us by default, but all we need to do is load it in manually. To do that, select the Gradient Tool from the Tools panel:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.6 Select the Gradient Tool. Then, with the Gradient Tool selected, click on the Gradient Picker in the Options Bar at the top of the screen:

Figuur 2.7 Click on the Gradient Picker in the Options Bar. This opens PHOTOSHOPs Gradient Editor which shows us small thumbnails of the gradients we can choose from. By default, the rainbow gradient isnt one of them, so lets load it in. Click on the rightpointing arrow in the top right of the Gradient Editor:

Figuur 2.8 Click on the small arrow. A list of additional gradient sets appears. The one we want is Special Effects. Select it from the list:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.9 Select the Special Effects gradients.


PHOTOSHOP will ask you if you want to replace the original gradients with the Special Effects gradients or simply append them to the bottom of the list. Click Append so youll still have the original gradients available, and the new Special Effects ones will be added below them:

Click Append to add the new Special Effects gradients in with the original gradients. With the new Special Effects gradients added, the one we want - Russells Rainbow - is the last one at the bottom. If you have PHOTOSHOPs Tool Tips enabled in the Preferences (theyre enabled by default), youll see the name Russells Rainbow appear when you hover your mouse over the gradients thumbnail. Click on the thumbnail to select the gradient, then click OK to exit out of the Gradient Editor:

Click on the Russells Rainbow thumbnail to select the gradient. 33

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

2.3 Step 3: Select Radial Gradient From The


Options Bar To make the rainbow gradient appear as an arc when we draw it, go back up to the Options Bar at the top of the screen and click on the Radial Gradient option:

Figuur 2.10 Select Radial from the Options Bar.

2.4 Step 4: Drag Out A Rainbow With The Gradient Tool


To add the rainbow colors to the image, all we need to do is drag out a gradient. I want my rainbow to appear as if its touching the ground behind the group of trees on the left of my photo and then arching high above the larger tree on the right. To do that, Ill position my mouse almost at the edge of the photo near the bottom right corner, in line HORIZONTALLY with the bottom of the trees on the left. Ill click on that spot to set the starting point for my gradient, and with my mouse button still held down, Ill drag all the way across the image to a point just beyond the left of the trees. Holding my Shift key down as I drag will limit the direction I can drag in, making it easy to drag HORIZONTALLY:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP Dragging out a radial rainbow gradient from right to left in the image. When you release your mouse button, PHOTOSHOP draws the rainbow gradient. It doesnt look terribly realistic just yet, but its a start:

PHOTOSHOP

draws the gradient when you release your mouse button.

2.5 Step 5: Change The Blend Mode Of The Rainbow L AYER To


Screen Go up to the blend mode options in the top left of the L AYERS panel (its the drop-down box set to Normal by default) and change the blend mode of the Rainbow L AYER to Screen:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.11 Change the blend mode of the rainbow L AYER to Screen. The colors of the rainbow will now blend in better with the photo behind them:

The rainbow after changing its blend mode to Screen.

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

2.6 Step 6: Apply The Gaussian Blur F ILTER


Lets blur the colors of the rainbow together so it looks more realistic. Go up to the F ILTER menu in the Menu Bar at the top of the screen, choose Blur, then choose Gaussian Blur:

Figuur 2.12 Go to F ILTER > Blur > Gaussian Blur. This opens PHOTOSHOPs Gaussian Blur dialog box. Drag the Radius slider at the bottom of the dialog box towards the right to increase the amount of blurring being applied to the rainbow, keeping an eye on the image as you drag the slider so you can see a preview of whats happening. Continue dragging the slider to the right until the transitions between the colors look more soft and natural. The actual Radius value you end up choosing will depend a lot on the size and resolution of your image. For me, a value of around 50 pixels works well. Click OK when youre done to close out of the dialog box:

Drag the Radius slider to soften the color transitions in the rainbow. Heres my image after applying the Gaussian Blur F ILTER:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

The rainbow now looks more realistic after applying the Gaussian Blur Filter.

2.7 Step 7: Add A L AYER M ASK


Click on the L AYER M ASK icon at the bottom of the L AYERS panel:

Figuur 2.13 Click the L AYER M ASK icon. 38

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP Nothing will happen yet in the document W INDOW, but PHOTOSHOP adds a L AYER M ASK thumbnail to the right of the main preview thumbnail on the Rainbow Layer. If you look closely, youll see a white highlight box appearing around the L AYER M ASKs thumbnail. This tells us that the mask, not the L AYER itself, is selected:

Figuur 2.14 The L AYER M ASK thumbnail tells us that a mask has been added.

2.8 Step 8: Choose The Black To White Gradient


With the Gradient Tool still selected, right-click (Win) / Control-click (Mac) anywhere inside the document W INDOW to quickly access the gradient presets thumbnails, the same ones we saw a moment ago in the full Gradient Editor dialog box. Select the Black to White gradient by clicking on its thumbnail (third from the left, top row). Press Enter (Win) / Return (Mac) when youre done to close out of the gradient list:

Figuur 2.15 Click on the Black to White gradients thumbnail to select it.

2.9 Step 9: Choose Linear Gradient From The


Options Bar Go back up to the Options Bar and this time, click on the Linear Gradient option:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.16 Click on the Linear gradient icon.

2.10 Step 10: Drag A Black To White Gradient On The L AYER M ASK
A real rainbow would usually appear to get brighter as it reaches higher into the sky, so were going to give our Photoshopped rainbow that same effect by dragging a black to white gradient from the base of the rainbow (the point where the rainbow and the ground should meet) to the top of the image. To do that, with my Gradient Tool selected, Ill click my mouse somewhere along the bottom of the trees on the left. Then, with my mouse button still held down, Ill hold down my Shift key as well and drag straight up to the top of the image. Holding down Shift makes it easy to drag in a V ERTICAL direction:

Drag a black to white gradient from the base of the rainbow to the top of the image. When I release my mouse button, PHOTOSHOP draws the black-to-white gradient. Since the gradient was drawn on the L AYER M ASK, not on the L AYER itself, we dont see the actual gradient in the image. Instead, the rainbow now appears to start near the bottom of the trees on the left and gets brighter as it reaches higher into the sky:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

The rainbow no longer extends all the way to the bottom of the photo thanks to the L AYER Mask.

2.11 Step 11: Duplicate The Rainbow L AYER To Increase Its Brightness
To increase the brightness of the rainbow, simply press Ctrl+J (Win) / Command+J (Mac) to duplicate the Layer. If, after duplicating the L AYER, you nd the rainbow is now too bright, dial it back a few notches by lowering the opacity of the duplicated Layer. Youll nd the Opacity option directly across from the blend mode option at the top of the L AYERS panel. Im going to lower mine down to around 70%:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Press Ctrl+J (Win) / Command+J (Mac) to duplicate the rainbow L AYER, then lower the new L AYERs opacity as needed. Heres my image after duplicating my rainbow L AYER and then lowering the opacity:

42

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP The rainbow now appears brighter.

2.12 Step 12: Group The Two Rainbow L AYERS


Lets do a little housekeeping in the L AYERS panel by grouping the two rainbow L AYERS together. Grouping related L AYERS makes it easier to keep the L AYERS panel organized. With the top L AYER selected, hold down your Shift key and click on the original Rainbow L AYER directly below it to select both L AYERS at once. Youll see them both highlighted in blue, letting you know theyre both selected:

Figuur 2.17 Select both rainbow Layers. Then go up to the L AYER menu at the top of the screen and choose Group L AYERS:

Figuur 2.18 Go to L AYER > Group Layers.


PHOTOSHOP will group the two L AYERS together in the L AYERS panel. PHOTOSHOP names the new group Group 1. By default, the L AYER group will be closed, preventing us from seeing the two L AYERS inside of it, which is ne for now:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

The two rainbow L AYERS are now inside Group 1.

2.13 Step 13: Add A New Blank L AYER


We have our initial rainbow. Now lets add a second one to create a double rainbow effect! First, well need a new L AYER, so click once again on the New L AYER icon at the bottom of the L AYERS panel:

Figuur 2.19 Add another new Layer. The new L AYER will appear above the L AYER group in the L AYERS panel. Double-click on the new L AYERs name and change it to Second rainbow, then press Enter (Win) / Return (Mac) to accept the name change:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.20 Rename the new L AYER Second rainbow.

2.14 Step 14: Re-Select The Rainbow Gradient


Click once again on the Gradient Picker in the Options Bar at the top of the screen:

Figuur 2.21 The Gradient Picker is currently showing the black to white gradient. When the Gradient Editor opens, click again on the Russells Rainbow thumbnail to select the rainbow gradient, but dont close out of the Gradient Editor yet. We need to make some changes to it:

Figuur 2.22 Re-select the Russells Rainbow gradient.

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

2.15 Step 15: Flip The Order Of The Colors In The Gradient
Whenever we see a double rainbow in nature, the colors in the second rainbow are always in reverse order, which means we need to reverse the order of the colors in our gradient. With the Gradient Editor still open, click on the blue color stop directly below the gradient preview bar and drag it towards the left. Then do the same thing with the green and yellow color stops, dragging them towards the left. It doesnt matter how far you drag them as long as theres some space between them. This is just to make sure they dont overlap each other as we reposition them. Leave the red color stop in place:

Drag the blue, green and yellow color stops towards the left just to spread them out temporarily. Click on the red color stop to select it, then enter a value of 82% into the Location option. This will place the red color stop in the same location that the blue color stop was in originally:

Figuur 2.23 Click on the red color stop, then enter 82% for the Location. Next, click on the yellow color stop to select it, then set its Location value to 85%. This moves yellow into the spot originally held by green: 46

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.24 Click on the yellow color stop, then enter 85% for the Location. Click on the green color stop to select it, then set its Location value to 88%, which moves green into yellows original location:

Figuur 2.25 Click on the green color stop, then enter 88% for the Location. Finally, click on the blue color stop and change its Location value to 92%, placing it in reds original spot:

47

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.26 Click on the blue color stop, then enter 92% for the Location. Directly above the gradient preview bar are more stops, lled with white, black or some shade of gray. These stops control the transparency levels (opacity) of the colors throughout the gradient. Click on the light gray opacity stop (second from the left) to select it, then change its Opacity value from its original 20% to 0%. Click OK when youre done to exit out of the Gradient Editor:

Click on the light gray stop above the gradient preview bar and change its Opacity value to 0%.

2.16 Step 16: Drag Out Another Rainbow Gradient


With the colors in the gradient now reversed, were ready to create our second rainbow. First, Im going to hide my original rainbow from view temporarily by clicking on the L AYER groups visibility icon (the eyeball) in the L AYERS panel:

48

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Clicking on the visibility icon turns L AYERS or L AYER groups on or off in the document. Then Ill drag out a rainbow gradient just as I did back in Step 4: First, I need to re-select the Radial Gradient option in the Options Bar so the gradient will appear as an arc:

Figuur 2.27 Select the Radial Gradient option again. Then Ill click and drag out my second rainbow in the same location as the rst one:

49

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Dragging out a second rainbow gradient in the same spot. When I release my mouse button, PHOTOSHOP draws the gradient, looking very much like the rst one except that this time, the order of the colors is reversed:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

The second rainbow gradient with its colors reversed.

2.17 Step 17: Change The Blend Mode To Screen


Just as we did with the rst rainbow, change the blend mode of the new rainbow from Normal to Screen:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP Figuur 2.28 Set the blend mode to Screen. The colors of the rainbow now blend in better with the image:

The second rainbow set to the Screen blend mode.

2.18 Step 18: Apply The Gaussian Blur F ILTER


Since the Gaussian Blur F ILTER was the last F ILTER we applied, we can quickly re-apply it with the same settings by pressing Ctrl+F (Win) / Command+F (Mac). Just as before, the color transitions now appear softer and more natural:

52

HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

The rainbow once again appears more realistic after blurring the colors.

2.19 Step 19: Copy The L AYER M ASK Onto The Second Rainbow L AYER
We need to add a L AYER M ASK at this point and draw a black to white linear gradient on the mask to hide the the rainbow below the point where it should be touching the ground and have it appear to increase in brightness as it reaches further into the sky, just as we did back in Steps 7-10 with the original rainbow. But why go through all that hassle again when we can just copy one of the L AYER masks weve already created onto the second rainbows L AYER! To do that, Ill rst need to open my L AYER group by clicking on the small triangle to the left of the groups name:

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HOOFDSTUK 2. ADD A REALISTIC RAINBOW TO A PHOTO WITH PHOTOSHOP

Figuur 2.29 Click on the triangle to twirl open the L AYER group. With the L AYER group open and the two L AYERS that make up the original rainbow now visible, hold down your Alt (Win) / Option (Mac) key, click on the L AYER M ASK thumbnail for the Rainbow copy L AYER and drag it up to the second rainbows L AYER:

Hold down Alt (Win) / Option (Mac) and drag the L AYER M ASK thumbnail onto the top Layer. When you see a highlight bar appear around the second rainbows L AYER (shown in the previous thumbnail), release your mouse button. PHOTOSHOP copies the L AYER M ASK onto the second rainbows L AYER:

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Figuur 2.30 The L AYER M ASK has been copied from one L AYER to another. If we look at the image in the document W INDOW, we see that the bottom of the rainbow now fades out just above the trees, just like the original rainbow:

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The image after copying the L AYER M ASK to the second rainbows Layer.

2.20 Step 20: Move The Second Rainbow Into Position


All thats left to do now is to move the second rainbow into position. Select PHOTOSHOPs Move Tool from the Tools panel, or press the letter V on your keyboard to quickly select it with the shortcut:

Figuur 2.31 Select the Move Tool. Before I move anything, Ill turn the original rainbow back on in the document by clicking once again on the L AYER groups visibility icon in the L AYERS panel:

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When a L AYER or group is hidden, the eyeball in the visibility icon is also hidden. Then, with the Move Tool selected and both rainbows now visible in the document, click inside the document W INDOW and, with your mouse button still held down, drag the second rainbow into place. Im going to drag mine up and to the left so only a small part of it appears in the top left corner of the photo:

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Use the Move Tool to drag the second rainbow into place in the image.

2.21 Step 21: Lower The Opacity Of The Second Rainbow


Finally, since I dont want my second rainbow to appear as bright as the original, Ill lower its opacity down to around 70% at the top of the L AYERS panel:

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Figuur 2.32 Lowering the opacity of the second rainbow. And with that, were done! Here, after lowering the opacity, is my nal PHOTOSHOP double rainbow effect:

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The nal rainbow effect. And there we have it!

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3
Add Colour Tones To Greyscale
2 Jan Skill Level: Beginner

Figuur 3.1 In this tutorial learn how to use Selective Color to add subtle tones to greyscale images.

Figuur 3.2 First open up your photo in photoshop. The Image Ive used can be downloaded here .

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Figuur 3.3 Go to Image Mode Grayscale, then Image Mode RGB Color.

Figuur 3.4 Now duplicate the B ACKGROUND L AYER twice. Change the middle L AYERs blending mode to Screen, and set its Opacity to 20%.

Figuur 3.5 Change the top L AYERs blending mode to Screen, and set its Opacity to 50%.

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Figuur 3.6 Next well add a Selective Color Layer.

Figuur 3.7 Click on the adjustment L AYER button at the bottom of your L AYERS panel and choose Selective Color.

Figuur 3.8 Position this L AYER below the top Layer.

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Figuur 3.9 Choose Whites from the drop-down box and use the setting shown above.

Figuur 3.10 Then choose Neutrals and use the settings shown above.

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Figuur 3.11 Choose Black and use the settings shown above.

Figuur 3.12 So weve introduced strong reds to the shadows, and softer blue and yellow hues to the midtones and whites.

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Figuur 3.13 Finally take the Selective Color L AYERs Opacity down to 50%.

Heres the nal result.

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4
An Easy Way To Find Neutral Gray In An Image With PHOTOSHOP
Written by Steve Patterson. When it comes to color correcting images in PHOTOSHOP, removing color casts from the highlight and SHADOW areas is usually pretty straightforward since its quite easy to nd the brightest and darkest areas in an image. But what about the midtones? How do you nd that area in the image thats supposed to be neutral gray? Usually, you guess and hope for the best, since PHO TOSHOP doesnt seem to have any way of easily pointing out those midtone gray areas for us. Or does it? Of course it does! The only problem is that its not very obvious how to go about it, but as well see in this tutorial, just because it isnt obvious doesnt mean it isnt easy to do. Heres the image Ill be using for this tutorial:

The original image.

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HOOFDSTUK 4. AN EASY WAY TO FIND NEUTRAL GRAY IN AN IMAGE WITH PHOTOSHOP Important: One thing to note up front here is that not all images actually have any areas in them that are supposed to be neutral gray, and obviously, you cant nd whats not there, so if thats the case with your photo, no technique for nding midtone gray will work. In cases where its unlikely that anything in the photo should be gray, your best bet is to color correct the highlights and shadows and leave the midtones alone. If there is an area thats supposed to be neutral gray, though, this technique will nd it. And now with that little disclaimer out of the way, lets get started! Ill be using PHOTOSHOP CS5 throughout this tutorial, but any recent version will work.

4.1 Step 1: Add A New L AYER


With our photo open inside PHOTOSHOP, the rst thing we need to do is create a new blank L AYER, so click the New L AYER icon at the bottom of the L AYERS panel to create a new blank L AYER above the B ACKGROUND L AYER:

Figuur 4.1 Click on the New L AYER icon. Nothing will happen in the document W INDOW, but we can see in the L AYERS panel that PHOTOSHOP has added a new blank L AYER named L AYER 1:

PHOTOSHOP

adds the new L AYER and names it L AYER 1.

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4.2 Step 2: Fill The New L AYER With 50% Gray


Next, we need to ll our new L AYER with 50% gray, the same gray were looking for in our image. To do that, go up to the Edit menu at the top of the screen and choose Fill:

Figuur 4.2 Go to Edit > Fill. This opens PHOTOSHOPs Fill dialog box. Select 50% Gray from the drop-down list at the top of the dialog box:

Figuur 4.3 Set the Use option to 50% Gray. Click OK when youre done to close out of the dialog box. PHOTOSHOP lls the new L AYER with gray, temporarily hiding the photo below it from view in the document W INDOW:

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Figuur 4.4 The new L AYER is now lled with 50% gray.

4.3 Step 3: Change The New L AYERs Blend Mode To Difference


Go up to the Blend Mode option in the top left of the L AYERS panel and change the blend mode for L AYER 1 from Normal to Difference:

Figuur 4.5 Change the blend mode for L AYER 1 to Difference. The Difference blend mode isnt one thats used too often since it tends to make images look, well, different (some may even say frightening), as we see with my image after changing the blend mode to Difference: 70

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The Difference blend mode certainly makes photos look different. Believe it or not though, there is a method to the madness. The way the Difference blend mode works is that it compares the L AYER with the L AYER(s) below it and looks for differences between them (hence the name). Any areas in the L AYER which are different from the L AYER(s) below it show up as strange colors in the image, which is where the purples, blues and yellows are coming from, but any areas which are identical between the L AYERS show up as black, or at least almost black if theyre not 100% identical but still pretty darn close to it. In other words, with the Difference blend mode, any areas between the L AYERS which are identical become the darkest parts of the image, and we can now use that to locate any areas that are supposed to be neutral gray! How? Simple! Were now comparing our image on the B ACKGROUND L AYER with the L AYER above it thats lled with 50% neutral gray, which means that any areas in our image which are closest to that midtone gray color will now appear as the darkest parts of our image. So now, nding a midtone gray area is as easy as nding the darkest part of the image!

4.4 Step 4: Add A Theshold Adjustment L AYER


Click on the New Adjustment L AYER icon at the bottom of the L AYERS panel:

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Figuur 4.6 Click on the New Adjustment L AYER icon. Choose Threshold from down near the bottom of the list of adjustment L AYERS:

Figuur 4.7 Choose Threshold. If youre using PHOTOSHOP CS5 as I am, the Threshold controls will appear in the Adjustments Panel, new to CS5. In PHOTOSHOP CS4 or earlier, the Threshold dialog box will appear. Click on the little white triangle at the bottom and drag it all the way to the left:

Figuur 4.8 Drag the white slider all the way to the left. This will turn the image in the document W INDOW completely white:

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Figuur 4.9 The document W INDOW now appears lled with white. Now slowly drag the triangle towards the right until you begin to see black areas appearing in your image. The rst black areas that appear are the neutral gray areas youre looking for (assuming, as I mentioned at the beginning of the tutorial, that there actually are areas of gray in the photo). Continue dragging the triangle until an area of black becomes just big enough that youll be able to click on it to select it, which well be doing in a moment. This is the exact same way you would normally nd the darkest parts of the image when youre removing any color casts from the SHADOW areas, but now, thanks to the Difference blend mode, these darkest areas represent the areas closest to midtone gray. Click OK when youre done to exit out of the Threshold dialog box (photoshop CS5 users can simply leave the Adjustments Panel open):

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Drag the white slider towards the right until a small area of black appears. Now theres a better way to learn! Download our tutorials as print-ready PDFs!

4.5 Step 5: Click On The Black Area With The Color Sampler Tool
Select PHOTOSHOPs Color Sampler Tool from the Tools panel. By default, its nested behind the Eyedropper Tool, so click and hold on the Eyedropper Tool for a second or two until a y-out menu appears, then select the Color Sampler Tool from the list:

Figuur 4.10 Select the Color Sampler Tool.

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HOOFDSTUK 4. AN EASY WAY TO FIND NEUTRAL GRAY IN AN IMAGE WITH PHOTOSHOP With the Color Sampler Tool selected, click on an area of black in the image to add a marker. Zoom in on the area rst if it makes it easier to select your black area, as Ive done here:

A small target symbol will appear at the spot you click on with the Color Sampler Tool.

4.6 Step 6: Delete The 50% Gray and Theshold L AYERS


Our L AYER lled with 50% gray and our Theshold adjustment L AYER have served their purpose and are no longer needed, so with the Threshold adjustment L AYER currently selected in the L AYERS panel, hold down your Shift key and click on L AYER 1 below it to select both L AYERS at once. Then drag them down on to the Trash Bin icon at the bottom of the L AYERS panel to delete them:

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Figuur 4.11 Drag the top two L AYERS onto the Trash Bin.

4.7 Step 7: Add A Levels Or Curves Adjustment L AYER


Click once again on the New Adjustment L AYER icon at the bottom of the L AYERS panel and this time, select either Levels or Curves, youre choice. Either one will do. Ill use Levels:

Figuur 4.12 Choose either Levels or Curves from the list of adjustment Layers.

4.8 Step 8: Select The Set Gray Point Eyedropper


As with the Threshold adjustment L AYER, PHOTOSHOP CS5 users will nd the controls for Levels or Curves in the Adjustments Panel, while CS4 and earlier users will see the Levels or Curves dialog box appear. Click on the Set Gray Point eyedropper to select it (its the middle of the three eyedropper icons):

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Figuur 4.13 The Set Gray Point eyedropper is the middle of the three.

4.9 Step 9: Click With The Eyedropper On The Marker In The Image
With the Set Gray Point eyedropper selected, simply click directly on the small marker in the image (the one we added a moment ago with the Color Sampler Tool) and PHOTOSHOP will neutralize the colors in that spot, effectively removing any color cast from the midtones. Personally, I dont nd the eyedropper icon to be very helpful when trying to click on a marker, so you may want to press the Caps Lock key on your keyboard which will change the icon from an eyedropper to a target symbol, identical to the markers icon, making it easy to line them up over top of each other and then click. Ill leave mine set to the eyedropper icon here just to make it easier to see in the screenshot:

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Click directly on the marker to neutralize the midtones in the image. And with that one click, any color cast in the images midtones has been neutralized:

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Any midtone color cast has been removed.

4.10 Step 10: Remove The Marker


To remove the color sampler marker from the image when youre done, with the Color Sampler Tool selected, simply click on the Clear button in the Options Bar at the top of the screen (dont worry if you forget to remove the marker since it wont print anyway):

Figuur 4.14 Click the Clear button to remove the color sampler marker. And there we have it! Our midtones are now color corrected without any guess work thanks to PHOTO SHOP s often overlooked Difference blend mode.

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5
Blend Photos Like A Hollywood Movie Poster - PHOTOSHOP Tutorial
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, were going to learn how to blend photos together like a Hollywood movie poster. Blending photos is easy to do in PHOTOSHOP thanks to L AYER masks, yet nding two photos with similar colors isnt always so easy, and you end up with a photo effect that doesnt really seem to look right because the colors dont match. With this technique, you dont need to worry about the colors in the images at all because well be removing them completely and adding our own colors to blend the two photos seamlessly. Heres the rst photo Ill be using:

Figuur 5.1 The rst photo. Heres the image I want to blend it with:

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Figuur 5.2 The second photo. And heres what the nal effect will look like:

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Figuur 5.3 The nal result. Lets get started!

5.1 Step 1: Drag One Image Into The Document W INDOW Of The Other Image
The rst thing we need in order to blend our two images together is for them to both be in the same document. To do that, with both of my images open on the screen in their own separate document W INDOWS, Im going to grab my Move tool from the Tools palette, or I could press the letter V on my keyboard to quickly select it:

Select the Move tool from the Tools palette, or press V for the keyboard shortcut.

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HOOFDSTUK 5. BLEND PHOTOS LIKE A HOLLYWOOD MOVIE POSTER - PHOTOSHOP TUTORIAL Then with my Move tool selected, Im going to click anywhere inside the image of the couple walking on the beach to make that document W INDOW active, and Im simply going to drag the image into the other document W INDOW:

Click inside the rst and drag it into the document W INDOW of the second photo. When I release my mouse button, both images appear inside the same document, one on top of the other:

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Figuur 5.4 The two photos now appearing in the same document. I can also see both images now on their own separate L AYERS in the L AYERS palette:

Figuur 5.5 PHOTOSHOPs L AYERS palette showing each image on its own separate Layer. 84

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5.2 Step 2: Resize And/Or Reposition The Images As Needed


Now that Ive dragged the beach photo into the other document, I need to resize it, and I can do that easily with PHOTOSHOPs Free Transform command. With the beach photo L AYER selected in the L AYERS palette, Im going to use the keyboard shortcut Ctrl+T (Win) / Command+T (Mac) to bring up the Free Transform box and handles around the image. Problem is, this image is in LANDSCAPE mode, meaning its width is longer than its height, and Ive dragged it into a document containing an image thats in portrait mode (its height is longer than its width), so even though PHOTOSHOP has placed the Free Transform box and handles around my image, I cant see any of the corner handles because the sides of the image are extending out beyond the viewable area of the document. To x that, all I need to do is press Ctrl+0 (Win) / Command+0 (Mac) to t everything onto the screen:

Press Ctrl+0 (Win) / Command+0 (Mac) to t everything, including the Free Transform handles, onto the screen. Now that I can see my corner handles, I can resize my image by dragging any of the corner handles inward in order to t more of the image into the viewable document area. Since I dont want to distort the image, Im going to hold down my Shift key as Im dragging the handles to constrain the width and height proportions:

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Hold down Shift and drag any of the corner handles inward to resize the image and t more of it into the viewable area. When Im happy with the new size of my image, Im going to press Enter (Win) / Return (Mac) to accept the transformation. The beach image looks good, but the image of the couple behind it needs to be moved up higher. Again, theres a slight problem. The image is on the B ACKGROUND L AYER:

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Figuur 5.6 The original image on the B ACKGROUND Layer. If I select the L AYER in the L AYERS palette and then click inside the document and try to drag the image up with my Move tool, PHOTOSHOP is going to complain and give me this pop-up message:

A warning message telling me that PHOTOSHOP cant move the image on the B ACKGROUND L AYER because the L AYER is locked. The warning message is telling me that PHOTOSHOP cant move the image because the L AYER is locked, and the reason its locked is because its the B ACKGROUND Layer. PHOTOSHOP treats B ACKGROUND L AYERS differently from normal L AYERS , and one of the things you cant do with images on the B ACKGROUND L AYER is move them. To get around that problem, all we need to do is rename the B ACKGROUND L AYER, and the quickest way to do that is to simple hold down Alt (Win) / Option (Mac) and double-click directly on the word B ACKGROUND. PHOTOSHOP will automatically rename the L AYER L AYER 0:

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Hold down Alt (Win) / Option (Mac) and double-click directly on the word B ACKGROUND to rename the B ACKGROUND L AYER L AYER 0. Just like that, the L AYER is no longer a special B ACKGROUND L AYER, and were now free to move the image on the Layer. With my Move tool still selected, Im going to click inside the document and drag the photo of the couple up higher. Since I want to make sure Im dragging straight up and not accidentally dragging the image a little off to either side, Im going to once again hold down my Shift key as Im dragging:

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Figuur 5.7 Dragging the bottom image upward using the Move tool.

5.3 Step 3: Add A L AYER M ASK


Once youve resized and/or repositioned your photos in the document the way you like them, we can begin blending them together. The rst thing we need is a L AYER M ASK, and were going to add it to the L AYER on top (L AYER 1), which is my case is the L AYER containing the beach photo, so Im going to click on that L AYER in the L AYERS palette to select it. Then, click on the Add A L AYER M ASK icon at the bottom of the L AYERS palette:

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Click on the top L AYER to select it in the L AYERS palette, then click on the Add A L AYER M ASK icon. We can now see the L AYER M ASK thumbnail added to the top L AYER:

Figuur 5.8 The L AYER M ASK thumbnail in the L AYERS palette. Notice that the L AYER M ASK thumbnail has a white highlight border around it. Thats telling us that the L AYER M ASK, not the L AYER itself, is currently selected, which is what we want.

5.4 Step 4: Drag Out A Black to White Gradient On The Mask To Blend The Two
Images Select your Gradient tool from the Tools palette, or press G to quickly access it with the keyboard shortcut:

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Figuur 5.9 Select the Gradient tool. Then, up in the Options Bar at the top of the screen, click on the down-pointing arrow to the right of the gradient preview area, which will bring up the Gradient Picker. Click on the black to white gradient in the top row, third from the left to select it:

Figuur 5.10 Select the black to white gradient, third from the left, top row. Click anywhere else on the screen to close out of the Gradient Picker once youve selected the gradient. Then, back in your document, hold down your Shift key and drag out a black to white gradient to blend the two images together. Because youre dragging the gradient on the L AYER M ASK, not the L AYER itself, you wont see your gradient. Instead, youll see the two images blend together. Start at the top of where you want the transition from one image to the other to begin, which in my case is the top of the beach photo, and drag down to the point where you want the transition to end. I want my transition to end where the water and land meet, so Im going to click just below the top of my beach photo and drag straight down to just above the water line:

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Dragging the gradient from just below the top of the beach photo to just above the top of the water line to set the transition area between the two photos. Release your mouse button, and the two images blend together at the location where you dragged out the gradient:

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The two images now fade from one into the other thanks to the black to white gradient we added to the L AYER Mask. If youre not happy with how your two images have blended together, simply press Ctrl+Z (Win) / Command+Z Mac to undo and try dragging the gradient again.

5.5 Step 5: Merge Both L AYERS Onto A New L AYER


With L AYER 1 still selected in the L AYERS palette, press Shift+Ctrl+Alt+E (Win) / Shift+Command+Option+E (Mac) to merge both L AYERS onto a new L AYER above it, which PHOTOSHOP will name L AYER 2:

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Figuur 5.11 Merge both L AYERS onto a new L AYER at the top of the L AYERS palette.

5.6 Step 6: Desaturate The L AYER


Were going to remove all the color from the image at this point so we can add our own color, which well do in a moment. To remove the colors, press Shift+Ctrl+U (Win) / Shift+Command+U (Mac) to desaturate the L AYER:

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Press Shift+Ctrl+U (Win) / Shift+Command+U (Mac) to desaturate the image, removing the colors.

5.7 Step 7: Add NOISE


Lets add a little NOISE to the image to help the two photos blend more seamlessly together. Go up to the F ILTER menu at the top of the screen, choose NOISE, and then choose Add noise. This brings up the Add NOISE dialog box. Set the Amount to somewhere between 2-6% depending on the pixel dimensions of your image. Im working on a low resolution image for this tutorial, so Im going to set mine to 2% just to add a hint of noise. Make sure Distribution is set to Gaussian, and also make sure the Monochromatic option at the very bottom is checked:

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Figuur 5.12 Add a bit of NOISE to the image to help blend the two photos together.

5.8 Step 8: Add A Solid Color Adjustment L AYER


All thats left to do is add our own color to the image. For that, were going to use a Solid Color ll Layer. Click on the New Fill Or Adjustment L AYER icon at the bottom of the L AYERS palette:

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HOOFDSTUK 5. BLEND PHOTOS LIKE A HOLLYWOOD MOVIE POSTER - PHOTOSHOP TUTORIAL Click the New Fill Or Adjustment L AYER icon. Then select Solid Color from the top of the list that appears:

Figuur 5.13 Select the Solid Color ll L AYER from the list.
PHOTOSHOP s Color Picker will appear. Choose the color that you want to use for your image. Im going to select a light orange for my color:

Figuur 5.14 Choose a color to use for your image from the Color Picker. Click OK once youve chosen a color to exit out of the Color Picker. Dont worry about choosing the right color at the moment because you can always change it later.

5.9 Step 9: Set The L AYER Blend Mode To Color


After clicking out of the Color Picker, your image will now be lled completely with the color you chose, which isnt exactly what we wanted. To x that, with the new Solid Color ll L AYER selected in the L AYERS palette, go up to the Blend Mode option in the top left corner of the L AYERS palette, click on the downpointing arrow to the right of the word Normal, and select Color from the list:

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Change the blend mode of the Solid Color ll L AYER to Color. Your image will now be colorized with your chosen color rather than being blocked from view by it. If you decide youre not happy with the color you chose, just double-click on the Solid Color ll L AYERs color swatch icon in the L AYERS palette:

Figuur 5.15 Double-click the color swatch icon in the L AYERS palette. When you do that, the Color Picker will pop back up and you can choose a different color. Since the Solid Color ll L AYER is already set to the Color blend mode, youll be able to see a live preview of how your current color choice looks with your image. Im going to stick with my initial color selection, and here, after changing the blend mode to Color, is my nal result: 98

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Figuur 5.16 The nal result. And there we have it!

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6
Blend Photos With Apply Image In
PHOTOSHOP
Written by Steve Patterson. Samenvatting In this PHOTOSHOP tutorial, were going to learn how easy it is to blend photos together using PHOTOSHOP s Apply Image command to give us all kinds of different results and effects. The Apply Image command is one of those features in PHOTOSHOP that, for one reason or another, doesnt get used very often, even by people who have been using PHOTOSHOP for years. Many people dont know its there, or if they happened to stumble across it one day while browsing through PHOTOSHOPs Menu Bar, took one look at it, said I dont get it and moved on. And thats unfortunate, since as well see in this tutorial, not only is the Apply Image command one of the most powerful and exible photo blending tools in all of PHOTOSHOP, it also happens to be very easy to use and a whole lot of fun! Basically, Apply Image allows us to blend, or apply, a L AYER and channel from one image with a L AYER and channel of another image. Its similar to using L AYER blend modes to blend L AYERS together in the L AYERS palette, with the added ability to blend individual channels together as well. This not only gives us much more control over how the images are blended, but also opens up far more creative possibilities and gives us better overall results. Were going to look at the basics here of how Apply Image works, but its important to keep in mind that this is only scratching the surface of what you can do with this amazing tool. Were going to be blending two images together in this tutorial, but you can use it to blend as many images together as you like, using different channels and blend modes for each one! You can even blend channels from different color modes together. Try leaving one image in RGB mode and converting the other image to a different color mode, like CMYK or Lab, then blending the channels together to see what you get! Or try a different blend mode for a completely different effect! Okay, were getting a little ahead of ourselves. First, we need to learn how Apply Image works. Before we begin though, theres one very important thing you need to know. Apply Image will only work with images that have the exact same pixel dimensions. By that, I mean that if one image is 800 pixels wide by 600 pixels high, the second image also has to be 800 pixels wide by 600 pixels high. If youre working with high resolution images, your pixel dimensions will be much higher but both images will still need to have the exact same dimensions. If youre working with photos directly from your digital camera and you havent CROPPED or resized them, you should be good to go, but its very important that all the images you want to use are the same size before you begin. Youll know rather quickly if theyre the same size or not because if theyre not, the Apply Image command wont even recognize them. Make sure you check the size of each image in the Image Size dialog box by selecting each one separately, then going up to the Image menu at the top of the screen and choosing Image Size. Resize any images as needed. Having said that, lets get started!

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6.1 Step 1: Open The Images You Want To Use


Before we can blend our images together, we rst need to have them open in PHOTOSHOP, so go ahead and open the images you want to use. Ill be blending two images together. Heres my rst image:

Figuur 6.1 The rst image. And heres the image Ill be blending it with:

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Figuur 6.2 The second image.

6.2 Step 2: Select The Photo You Want To Use As Your


Target Image With both of my images open, I need to select the one that I want to use as my primary image, or in other words, the image that will have the other image applied to it. The Apply Image command refers to this primary or base image as the Target image, while the image youre applying to it is known as the Source image. Im going to use my guitar player photo as my target image, so Ill click anywhere in its document W INDOW to select it, which will move it in front of my other image in PHOTOSHOP:

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Click anywhere inside the document W INDOW of the image you want to use as your target image to select it.

6.3 Step 3: Duplicate The B ACKGROUND L AYER Of The Target Image


Currently, my target image (as well as my source image) is made up of only one L AYER, the B ACKGROUND L AYER, which we can see if we look in the L AYERS palette:

Figuur 6.3 The L AYERS palette in PHOTOSHOP showing the B ACKGROUND Layer.

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HOOFDSTUK 6. BLEND PHOTOS WITH APPLY IMAGE IN PHOTOSHOP The B ACKGROUND L AYER contains our original image information which is something we never want to touch in case we need to fall back on it later, so the rst thing we always do when working on an image is duplicate the B ACKGROUND Layer. To do that, use the keyboard shortcut Ctrl+J (Win) / Command+J (Mac). If we look again in our L AYERS palette, we can see that we now have the original B ACKGROUND L AYER on the bottom, plus we have a copy of it, which PHOTOSHOP has named L AYER 1, above it:

Press Ctrl+J (Win) / Command+J (Mac) to duplicate the B ACKGROUND Layer.

6.4 Step 4: Open The Apply Image Command


Now that weve safely duplicated our B ACKGROUND L AYER, go up to the Image menu at the top of the screen and choose Apply Image. PHOTOSHOP will pop up the Apply Image dialog box. If youve never seen the Apply Image dialog box before, it can seem a little confusing at rst, but its really quite simple. Lets look at what the dialog box is telling us and what options its giving us. The Target Image, L AYER and Color Mode In the center of the dialog box, it shows the name of your target image, along with the name of the L AYER you had selected when you opened the Apply Image command. This is the L AYER youll be blending the other image with. My target image is named guitar.jpg, and I had L AYER 1 selected in my L AYERS palette, which is exactly what its showing in my Apply Image dialog box below. Its also telling me that my target image is currently using the RGB color mode:

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The Apply Image dialog box showing guitar.jpg as my target image along with L AYER 1 as my selected Layer. We cant change any of this information for the target image. This is simply telling us what we had selected when we opened the Apply Image command. The Source Image At the top of the dialog box is the Source option, which shows the currently selected source image. Since I only have two images open in PHOTOSHOP, my second image, concert-crowd.jpg, is automatically chosen as my source image:

The Apply Image dialog box showing concert-crowd.jpg as my source image. If youre seeing your target image listed as the source image as well, simply click on the down-pointing arrow and select your second image from the list to set it as the source. If your second image is not appearing at all in the Source option, its because its not the same size as your target image. Youll

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HOOFDSTUK 6. BLEND PHOTOS WITH APPLY IMAGE IN PHOTOSHOP need to cancel out of the Apply Image dialog box, resize your second image to match the target image, and then try again. The Source Image L AYER Below the Source option is the L AYER option. If you recall from the beginning of the tutorial, I mentioned that we can use the Apply Image command to blend a L AYER from one image with a L AYER from another image. We already have the L AYER chosen in our target image, and this is where we can choose the L AYER we want to use in our source image. If your source image contains more than one L AYER, youll see each L AYERs name listed here in the L AYER options drop-down box. Simply choose the L AYER you want to blend with your target image. In my case, since my source image contains only one L AYER - the B ACKGROUND L AYER - its automatically selected as the L AYER that will be used:

The L AYER option allows us to select which L AYER from the source image we want to blend with the target image. The Source Image Channel Below the L AYER option is the Channel option. This is where we can choose which channel from the source image we want to blend with the target image. My source image (and most likely yours as well) is in RGB mode, just like my target image, which means its made up of a red channel, a green channel and a blue channel (if you want more information on color channels, be sure to check out our RGB and Color Channels in PHOTOSHOP Explained tutorial in the Digital Photo Essentials section of the website). By default, the composite RGB channel is selected, and well leave it set that way for now:

The Channel option allows us to select an individual channel from the source image to blend with the target image. By default, the composite channel is selected. The Blend Mode and Opacity Finally, we have the Blending and Opacity options, which are directly below the target image information. The Blending option is where we tell PHOTOSHOP how we want to blend the source image with the target image by choosing any of the blend modes from the drop-down list, while the Opacity option allows us to ne-tune our blending effect if needed by adjusting the opacity of the source image. Both of these options are the same as what youd nd at the top of the L AYERS palette. In fact, most of the blend 106

HOOFDSTUK 6. BLEND PHOTOS WITH APPLY IMAGE IN PHOTOSHOP modes youd nd in the L AYERS palette are here in the Apply Image dialog box, along with a couple of new ones (Add and Subtract). My blend mode is currently set to Overlay:

The Blending and Opacity options allow us to control how our two images are blended together. Well skip the bottom two options in the dialog box, Preserve Transparency and Mask, since weve already covered everything we need to know to blend our images together using Apply Image. In fact, even without changing anything in the dialog box and leaving all the options at their defaults, I can see if I look at my target image that my two images are already blending together nicely:

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The Apply Image command is showing a preview of how the two images will blend together using the default option settings. Right now Im only seeing a preview of how the two images will blend together. Im not going to click OK to exit out of the dialog box just yet though because on the next page, well see how we can create different blending effects simply by playing around with the options in the dialog box! So far, weve looked at everything we need to know to blend two images together using PHOTOSHOPs Apply Image command, and we saw that we could get decent results just by leaving the options in the dialog box set to their defaults. But the real power of the Apply Image command comes from playing around with the options and seeing what sort of new effects you can create! In this next part of the tutorial, well look at a few examples of what we can come up with simply by trying different options in the dialog box. Theres no right or wrong settings to use. Its simply a matter of experimenting and having fun until youre happy with the results. Here once again is the result we get by blending the two images using the default option settings:

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PHOTOSHOP Blend Photos: The preview of how the two images will blend together using the default option settings in the Apply Image dialog box.

Changing The Blend Mode The easiest way to get a much different effect with Apply Image is by simply changing the Blending option and trying different blend modes. If you recall, my blend mode was originally set to Overlay. Watch what happens when I try a different blend mode. Ill change my Blending option to Screen:

PHOTOSHOP

Blend Photos: Changing the Blending option to Screen.

If I look again at my target image to see a preview of the effect, I can see that Im now getting a much different result:

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PHOTOSHOP

Blend Photos: The result of changing the Blending option from Overlay to Screen.

For a completely different effect, try changing the Blending option to Difference:

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Blend Photos: Changing the Blending option to Difference.

Heres my new result, again a completely different effect simply by changing the Blending option:

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PHOTOSHOP

Blend Photos: The result after changing the Blending option from Screen to Difference.

Selecting Individual Color Channels This time, Ill leave the Blending option set to Difference and lets see what happens when we try blending an individual color channel from the source image. As we saw on the previous page, my source image is using the RGB color mode, which means that its being made up of a red channel, a green channel and a blue channel. By default, Apply Image blends all three channels at once (which is referred to as the composite channel). But we can isolate individual color channels from the source image using the Channel option to give us even more creative possibilities. When all three channels are being used together, youll see the Channel option in the dialog box set to RGB (assuming of course that your image is using the RGB color mode which is most likely is). Im going to change the option so that Im blending only the red channel from the source image. To do that, Ill simply click on the down-pointing arrow to the right of the letters RGB and choose Red from the list:

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PHOTOSHOP Blend Photos: Change the blending effect even further by selecting individual color channels from the source image in the Channel option. Here, Im selecting the red channel.

And here we can see that just by isolating one of the color channels from the source image, this gives me a different take on the previous result:

PHOTOSHOP Blend Photos: The result after isolating the red channel from the source image and leaving the Blending option set to Difference.

As a nal example, and to get away from the more artsy looking effects, Ill set my Channel option back to RGB so that Im once again blending all three color channels from the source image at once, and Ill try changing my Blending option to Hard Light: 112

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PHOTOSHOP Blend Photos: Setting the Channel option back to RGB and changing the Blending option to Hard Light.

As you can see, theres no recipe for creating effects using Apply Image. Its simply a matter of changing different options and seeing what you get, and a lot of it depends on the images youre using. Heres my result after changing my Blending option to Hard Light. This sends my guitar player into the B ACKGROUND and brings the concert crowd up front:

PHOTOSHOP Blend Photos: With my Blending option set to Hard Light, the hands from the crowd become the most dominant part of the image.

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HOOFDSTUK 6. BLEND PHOTOS WITH APPLY IMAGE IN PHOTOSHOP As I mentioned at the beginning of the tutorial, blending a couple of images together like this is only scratching the surface of what you can do with the Apply Image command, but weve now covered everything you need to know to start using it and weve looked at a few examples of the different effects you can achieve by experimenting with the various options in the dialog box. At this point, its simply a matter of having fun with your own images and seeing what you can come up with! Once youve successfully blended two images together, try adding a third image! Here, after blending my rst two images, Ive used Apply Image again to blend in a photo of a grungy-looking brick wall to give my nal effect some texture:

PHOTOSHOP

Blend Photos: The result after blending in a third photo to add texture to the nal image.

And there we have it!

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7
Colorizing A Photo With Multiple Colors PHOTOSHOP Tutorial
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, were going to learn how to colorize a photo using multiple colors. Its an effect Ive seen used quite a bit in ads for photo printers and for color calibration software. The idea is simple. Take a single photo, divide it into multiple sections of equal size (usually four sections), then colorize each section using a different color, or a different shade of the same color, to create interesting results. With the photo printer ads, for example, each section of the photo is usually colorized using one of the four main colors of ink (cyan, magenta, yellow, and black). With the color calibration software ads, each section of the photo is tinted with a slightly different color to show how the same image can look different on different monitors when theyre not properly calibrated. These are just two common examples of how this photo effect can be used, but you can colorize your image with whatever colors you like depending on the subject of your image and the mood or message youre trying to convey. Use reds, oranges and yellows to colorize an image of kids playing in the leaves in the Fall, or different shades of blue to colorize a cold, wintry LANDSCAPE photo. Or colorize three of the four sections with the same color and use a different color to highlight one specic section of the photo. For such a simple effect, theres lots of different ways you can use it.
PHOTOSHOP makes creating this effect incredibly easy. First, well divide our photo into four sections using guides, then well use several Hue/Saturation adjustment L AYERS, as well as their L AYER masks, to colorize each section with a different color. When were done with the initial effect, well see how we can use an additional Hue/Saturation adjustment L AYER to quickly change all four colors at once!

Download our tutorials as printable PDFs! Learning PHOTOSHOP has never been easier! Heres the image Ill be using for this tutorial. My image is a BLACK AND WHITE photo, but a full color photo will work equally well. Theres no need to convert your image to BLACK AND WHITE rst, I just happen to like this photo:

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Figuur 7.1 The original image. Heres how the image will look when were done. Keep in mind that you dont need to use the same colors Ill be using. This tutorial simply shows you how to create the effect. The actual colors you use are completely up to you. As I mentioned, at the end of the tutorial, well see how we can quickly change all four colors at once for different results.

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Figuur 7.2 The nal colorized image. Lets get started!

7.1 Step 1: Add A New V ERTICAL Guide Set To 25%


Before we can begin colorizing different sections of our photo, we rst need to create the sections, and for that, well use PHOTOSHOPs guides. Guides may not be the most exciting part of working with PHO TOSHOP , but they can denitely make your life easier. To divide our photo into four sections of equal size, were going to need three guides. Lets add our rst one. Go up to the View menu at the top of the screen and choose New Guide. This brings up the New Guide dialog box. We want to create V ERTICAL guides, so select V ERTICAL for the Orientation option. Then, at the bottom of the dialog box, type in 25% for the Position value:

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL Select V ERTICAL for the Orientation and enter 25% for the Position value in the New Guide dialog box. Click OK when youre done to exit out of the dialog box. If we look at our image in the document W IN DOW , we can see that weve added our rst guide running VERTICALLY from top to bottom, sitting at exactly one quarter of the way across the image from left to right:

Figuur 7.3 The rst guide has been added to the photo.

7.2 Step 2: Add A Second V ERTICAL Guide Set To 50%


Lets add our second guide. Go back up to the View menu at the top of the screen and once again select New Guide. When the New Guide dialog box appears, make sure V ERTICAL is selected for the Orientation option and this time, enter a value of 50% for the Position option:

Figuur 7.4 Set the Position of the second guide to 50%. 118

HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL Click OK to exit out of the dialog box, and we can see in our document W INDOW that weve now added a second V ERTICAL guide, this one running straight down the middle of the photo:

Figuur 7.5 The second guide has been added to the photo.

7.3 Step 3: Add A Third V ERTICAL Guide Set To 75%


Go back up to the View menu, select New Guide, and this time, enter a value of 75% for the Position option in the New Guide dialog box. Again, make sure V ERTICAL is selected for the Orientation option:

Figuur 7.6 Set the Position of the third guide to 75%. Click OK to exit out of the dialog box, and we now have our third guide, this one running from top to bottom three quarters of the way across the image: 119

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Figuur 7.7 The third guide has been added to the photo. Thanks to the three guides weve added, one at 25%, one at 50%, and one at 75% of the way across the image, our photo is now divided up into four sections of equal size. We can now begin colorizing each section, which well do next!

7.4 Step 4: Make Sure Snap To Guides Is Turned


On In a moment, were going to begin dragging selections around our four sections using the Rectangular Marquee Tool, and to make things easier for us, PHOTOSHOP is going to snap our selections directly to the guides weve created. Or at least, it will if we have the Snap To Guides option enabled. Go up to the View menu at the top of the screen and select Snap To. A submenu will appear with the Guides option at the very top of it. Look to the left of the word Guides. If you see a checkmark beside the word, it means the option is already enabled so theres no need to select it. If you dont see a checkmark, click on the word Guides to enable to option:

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Make sure the Snap To Guides option is turned on. A checkmark means the option is enabled.

7.5 Step 5: Select The Rectangular Marquee Tool


We can now begin dragging a selection around our rst section. Grab the Rectangular Marquee Tool from the top of the Tools palette, or simply press the letter M on your keyboard to select it with the shortcut:

Figuur 7.8 Select the Rectangular Marquee Tool.

7.6 Step 6: Drag A Selection Around The First Section On The Left
With the Rectangular Marquee Tool chosen, start in the top left corner of the photo and drag a selection around the rst section on the left of the image. Youll notice that as you move close to the rst guide, the selection will snap to it thanks to that Snap To Guides option we enabled. If you nd it difcult to place your cursor in the top left corner of the image while working in a document W INDOW, press the letter F on your keyboard to switch to Full Screen mode, then drag the selection. Its a bit hard to see in the screenshot, but when youre done, you should have a selection around the entire rst section of the image:

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Figuur 7.9 The rst section on the left is now selected.

7.7 Step 7: Add A Hue/Saturation Adjustment L AYER


With the selection active, click on the New Adjustment L AYER icon at the bottom of the L AYERS palette and choose a Hue/Saturation adjustment L AYER from the list:

Select A Hue/Saturation adjustment L AYER from the bottom of the L AYERS palette.

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL This brings up the Hue/Saturation dialog box. Before we do anything with it though, lets take a quick look at whats happened in the L AYERS palette. We now have a Hue/Saturation adjustment L AYER sitting above our image on the B ACKGROUND L AYER, but more importantly, look at the L AYER M ASK preview thumbnail on the right of the adjustment Layer. Notice how its lled with black except for a white section on the left:

Figuur 7.10 The L AYER M ASK preview thumbnail in the L AYERS palette. Thats because we added the adjustment L AYER while we had a selection active in the document. PHO TOSHOP used the selection to alter the adjustment L AYER s mask. The white section on the left is the area we selected in our image, and the white means that whatever we do with our Hue/Saturation adjustment L AYER will be visible in that section of the image. The rest of the L AYER M ASK is black, which means that the rest of the image will not be affected by anything we do with our adjustment Layer. This is whats going to allow us to colorize each section independently of the others. If you want to learn more about how L AYER masks work, be sure to check out our full Understanding L AYER Masks tutorial in the PHOTOSHOP Basics section of the website.

7.8 Step 8: Select The Colorize Option In The


Hue/Saturation Dialog Box Now that weve taken a look at the L AYERS palette, lets use the Hue/Saturation dialog box to colorize our rst section. First, we need to tell PHOTOSHOP that we want to colorize the image, so select the Colorize option in the bottom right corner of the dialog box:

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Figuur 7.11 Select the Colorize option in the dialog box.

7.9 Step 9: Choose A Color With The Hue Slider


With the Colorize option selected, choose whichever color you want to use by dragging the Hue slider either left or right while keeping an eye on your image until you nd the color you want to use. The default color is red, which I think works well with my image, so Im going to simply leave the Hue slider alone for now and accept the default color. Of course, you may want to choose a different color for your image:

Figuur 7.12 Drag the Hue slider left or right to change the color.

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL Click OK once youve found the color you want to use to exit out of the Hue/Saturation dialog box. If we look at the image in the document W INDOW, we can see that the rst section on the left is now colorized with the chosen color:

Figuur 7.13 The rst section of the photo is now colorized.

7.10 Step 10: Change The Blend Mode Of The Adjustment L AYER To
Color Lets make sure were affecting only the color in the image, not the brightness (Luminosity) values. For that, all we need to do is change the blend mode of the adjustment Layer. Youll nd the L AYER blend mode options in the top left corner of the L AYERS palette. By default, L AYERS are set to the Normal blend mode. Change the blend mode to Color:

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Figuur 7.14 Change the blend mode of the adjustment L AYER to Color. The difference to your image may be subtle depending on the color youve chosen, but now we know for certain that were changing only the color in the image. Whatever color we choose will not affect the brightness values. Heres my image after changing the blend mode to Color:

With the adjustment L AYER set to the Color blend mode, only the color in the image will be affected. One section down, three to go!

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7.11 Step 11: Drag A Selection Around The Second Section


Use PHOTOSHOPs Rectangular Marquee Tool to drag a selection around the second section. Again, since we enabled the Snap To Guides option back in Step 4, youll nd that your selection snaps to the guides once youre close enough to them. When youre done, your second section should have a selection around it:

Figuur 7.15 Drag a selection around the second section.

7.12 Step 12: Add A Hue/Saturation Adjustment L AYER


With the second section selected, click on the New Adjustment L AYER icon once again at the bottom of the L AYERS palette and choose a Hue/Saturation adjustment L AYER, just as we did before:

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Figuur 7.16 Click on the New Adjustment L AYER icon and choose Hue/Saturation. If we look in the L AYERS palette, we can see that we now have a second Hue/Saturation adjustment L AYER, and because we had a selection active when we added the adjustment L AYER, the area inside the selection appears white in the L AYER M ASK, which means that only our selected area will be affected by this second adjustment Layer. Everything else is black, which means the rest of the photo will not be affected:

Our second section in the photo appears white in the L AYER M ASK preview thumbnail.

7.13 Step 13: Click The Colorize Option And Choose A Second Color With The
Hue Slider Lets choose a color for our second section. First, select the Colorize option in the bottom right corner of the Hue/Saturation dialog box, then drag the Hue slider either left or right while keeping an eye on your image to select a color. Again, the color you choose is completely up to you. I want my colors to be fairly similar to each other, so Im going to drag my Hue slider a little to the right until the value in the Hue input box reads 20. This gives me a reddish-orange color:

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Select the Colorize option, then drag the Hue slider to select a second color. Click OK once youve chosen a color to exit out of the dialog box. The second section of the photo is now colorized:

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL Figuur 7.17 The second section of the photo is now colorized.

7.14 Step 14: Change The Blend Mode Of The Adjustment L AYER To
Color Once again, lets make sure that were affecting only the color in the image by changing the blend mode of our second Hue/Saturation adjustment L AYER from Normal to Color:

Figuur 7.18 Change the blend mode of the adjustment L AYER to Color.

7.15 Step 15: Repeat Steps 11-14 For The Remaining Two Sections
We now have two of our sections colorized. To colorize the remaining two sections, simply repeat Steps 11-14 for each section. First, drag a selection around the section using the Rectangular Marquee Tool, then click on the New Adjustment L AYER icon at the bottom of the L AYERS palette and select Hue/Saturation from the list. When the Hue/Saturation dialog box appears, select the Colorize option in the bottom right corner, then drag the Hue slider either left or right to select a color for the section. Click OK when youre done to exit out of the dialog box. Finally, change the blend mode of the Hue/Saturation adjustment L AYER to Color. When youre done, you should have four Hue/Saturation adjustment L AYERS in your L AYERS palette, one for each of the four sections:

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Each of the four sections now has its own Hue/Saturation adjustment L AYER in the L AYERS palette. Heres my image after colorizing all four sections. As I mentioned a moment ago, I want all four of my colors to be fairly similar to each other. Your colors may be completely different from each other, its up to you. If you want to use the same colors Ive used, I set my Hue value to 40 for the third section and 60 for the fourth section:

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Figuur 7.19 All four sections of the photo are now colorized. If you nd, as I do, that the colors in your image are looking a little dull, dont worry. Well see how to x that at the end of the tutorial.

7.16 Step 16: Clear The Guides


Now that weve colorized all four sections of our photo, we no longer need the guides, so lets get rid of them. Go up to the View menu at the top of the screen and choose Clear Guides:

Go to View > Clear Guides to remove the guides from the document. The guides have now disappeared, giving us a better view of our image: 132

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Figuur 7.20 The guides have been cleared from the image. Lets add a stroke around each of the four sections to make them more distinguishable from each other. Well do that next, and then well see how to quickly change all four colors at once!

7.17 Step 17: Add A Stroke To One Of The Sections


If you look in the L AYERS palette, youll see that you most likely have the Hue/Saturation adjustment L AYER at the top of the L AYERS palette (Hue/Saturation 4) selected, since its the last one you added (the currently selected L AYER is highlighted in blue). Click on it to select it if its not selected. This adjustment L AYER controls the color of the section on the far right of the image. Were going to add a black stroke around this section. Click on the L AYER Styles icon at the bottom of the L AYERS palette and select Stroke from the bottom of the list of L AYER styles that appears:

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Figuur 7.21 Click on the L AYER Styles icon and select Stroke from the list. This brings up the L AYER Style dialog box set to the Stroke options in the middle column. First, lower the Size of the stroke down to 1 px, then set the Position of the stroke to Inside. Finally, click on the color swatch at the bottom of the options, which brings up PHOTOSHOPs Color Picker, and select black as the stroke color, then click OK to close out of the Color Picker:

Figuur 7.22 Change the Stroke options circled in red. When youre done changing the options, click OK to exit out of the L AYER Style dialog box. If we look at our image, we can see that we now have a thin black stroke around the section on the far right:

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Figuur 7.23 The section on the far right now has a black stroke around it.

7.18 Step 18: Copy The Stroke L AYER Style


Now that weve added the stroke around one of the sections, we can simply copy the L AYER style and quickly paste it onto the other three sections! Go up to the L AYER menu at the top of the screen, choose L AYER Style, and then choose Copy L AYER Style:

Figuur 7.24 Go to L AYER > L AYER Style > Copy L AYER Style.

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7.19 Step 19: Select The Other Three Hue/Saturation Adjustment L AYERS
Click on the third Hue/Saturation adjustment L AYER in the L AYERS palette (the one directly below the top one) to select it, then hold down your Shift key and click on the rst Hue/Saturation adjustment L AYER (the one directly above the B ACKGROUND L AYER). This will select all three remaining adjustment L AYERS at once. Youll see all three of them highlighted in blue:

Figuur 7.25 Select all three remaining adjustment L AYERS at once.

7.20 Step 20: Paste The Stroke Onto The Adjustment L AYERS
With all three remaining adjustment L AYERS selected, go back up to the L AYER menu at the top of the screen, choose L AYER Style once again, and this time, select Paste L AYER Style:

Figuur 7.26 Go to L AYER > L AYER Style > Paste L AYER Style. And just like that, the stroke is now applied to all four sections, separating them from each other a bit better:

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Figuur 7.27 All four sections now have a black stroke applied to them. And with that, our main photo effect is complete! Lets nish things off by looking at an easy way to change all four colors at once, as well as how to brighten up the colors if needed. Well do that next!

7.21 Step 21: Add Another Hue/Saturation Adjustment L AYER Above All The
Others So far, weve been using Hue/Saturation adjustment L AYERS to colorize each section of the photo. Now that weve completed the initial effect, we can use yet another Hue/Saturation adjustment L AYER to quickly change all four colors at once! Of course, if youre happy with the colors youve chosen, you may not want to change anything, but if you do want to change them, heres a quick way to do it. First, select the adjustment L AYER at the top of the L AYERS palette (Hue/Saturation 4). Then click on the New Adjustment L AYER icon at the bottom of the L AYERS palette and once again choose Hue/Saturation from the list. This will add a new Hue/Saturation adjustment L AYER above all the others. Notice how this time, the L AYER M ASK preview thumbnail for the adjustment L AYER is lled completely with white. Thats because we did not have a selection active when we added it. With the entire L AYER M ASK lled with white, whatever we do with this adjustment L AYER is going to affect the entire photo:

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Figuur 7.28 Add a fth adjustment L AYER above the others.

7.22 Step 22: Drag The Hue Slider To Change All Four Colors At Once
This time, we do not want to colorize the image. Colorizing it would replace all the colors weve just added with a single color, so leave the Colorize option in the Hue/Saturation dialog box unchecked. Instead, simply drag the Hue slider either left or right. As you drag it, youll see all four colors in your image changing to different colors! For example, here Ive dragged my Hue slider to the left to a value of -123:

Dragging the Hue slider to the left. Make sure the Colorize option is not selected this time. 138

HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL The colors in my effect have now shifted from reds and yellows to blues and purples:

Figuur 7.29 Dragging the Hue slider has shifted the colors in the effect. This time, Ill drag the Hue slider over to the right to a value of +170:

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Figuur 7.30 Dragging the Hue slider to the right. The colors in my image have now shifted to greens and blues:

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL The colors in the effect have changed to greens and blues after dragging the Hue slider to the right. What if youre happy with the colors youve chosen but you want to brighten them up a bit? Heres my image once again with the original colors I chose:

Figuur 7.31 The image with the original colors. You can use the Hue/Saturation adjustment L AYER we added to quickly brighten all four colors in the effect simply by dragging the Saturation slider. Drag the slider to the left to decrease color saturation, reducing the intensity of the colors, or drag it to the right to increase saturation. Since I want to make my colors brighter, Im going to drag the Saturation slider to the right to a value of around +40:

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Drag the Saturation slider left or right to increase or decrease color saturation, which changes the intensity of the colors. The colors in my effect now appear brighter and more intense:

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HOOFDSTUK 7. COLORIZING A PHOTO WITH MULTIPLE COLORS - PHOTOSHOP TUTORIAL Figuur 7.32 The image after increasing color saturation. And there we have it!

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8
Colorizing Images With Gradients In
PHOTOSHOP
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, well learn how to add complex colorizing effects to images using custom gradients! Specically, well look at the Gradient Map image adjustment and how it allows us to apply different colors to different brightness levels in the image. Well see how easy it is to create our own custom gradients in PHOTOSHOP so we can colorize our images with any colors we choose. As always, well be using the adjustment L AYER version of the Gradient Map so we avoid making any changes to the original photo, and so we can easily adjust the intensity of the effect when were done! Heres the image Ill be working with:

Figuur 8.1 The original image. Heres how it will look after colorizing it with a gradient and then reducing the intensity of the effect. This is just one of endless possibilities:

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Figuur 8.2 The nal result. Lets get started!

8.1 Step 1: Create A Custom BLACK AND WHITE Version Of The Image
Before we start colorizing the image with a gradient, lets rst remove the existing colors and create a custom BLACK AND WHITE version. This will help us ne-tune the results at the end. If youre using PHO TOSHOP CS3 or higher (Im using CS4 in this tutorial), the easiest way to create a great looking custom BLACK AND WHITE version is with a Black & White adjustment L AYER , which is what Ill be adding in a moment. If youre using PHOTOSHOP CS2 or earlier, use either a C HANNEL M IXER or Hue/Saturation adjustment L AYER to create your BLACK AND WHITE version. Youll nd complete details on these and other ways of converting color images to BLACK AND WHITE in our Photo Editing section. If we look in our L AYERS palette, we see that we currently have only one L AYER, the B ACKGROUND L AYER, which is the L AYER that contains our image. To add a Black & White adjustment L AYER, click on the New Adjustment L AYER icon at the bottom of the L AYERS palette and choose Black & White from the list of adjustment L AYERS that appears:

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Click on the New Adjustment L AYER icon and select Black & White from the list (photoshop CS3 and higher). As soon as you select the Black & White adjustment L AYER, youll see your image in the document W IN DOW suddenly appear in BLACK AND WHITE , based on the default settings for the adjustment. In PHO TOSHOP CS3, the controls for the BLACK AND WHITE adjustment L AYER will open in a dialog box on your screen. In CS4, theyll appear inside the Adjustments Panel, which is new to CS4. In either case, the way it works is the same. Simply drag any of the color sliders (Reds, Yellows, Greens, Cyans, Blues, and Magentas) left or right to brighten or darken areas in the image that originally contained that particular color. Dragging a slider towards the left will darken areas of that color, while dragging to the right will lighten them. For example, skin tone always contains lots of red, so to lighten someones skin in the BLACK AND WHITE version of the image, simply drag the Reds slider towards the right. Trees and other plants usually contain lots of yellow (even though they appear green to us), so to brighten or darken them, just drag the Yellows slider. Always keep an eye on your image in the document W INDOW as you drag the sliders to J UDGE the results:

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HOOFDSTUK 8. COLORIZING IMAGES WITH GRADIENTS IN PHOTOSHOP Drag the color sliders left or right to darken or lighten different areas of the BLACK AND WHITE version. Once youre happy with the results, click OK to exit out of the dialog box if youre using PHOTOSHOP CS3. In CS4, the Adjustments Panel can remain open. Heres my image after converting it to BLACK AND WHITE :

Figuur 8.3 A custom BLACK AND WHITE version has been created. If we look in our L AYERS palette again, we see that we now have two Layers. The original image is still sitting on the B ACKGROUND L AYER, and directly above it is our adjustment Layer. The BLACK AND WHITE conversion we just applied is contained entirely within the adjustment L AYER itself. The original image below it remains in full color, untouched and unaffected by anything we just did, which is why we should always use adjustment L AYERS whenever possible:

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Figuur 8.4 With adjustment L AYERS, the original image remains unharmed.

8.2 Step 2: Add A Gradient Map Adjustment L AYER


Now that we have our BLACK AND WHITE version, we can colorize the image with a gradient. For that, well use another adjustment L AYER, this time a Gradient Map. Click again on the New Adjustment L AYER icon at the bottom of the L AYERS palette and choose Gradient Map from the list:

Click again on the New Adjustment L AYER icon and this time, choose Gradient Map. As with the previous adjustment L AYER, if youre using PHOTOSHOP CS3 (or earlier), the controls for the Gradient Map will open in a dialog box on your screen. In CS4, they appear in the Adjustments Panel.

8.3 Step 3: Create A Custom Gradient


By default, PHOTOSHOP uses a gradient based on your current Foreground and B ACKGROUND colors, which, unless youve changed them, will be black (Foreground) and white (Background), which gives us a black to white gradient. We can see what the current gradient looks like in the gradient preview area:

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Figuur 8.5 The preview area shows us the current colors in the gradient. Since we want to colorize our image, a black to white gradient wont do us much good, so lets change the colors and create our own custom gradient! Click directly on the gradient preview area, which opens up the larger Gradient Editor. At the top of the Gradient Editor is a series of thumbnails, each one representing a different pre-made gradient (known as a gradient preset) that we can choose simply by clicking on its thumbnail. Were not going to do that though (so dont click on any of them) because were going to see how easy it is to create a custom gradient.

The Presets area at the top of the Gradient Editor contains a selection of ready-made gradients. It wouldnt be called the Gradient Editor if all we could do was choose from pre-made gradients, and in fact, its very easy to create our own using any colors we want. In the bottom half of the dialog box is a larger version of the gradient preview area we saw a moment ago. Directly below the preview area on either end is a color stop which shows the current color thats being used in that part of the gradient. The color stop on the left is lled with black, while the one on the right is lled with white. To change either color, simply click on the color stop, then click on the rectangular color swatch to the right of the word Color at the bottom of the dialog box. Lets change the black on the left of the gradient to something else. Click on the black color stop to select it, then click on the color swatch:

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Click on the black color stop to select it, then click on the color swatch to change its color. This opens PHOTOSHOPs Color Picker. For best results, youll usually want to create gradients that progress from darker colors to lighter colors, so Ill choose a dark purple from the Color Picker, which will replace black in the gradient:

Figuur 8.6 Replacing black in the gradient with a dark purple. Click OK when youre done to exit out of the Color Picker. If we look at my image in the document W INDOW, we see that by replacing black in the gradient with purple, all of the dark areas in the photo now appear purple rather than black:

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Figuur 8.7 The dark areas in the image now appear purple. Lets do the same thing for the white color stop below the far right of the gradient preview area. Click on the color stop to select it, then click on the color swatch to change its color:

Figuur 8.8 Changing the white color on the far right of the gradient. When the Color Picker appears, Ill choose a bright yellow to replace white:

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Figuur 8.9 Replacing white in the gradient with a bright yellow. Click OK to exit out of the Color Picker, and we can see that the areas in the image that were originally white (or a light shade of gray) now appear yellow:

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Figuur 8.10 The dark areas are still purple, and now the light areas appear yellow. Adding More Colors At the moment, our gradient is made up of only two colors, but we can add as many colors we like simply by adding more color stops. To add a color stop, just click below the gradient preview area at the spot where you want it to appear. Ill add a third color stop below the middle of the gradient. As soon as you click, the new color stop appears:

Click anywhere along the bottom of the gradient to add another color stop.

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HOOFDSTUK 8. COLORIZING IMAGES WITH GRADIENTS IN PHOTOSHOP To change its color, simply click on the color swatch, then select a new color from the Color Picker. Ill select a medium orange. Notice that Im purposely selecting new colors that match, as close as possible anyway, the brightness of the original color in the gradient. You can create wild and crazy color effects by selecting colors with very different brightness levels than the originals, but for smoother, more natural looking gradients, its best to try and match the brightness levels as closely as possible:

Figuur 8.11 Choosing a medium orange to replace the medium gray in the gradient. Ill click OK to once again exit out of the Color Picker, and we can see in the document W INDOW that the midtones in my image now appear orange. The darker areas are still purple, and the lighter areas are still yellow thanks to the three-color gradient Ive created to colorize the image with:

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Darker areas are purple, lighter areas are yellow and midtones are orange thanks to the custom 3-color gradient. Not only can we add new colors to the gradient, we can move existing colors around. To move any of the colors and change the look of the gradient, simply click on the color stop and drag it left or right along the bottom of the gradient preview area. You can also click and drag the small diamond shape that appears between two color stops to change the distance it takes for one color to blend into another. Keep an eye on the image in the document W INDOW to J UDGE the results. Finally, to remove a color from the gradient, just click and drag its color stop away from the gradient preview area until it disappears, then release your mouse button:

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HOOFDSTUK 8. COLORIZING IMAGES WITH GRADIENTS IN PHOTOSHOP Drag any of the color stops to change the position of colors in the gradient. Drag the small diamond shapes to change the transition from one color to another. When youre done creating and editing the gradient, click OK to exit out of the Gradient Editor, then click OK to exit out of the Gradient Map dialog box (photoshop CS3 and earlier).

8.4 Step 4: Change The Blend Mode Or Lower The Opacity


If you nd that the initial colorizing effect is too intense (as mine is), theres a couple of easy ways to give it a more subtle appearance. One is by changing the blend mode of the Gradient Map adjustment Layer. Im going to change my blend mode from Normal (the default blend mode) to S OFT LIGHT:

Change the blend mode of the Gradient Map adjustment L AYER to Soft Light. You can also try the Overlay blend mode for a higher contrast look. In my case, S OFT LIGHT works better and gives me a much more subdued colorizing effect:

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Figuur 8.12 Changing the blend mode results in a more subtle effect. Another way to reduce the intensity of the effect is by lowering the opacity of the Gradient Map adjustment Layer. Ill set my blend mode back to Normal and this time, Ill lower the Opacity option (directly across from the blend mode option) all the way down to 25%:

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HOOFDSTUK 8. COLORIZING IMAGES WITH GRADIENTS IN PHOTOSHOP Figuur 8.13 Lower the opacity of the Gradient Map to reduce its intensity. By lowering the opacity of the adjustment L AYER, we get a softer look with less contrast than what the S OFT LIGHT blend mode gave us:

Figuur 8.14 Lowering the opacity creates a softer colorizing effect. And there we have it!

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9
Create A Portrait Studio B ACKGROUND PHOTOSHOP Tutorial
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, well learn how to quickly and easily create a simple photo studio B ACKGROUND in PHOTOSHOP which can then be used to make any portraitstyle photo look as if it was taken in an actual photo studio, even if it was really taken in your ofce, your kitchen, your neighbors backyard, or basically any place other than a photo studio. As with most PHOTOSHOP effects, this B ACKGROUND works best when used with the right type of photo, so since were trying to make it appear as if the photo was taken in a portrait studio, it helps if the person in the photo is dressed nicely, H AIR in place, and sitting in one of those completely unnatural portrait studio poses. One other thing to keep in mind before we begin. . . If youre planning on taking a photo to use with this B ACKGROUND, try to have the person (or people) sit in front of a plain white B ACKGROUND if possible when you take the shot, since that will make it much easier to select them in the original photo when you go to move them in front of this new B ACKGROUND were about to create. Heres the image Ill be using for this tutorial:

Figuur 9.1 The original image. 159

HOOFDSTUK 9. CREATE A PORTRAIT STUDIO BACKGROUND - PHOTOSHOP TUTORIAL Obviously, this photo wasnt taken inside a studio, but heres how it will look when were done:

Figuur 9.2 The nal result. Lets get started!

9.1 Step 1: Create A New PHOTOSHOP Document Set To 72 Pixels/Inch


To begin, we need to create a new PHOTOSHOP document, so go up to the File menu at the top of the screen and choose New, or use the keyboard shortcut Ctrl+N (Win) / Command+N (Mac). Either way brings up PHOTOSHOPs New Document dialog box. Lets use a standard size of 8x10 inches for our new document, so Ill select that from the list of Preset sizes. I also want to make sure that I enter 72 pixels/inch for my Resolution value:

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Figuur 9.3 Create a new PHOTOSHOP document set to 8x10 inches at 72 pixels/inch. Now, if you know anything about image resolution and print quality, youre probably wondering why Ive set my resolution to only 72 pixels/inch, which is far lower than the professional print quality resolution of 300 pixels/inch, and youre most likely thinking that if we go to print this image at only 72 pixels/inch, its going to look rather horrible, and youd be right. Theres no way we can print our image at such a low resolution and expect it to look good. Dont worry though, we wont be leaving it like this. The reason were starting off at only 72 pixels/inch is because were going to be using PHOTOSHOPs C LOUDS F ILTER to help us create our B ACKGROUND, and the C LOUDS F ILTER is resolution-dependent and only works well at low resolutions. If we tried to use the C LOUDS F ILTER at 300 pixels/inch, wed get a whole bunch of really small C LOUDS instead of a few large ones, and we want the larger ones for this effect. Ill show you what I mean in just a moment. For now though, go ahead and create your new document by clicking OK in the top right corner of the dialog box.

9.2 Step 2: Fill The New Document With Black


We need our B ACKGROUND to be black, so press the letter D on your keyboard to reset your Foreground and B ACKGROUND colors if needed, which sets black as your Foreground color (white becomes your B ACKGROUND color), and then use the keyboard shortcut Alt+Backspace (Win) / Option+Delete (Mac) to ll the document with black:

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Figuur 9.4 Fill the new document with black.

9.3 Step 3: Create A New Blank L AYER


If we look in our L AYERS palette, we can see that we currently have only one L AYER, the B ACKGROUND Layer. We need to add a new blank L AYER to the document, so click on the New L AYER icon at the bottom of the L AYERS palette (its the icon directly to the left of the trash bin):

Add a new L AYER by clicking on the New L AYER icon.


PHOTOSHOP adds a new blank L AYER to the document, places it above the original B ACKGROUND L AYER , and names it L AYER 1:

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Figuur 9.5 The new blank L AYER added to the PHOTOSHOP document.

9.4 Step 4: Apply The C LOUDS F ILTER To The New


L AYER With the new L AYER selected in the L AYERS palette (the currently selected L AYER is highlighted in blue), go up to the F ILTER menu at the top of the screen, choose Render, and then choose Clouds. I dont think youll nd too many people wholl claim that PHOTOSHOPs C LOUDS F ILTER gives you anything remotely close to realistic-looking C LOUDS, but still, your document should now look something like this:

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Go to F ILTER > Render > C LOUDS to apply PHOTOSHOPs C LOUDS F ILTER to the new Layer. The C LOUDS F ILTER gives you something different each time you apply it, so if you want to experiment with it a little to see different variations of the effect, simply press Ctrl+F (Win) / Command+F several times to re-apply the F ILTER and youll see a different C LOUD pattern each time. Before we continue, just to show you what I meant earlier about how the C LOUDS F ILTER would give us a different result if we tried running in at 300 pixels/inch instead of 72 pixels/inch, heres what wed get with it at 300 pixels/inch:

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The effect of applying the C LOUDS F ILTER at 300 pixels/inch instead of 72 pixels/inch. Thats a few too many C LOUDS for what we need here, which is why were running it at a low resolution value.

9.5 Step 5: Lower The Opacity Of The C LOUDS L AYER To 40%


Weve added our C LOUDS but theyre too intense at the moment. We need them to be much more subtle, so go to the Opacity option in the top right corner of the L AYERS palette and lower the L AYERs opacity down to 40%:

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Lower the opacity of the C LOUDS L AYER to 40% to reduce their intensity and give us a more subtle shading effect.

9.6 Step 6: Merge The L AYERS


We need to merge our two L AYERS together at this point, and we can do that with the keyboard shortcut Ctrl+E (Win) / Command+E (Mac). If we look again in our L AYERS palette, we can see that two L AYERS have been merged into one:

Press Ctrl+E (Win) / Command+E (Mac) to merge both L AYERS onto a single Layer.

9.7 Step 7: Apply The Spatter Brush F ILTER


Lets make the B ACKGROUND look a bit more interesting by adding a little texture to it. Going up to the F ILTER menu once again, this time choose Brush Strokes, and then choose Spatter. When the dialog box appears, enter 10 for the Spray Radius and 5 for the Smoothness, then click OK to apply the F ILTER to the image:

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Figuur 9.6 Add some texture to the B ACKGROUND by applying the Spatter brush Filter. This gives the B ACKGROUND a bit of a painted look to it:

The C LOUDS now have a painted look to them.

9.8 Step 8: Fade The F ILTER Effects Opacity To 50%


Before you click anywhere else in PHOTOSHOP, go up to the Edit menu at the top of the screen and choose Fade Spatter. The Fade option is only available as the very next thing you do after applying a F ILTER, so if you click somewhere else rst and then try and select the Fade option, it will be grayed out and unavailable. When the Fade dialog box appears, lower the opacity value of the F ILTER effect to 50% to reduce the intensity of the effect:

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Go to Edit > Fade Spatter immediately after applying the F ILTER and lower the effects opacity to 50%.

9.9 Step 9: Apply The Sprayed Stokes F ILTER


Lets add just a bit more texture to the B ACKGROUND by once again going back up to the F ILTER menu, again choosing Brush Strokes, and this time choosing Sprayed Strokes. When the dialog box appears, enter 12 for the Stroke Length, 7 for the Spray Radius and Right Diagonal for the Stroke Direction option, then click OK to apply the F ILTER:

Figuur 9.7 Apply the Sprayed Strokes F ILTER to the Background. This adds even more to the painted look of the B ACKGROUND, although its a little hard to see in the screenshot below but it should be easier to see in your own document:

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Figuur 9.8 The B ACKGROUND after applying the Sprayed Strokes Filter.

9.10 Step 10: Fade The F ILTER Effects Opacity To 50%


Once again, lets fade the opacity of our F ILTER effect by going up to the Edit menu and choosing Fade Sprayed Strokes. When the dialog box appears, lower the opacity value to 50% just as we did with the Spatter brush F ILTER a moment ago, then click OK:

Go to Edit > Fade Sprayed Strokes and lower the opacity to 50%.

9.11 Step 11: Increase The Image Resolution To 300 Pixels/Inch


Now that weve nished with the C LOUDS F ILTER, we can increase the resolution to what it should be if we want professional print quality. Of course, increasing the resolution of an image in PHOTOSHOP is usually something we want to avoid as much as possible since all youre doing is making the image larger without adding any more detail to it (as powerful as PHOTOSHOP is, it still has no way of knowing what 169

HOOFDSTUK 9. CREATE A PORTRAIT STUDIO BACKGROUND - PHOTOSHOP TUTORIAL the image would have looked like in higher resolution), and you end up with an image that went from crisp and SHARP to soft and dull. However, since all were doing here is creating a B ACKGROUND, and backgrounds are often blurred out anyway to bring more attention to the main subject in the foreground, we can get away with it. To increase the resolution, go up to the Image menu at the top of the screen and choose Image Size. When the Image Size dialog box appears, enter a value of 300 pixels per inch (which is the standard for professional quality PRINTING) for the Resolution option. Also, make sure the Resample Image option is checked at the bottom of the dialog box, and if youre using PHOTOSHOP CS2 or higher, set the Interpolation Method (its the drop-down list to the right of where it says Resample Image) to Bicubic Smoother, which is generally what we use when making images larger. If youre using an older version of PHOTOSHOP, set it to Bicubic:

Change the Resolution value of the PHOTOSHOP document to 300 pixels/inch, make sure the Resample Image option is checked, and set the Interpolation option to Bicubic Smoother (photoshop CS2 and higher) or Bicubic (photoshop CS and lower). The only difference youll notice after increasing the resolution is that the image will now appear much larger on your screen if you zoom in to 100%.

9.12 Step 12: Add A Hue/Saturation Adjustment


L AYER At this point, our B ACKGROUND is pretty much complete, but lets give ourselves a bit more control over it by adding a Hue/Saturation adjustment L AYER, which is going to give us the ability to not only lighten the B ACKGROUND if we think its looking a little too dark but also change its color. To do that, simply click on the New Adjustment L AYER icon at the bottom of the L AYERS palette (its the icon that looks like a circle split diagonally between BLACK AND WHITE):

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Figuur 9.9 Click on the New Adjustment L AYER icon. Then choose Hue/Saturation from the list of adjustment L AYERS that appears:

Figuur 9.10 Choose Hue/Saturation from the list. When the Hue/Saturation dialog box appears, if you think your B ACKGROUND looks a little too dark, simply drag the Lightness slider to the right to lighten the Background. If you want to add some color to your B ACKGROUND, rst select the Colorize option in the bottom right corner of the dialog box, then drag the Hue slider left or right to select a color. You can adjust the intensity of the color by dragging the Saturation slider in the middle of the dialog box. Here Ive used the Hue/Saturation adjustment L AYER to add blue to the B ACKGROUND, just as an example:

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Figuur 9.11 The B ACKGROUND after colorizing it with blue. If you dont need or want to lighten or add any color to your B ACKGROUND at this point, simply click OK to exit out of the dialog box, and if you look in your L AYERS palette, youll see the Hue/Saturation adjustment L AYER sitting there above the B ACKGROUND Layer. At any point down the road, if you decide to lighten the B ACKGROUND or change its color, all you need to do is double-click directly on the adjustment L AYERs thumbnail in the L AYERS palette, which will bring up the Hue/Saturation dialog box and you can make your changes:

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HOOFDSTUK 9. CREATE A PORTRAIT STUDIO BACKGROUND - PHOTOSHOP TUTORIAL Double-click on the Hue/Saturation adjustment L AYERs thumbnail in the L AYERS palette at any time to bring up its dialog box to lighten or colorize the Background.

9.13 Step 13: Save The PHOTOSHOP Document


Weve completed our work on the B ACKGROUND, so lets save our PHOTOSHOP document so we can use it whenever we need it instead of recreating it each time. To do that, use the keyboard shortcut Ctrl+S (Win) / Command+S (Mac). Normally this is the keyboard shortcut for the Save option, but if this is the rst time youre saving the document, PHOTOSHOP will bring up the Save As dialog box instead, since it needs to know where to save it, what to call it and what format to save it in. Make sure you save the document as a PHOTOSHOP .PSD le. Name the document something that makes sense to you (StudioBackground.PSD works nicely) and then save it to your computers hard drive in a location where you can easily access it again.

9.14 Step 14: Drag The Person From Their Original Photo Into The B ACKGROUND
Document At this point, all we need is someone to place in front of our newly created B ACKGROUND, so open the photo that contains the person and use the selection tool of your choice (Lasso Tool, Pen Tool, Extract F ILTER, etc.) to select them. Here Ive used the Extract F ILTER (which well cover in another tutorial) to remove the woman from her B ACKGROUND in the original photo. Ive also CROPPED away part of the bottom of the image since I wont be needing it:

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Use the selection tool of your choice to select the person in their original photo. Then, with her selected, all I need to do is press the letter V on my keyboard to quickly select the Move Tool and drag her into the B ACKGROUND document. Make sure you have the Hue/Saturation adjustment L AYER selected rst in the B ACKGROUND document so that the person appears on a new L AYER above it, otherwise the adjustment L AYER will lighten and/or colorize not only the B ACKGROUND but the person as well:

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Use the Move Tool to drag the person from their original document into the B ACKGROUND document. Make sure the Hue/Saturation adjustment L AYER is selected rst in the B ACKGROUND document so the person appears on a new L AYER at the top of the L AYERS palette. Still with the Move Tool selected, drag the person into position in front of the B ACKGROUND:

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HOOFDSTUK 9. CREATE A PORTRAIT STUDIO BACKGROUND - PHOTOSHOP TUTORIAL Drag the person into place in front of the B ACKGROUND with the Move Tool. If I want to add a little color to the B ACKGROUND at this point, all I need to is double-click on the Hue/Saturation L AYERs thumbnail in the L AYERS palette and when the dialog box appears, Ill select the Colorize option in the bottom right corner, then drag the Hue slider to about 27, which gives me a nice warm color that works well with her skin tone. Ill also lower the Saturation to about 15 so the color is more subtle:

Adding some color to the B ACKGROUND with the Hue/Saturation adjustment Layer. And here we have the nal result:

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Figuur 9.12 The nal result. And there we have it! Weve now created a simple portrait studio-style B ACKGROUND in PHOTOSHOP that weve saved and can re-use, as well as lighten and/or colorize, whenever we need it!

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10
Creative FOCUS with LENS Blur In
PHOTOSHOP
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, were going learn how to add creative FOCUS to an image using PHOTOSHOP s LENS Blur F ILTER , which has been available in PHOTOSHOP since PHOTOSHOP CS (which means youll need PHOTOSHOP CS, CS2 or CS3 for this tutorial). When most people think of adding a blurring effect to an image in PHOTOSHOP, they immediately think of the Gaussian Blur F ILTER, which has been around in PHOTOSHOP since the days of the dinosaurs (they used PHOTO SHOP BC back then). While Gaussian Blur is still a great F ILTER with plenty of uses, it doesnt offer us much in terms of control over the blurring effect and usually needs to be paired up with a L AYER M ASK for it to be of any real use. PHOTOSHOPs LENS Blur F ILTER, on the other hand, offers an incredible amount of control over the effect (more than youll most likely ever need), and when used with an easy-to-create Depth Map, as well see in this tutorial, we can specify exactly how much blurring to apply to different areas of the image, giving us complete creative control over which areas are in FOCUS and which are not. Were not going to be covering every single option of the LENS Blur F ILTER in this tutorial, since a) that would be boring, and b) theres really only a couple of options you need to know about to get great results with it, and those are the ones well look at here. This is a great F ILTER to use with all kinds of photos, including wedding photography, LANDSCAPE photos, and really any photo where you want to bring attention to a certain part or parts of the image by adjusting the focus. Heres the image Ill be using for this PHOTOSHOP tutorial:

Figuur 10.1 The original image.

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HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP I want to bring more attention to the womans face, especially her eyes, so Im going to be using the LENS Blur F ILTER to bring only those areas into FOCUS , blurring out the rest of the image. The blurring effect were going for here is fairly subtle, but once youre comfortable with the basics of the LENS Blur F ILTER, youll nd yourself coming up with all sorts of wild and imaginative uses for it:

Figuur 10.2 The nal result. Lets get started!

10.1 Step 1: Duplicate The B ACKGROUND L AYER


With our image open in PHOTOSHOP, the rst thing we need to do for this effect is duplicate our B ACK GROUND L AYER , which is the only L AYER we currently have in our L AYERS palette and contains our original image:

PHOTOSHOP s

L AYERS palette showing the B ACKGROUND L AYER which contains the original image. 179

HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP We need to make a copy of this L AYER so that we avoid doing anything to our original image information. To make a copy of the L AYER, use the keyboard shortcut Ctrl+J (Win) / Command+J (Mac). PHOTOSHOP duplicates the L AYER for us, places the copy above the original B ACKGROUND L AYER in the L AYERS palette, and names the copy L AYER 1:

Press Ctrl+J (Win) / Command+J (Mac) to duplicate the B ACKGROUND Layer.

10.2 Step 2: Add A New Channel


At the beginning of this tutorial, I mentioned that we can use something called a Depth Map with the LENS Blur F ILTER to specify how much blurring to apply to different areas of the image, and were going to begin creating our Depth Map right now. The term Depth Map is really nothing more than a cool name for what is essentially just a selection in PHOTOSHOP, and to create one, we rst need to add a new channel, so switch over to your Channels palette which youll nd by default grouped in beside the L AYERS palette:

Figuur 10.3 PHOTOSHOPs Channels palette. In the Channels palette, youll see what looks like four L AYERS, except that these are channels, not L AYERS , and theres really only three of them. The one at the top, named RGB, is just the composite of the three color channels below it, named Red, Green, and Blue. The Red, Green and Blue channels combine to create all the colors we see in our image, and thats already more than we need to know for 180

HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP this tutorial, but if you want to learn more about them, be sure to check out our RGB and Color Channels Explained tutorial. We need to add a new channel, so click on the New Channel icon at the bottom of the Channels palette (its the icon directly to the left of the trash bin icon):

Add a new channel by clicking on the New Channel icon.


PHOTOSHOP

adds a new channel for us below the other channels and names it Alpha 1:

A new channel is added below the others and named Alpha 1. As soon as you add the new channel, youll see your image turn completely black, and thats because what were now looking at is the new channel, not the image, and the channel is currently lled with black. What weve just added here is called an alpha channel, as opposed to the color channels above it, which is why PHOTOSHOP named it alpha 1. If alpha channels are new to you, dont worry about them. Well cover alpha channels fully in another tutorial, but for now, alpha channels are just selections, the same as if you were creating a selection with the Rectangular Marquee Tool or the Lasso Tool. This is just a fancier way of making a selection, but its still just a selection. In fact, if you were to drag out a selection with, say, the Lasso Tool and then save your selection, it would be saved as an alpha channel. Were going to be using this alpha channel to tell PHOTOSHOP where we want the blurring effect to be 181

HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP applied at full strength, where we want it to be applied at less than full strength, and where we dont want any blurring to be applied at all, and were going to do that by painting on our alpha channel with white using the Brush Tool, as well do next.

10.3 Step 3: Select The Brush Tool


As I mentioned, were going to be painting on our new alpha channel with white to create our Depth Map, and to do that, we need the Brush Tool, so select it from the Tools palette:

Figuur 10.4 Select the Brush Tool in photoshop.

10.4 Step 4: Lower The Opacity Of The Brush To 50%


With the Brush Tool selected, go up to the Options Bar at the top of the screen and lower the brushs Opacity to 50%:

Figuur 10.5 Lower the opacity of the brush to 50%. When creating our Depth Map, any areas we leave as pure black in the alpha channel will have the blurring effect applied to them at full strength. Any areas we paint with pure white will not have any blurring applied to them at all, and any areas we paint with some shade of gray will have blurring applied to them at various strengths depending on how close that shade of gray is to black (full strength blurring) or white (no blurring). By setting our brush to 50% opacity, this allows us to slowly build up areas of blurring and non-blurring as we paint on the alpha channel, instead of just saying I want 100% blurring here and 0% blurring here with nothing in between.

10.5 Step 5: Turn The RGB Channel On


Currently, our image is lled with black, which makes it a little difcult to see what were painting over in the image, so lets x that. While still in the Channels palette and with Alpha 1 still active (you know its active because its highlighted in blue), click inside the empty box to the left of the RGB Channel at the top. When you do, youll see the eyeball icon appear inside the box (it will also appear in the empty boxes of the Red, Green and Blue channels since, as I mentioned earlier, the RGB channel is just the composite of the other three channels), which tells us that the channel is now visible:

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Make the RGB channel visible by clicking in the empty box to the left of the channel in the Channels palette. An eyeball icon will appear inside the box. With the RGB channel visible, if we look back at our image, we see that it is no longer lled with solid black. Instead, its overlayed with red which allows us to see our image underneath:

Figuur 10.6 With the RGB channel visible, the image now appears overlayed in red. Dont worry, our image is not actually covered in red. Were still looking at the alpha channel, not the image itself. The red just makes it easier for us to see what were doing. The areas overlayed with red at full strength (which at the moment is the entire image) represent areas lled with pure black on the alpha channel. As we paint with white on the alpha channel with our brush, which well do in a moment, 183

HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP we wont see white appearing in the image. Instead, the red will begin to disappear in the areas we paint over, as if were erasing the red with our brush, revealing more of the original image in those areas. The less red there is covering an area, the less blurring will be applied there when we go to use the LENS Blur Filter. If we were to paint with white with our brush set to 100% opacity, we would be completely removing the red from any area we paint over, which would mean that no blurring at all would be applied to those areas, while 100% blurring would be applied everywhere else, giving us an all or nothing situation. But since weve lowered the opacity of our brush to 50%, the more times we paint over the same area, the more white well be adding to that area on the alpha channel and the more the red will disappear in that area in the image. This gradual build-up of white on the alpha channel (and gradual lessening of the blurring effect applied to the image) is what gives us so much control with the LENS Blur F ILTER, much more than we could ever get using the Gaussian Blur F ILTER, at least not without using a L AYER M ASK (although technically, the LENS Blur F ILTERs Depth Map and a normal L AYER M ASK are really the same thing, but well save that for another tutorial).

10.6 Step 6: Paint With White On The Alpha Channel To Control The Blurring
Effect With my Brush Tool selected and my brush opacity lowered to 50%, Im going to make sure my Foreground color is set to white so that Ill be painting with white, and then Ill begin creating my Depth Map by painting on the alpha channel to control how much blurring will be applied to different areas of the image. For this image, I want to reduce the amount of blurring that will be applied to the womans face in general, so with a large, soft-edged brush, Im simply going to click once over her face:

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HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP Clicking once over the womans face with a large, soft-edged brush to reduce the amount of blurring that will be applied to that part of the image. To change the size of your brush, use the left and right arrow keys on your keyboard. The left bracket key makes the brush smaller and the right one makes it larger. To make the edges of your brush nice and soft, hold down your Shift key and press the left bracket key a few times. Holding Shift and pressing the right bracket key a few times makes the brush edges harder. Its a bit hard to see in the image, but after clicking once over the womans face, which added some white to that area on the alpha channel, some of the red in that area has disappeared. The area I clicked on will now have a bit less of a blurring effect applied to it when we go to use the LENS Blur Filter. The rest of the image will have blurring applied at a full 100%. I want to reduce the blurring amount even further over her eyes, nose and mouth, so Im going to press my left bracket key a few times to reduce the size of my brush and then Im going to paint in one continuous motion over her eyes, nose and mouth, making sure not to release my mouth button at any point while Im painting so I maintain the same level of white across that whole area, which will maintain the same reduced blurring amount:

Painting a second time over a smaller area with a smaller brush to reduce the amount of blurring in those areas even further. Its now becoming a bit easier to see that the red is disappearing from the areas Ive painted on, as I increase the amount of white in those areas on the alpha channel. I think I want to reduce the amount of blurring even further over her lips and eyes, so Im going to keep my brush the same size and just paint once again over those areas:

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Painting once again over the womans lips and eyes to reduce the blurring that will be applied further still. We can now denitely see the original image showing through the red in those areas, which means they will receive the least amount of blurring, and since were using a soft-edged brush, well get smooth transitions between the different levels of blurring. Finally, I want to really bring FOCUS and attention to the womans eyes so I dont want any blurring being applied to them at all. To make sure no amount of blurring is applied to them, Im going to simply click a few times with my brush over each eye, lling those areas with pure white on my alpha channel and removing any hint of red from them in the image:

Clicking several times with the brush over the womans eyes to ll those areas with pure white on the alpha channel and prevent any blurring from being applied to them. Ive now completed the work on my alpha channel and I can go ahead and use it as my Depth Map with the LENS Blur F ILTER, which Ill do next, but before we do that, if I want to see what my alpha channel 186

HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP really looks like, all I need to do is click once again on the eyeball icon to the left of the RGB channel in the Channels palette to turn the channel off again, which will leave only the Alpha 1 channel visible, and I can now see exactly where Ive painted with white on it at various opacity levels. The two areas that appear brightest on the alpha channel are where I clicked several times over her eyes:

Turn off the visibility of the RGB channel to see the alpha channel in its true BLACK AND WHITE form. We have our Depth Map. Now lets put it to work.

10.7 Step 7: Select The RGB Channel And Then Switch Back To The L AYERS
Palette Still in the Channels palette, click directly on the RGB channel at the top to actually select it rather than simply making it visible. This will turn off the alpha channel at the same time, and well see our image once again as we normally would in the document W INDOW:

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Click directly on the RGB channel in the Channels palette to select it, which makes it visible and hides the alpha channel. Once youve selected the RGB channel, switch back to the L AYERS palette and make sure that L AYER 1 is currently selected. Just as with channels, the currently selected L AYER is highlighted in blue. Click on L AYER 1 to select it if it isnt already selected.

10.8 Step 8: Apply The LENS Blur F ILTER


Were ready to blur our image with the LENS Blur Filter. To do that, go up to the F ILTER menu at the top of the screen, choose Blur, and then choose LENS Blur, which brings up PHOTOSHOPs rather large LENS Blur F ILTER dialog box, with a large preview area for the image on the left and a column of options on the right. As I mentioned at the beginning of this tutorial, we wont be covering all of these options since theres only a few you really need to know about, and one of these options you need to know about is how to select the depth map we just created. At the top of the options column on the right, just below the Preview options where you can select from a faster preview or a more accurate preview depending on how powerful of a computer you have, youll see the words Depth Map along with a Source option. This is where we select our alpha channel to use as the depth map. To do that, click on the down-pointing arrow to the right of the word None and choose Alpha 1 from the list:

Select Alpha 1 as the source for the Depth Map.

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HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP By default, the LENS Blur F ILTER will use the alpha channel in exactly the opposite way from what we wanted. The areas in the image where the alpha channel was lled with black will have no blurring applied to them while areas painted on with white will have blurring applied. Thats not what we wanted. Fortunately, all we need to do to x that is click inside the checkbox to the left of the word Invert to select that option, which tells PHOTOSHOP to treat our alpha channel the way we expected, blurring out the black areas, applying no blurring to white areas, and reducing the amount of blurring over gray areas:

Select the Invert option to have PHOTOSHOP treat the alpha channel the way you expected. To ne-tune the amount of blurring being applied to the image overall, simply adjust the Radius value by dragging its slider bar left or right, which is exactly what we would do if we were using the standard Gaussian Blur Filter. Increasing the Radius value increases the amount of blurring, and decreasing the value reduces the blur amount. Im going to set mine to about 10. You may want to set yours to a different amount depending on your image and the effect youre going for:

Adjust the amount of overall blurring with the Radius option. When youre happy with the results, click OK in the top right corner to exit out of the LENS Blur dialog box, and youre done! Here, once again, is my original image for comparison:

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Figuur 10.7 The original image for comparison. And here, after creating my depth map, selecting it in the LENS Blur F ILTER and adjusting the overall blurring amount in the image with the Radius value, is my nal result, with much more attention now being placed on the womans eyes:

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HOOFDSTUK 10. CREATIVE FOCUS WITH LENS BLUR IN PHOTOSHOP Figuur 10.8 The nal result. And there we have it! As I said, once youve used the LENS Blur F ILTER a few times, theres no telling how many creative and imaginative uses youll come up with for it!

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11
Dramatic Sky
Skill Level: Beginner

Figuur 11.1 In photos, the sky can often look muted and washed out due to over exposure. In this tutorial youll learn how to bring back denition and add drama to your sky.

Figuur 11.2 Open your photo in photoshop.

Figuur 11.3 First add a Brightness/Contrast adjustment Layer. 192

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Figuur 11.4 To give denition to the sky you need to increase the Contrast, and decrease the Brightness.

Figuur 11.5 Dont worry about how dark the LANDSCAPE in the foreground looks, well x that next.

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Figuur 11.6 When youre happy with how the sky looks, select everything in the foreground using the Quick Selection tool.

Figuur 11.7 Make sure the Brighness/Contrast L AYER thumbnail is still selected, then go to EditFill and choose Black, then click OK.

Figuur 11.8 You have now masked out the effect of the Brigtness/Contrast L AYER in the foreground of the photo.

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Figuur 11.9 Next well increase the overall contrast of the image.

Figuur 11.10 Add a Levels adjustment L AYER, and use the black colour picker to choose the darkest part of your image, and the white colour picker to choose the lightest part of your image.

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Figuur 11.11 Finally, add a Hue/Saturation L AYER and take the Saturation down to -70%.

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Figuur 11.12 Heres how your nal image should end up looking.

Figuur 11.13 And heres how your L AYERS panel should look. Below are a couple more examples of how this simple technique can add a lot more drama to you photos.

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12
Dual View Photo Editing In PHOTOSHOP

Learn PHOTOSHOP with Photo Editing Tutorials at PHOTOSHOP Essentials.com Written by Steve Patterson. If its true that two heads are better than one, its also true that two views of the same image are better than one, especially when it comes to photo editing. In this tutorial, well look at how to give ourselves two different views of the same image by opening it in two separate document W INDOWS, each set to a different zoom level, making it much easier to J UDGE the effect our edits are having on the overall image. This is really more of a PHOTOSHOP tip than an actual photo editing technique, but its so incredibly useful and I nd myself using it so often that it really deserves to be included in with our other photo editing tutorials. Have you ever found yourself zoomed in close to a specic area in a photo, maybe brightening someones eyes or whitening their teeth, or you may have been panning around an image looking for minor skin blemishes or dust marks on an antique photo, and youre having trouble JUDGING how effective your edits really are because youre too close to the image? Wouldnt it be great if you could see the entire photo as youre working no matter how zoomed in you are? Sure, you could always zoom in to make a few edits, zoom out to the 100% view size to J UDGE the results, zoom back in to make a few more edits, zoom out, back and forth, on and on, but who wants to do that, especially when theres a much better and easier way! Just open the same image in a second document W INDOW! Download our tutorials as printable PDFs! Learning PHOTOSHOP has never been easier! Heres a photo I currently have open in photoshop. Im using PHOTOSHOP CS4 here but this tip works with any version:

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Figuur 12.1 The original image open in photoshop. Lets say I wanted to work on the womans eyes, either lightening them or changing their color. Ill need to zoom in on her eyes, so Ill grab the Zoom Tool from the Tools palette and drag a rectangular selection around her eyes. When I release my mouse button, PHOTOSHOP zooms in on the area I selected:

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Drag a selection with the Zoom Tool around the area you need to zoom in on. The problem is, Id still like to be able to see the rest of the photo as Im working so I can get a better sense of how the changes Im making are impacting the overall image. As I mentioned, I could zoom in and out as Im working, but a much better solution would be to open a second view of the image in a separate document Window. To do that, simply go up to the W INDOW menu at the top of the screen and choose Arrange. Youll see an option called New W INDOW for, followed by the name of the image you currently have open. In my case, the name of my image is knitted_cap.jpg, so my option shows up as New W INDOW for knitted_cap.jpg:

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Go to W INDOW > Arrange > New W INDOW for (insert the name of your image here). This opens the exact same image in a second document Window. If youre working in PHOTOSHOP CS4 as I am here, the default behavior of PHOTOSHOP CS4 is to open new W INDOWS as a series of tabbed documents. Go up to the new Application Bar at the top of the screen, click on the Arrange Documents icon, then click on the 2 Up two column document layout:

In PHOTOSHOP CS4, select the 2 Up two column layout from the Arrange Documents option. In PHOTOSHOP CS3 and earlier, choosing W INDOW > Arrange > New W INDOW for (name of your image) opens the image in a second oating document Window. To place the document W INDOWS side by side each other, simply click on the tab area at the top of the document W INDOWS and drag them into position. Or, go up to the W INDOW menu, choose Arrange, and then choose Tile VERTICALLY:

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HOOFDSTUK 12. DUAL VIEW PHOTO EDITING IN PHOTOSHOP

In PHOTOSHOP CS3 or earlier, go to W INDOW > Arrange > Tile vertically. Whichever version of PHOTOSHOP youre using, you should now see both document W INDOWS side by side showing the exact same image. The only difference is that both W INDOWS are set to a different zoom level:

Figuur 12.2 Two views at two different zoom levels of the exact same photo. Many people get tricked here into thinking that theyve just opened a second copy of the image, but we actually have the exact same image appearing in both document Windows. Weve given ourselves two 203

HOOFDSTUK 12. DUAL VIEW PHOTO EDITING IN PHOTOSHOP separate views of the same image, but it is the same image in both document Windows. If you think of how your eyes work, each eye sees an object from a different angle but both eyes are seeing the same object. With our document W INDOWS, each one is showing us a different view of the image but its the same image in both Windows. Since both W INDOWS are showing the same photo, anything you do in one of them will be instantly reected in the other. As a quick example, Ill desaturate the image by going up to the Image menu, choosing Adjustments, and then choosing Desaturate:

Desaturating the image is a quick way to convert a photo to BLACK AND WHITE, although certainly not the best way. This instantly removes all color from the image, leaving me with a BLACK AND WHITE photo. Notice that regardless of which document W INDOW I had selected, both W INDOWS are showing the desaturated version, and thats because both are showing the exact same photo:

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Figuur 12.3 Anything you do in one document W INDOW instantly appears in the other. Just for fun, Ill grab PHOTOSHOPs History Brush from the Tools palette (I could also press the letter Y on my keyboard to select it with the shortcut):

Figuur 12.4 Selecting the History Brush from the Tools palette. The History Brush is like PHOTOSHOPs version of a time machine, allowing us to paint previous history states back in to the image. For example, I can restore the original color of the womans cap by painting over it with the History Brush. Ill select the document W INDOW on the left (the zoomed in view) and begin painting over her cap with the brush. Even though Im painting in the document W INDOW on the left, both document W INDOWS are showing the results of what Im doing:

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Figuur 12.5 The History Brush paints previous history states back in to the image. Hopefully you now have a sense of just how useful this dual view mode can be when editing images, and the nice thing is, it doesnt require an expensive dual monitor setup. Simply open the image in a second document W INDOW, do all of your editing work in the original W INDOW, zooming and panning as needed, and leave the second W INDOW set to either the Actual Pixels or Fit on Screen view modes, both of which can be accessed from the View menu at the top of the screen. Be sure to check out our full Zooming and Panning in PHOTOSHOP tutorial in our PHOTOSHOP Basics section for lots more information on how to navigate around images in photoshop. And there we have it!

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13
Elegant S EPIA Tutorial
19 Apr Skill Level: Beginner

Give your photos an elegant look with muted colours and soft glows in this quick PHOTOSHOP tutorial.

Figuur 13.1 The stock photo Ive used for this tutorial was provided by Tigg-stock and can be downloaded here .

Figuur 13.2 With the photo open in PHOTOSHOP, rst duplicate the L AYER by dragging it to the new L AYER button (shown above).

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Figuur 13.3 Select the duplicated L AYER and go to F ILTERBlurGaussian Blur. Set the Radius to 3 pixels, and click OK.

Figuur 13.4 Now set the L AYERs blending mode to Lighten, and take the Opacity down to 80%.

Figuur 13.5 Next click on the adjustment L AYER button at the bottom of the L AYERS panel, and choose a Brightness/Contrast adjustment Layer.

Figuur 13.6 Set the Brightness to 20 and the Contrast to 20.

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Figuur 13.7 Next add a Hue/Saturation adjustment L AYER and take the saturation down to -70.

Figuur 13.8 Finally add a Solid Color adjustment L AYER and choose the colour #957426. Set the blending mode to S OFT LIGHT and the Opacity to 20%.

Figuur 13.9 Heres the nal outcome. Below are a couple more photos with exactly the same effect applied.

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14
Gallery Style Photo Frame Layout PHOTOSHOP Tutorial
Written by Steve Patterson. Samenvatting In this PHOTOSHOP Effects tutorial, well learn how to create a simple gallery-style photo frame layout, complete with a text caption below it, as if the photo was on display in an art gallery. This can be a very classy and elegant way to present your work, and creating the layout is easy. Heres what the nal result will look like (of course, your photo and text caption will be different):

The nal gallery style photo frame layout. 211

HOOFDSTUK 14. GALLERY STYLE PHOTO FRAME LAYOUT - PHOTOSHOP TUTORIAL Lets get started!

14.1 Step 1: Create A New Document


Lets begin by creating a new document. Go up to the File menu in the Menu Bar along the top of the screen and choose New:

Figuur 14.1 Go to File > New. This opens PHOTOSHOPs New Document dialog box. Im going to want my nal layout to print as an 8x10 in LANDSCAPE orientation, so Ill enter a value of 10 inches for the Width and 8 inches for the Height (make sure you set the measurement type to inches, not pixels). The dimensions youll need for your layout may be different. Since Ill want it to print in high quality, Ill enter a Resolution value of 240 pixels/inch. Finally, set the B ACKGROUND Contents to White, which will ll the B ACKGROUND of the new document with white, even though well be changing it in a moment (this just keeps us on the same page):

Set the width, height, resolution, and B ACKGROUND color in the New Document dialog box. Click OK to close out of the dialog box. A new document lled with white will appear on your screen.

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14.2 Step 2: Fill The New Document With Black


With our new document created, lets ll it with black, which will become the B ACKGROUND color of the layout. Go up to the Edit menu at the top of the screen and choose Fill:

Figuur 14.2 Go to Edit > Fill. This brings up the Fill dialog box. Set the Use option at the top of the dialog box to Black:

Figuur 14.3 Set the Use option to Black. Click OK to exit out of the dialog box, and PHOTOSHOP lls the document with solid black:

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Figuur 14.4 Black is now the B ACKGROUND color for the layout.

14.3 Step 3: Add A New Blank L AYER And Name It Photo


Area Lets add a new blank L AYER to our document by clicking on the New L AYER icon at the bottom of the L AYERS panel:

Figuur 14.5 Click the New L AYER icon. This adds a new blank L AYER, which PHOTOSHOP automatically names L AYER 1, above the B ACK GROUND L AYER in the L AYERS panel. Double-click directly on the name L AYER 1 and change the name 214

HOOFDSTUK 14. GALLERY STYLE PHOTO FRAME LAYOUT - PHOTOSHOP TUTORIAL to photo area. Press Enter (Win) / Return (Mac) when youre done to accept the name change:

Double-click on the new L AYERs name and change it to photo area.

14.4 Step 4: Drag A Selection Around The Main Photo Area


We need to draw a selection around the area the photo will be displayed in. Select the Rectangular Marquee Tool from the Tools panel:

Figuur 14.6 Select the Rectangular Marquee Tool. With the Rectangular Marquee Tool selected, the Options Bar along the top of the screen will change to show options specically for this tool. Im going to design my layout to display a photo with a standard 4x6 aspect ratio, in LANDSCAPE orientation. To do that, Ill rst change the Style option in the Options Bar to Fixed Ratio, then Ill enter 6 for the Width and 4 for the Height (the aspect ratio youll want for your photo area may be different):

Change the Style option to Fixed Ratio, then enter 6 for the Width and 4 for the Height. 215

HOOFDSTUK 14. GALLERY STYLE PHOTO FRAME LAYOUT - PHOTOSHOP TUTORIAL Then, Ill click about an inch or so away from the top left corner of the document and drag out a selection which will become the area where the photo is displayed. As I drag, PHOTOSHOP locks the selection to the aspect ratio I set in the Options Bar:

Figuur 14.7 Drag a selection around the area where the photo will be displayed.

14.5 Step 5: Fill The Selection With Gray


With the selection in place, go up to the Edit menu and choose Fill once again. This time, when the Fill dialog box appears, set the Use option to 50% Gray:

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Figuur 14.8 Set Use to 50% Gray. Click OK, and PHOTOSHOP lls the photo area with gray. Press Ctrl+D (Win) / Command+D (Mac) to remove the selection outline:

Figuur 14.9 The photo area is now lled with gray.

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14.6 Step 6: Align The Photo Area HORIZONTALLY With The Document
Before we continue, lets make sure our photo area is aligned HORIZONTALLY with the document. Press Ctrl+A (Win) / Command+A (Mac) on your keyboard, which will instantly select the entire document (a selection outline will appear around the edges of the document W INDOW). Press the letter V on your keyboard to quickly select PHOTOSHOPs Move Tool. Then, with the Move Tool selected, click on the Align H ORIZONTAL Centers option in the Options Bar:

Use the Align H ORIZONTAL Centers option to align the photo area with the document. If your photo area was a little off-center HORIZONTALLY, PHOTOSHOP will snap it into perfect alignment with the document. Press Ctrl+D (Win) / Command+D (Mac) when youre done to deselect the document.

14.7 Step 7: Add A Thin White Border


Lets add a thin white border around the photo area. For that, well use one of PHOTOSHOPs L AYER styles. Click on the L AYER Styles icon at the bottom of the L AYERS panel:

Figuur 14.10 Click on the L AYER Styles icon. Then choose Stroke from the bottom of the list:

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HOOFDSTUK 14. GALLERY STYLE PHOTO FRAME LAYOUT - PHOTOSHOP TUTORIAL Figuur 14.11 Select Stroke from the list. This opens PHOTOSHOPs L AYER Style dialog box set to the Stroke options in the middle column. First, click on the color swatch to the right of the word Color, which will open the Color Picker, and choose white as the color for the stroke. Click OK to close out of the Color Picker when youre done. Then, change the Position of the stroke to Inside. Finally, adjust the Size of the stroke by dragging the Size slider towards the right. You can see a live preview of the stroke size in the document W INDOW as you drag the slider. Since we want a thin border, Im going to set my strokes size to 4 px:

Change the color of the stroke to white and the Position to Inside, then adjust the stroke size with the slider. Click OK to exit out of the L AYER Style dialog box. A thin white stroke now appears around the photo area in the document W INDOW (the reason we lled the photo area with gray and not white earlier was so wed be able to see the white border around it):

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The rst of two white borders appears. Well be adding a second one in a moment.

14.8 Step 8: Make A Copy Of The Photo Area L AYER


With the photo area L AYER selected in the L AYERS panel (selected L AYERS are highlighted in blue), press Ctrl+J (Win) / Command+J (Mac) on your keyboard to make a copy of the L AYER, which PHOTOSHOP will place above the original. Notice that the stroke L AYER style is also copied:

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PHOTOSHOP

automatically names the new L AYER photo area copy.

14.9 Step 9: Rename The L AYER And Drag It Between The Original Two L AYERS
Double-click directly on the name photo area copy and change the L AYERs name to border, since well be using it to add an outer border to the photo area in a moment. Press Enter (Win) / Return (Mac) to accept the name change. Then click on the border L AYER in the L AYERS panel and, while still holding down your mouse button, drag it between the B ACKGROUND L AYER and the photo area Layer. Release your mouse button to drop it into place when a highlight bar appears between the two L AYERS:

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Figuur 14.12 Drag the new L AYER between the original two.

14.10 Step 10: Lower The Fill Of The Border L AYER To 0%


Were going to use the gray-lled area on the border L AYER to add a second, thicker stroke around the photo. Problem is, we dont actually want the gray area to be visible on this Layer. All we want to be able to see is the white stroke around it. To hide the gray and keep only the stroke visible, simply lower the Fill for the border L AYER down to 0%. Fill hides the contents of a L AYER but keeps any L AYER styles visible. Youll nd the Fill option directly below the Opacity option at the top of the L AYERS panel. Nothing will seem to have changed in the document W INDOW just yet, though, since the photo area L AYER is blocking the border L AYER from view:

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14.11 Step 11: Use Free Transform To Add Space Around The Photo Area
With Fill set to 0%, press Ctrl+T (Win) / Command+T (Mac) to bring up PHOTOSHOPs Free Transform box and handles around the gray area on the border Layer. Hold down your Alt (Win) / Option (Mac) key, then click on either the left or right handle (the little square) and, while still holding your mouse button down, drag it outward to add a little space on either side between the second stroke and the gray photo area. Notice that only the white stroke itself is visible. The gray on the border L AYER is hidden from view, leaving us with an area of black (which is showing through from the B ACKGROUND L AYER) between this second white stroke and the original. Keep Alt / Option held down and drag either the top or bottom handle outward to add an equal amount of space between the second stroke and the top and bottom of the gray photo area:

Use Free Transform to add space between the second stroke and the photo area. Press Enter (Win) / Return (Mac) when youre done to accept the transformation.

14.12 Step 12: Increase The Thickness Of The Outer Border


Double-click on the word Stroke below the border L AYER in the L AYERS panel:

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Figuur 14.13 Any L AYER styles used on a L AYER are listed directly below it. This re-opens the L AYER Style dialog box, once again set to the Stroke options in the middle column. Lets make the outer border a bit thicker than the original one by dragging the Size slider further towards the right. Again, you can see a live preview of the stroke in the document W INDOW as you drag the slider. Im going to increase my outer stroke size to 12 px. Leave all of the other options the same:

Figuur 14.14 Increase the size of the second stroke for a thicker outer border. Click OK to again exit out of the L AYER Style dialog box. We now have a thin border directly around the photo area and a thicker border around the outside of it, completing our basic frame:

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Figuur 14.15 The photo area and the simple double-border frame are now in place.

14.13 Step 13: Open The Photo You Want To Display


Its time to add our photo to the photo area! Open the photo you want to display, which will appear in a separate document Window. Heres the image Ill be using:

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Open the image that will be displayed in the photo area.

14.14 Step 14: Select And Copy The Image


Press Ctrl+A (Win) / Command+A (Mac) to quickly select the entire photo. Then press Ctrl+C (Win) / Command+C (Mac) to copy it to the clipboard.

14.15 Step 15: Select The Photo Area L AYER


With the photo copied to the clipboard, switch back over to the original document W INDOW (the gallery photo frame layout) and click on the photo area L AYER in the L AYERS panel to select it:

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Figuur 14.16 Select the photo area Layer.

14.16 Step 16: Paste The Photo Into The Document


Press Ctrl+V (Win) / Command+V (Mac) to paste the photo we copied to the clipboard a moment ago into the document. PHOTOSHOP will automatically place the photo on its own L AYER directly above whatever L AYER was selected at the time (which is why we selected the photo area L AYER rst), as we can see by looking in the L AYERS panel. PHOTOSHOP named the photo L AYER L AYER 1, which is ne. No need to rename it:

Figuur 14.17 The photo appears on its own L AYER directly above the photo area Layer. If we look in the document W INDOW, though, we see that the image is currently too big to t inside the photo area and is blocking it from view:

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The photo is currently too big to t inside the area it will be displayed in.

14.17 Step 17: Create A Clipping Mask


We need a way to make the image t inside the photo area, and we can do that using a clipping mask. First, click on the L AYER that contains the photo (L AYER 1) in the L AYERS panel to select it. Then go up to the L AYER menu at the top of the screen and choose Create Clipping Mask:

Select the photo L AYER in the L AYERS panel, then go to L AYER > Create Clipping Mask. The photo L AYER will indent to the right in the L AYERS panel, letting us know that its now clipped to the L AYER below it: 228

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Figuur 14.18 The photo area L AYER is now being used as a mask for the image. Thanks to the clipping mask, only the area of the image that falls directly above the gray photo area below it is now visible in the document Window. Areas outside the boundaries of the photo area are hidden from view:

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HOOFDSTUK 14. GALLERY STYLE PHOTO FRAME LAYOUT - PHOTOSHOP TUTORIAL Only the area of the photo directly above the photo area below it remains visible.

14.18 Step 18: Resize And Reposition The Photo With Free Transform
So far so good, but my image is still too big to t entirely within the smaller boundaries of the photo area, and it also needs to be repositioned. We can do both of those things with Free Transform. Once again press Ctrl+T (Win) / Command+T (Mac) to bring up the Free Transform box and handles, this time around the photo. Hold down your Shift key and drag any of the corner handles to resize the photo as needed until it ts inside the photo area. To move the photo, click anywhere inside the Free Transform box and drag the image into position. If your image uses the same aspect ratio as your photo area (as mine does), you should be able to t the entire image inside of it. If not, simply resize the image until as much of it as possible is visible. Press Enter (Win) / Return (Mac) when youre done to accept the transformation:

Use Free Transform to move and resize the photo until it ts inside the photo area.

14.19 Step 19: Add Your Text Below The Image


At this point, all thats left to do is add a text caption below the image. Select the H ORIZONTAL Type Tool from the Tools panel:

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Figuur 14.19 Select the Type Tool. With the Type Tool selected, choose your font and font size from the Options Bar. Im going to use Trajan Pro at 24 pt:

Figuur 14.20 Select your font and font size in the Options Bar. Click on the color swatch in the Options Bar and choose white as your text color from the Color Picker. Finally, click on the Center Text option to the left of the color swatch, which will make it a bit easier to center our text in the document as were typing:

Choose white as your text color and select the Center Text alignment option. Then, simply click in the black area below the center of the photo with the Type Tool and add your text. Im going to type Steve Patterson Photography. Youll probably want to add something different, unless of course youd like to give me credit for your work. Notice that the spot you clicked on with the Type Tool becomes the center point for the text as you type thanks to the Center Text option we selected in the Options Bar:

With the Center Text option selected, the text extends out in both directions from the spot you clicked. When youre done, click the checkmark in the Options Bar to accept the text:

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Figuur 14.21 Click on the checkmark to exit out of text editing mode.

14.20 Step 20: Align The Text HORIZONTALLY If Needed


To make sure the text is aligned HORIZONTALLY with the document, follow the same method we used in Step 6. With the text L AYER selected in the L AYERS panel, press Ctrl+A (Win) / Command+A (Mac) to select the entire document. Press the letter V to quickly select the Move Tool, then click on the Align H ORIZONTAL Centers option in the Options Bar. PHOTOSHOP will align the text perfectly in the H ORI ZONTAL center of the document. Press Ctrl+D (Win) / Command+D (Mac) when youre done to deselect the document. Once deselected, you can press the Up and Down arrow keys on your keyboard if you need to nudge the text a little higher or lower:

Use the Align H ORIZONTAL Centers option again, this time to align the text with the document. And with that, were done! Here is my nal gallery style photo frame layout:

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The nal result. And there we have it!

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15
How To Blend Textures With Photos In
PHOTOSHOP
Written by Steve Patterson. In this Photo Effects tutorial, well learn the basics of using PHOTOSHOPs L AYER blend modes to blend a texture with a photo, a simple yet powerful way to give an otherwise ordinary image more of an artistic and creative edge. Well learn how to quickly cycle through the blend modes so we can choose the one that works best, how to blend only the brightness values of the texture so the photo can keep its original colors, and how to invert the brightness values to create a different result. For this tutorial, Ill be using an old paper texture from a stock photo website, but the great thing about textures is that you can nd interesting ones almost everywhere you look, indoors or out, and all you need to capture them is an inexpensive digital camera or even the camera on your cellphone. Point it at an interesting design on a leaf or a rock, a C LOUD in the sky, a piece of wood, a patch of rust, or frost on a Window. You can also place different objects on a scanner to capture them as textures. Old book covers, maps, crumpled paper, even pieces of cloth or carpet make great choices. And of course, a quick Google search on the web for PHOTOSHOP textures will turn up endless results. Before long, youll have an entire collection of unique textures to choose from when you need them! Heres the original photo Ill be starting with:

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The original image. Heres the texture Ill be blending into the photo:

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The texture that will be blended into the photo. And heres what the nal result will look like. Ive made a couple of additional enhancements to the effect which Ill cover at the end of the tutorial:

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The nal blended result. Lets get started!

15.1 Step 1: Select And Copy The Texture


With both the original photo and the texture image open in PHOTOSHOP, the rst thing we need to do is move the texture into the same document as the photo, and the easiest way to do that is to copy and paste it. Make sure the textures document W INDOW is the one thats active, then go up to the Select menu in the Menu Bar along the top of the screen and choose All. You can also press Ctrl+A (Win) / Command+A (Mac) to quickly choose Select All from the keyboard:

Figuur 15.1 Go to Select > All. This will select the entire texture. A selection outline will appear around the outer edges of the texture in the document W INDOW: 237

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A selection outline appears around the edges of the texture. With the texture selected, go up to the Edit menu at the top of the screen and choose Copy, or press Ctrl+C (Win) / Command+C (Mac) on your keyboard:

Figuur 15.2 Go to Edit > Copy.

15.2 Step 2: Paste The Texture Into The Photos Document


With the texture copied to the clipboard, switch over to the photos document W INDOW to make it active, then go back up to the Edit menu and this time, choose Paste, or press Ctrl+V (Win) / Command+V (Mac) on your keyboard:

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Figuur 15.3 Go to Edit > Paste.


PHOTOSHOP will paste the texture into the document and will place it on its own L AYER above the photo. Depending on the size of your texture, it may be completely blocking the photo below it from view, but if we look in the L AYERS panel, we see that the original photo is sitting on the B ACKGROUND L AYER and the texture is now sitting on a new L AYER named L AYER 1 above it:

The photo and texture are now on two separate L AYERS inside the same document.

15.3 Step 3: Resize The Texture If Needed With Free Transform


Unless your photo and texture both happen to be the exact same size, youll probably want to resize the texture so it ts the image, and we can do that using PHOTOSHOPs Free Transform command. Go up to the Edit menu at the top of the screen and choose Free Transform, or press Ctrl+T (Win) / Command+T (Mac) to choose Free Transform from the keyboard:

Figuur 15.4 Go to Edit > Free Transform.


PHOTOSHOP will place the Free Transform bounding box and handles around the texture. If your texture is bigger than your photo, as mine is, it may help to switch to one of PHOTOSHOPs fullscreen view modes

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HOOFDSTUK 15. HOW TO BLEND TEXTURES WITH PHOTOS IN PHOTOSHOP by pressing the letter F on your keyboard (you can switch back to the document W INDOW view mode when youre done by pressing F a couple more times). Click and drag any of the handles (the little squares around the bounding box) to resize the texture as needed. Since this is just a texture, its usually okay to distort its shape if we need to, but if you want to keep the aspect ratio of the texture intact as youre resizing it, press and hold the Shift key on your keyboard and drag any of the four corner handles. When youre done, press Enter (Win) / Return (Mac) to accept the transformation and exit out of the Free Transform command:

Resizing the texture to t the dimensions of the photo with Free Transform.

15.4 Step 4: Select The Move Tool


Select PHOTOSHOPs Move Tool from the top of the Tools panel, or press the letter V to select the Move Tool from the keyboard. Were not actually going to use the Move Tool for anything, but in a moment, were going to learn a handy keyboard shortcut for quickly cycling through the L AYER blend modes so we can see which one will give us the best results for blending our texture with the photo. What does that have to do with the Move Tool, you ask? Well, depending on which tool you have selected, the keyboard shortcut may or may not work. It does work with the Move Tool selected, and the Move Tool is at the top of the Tools panel, so selecting the Move Tool rst is the easiest way to make sure the keyboard shortcut will work:

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Figuur 15.5 Select the Move Tool.

15.5 Step 5: Cycle Through The L AYER Blend Modes


The Blend Mode option is found in the top left corner of the L AYERS panel. By default, its set to Normal, which simply means that the L AYER is not blending with the L AYER(s) below it in any way (which is why the texture is currently blocking the photo from view in the document):

Figuur 15.6 The Blend Mode option is set to Normal by default. If you click on the word Normal, youll see a list of the other blend modes we can choose from, like Multiply, Screen, Overlay, and so on. We could, if we really wanted to, choose each blend mode one at a time by clicking on its name in the list, and you may want to do that if someone is paying you by the hour. A much faster way, though, to experiment with the various blend modes is to quickly cycle through them from your keyboard. Hold down Shift+Alt (Win) / Shift+Option (Mac) and press the plus (+) or minus (-) keys on your keyboard. The plus (+) key will move you forward through the list of blend modes one at a time, while the minus (-) key will move backwards. For example, holding Shift+Alt (Win) / Shift+Option (Mac) and pressing the plus (+) key once changes the blend mode from Normal to Dissolve:

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Hold Shift+Alt (Win) / Shift+Option (Mac) and press + or - to cycle through the blend modes. The Dissolve blend mode probably wont have much of an effect on the image, but other blend modes denitely will. Ill press the plus (+) key a couple more times (while still holding Shift+Alt (Win) / Shift+Option (Mac)) to get to the Multiply blend mode:

Figuur 15.7 Trying the Multiply blend mode. With the blend mode set to Multiply, the texture and photo blend together, with the overall result looking interesting but a bit dark:

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The result with the texture L AYER set to the Multiply blend mode. Ill press the plus (+) key a few more times until I come to the Screen blend mode:

Figuur 15.8 Choosing the Screen blend mode this time. The Screen blend mode gives me another interesting result, this time looking much lighter than what we saw with the Multiply blend mode:

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The Screen blend mode produces a lighter result than Multiply. Pressing the plus (+) sign a few more times brings me to the Overlay blend mode:

Figuur 15.9 Seeing what the Overlay blend mode can do. Overlay is another blend mode that often makes a good choice for blending textures with photos, giving me a combination of lights and darks, with an overall higher contrast result:

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The Overlay blend mode creates a higher contrast effect. Generally, the Multiply, Screen, Overlay, S OFT LIGHT, and Hard Light blend modes will give you the best results for blending your texture with the photo, but be sure to try each of them and choose the one that you feel works best for the look youre trying to achieve. In my case here, I think I like the Screen blend mode the best, but you may end up choosing a different one for your image.

15.6 Step 6: Desaturate The Color From The Texture


At the moment, not only is the texture itself being blended with the photo but so is the color from the texture. That may be what you want, since blending the colors from the two images can produce interesting results, but if you would prefer to keep the original colors of the photo intact, then we need a way to remove the color from the texture. The easiest way to do that is to simply desaturate it. Go up to the Image menu at the top of the screen, choose Adjustments, and then choose Desaturate. Or, press Shift+Ctrl+U (Win) / Shift+Command+U (Mac) to choose the Desaturate command from the keyboard:

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HOOFDSTUK 15. HOW TO BLEND TEXTURES WITH PHOTOS IN PHOTOSHOP Figuur 15.10 Go to Image > Adjustments > Desaturate. The Desaturate command instantly removes all color from a L AYER, essentially converting it to black and white. Its not the best way to convert a color image to black to white but for our purposes here, its usually good enough. If we look at the preview thumbnail for the texture L AYER (Layer 1) in the L AYERS panel, we see that weve removed the color from the texture:

The image in the preview thumbnail shows that the color has been removed from the texture. With the color removed, only the brightness values from the texture are now blending in with the photo. For comparison, here again is what the image originally looked like when I changed the blend mode of the texture to Screen:

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The effect of the Screen blend mode before removing the color from the texture. And heres what it looks like now after desaturating the color from the texture:

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The effect after removing the textures color.

15.7 Step 7: Try Inverting The Texture


Before accepting the way things look, you may want to try inverting the texture, which will reverse its brightness values, making light areas dark and dark areas light. To invert the texture, go up to the Image menu at the top of the screen, choose Adjustments, then choose Invert. Or, press Ctrl+I (Win) / Command+I (Mac) to choose the Invert command from your keyboard:

Figuur 15.11 Go to Image > Adjustments > Invert. Heres what my image looks like after inverting the brightness values of the texture. In my case, I think I prefer this over the original texture since it gives my photo an old, faded look to it:

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Inverting the texture can sometimes produce more appealing results.

15.8 Step 8: Lower The Textures Opacity


Finally, if your texture looks too intense, you can reduce the impact it has on the photo by lowering its opacity. Youll nd the Opacity option directly across from the Blend Mode option at the top of the L AYERS panel. By default, the opacity value is set to 100%, but the more you lower it, the more the original photo below the texture will show through. Ill lower my Opacity value down to 50%:

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Figuur 15.12 Lowering the opacity of the texture L AYER to 50%. With the opacity lowered to 50%, my texture now appears more subtle:

The effect after lowering the textures opacity. Since my texture is giving the photo a faded, worn-out look to it, theres a couple more things I could do here to enhance the effect. One might be to blur the image slightly. To do that, Ill click on the B ACKGROUND L AYER in the L AYERS panel to select it, then Ill press Ctrl+J (Win) / Command+J (Mac) to quickly duplicate the Layer. This gives me a copy of my photo to work on so I dont damage the original: 250

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Figuur 15.13 A copy of the B ACKGROUND L AYER appears above the original. Then, Ill blur the B ACKGROUND copy L AYER using the Gaussian Blur Filter. Ill go up to the F ILTER menu at the top of the screen, then Ill choose Blur, then Gaussian Blur:

Figuur 15.14 Going to F ILTER > Blur > Gaussian Blur. This open the Gaussian Blur dialog box. I just want a subtle amount of blurring, so Ill choose a Radius value of around 1.5 pixels:

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HOOFDSTUK 15. HOW TO BLEND TEXTURES WITH PHOTOS IN PHOTOSHOP The Radius value controls the amount of blurring thats applied to a Layer. Ill click OK to close out of the dialog box, at which point PHOTOSHOP applies the slight blurring to the photo:

The image after blurring the B ACKGROUND copy Layer. Finally, Ill reduce the color saturation in the photo using an adjustment Layer. Ill click on the New Adjustment L AYER icon at the bottom of the L AYERS panel:

Figuur 15.15 Clicking on the New Adjustment L AYER icon. Then Ill choose a Hue/Saturation adjustment L AYER from the list that appears:

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Figuur 15.16 Selecting Hue/Saturation from the list of adjustment Layers. In PHOTOSHOP CS4 and higher (Im using CS5 here), the controls for the Hue/Saturation adjustment L AYER appear in the Adjustments panel. In earlier versions of PHOTOSHOP, they appear in a separate dialog box. To reduce the color saturation of the photo, Ill simply lower the Saturation value down to around -50 or so by dragging the slider towards the left:

Drag the Saturation slider towards the left to lower the color saturation in the image. If I was using PHOTOSHOP CS3 or earlier, Id click OK to close out of the dialog box (theres no need to close the Adjustments panel in CS4 or higher), and here, after reducing the color saturation, is my nal result:

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The nal effect. And there we have it! Thats the essentials of blending textures with photos using L AYER blend modes in PHOTOSHOP !

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16
Interweaving Photo Strips - PHOTOSHOP Tutorial
Written by Steve Patterson. In this PHOTOSHOP Effcts tutorial, were going to learn how to create an interesting photo effect by taking an image and turning it into a series of interweaving strips. Well be using a few L AYERS and L AYER masks in the tutorial, as well as a couple of clipping masks and a L AYER style, and well be turning on PHOTOSHOPs grid to help us out. The rst time I saw this PHOTOSHOP effect, I thought Wow, theres some really advanced stuff going on there!. But as with most things in life, after thinking about it for a few minutes, I realized just how simple it really is, as well see! Heres the photo Ill be using for this tutorial. Its the same image I used in the Ghosting An Image tutorial but it works great with this effect as well:

Figuur 16.1 The original image. And heres the same image after turning it into interweaving strips. Notice how the V ERTICAL and H O RIZONTAL strips seem to alternate between going above and below each other (which is where the interweaving part comes from):

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Figuur 16.2 The nal result. Lets get started!

16.1 Step 1: C ROP The Image Into A Square


The rst thing we need to do for this effect is C ROP the image into a square, although technically you could leave the image as a 4x6 or whatever size it happens to be, but the effect tends to look best as a square, so lets C ROP it. Well use PHOTOSHOPs C ROP Tool for this, so select it from the Tools palette:

Figuur 16.3 Select the C ROP Tool.

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL You could also press the letter C to quickly select it with the keyboard shortcut. Then, with the C ROP Tool selected, hold down your Shift key and drag a selection around the persons face. Holding Shift tells PHOTOSHOP to constrain the selection to a perfect square:

Hold down Shift and drag a square selection around the persons face. Press Enter (Win) / Return (Mac) when youre done dragging out the selection, and PHOTOSHOP goes ahead and crops the image into a square:

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Figuur 16.4 The image is now CROPPED into a square.

16.2 Step 2: Duplicate The B ACKGROUND L AYER Twice


The next thing were going to do is create a couple of copies of our image. If we look in the L AYERS palette, we can see that we currently have one L AYER which is named B ACKGROUND and it contains our original image (or at least, whats left of our original image now that weve CROPPED it). We need to duplicate the B ACKGROUND L AYER a couple of times, so use the keyboard shortcut Ctrl+J (Win) / Command+J (Mac) to duplicate it once and then use the same keyboard shortcut again to create a second copy. You should see three L AYERS now in your L AYERS palette. Double-click directly on the name of the L AYER on top and rename it V ERTICAL Strips, then double-click directly on the name of the L AYER below it and rename it H ORIZONTAL Strips:

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Press Ctrl+J (Win) / Command+J (Mac) to create two copies of the B ACKGROUND L AYER, then rename the top one V ERTICAL strips and the bottom one H ORIZONTAL strips.

16.3 Step 3: Fill The B ACKGROUND L AYER With Black


Press D on your keyboard to reset PHOTOSHOPs Foreground and B ACKGROUND colors to their defaults of black as the Foreground color and white as the B ACKGROUND color (yours may already be set the default colors). Then click on the original B ACKGROUND L AYER (the bottom L AYER) in the L AYERS palette to select it. Were going to ll it with black, and with black now as our Foreground color, we can use the keyboard shortcut Alt+Backspace (Win) / Option+Delete (Mac) which lls the currently selected L AYER with the current Foreground color (black). Nothing will seem to have happened to the image, since the two L AYERS above the B ACKGROUND L AYER are blocking it from view, but if we look in the L AYERS palette, we can see that the B ACKGROUND L AYERs thumbnail is now lled with black, telling us that the L AYER itself is lled with black:

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL Select the B ACKGROUND L AYER in the L AYERS palette and press Alt+Backspace (Win) / Option+Delete (Mac) to ll it with black.

16.4 Step 4: Turn The Top L AYER Off For Now


Were going to create our H ORIZONTAL strips rst, but the V ERTICAL Strips L AYER on top is going to block our view so we need to temporarily turn it off. To do that, click on the L AYER visibility icon (the eyeball icon) to the left of the V ERTICAL Strips L AYER in the L AYERS palette. You wont see anything happen to the image itself since the V ERTICAL Strips and H ORIZONTAL Strips L AYERS are identical at the moment, but when you click the eyeball icon, the eyeball will disappear, letting you know that the L AYER is now hidden:

Click on the eyeball icon to the left of the V ERTICAL Strips L AYER in the L AYERS palette to temporarily turn the L AYER off.

16.5 Step 5: Turn On PHOTOSHOPs Grid


Were going to create our V ERTICAL and H ORIZONTAL strips, and to help us out, well use PHOTOSHOPs grid. Go up to the View menu at the top of the screen, choose Show, and then choose Grid. You can also use the keyboard shortcut Ctrl+ (Win) / Command+ (Mac) to easily turn the grid on and off. When your grid appears, if you nd that you cant see it very well because the grid color is blending in with the colors of your image, press Ctrl+K (Win) / Command+K (Mac) to quickly bring up PHOTOSHOPs Preferences. Then, from the drop-down menu at the top, choose Guides, Grid and Slices. From here, we can change the color of the grid. In the Grid options, click on the color swatch in the top right corner, which will bring up PHOTOSHOPs Color Picker. Select a color for your grid that youll be able to see in front of your image and then click OK to exit out of the Color Picker. You can see in the screenshot below of the Grid options that Ive changed my grid color to yellow:

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Figuur 16.5 Change the color of the grid in PHOTOSHOPs Preferences if needed. Click OK to exit out of the Preferences dialog box. You should now see your grid in your new color (in my case yellow) over top of your image:

Figuur 16.6 The grid showing over top of the image.

16.6 Step 6: Drag Out A Series Of H ORIZONTAL Selections


Lets create our H ORIZONTAL strips rst. Grab your Rectangular Marquee Tool from the Tools palette, or press M on your keyboard to quickly select it:

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Figuur 16.7 Select the Rectangular Marquee Tool. Now lets use our grid to help us create our H ORIZONTAL strips. First, make sure the H ORIZONTAL Strips L AYER is selected in the L AYERS palette (the currently selected L AYER is highlighted in blue). Im going to create H ORIZONTAL strips that are two grid rows high, with one grid row separating them from each other. Now, I want to make sure that the womans eyes are included in the nal effect, so Im going to start by dragging out a selection around the two grid rows in front of her eyes. By default, my selection will snap to the grid as Im dragging to make things easy. If you nd that your selection is not snapping to the grid, go up to the View menu at the top of the screen, choose Snap To, and then choose Grid. You should see a checkmark to the left of the word Grid. Heres my selection around the two grid rows in front of her eyes:

Figuur 16.8 Drag out a H ORIZONTAL selection two grid rows high. This selection will become one of our H ORIZONTAL strips. Now lets create the rest of them. Hold down your Shift key, which will tell PHOTOSHOP to add these next selections to our original selection, and drag out more H ORIZONTAL selections, keeping each one two grid rows high and leaving one grid row separating each selection. Your image should look like this when youre done:

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Hold down Shift and drag out the rest of the H ORIZONTAL selections, making each one two grid rows high and leaving one grid row between them.

16.7 Step 7: Add A L AYER M ASK


With our H ORIZONTAL selections in place, click on the L AYER M ASK icon at the bottom of the L AYERS palette to add a L AYER M ASK to the H ORIZONTAL Strips L AYER:

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Click on the L AYER M ASK icon at the bottom of the L AYERS palette.
PHOTOSHOP adds a mask to the L AYER and uses the selections weve created to determine which parts of the L AYER will remain visible and which parts will become hidden from view. The areas that were inside our H ORIZONTAL selections remain visible, while the areas that were in the grid columns that separated our selections disappear, revealing the black-lled L AYER underneath:

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL After adding the L AYER M ASK, PHOTOSHOP hides the areas between our selections, revealing the blacklled L AYER underneath. Im going to press Ctrl+(Win) / Command+ (Mac) to temporarily hide my grid so we can see more clearly whats happened. Weve now created our H ORIZONTAL strips:

Figuur 16.9 The H ORIZONTAL strips are now created.

16.8 Step 8: Turn The V ERTICAL Strips L AYER


Back On Were going to do the same thing now to create our V ERTICAL strips. First, click on the top V ERTICAL Strips L AYER in the L AYERS palette to select it, then click back on its L AYER visibility icon to bring back the eyeball and turn the L AYER itself back on:

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Select the V ERTICAL Strips L AYER in the L AYERS palette and click once again on its L AYER visibility icon to turn the L AYER back on.

16.9 Step 9: Drag Out A Series Of V ERTICAL Selections


Just as we did when creating the H ORIZONTAL strips, lets drag out a series of selections, this time V ERTI CAL ones. Well make the V ERTICAL selections two grid columns wide, leaving one grid column between them. Use your Rectangular Marquee Tool to drag out your rst selection, then hold down Shift and drag out the rest of your selections. Your image should now look like this:

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Drag out a series of V ERTICAL selections. Make them two grid columns wide and leave one grid column between each selection to separate them.

16.10 Step 10: Add A L AYER M ASK


With our V ERTICAL selections in place, click on the L AYER M ASK icon at the bottom of the L AYERS palette:

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Add a L AYER M ASK to the V ERTICAL Strips Layer.


PHOTOSHOP adds a L AYER M ASK to the L AYER and just as before, it uses our selections to determine which areas of the L AYER remain visible and which ones disappear from view. The areas inside our selections remain visible, and the areas that were inside the grid columns separating our selections disappear revealing both the H ORIZONTAL Strips L AYER and the black-lled L AYER below:

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL Figuur 16.10 Only the areas that were inside our V ERTICAL selections remain visible. Once again Ill turn off my grid temporarily with Ctrl+ (Win) / Command+ (Mac) so we can see the image itself more easily. Your image should now look something like this:

Figuur 16.11 The V ERTICAL and H ORIZONTAL strips are now created.

16.11 Step 11: Select All The Strip Intersection Points


We have our V ERTICAL and H ORIZONTAL strips, but all it really looks like at the moment is that we have a bunch of black squares covering our image. We need to create the illusion that the strips are weaving above and below each other. To do that, we need to select the areas where the V ERTICAL and H ORIZON TAL strips intersect. Before we do that though, press Ctrl+ (Win) / Command+ (Mac) to turn off the grid if you havent already, since we no longer need it. Then, hold down your Ctrl (Win) / Command (Mac) key and click directly on the H ORIZONTAL Strips L AYERs L AYER M ASK thumbnail:

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Hold down Ctrl (Win) / Command (Mac) and click directly on the H ORIZONTAL Strips L AYER M ASK thumbnail. This will load the H ORIZONTAL selections back into the image:

Figuur 16.12 The H ORIZONTAL selections are now loaded once again in the image.

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL Then hold down Shift+Ctrl+Alt (Win) / Shift+Command+Option (Mac) and click directly on the V ERTICAL Strips L AYER M ASK thumbnail:

Hold down Shift+Ctrl+Alt (Win) / Shift+Command+Option (Mac) and click directly on the V ERTICAL Strips L AYER mask. This will do two things: One, it will load the V ERTICAL selections back in to the image, and two, it will tell PHOTOSHOP to keep the selection around only the areas where the H ORIZONTAL and V ERTICAL selections intersect. Everything else becomes deselected:

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Only the areas where the H ORIZONTAL and V ERTICAL selections intersect remain selected.

16.12 Step 12: Save The Selection


Before we go any further, we need to save this selection. To do that, go up to the Select menu at the top of the screen and choose Save Selection. When the Save Selection dialog box appears, simply click OK in the top right corner to exit out of it:

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL Figuur 16.13 Save the selection.

16.13 Step 13: Deselect Every Other Square Selection


With your Rectangular Marquee Tool still active, hold down your Alt (Win) / Option (Mac) key and drag a selection around every other square selection. This will deselect the selections you drag around. Continue dragging around every other square selection to deselect it until only half of the original square selections remain. Your image should look like this:

Figuur 16.14 Deselect every other square selection until only half of them remain.

16.14 Step 14: Copy The Selection To A New L AYER


Click on the H ORIZONTAL Strips L AYER thumbnail in the L AYERS palette to select it. Then press Ctrl+J (Win) / Command+J (Mac) to copy the selected areas to a new Layer. You wont see anything happen to the image itself, but if you look in the L AYERS palette, youll see a new L AYER named L AYER 1 added between the H ORIZONTAL Strips and V ERTICAL Strips L AYERS which contains our square selected areas:

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Press Ctrl+J (Win) / Command+J (Mac) to copy the selected areas to a new Layer.

16.15 Step 15: Create A Clipping Mask


With the new L AYER selected, go up to the L AYER menu at the top of the screen and choose Create Clipping Mask. You can also use the keyboard shortcut Ctrl+Alt+G (Win) / Command+Option+G (Mac). Either way clips the new L AYER to the L AYER below it. We cant see any difference in the image itself, but in the L AYERS palette, we can see that the new L AYER is now indented to the right which tells us that its being clipped by the L AYER below it:

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HOOFDSTUK 16. INTERWEAVING PHOTO STRIPS - PHOTOSHOP TUTORIAL Hold Ctrl (Win) / Command (Mac) and click on the H ORIZONTAL Strips L AYERs L AYER M ASK thumbnail.

16.16 Step 16: Reload The Saved Selection


Lets bring back the selection we saved a moment ago, and we can do that easily using the keyboard shortcut Ctrl+Alt+4 (Win) / Command+Option+4 (Mac):

Figuur 16.15 Reload the saved selection.

16.17 Step 17: Deselect The Opposite Square Selections


With the Rectangular Marquee Tool still selected, once again hold down your Alt (Win) / Option (Mac) key and drag around every other square selection to deselect it. This time though, you want to keep the square selections you deleted the rst time we did this and deselect all the ones you kept, so that when youre done, your image looks like this:

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Hold down Alt (Win) / Option (Mac) and drag selections around the square selections to deselect them. Keep the ones you deselected previously and deselect the ones you kept.

16.18 Step 18: Copy The Selection To A New L AYER


Click on the V ERTICAL Strips L AYER at the top of the L AYERS palette to select it, then press Ctrl+J (Win) / Command+J (Mac) to copy the selected areas to a new Layer. Again, we wont see anything happen to the image itself, but the L AYERS palette shows us a new L AYER named L AYER 2 above the V ERTICAL Strips L AYER which contains our selected square areas:

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The L AYERS palette showing the new L AYER at the top containing our selected square areas.

16.19 Step 19: Create A Clipping Mask


Just as we did a moment ago, either go up to the L AYER menu and choose Create Clipping Mask or press Ctrl+Alt+G (Win) / Command+Option+G (Mac) to create a clipping mask. We can now see the new L AYER indented to the right telling us that it is being clipped by the V ERTICAL Strips L AYER below it:

The new L AYER is now being clipped by the V ERTICAL Strips L AYER below it.

16.20 Step 20: Add An Outer Glow L AYER Style


With the top L AYER still selected, click on the L AYER Styles icon at the bottom of the L AYERS palette: 277

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Figuur 16.16 Click on the L AYER Styles icon. Select Outer Glow from the list of L AYER Styles that appears:

Figuur 16.17 Select the Outer Glow L AYER style. This brings up the L AYER Style dialog box set to the Outer Glow options in the middle. Were going to turn our glow into a SHADOW, and to do that, we need to change the Blend Mode at the top from Multiply. We also dont want yellow as our SHADOW color, so click on the color swatch just below the word NOISE, which brings up PHOTOSHOPs Color Picker, and select black as the color. Click OK once youve selected black to exit out of the Color Picker. Lower the Opacity value to about 60% so the SHADOW isnt quite as dark and intense. Finally, in the Elements section in the middle of the dialog box, raise the Size value to around 40 pixels:

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Change the Outer Glow options circled in red above. You may need to adjust the Size value depending on the size and resolution of the image youre using. Click OK when youre done to exit out of the L AYER Style dialog box. Your image should now look something like this. Were almost done:

The image after applying the L AYER style to L AYER 2.

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16.21 Step 21: Copy And Paste The L AYER Style Onto L AYER
1 All thats left to do now is apply the exact same Outer Glow L AYER style to L AYER 1. Rather than adding another Outer Glow and having to change all the settings in the options again, we can simply copy our L AYER style from L AYER 2 and paste it onto L AYER 1. To do that, go up to the L AYER menu at the top of the screen, choose L AYER Style, and then choose Copy L AYER Style. Then click on L AYER 1 in the L AYERS palette to select it, go back up to the L AYER menu, choose L AYER Style once again, and this time, choose Paste L AYER Style. As soon as you do that, the Outer Glow, along with all the settings we just changed, is pasted onto L AYER 1, and the interweaving photo strips effect is complete:

Copy and paste the Outer Glow L AYER style from L AYER 2 onto L AYER 1 to complete the effect. And there we have it!

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17
Matching Colors Of Objects Between Photos - PHOTOSHOP Tutorial
Written by Steve Patterson. Samenvatting In this PHOTOSHOP tutorial, well learn how to match the color of an object in one photo with the color of an object in a separate photo using the Match Color command, which has been available in PHOTOSHOP since PHOTOSHOP CS (which means youll need at least PHOTOSHOP CS if you wish to follow along with this tutorial). Download our tutorials as printable PDFs! Learning PHOTOSHOP has never been easier! Here I have an image, taken from a catalog, of a model whos obviously quite happy with how well the color of her new top matches the outdoor setting she nds herself in:

Figuur 17.1 The original image.

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HOOFDSTUK 17. MATCHING COLORS OF OBJECTS BETWEEN PHOTOS - PHOTOSHOP TUTORIAL As with most items of clothing, that same top is also available in other colors. For example, lets say its also available in the same color as the top the model is wearing in this photo:

Figuur 17.2 A model displaying a purple top. The client would like you to change the color of the womans top in the rst photo so that it matches the color of the top in the second photo, like so:

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The color of the womans top in the original photo has been matched to the color of the top from the second photo. Personally, I like the green color better, but hey, whatever the client wants, right?
PHOTOSHOP s Match Color command was created specically for this type of task, although it does have plenty of other uses as well which well look at in other tutorials. However, depending on the images youre using, Match Color doesnt always work perfectly on its own. Sometimes it does, sometimes it doesnt. Sometimes, it needs a little help, and as well see in a moment, this is one of those times. Lets get started!

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17.1 Step 1: Duplicate The B ACKGROUND L AYER In The Original Image


The rst thing we always want to do when working on an image in PHOTOSHOP is duplicate the B ACK GROUND Layer. The B ACKGROUND L AYER contains our original image information and we dont want to lose it in case we need to fall back on it. Currently, my L AYERS palette is showing that my B ACKGROUND L AYER is the only L AYER I have:

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The L AYERS palette in PHOTOSHOP showing the B ACKGROUND L AYER, which contains the original image information. To duplicate the B ACKGROUND L AYER, all we need to do is use the handy keyboard shortcut, Ctrl+J (Win) / Command+J (Mac). If we look again in the L AYERS palette, we can see that we now have two L AYERS the original B ACKGROUND L AYER on the bottom and a copy of it, which PHOTOSHOP has automatically named L AYER 1, on top:

The L AYERS palette in PHOTOSHOP now showing the B ACKGROUND L AYER as well as a copy of the B ACK GROUND L AYER above it We can now safely work on our image without worrying about damaging the original.

17.2 Step 2: Select The Object That Needs A Color Change


Using the selection tool of your choice (Lasso Tool, Pen Tool, etc.), draw a selection around the object that needs its color to be changed. Here, we can see my selection outlines around the womans top:

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Use the selection tool of your choice to select around the object that needs a color change.

17.3 Step 3: Select A Large Area Inside The Object In The Second Image
Switch over to your second image at this point and again using your favorite selection tool (the Lasso Tool will work ne for this), select a large area inside the object that contains the color you need. In my case, Im going to select a large section of the purple top the woman is wearing. Theres no need to make a precise selection around the object, but what you want to do is make a large enough selection so that youre grabbing as many shades of the color (light and dark areas) as possible. PHOTOSHOP needs as many shades of the color as you can give it so it can accurately apply the color to the object in the original image (the buttons on her shirt may or may not cause some problems so I held down my Shift key and dragged around them with the Lasso Tool to subtract them from my selection, just to be safe):

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Selecting a large area of the shirt to include as many shades of the color as possible.

17.4 Step 4: Switch Back To The Original Image


Now that weve selected the object in the rst photo and selected a large area of color inside the object in the second photo, we can head over to the Match Color command. Before we do though, we need to make sure that our original photo is the one that PHOTOSHOP is currently looking at (the technical term would be to bring the original photo into FOCUS), so click anywhere inside the document W INDOW of the original image to select it. The Match Color command is going to refer to this original image as the Destination Image, as if the colors from the second image will be taking a trip over to this one, while the second image (the one containing the color we need) will become the Source Image. For now, just make sure the original image is the one currently selected (in FOCUS).

17.5 Step 5: Open The Match Color Command


With your original image selected, go up to the Image menu at the top of the screen, choose Adjustments, and then choose Match Color:

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Figuur 17.3 Go to Image > Adjustments > Match Color. This brings up PHOTOSHOPs rather large Match Color dialog box. Now, I love photoshop. I think its the greatest thing since crayons. But quite honestly, between you and me, something just isnt right about the Match Color dialog box. Its confusing, and it shouldnt be. I wish Adobe would redesign it but so far, as of PHOTOSHOP CS3, they havent, so well just have to cut through the confusion to get to the simplicity underneath. The Match Color dialog box is divided into two main sections - Destination Image on top, and Image Statistics (say what?) on the bottom. See, you were thinking the bottom section would be called Source Image, right? I mean, that would make sense. But nope, its called Image Statistics. Lets just leave the bottom section alone for now and look at the top section, Destination Image. The Destination Image is the image containing the colors you want to change. Theres no way to actually set the Destination Image in the dialog box. PHOTOSHOP simply assigns whichever image you had selected when you chose the Match Color command from the Image Menu as your Destination Image, which is why I had you select your original image rst. My original image is named green.jpg, and we can see its name listed beside the word Target at the top of the dialog box:

The Match Color dialog box showing my green.jpg photo as the Destination Image. Below the Destination Images name is the Image Options section, containing options such as Luminance, Color Intensity, Fade, and Neutralize. Common sense might have you believing that since these options are clearly grouped in with the Destination Image section at the top, they have something to do with the Destination Image, but common sense would be wrong. They control the Source Image at the bottom, which you assign down in the Image Statistics section. See what I mean? This dialog box needs some work.

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HOOFDSTUK 17. MATCHING COLORS OF OBJECTS BETWEEN PHOTOS - PHOTOSHOP TUTORIAL Fortunately, even though the dialog box itself is confusing, what were trying to do with it is not. We already have our Destination Image chosen, so now we need to select our Source Image.

17.6 Step 6: Select Your Second Image As The Source


Down in the Image Statistics section at the bottom of the dialog box, youll see an option named Source with a drop-down box beside it. Click on the small arrow to the right of the drop-down box and choose your second image from the list to set it as your Source image:

Select your second image from the Source option drop-down list. If your Source image contains multiple L AYERS, youll need to select the appropriate L AYER from the L AYER option below the Source option. In my case, my second image contains only one L AYER, the original B ACKGROUND L AYER, so its automatically selected for me.

17.7 Step 7: Tell PHOTOSHOP To Use The Selections Youve Made In The Images
Directly above the Source option are two options with checkboxes beside them - Use Selection in Source to Calculate Colors and Use Selection in Target to Calculate Adjustment. The rst option tells PHOTO SHOP that we want it to use only the colors inside our selection in the Source image when matching the colors to the Destination image. In other words, in my case, I want PHOTOSHOP to use only the purple colors Ive selected inside the womans top. If I didnt make that clear to PHOTOSHOP, it would ignore my selection and use colors from the entire photo, which isnt what we want, so make sure you click inside the checkbox for this option to select it. The second option says that we want PHOTOSHOP to concern itself only with the specic object we selected in our original image when guring out how to match the colors. In my case, that means Im telling PHOTOSHOP that I only want it to look at the colors that make up the green top the woman is wearing. If I didnt specify this, PHOTOSHOP would take all the colors from the entire photo into consideration and the result wouldnt be as accurate, so make sure this option is also selected:

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Select both the Use Selection in Source to Calculate Colors and Use Selection in Target to Calculate Adjustment options to tell PHOTOSHOP to use only the selected areas in the images when matching the colors. Click OK when youre done to exit out of the dialog box and have PHOTOSHOP try to match the colors in the Destination image with those from the Source image. In many cases, this works beautifully and no further work is needed. Depending on the images youre using though, that may not be the case. Sometimes PHOTOSHOP doesnt get it quite right. For me, this is one of those times. Heres what my original image now looks like (the selection is still visible and active):

Figuur 17.4 The original image after applying the Match Color command. 289

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PHOTOSHOP was able to get the basic color right, but theres denitely something wrong with the overall effect. The problem is that theres no longer any contrast in the womans top. The dark SHADOW areas are much too light, and any subtle highlight areas have disappeared. Basically, it looks fake. This is one of those times when Match Color needs a little help. I could have tried adjusting the brightness by dragging the Luminance slider in the Image Options section of the Match Color dialog box, but all that would have done is made the entire top lighter or darker. I need to be able to adjust the highlights and shadows independently. Fortunately, its easy to do, as well see next!

17.8 Step 8: Add A Levels Adjustment L AYER


Im going to use a simple Levels adjustment L AYER to darken the shadows and brighten the highlights of her top. To do that, click on the New Adjustment L AYER icon at the bottom of the L AYERS palette:

Click on the New Adjustment L AYER icon at the bottom of the L AYERS palette. Then select Levels from the list of adjustment L AYERS that appears:

Figuur 17.5 Choose Levels from the list.

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17.9 Step 9: Drag The BLACK AND WHITE Point Sliders In Towards The Center
When the Levels dialog box appears, youll see a large black HISTOGRAM (looks like a mountain) in the middle of the dialog box, along with three little sliders below it - a black slider on the far left, a white slider on the far right, and a gray slider in the middle. To darken the SHADOW areas, simply click on the black slider and drag it towards the right until its at the point where the left side of the HISTOGRAM begins. Keep an eye on your image as you drag the slider so you can see whats happening to the shadows and adjust the slider as needed. Then, when youve corrected the SHADOW areas, click on the white slider on the far right and drag it towards the left until its at the point where the right side of the HISTOGRAM begins. Again, keep an eye on your image as you drag the slider to see whats happening with your highlights. PHOTOSHOP may be a computer program but that doesnt mean you and I need to think like one. Use the HISTOGRAM as a guide but trust your own eyes above all else:

Drag the BLACK AND WHITE sliders in towards the HISTOGRAM to improve the SHADOW and highlight areas inside your selection. Click OK when youre done to exit out of the Levels dialog box. Your shadows and highlights should now look much better, but chances are youve just created a different problem. In my case, the womans top now has a much more realistic level of contrast to it, but the overall color has been changed:

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The contrast in the womans top has been improved, but the color is now different.

17.10 Step 10: Change The Levels Adjustment L AYERs Blend Mode To
L UMINOSITY The reason for the color shift is that by default, the Levels command makes changes not only to the L UMINOSITY (brightness) values of the image but also to the colors. We need to tell PHOTOSHOP that we want our Levels adjustment L AYER to affect only the L UMINOSITY values of the object and leave the colors alone. How do we do that? Easy. We simply change the adjustment L AYERs blend mode. Go up to the Blend Mode option in the top left corner of the L AYERS palette. It currently says Normal, which is the default blend mode. Click on the small, down-pointing arrow to the right of the word Normal and select L UMINOSITY from way down at the very bottom of the list:

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Change the blend mode of the Levels adjustment L AYER from Normal to L UMINOSITY.

17.11 Step 11: Deselect Your Selection


Press Ctrl+D (Win) / Command+D (Mac) at this point to remove your selection from around the object, and youre done! Here, after changing the blend mode of the Levels adjustment L AYER to L UMINOSITY, is my nal result:

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Figuur 17.6 The nal result. And there we have it!

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18
How To S HARPEN An Image
Most if not all digital images require sharpening, even if shot on a state of the art digital megaresolution SLR with pin-sharp focusing. Most cameras or scanners can S HARPEN as the image is captured but the highest quality sharpening is to be found in the image editing software. Sharpening in A DOBE P HOTOSHOP CS2 will allow you to select the precise amount of sharpening and the areas of the image that require sharpening most. If sharpening for screen it is very much a case of what you see is what you get. For images destined for print however, the monitor preview is just that a preview. The actual amount of sharpening required for optimum image quality is usually a little more than looks comfortable on screen . . . especially when using a TFT monitor (at panel).

The best sharpening techniques prioritize certain areas; in this case, sharpening the eyes of a portrait but avoiding the skin texture. The basic concept of sharpening is to send the U NSHARP MASK F ILTER or Smart S HARPEN F ILTER on a seek and manipulate mission. These F ILTERS are programmed to make the pixels on the lighter side of any edge it nds lighter still, and the pixels on the darker side of the edge darker. Think of it as a localized contrast control. Too much and people in your images start to look radioactive (they glow), not enough and the viewers of your images start reaching for the reading glasses they dont own. The best sharpening techniques are those that prioritize the important areas for sharpening and leave the smoother areas of the image well alone, e.g. sharpening the eyes of a portrait but avoiding the skin texture. These advanced techniques are essential when sharpening images that have been scanned from F ILM or have excessive NOISE, neither of which needs accentuating by the Unsharp mask. So let the project begin. Note: If you have any sharpening options in your capture device it is important to switch them off or set them to minimum or low (if using camera RAW set the sharpening amount to 0). The sharpening features found in most capture devices are often very crude when compared to the following technique. It is also not advisable to S HARPEN images that have been saved as JPEG les using high compression/low quality settings. The sharpening process that follows should also come at the end of the editing process, i.e. adjust the color and tonality of the image before starting this advanced sharpening technique. Reduce the levels of sharpening later if it proves too much.

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18.1 Technique one: H IGH PASS


18.1.1 Step 1
Duplicate the B ACKGROUND L AYER and set the blend mode to Overlay. Select Overlay from the blend modes menu in the L AYERS palette.

18.1.2 Step 2
Choose F ILTER Other High Pass. Increase the pixel radius until you achieve the correct amount of sharpening. A pixel radius of 1.0 if PRINTING to Gloss paper and 3.0 if PRINTING to Matte paper would be about normal.

Figuur 18.1 [Choose Overlay from the blend modes menu in the L AYERS palette and then choose F ILTER Other High Pass. ]

Figuur 18.2 [Increase the pixel radius in the H IGH PASS dialog box until you achieve the correct amount of sharpening. ] Note: To adjust the level of sharpening later you can either adjust the opacity of the H IGH PASS L AYER or set the blend mode of the H IGH PASS L AYER to S OFT LIGHT or Hard Light to increase or decrease the level of sharpening. 296

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18.1.3 Step 3
Click on the Foreground color swatch in the Tools palette to open the Color Picker. Enter 0 in the Hue and Saturation elds and 50% in the Brightness eld to choose a midtone grey. Select OK. Paint the H IGH PASS L AYER to remove any sharpening that is not required, e.g. skin tones, skies etc. This technique is especially useful for limiting the visual appearance of NOISE or F ILM grain.

Figuur 18.3 [Click the Foreground color swatch in the Tools palette to open the Color Picker. ]

Figuur 18.4 [Type 0 in the Hue and Saturation elds and 50% in the Brightness eld of the Color Picker. ]

Figuur 18.5 [Detail from a portrait captured on a Nikon D1x. 297

HOOFDSTUK 18. HOW TO SHARPEN AN IMAGE The RAW image was processed with 15% sharpening. First test has no subsequent sharpening. Second test uses a H IGH PASS L AYER (3 pixel radius) in S OFT LIGHT mode. Third test has had the blend mode of the H IGH PASS L AYER changed to Overlay mode. Fourth test has sharpening via a localized U NSHARP MASK (100%) in L UMINOSITY mode. The opacity slider could be used to ne-tune the preferred sharpening routine.]

18.1.4 Step 4
Remember at this point the settings you have selected are being viewed on a monitor as a preview of the actual print. To complete the process it is important to print the image and then decide whether the image could stand additional sharpening or whether the amount used was excessive. If the settings are excessive you can choose to lower the opacity of the H IGH PASS Layer. You can alternatively switch the blend mode of the H IGH PASS L AYER to S OFT LIGHT to reduce the SHARPNESS or Hard Light to increase the sharpness.

18.2 Saturation and sharpening


Most techniques to increase the contrast of an image will also have a knock-on effect of increasing color saturation. As the H IGH PASS and U NSHARP MASK F ILTERS both increase local contrast there is an extended technique if this increased color saturation becomes problematic. You may not notice this in general image editing but if you become aware of color fringing after applying the H IGH PASS technique you should consider the following technique to limit its effects.

Be aware of color fringing after you apply the H IGH PASS technique.

18.3 Technique two: U NSHARP MASK/Smart S HARPEN


The second technique is a continuation of the rst technique and is intended to address the issues of increased saturation leading to the effect of color fringing. If a merged L AYER is used as the sharpening L AYER and this L AYER is then changed to L UMINOSITY blend mode the effects of saturation are removed from the contrast equation. This second technique looks how the benets of localized sharpening and L UMINOSITY sharpening can be combined.

18.3.1 Step 1
Change the Blend mode of the H IGH PASS L AYER back to Normal mode. Then apply a Threshold adjustment to the H IGH PASS Layer. Go to Image Adjustments Threshold.

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Figuur 18.6 [Choose Normal from the blend modes menu in the L AYERS palette. ]

Figuur 18.7 [Choose Image Adjustments Threshold to apply a Threshold adjustment to the Layer. ]

18.3.2 Step 2
Drag the slider just below the HISTOGRAM to isolate the edges that require sharpening. The aim of moving these sliders is to render all of those areas you do not want to S HARPEN white. Select OK when you are done. Paint out any areas that were not rendered white by the Threshold adjustment that you do not what to be sharpened, e.g. in the portrait used in this example any pixels remaining in the skin away from the eyes mouth and nose were painted over using the paintbrush tool with white selected as the foreground color.

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Figuur 18.8 [Drag the HISTOGRAM slider to isolate the edges that require sharpening. ]

Figuur 18.9 Remaining pixels in the skin away from the eyes mouth and nose were painted over using the paintbrush tool with white selected as the foreground color.

18.3.3 Step 3
Go to the Channels palette and either Ctrl-click (Windows) or Command-click (Mac OS) the RGB thumbnail or click on the Load channel as selection icon from the base of the channels palette to load the edge detail as a selection. Return to the L AYERS palette and drag the B ACKGROUND L AYER to the new L AYER icon to make a B ACKGROUND copy Layer. Drag this B ACKGROUND copy L AYER to the top of the L AYERS stack.

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Figuur 18.10 [Drag the B ACKGROUND L AYER to the New L AYER icon to duplicate it. ]

Figuur 18.11 [Drag the B ACKGROUND copy L AYER to the top of the L AYERS stack. ]

18.3.4 Step 4
Switch off the visibility of the H IGH PASS Layer. Hold down the Alt or Option key and click on the Add L AYER M ASK icon in the L AYERS palette. Make sure the L AYER M ASK thumbnail is the active part of the L AYER and then go to F ILTER Blur Gaussian Blur. Apply a 1.5 pixel radius blue to the mask.

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Figuur 18.12 [Switch off visibility for the H IGH PASS L AYER and add a L AYER Mask. ]

Figuur 18.13 [Apply a 1.5 pixel radius blue in the Gaussian Blur dialog box. ]

18.3.5 Step 5
Now click on the image thumbnail on the B ACKGROUND copy Layer. Ensure the image is zoomed in to 100% for a small image or 50% for a larger print resolution image (200ppi - 300ppi). Go to F ILTER S HARPEN Smart S HARPEN or Unsharp mask. Adjust the Amount slider to between 80 and 150%. This controls how much darker or lighter the pixels at the edges are rendered. Choose an amount slightly more than looks comfortable on screen if the image is destined for print rather than screen. Note: See Capture and Enhance for basic settings of the U NSHARP MASK Filter. The exact Threshold and Radius settings are not so critical for this advanced technique.

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Figuur 18.14 [Adjust the values in the U NSHARP MASK dialog box. ]

18.3.6 Step 6
Change the blend mode of the sharpening L AYER (the uppermost L AYER) to L UMINOSITY mode. L U MINOSITY mode will restrict the contrast changes to brightness only, and will remove any changes in saturation that have occurred due to the use of the Unsharp mask. The changes are often very subtle so this technique is only recommended when you become aware of the problems of color fringing due to increased saturation.

If you become aware of the problems of color fringing, change the blend mode of the sharpening L AYER to L UMINOSITY mode. The illustration below is a magnied view of the effects of changing the blend to Luminosity. These two cutting edge techniques are capable of producing razor SHARP images that will really put the nishing touches to a folio quality image.

Figuur 18.15 Before and after the L UMINOSITY mode change.

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19
Tilt-Shift Photography PHOTOSHOP Tutorial
This tutorial has been produced using PHOTOSHOP CS2 on a PC.

19.1 Step 1: Photo Selection


When choosing a photograph for the tilt-shift effect, bear in mind that you want to give the impression of a miniature model. Miniature models are usually viewed from above so try and choose a photo with an elevated viewpoint. Buildings, roads, trafc and railways are excellent choices but make sure there is a reasonable wide angle of view. For this tilt-shift photography PHOTOSHOP tutorial, we are using a picture of Times Square during a typical day:

Even before the tilt-shift effect has been applied, its not too hard to imagine the scene as if it were a model. To nd an appropriate image, we suggest you browse through the ickr tilt-shift fakes pool . Pay attention to licensing terms though - if you are going to manipulate and display your work it will need to be released under the Creative Commons licence.

19.2 Step 2. Enter Quick Mask Mode


Open the image in PHOTOSHOP and enter Quick Mask Mode by pressing Q on the keyboard, or select the Quick Mask icon as shown in the Tool Palette below:

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19.3 Step 3. Choose Gradient Tool


Choose the Gradient Tool by pressing G on the keyboard, or select the Gradient Tool icon. Be sure to choose the Reected Gradient option (the fourth icon along before the Mode drop-down).

19.4 Step 4. Draw A Line


Draw a V ERTICAL line; the start point will be the centre of the in-focus area, and the end will be where the transition from in-focus to out-of-focus is completed. This step, and the subsequent two steps, will need a fair degree of trial and error. If you look closely at the image below, you will see the line has been drawn from the back door of the silver car up to just under the word Hollywood beneath the street lamp.

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Once you release the mouse button the area of FOCUS will appear as a red band across the image, as shown in the next step.

19.5 Step 5. View Mask Area


Before progressing, review the position of the red mask. The middle of the mask is where the in-focus area will be, gradually losing FOCUS towards the edges. Note the out-of-focus effect is yet to be applied.

19.6 Step 6. Return To Standard Mode


Press Q on the keyboard to exit Quick Mask Mode and return to Standard Mode, or press the icon on the Tool Palette as shown below. The area to apply the FOCUS effect to will be surrounded by the marching ants selection lines:

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19.7 Step 7. Open LENS Blur Interface


Choose F ILTER Blur LENS Blur:

19.8 Step 8. Review Effect And Tweak Settings


Hopefully, you will now see a pleasing FOCUS effect. The PHOTOSHOP default settings for LENS Blur seem to work well, but experiment with them to improve the effect. If you are unhappy with the position of the FOCUS area, go back to Step 4 and try drawing a line in a different place or with a different centre of focus.

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19.9 Step 9. Exit LENS Blur Interface


Assuming you were happy with the image preview in Step 8, click OK to accept the settings:

19.10 Step 10. Remove Selection Boundary


Press CTRL-D on the keyboard to remove the marching ants selection bounday:

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19.11 Step 11. Open Hue/Saturation Adjustment Interface


You may want to boost the colour saturation, to improve the effect. Remember that model scenery is often brightly painted so enhancing the saturation helps trick the eye. Press CTRL-U on the keyboard or select Image Adjustments Hue/Saturation:

19.12 Step 12. Boost Saturation


In this example, we boost the Master saturation to +40.

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19.13 Step 13. Open Curves Adjustment Interface


It may help to increase the contrast of the image slightly using the Curves adjustment. Press CTRL-M on the keyboard or select Image Adjustments Curves:

19.14 Step 14. Adjust Curves


In this example we use a very small S-shaped curve to increase contrast. Take care not to over-do this step; in fact, it may not be necessary at all.

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19.15 Step 15. Finished


Heres the nished image.

The original image used in this tutorial is released under a Creative Commons licence by ickr member: articnomad .

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20
Giving A Photo Rounded Corners In
PHOTOSHOP
Written by Steve Patterson. In this PHOTOSHOP tutorial, were going to look at how easy it is to create rounded photo corners. As with most things in PHOTOSHOP, theres about 17 different ways to create rounded corners, but were going to make things interesting by looking at a way to do it using something in PHOTOSHOP that many people dont even know about - vector masks! Whats a vector mask? Well, if you think L AYER masks are fun (you do think L AYER masks are fun, right?), youre going to love vector masks! Any graphic designer knows that one of the ways to get people feeling a certain way when they look at a design is through the use of shapes. Different shapes have different effects on us. Some shapes appear warm, friendly and fun, while others seem cold, rigid, more serious. You dont need to be a design expert though to experience this for yourself. Just grab a pencil and a piece of paper, draw yourself a square, then a circle, and ask yourself which one seems more appealing to you. Chances are, unless youre the type of person who enjoys spending Saturday nights reorganizing your ling cabinet (not that theres anything wrong with that), youll pick the circle. People love circles. Theyre the warm, friendly and fun shapes. In fact, it doesnt even have to be a complete circle. You can take a square or a rectangle with its harsh, right-angled corners, which normally doesnt seem very fun to us at all, give it rounded corners instead, and suddenly it will seem like the life of the party! Okay, so that may be exaggerating things a bit, but rounded corners denitely look more appealing to us than SHARP right angles. Its a bit unfortunate then that every time we take a photo, even if its a photo of a kids birthday party with balloons and party hats, the photo still ends up with SHARP corners. That may be ne if were simply getting the photos printed, but what if we want to use the photo in a design or a collage? How do we convert those SHARP corners into round ones? The answer? Very easily, especially when we use a vector mask! In fact, not only can we give the photo rounded corners, we have complete control over just how rounded they are! Heres the image Ill be using for this PHOTOSHOP tutorial:

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HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP

Figuur 20.1 The original image. Lets see how easy it is to round off those corners!

20.1 Step 1: Add A L AYER M ASK


Ive opened a new blank PHOTOSHOP document, lled the B ACKGROUND L AYER with black to help make it easier for us to see whats happening, and then dragged my photo into the new document. We can see the document here, showing the photo in front of the black B ACKGROUND:

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Figuur 20.2 The photo in front of a black Background. And if we look in the L AYERS palette, we can see the photo sitting on its own L AYER, L AYER 1, above the B ACKGROUND L AYER:

The L AYERS palette in PHOTOSHOP showing the photo on L AYER 1 above the B ACKGROUND L AYER, which is lled with black. 314

HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP With L AYER 1, or whichever L AYER your photo happens to be on, selected, click on the L AYER M ASK icon at the bottom of the L AYERS palette:

Add a L AYER M ASK to L AYER 1 by clicking on the L AYER M ASK icon. Nothing will appear to have happened in your document, but if we look at the L AYER in the L AYERS palette, we can see that we now have a L AYER M ASK thumbnail to the right of the L AYERs preview thumbnail:

After clicking on the L AYER M ASK icon, a L AYER M ASK thumbnail appears on L AYER 1. We wont be covering L AYER masks in this tutorial since we wont be using them, but if you want to learn more about L AYER masks, be sure to check out our full Understanding L AYER Masks tutorial in our PHOTOSHOP Basics section.

20.2 Step 2: Add A Vector Mask


Okay, so if were not going to be using the L AYER M ASK, why did we just add it? Well, were about to do something that many people never do. Were going to see something that many people never see. Why? Because were not many people. Were different from them. Those people click on an icon once, see what it does, and then take a nap. It never occurs to them that maybe, just maybe, if they were to click 315

HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP on that exact same icon a second time, well, theres at least a slim chance that something else might happen! And its too bad for them because in this case, something else will happen! I know it sounds crazy, but now that weve added our L AYER M ASK, click once again on that exact same L AYER M ASK icon:

Click a second time on the L AYER M ASK icon at the bottom of the L AYERS palette. If you have Show Tool Tips enabled in your PHOTOSHOP Preferences, you may already have noticed something a little different when you hovered your mouse over the icon. No longer does the tool tip say Add L AYER M ASK like it normally does. Instead, it now says Add vector mask, and as soon as we click on the icon, if we look at the L AYER in the L AYERS palette, we get what appears to be a second L AYER M ASK thumbnail to the right of the rst one. The difference is, its not a second L AYER M ASK thumbnail. Its a vector mask thumbnail:

A vector mask thumbnail appears to the right of the L AYER M ASK thumbnail. Both the L AYER M ASK thumbnail on the left and the vector mask thumbnail on the right look exactly the same, but theres a big difference between a L AYER M ASK and a vector mask. Both are used to show and hide different parts of the L AYER, but the way they go about it is completely different. With a L AYER M ASK, we paint on it, usually with the Brush Tool, to make different parts of the mask either white, black, or some shade of gray in between. White makes that part of the L AYER visible, black hides it, and gray makes that area partially visible depending on how light or dark the shade of gray is. 316

HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP Vector masks, on the other hand, dont require any painting at all. In fact, you cant paint on them because PHOTOSHOP wont let you. Instead, we use shapes to control which parts of the L AYER are visible or hidden. In fact, were going to use a shape right now to create our rounded corners!

20.3 Step 3: Select The Rounded Rectangle Tool


With our vector mask now added, go over to the Tools palette and select the Rounded Rectangle Tool. By default, its nested in with the normal Rectangle Tool, so click on the Rectangle Tool and hold your mouse down for a second or two. Youll see a y-out menu appear. Select the Rounded Rectangle Tool from the list:

Figuur 20.3 Click and hold your mouse button down on the Rectangle Tool in the Tools palette, then select the Rounded Rectangle Tool from the y-out menu that appears. Dont confuse these tools with the Marquee Tools at the top of the Tools palette, like the Rectangular Marquee or the Elliptical Marquee Tool. Those are selection tools and theyre used to drag out selections. The tools were selecting here are Shape tools and theyre used to draw shapes. With the Rounded Rectangle Tool selected, go up to the Options Bar at the top of the screen. Youll see a group of three icons over on the left. These three icons determine how our Shape tool will work. We want to draw shapes with our Shape tool (sounds fairly obvious, doesnt it?), so click on the icon on the left, which is the Shape L AYERS icon:

Figuur 20.4 Click on the Shape L AYERS icon in the Options Bar. Then, if you move further towards the right, youll come to the Radius option. This option determines how rounded our corners will be. The higher the number, the more rounded theyll be. Lower number, less rounded. Simple stuff. The problem is, youll never really know for sure what number to enter in for the Radius value until you try one, start drawing the shape, look at how rounded the corners are, and then decide whether youre happy with the result or whether the corner needs to be more or less rounded. I usually start with a value of somewhere between 10-20 pixels, then drag out my shape and decide if I like the corners. Usually I wont, and you probably wont either on your rst try, so just enter in a value to start with, drag out the shape, and if youre not happy with the roundness of the corners, simply press Ctrl+Z (Win) / Command+Z (Mac) to undo the shape, then enter a different value into the Radius option and try again. Ive already experimented with this a few times, and I know that a Radius value of about 30 pixels is going to give me the corners I want, so Im going to enter 30 px (the px stands for pixels) into the Radius option:

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Figuur 20.5 Enter a value in the Radius option to determine how rounded the corners will be.

20.4 Step 4: Select The Vector Mask Thumbnail In The L AYERS Palette
We have our Rounded Rectangle Tool selected, weve selected the Shape L AYERS option in the L AYERS palette, and weve entered in a Radius value that will determine how rounded our corners will be. Were ready to drag out our shape. First though, we need to make sure the vector mask is selected, so back in the L AYERS palette, click on the vector mask thumbnail to select it. Youll see a white highlight box appear around the thumbnail, which lets us know that the vector mask is selected:

Figuur 20.6 Click on the vector mask thumbnail in the L AYERS palette to select it. A white highlight border will appear around the thumbnail.

20.5 Step 5: Drag Out The Shape


All we have to do now is drag out our shape. Even though its going to look to us like were drawing the shape on the image itself, what were really doing is drawing it on the vector mask, and when were done, the only part of our photo that will remain visible is the area inside the shape. Everything outside of the shape will be hidden. Go ahead and drag out your rounded rectangle shape. If you want to keep everything in the photo and simply round off the corners, start in the top left corner of the photo and drag your mouse down to the bottom right. If youd rather use the shape to C ROP away part of the photo as well as give it rounded corners, simply drag your shape around the area you want to keep. If you need to reposition your shape as youre dragging, hold down your spacebar, then drag the shape into its new location. Release the spacebar when youre done and continue dragging out the shape. Here, Ive dragged out my rounded rectangle just inside the edges of the photo. You can see the rounded corners of the shape, which will become the rounded corners of the photo itself in a moment:

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Figuur 20.7 Click and drag out the Rounded Rectangle shape inside the document. Any areas of the photo that fall outside of the shape will be hidden from view by the vector mask. Release your mouse button when youre happy with your shape, and instantly, your photo is masked to the shape thanks to the vector mask, and the corners of the photo are now rounded:

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HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP

The photo is now being masked by the Rounded Rectangle shape thanks to the vector mask, and the corners of the photo now appear rounded. Lets nish things off by adding a border to our shape.

20.6 Step 6: Add A White Stroke To Create A Photo Border


Just because the corners of our photo are now rounded doesnt mean we cant still add a photo border to it. It just means the corners of the border will be rounded as well! To add a border, click on the L AYER Styles icon at the bottom of the L AYERS palette:

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HOOFDSTUK 20. GIVING A PHOTO ROUNDED CORNERS IN PHOTOSHOP Figuur 20.8 Click on the L AYER Styles icon at the bottom of the L AYERS palette. Then select Stroke from the bottom of the list of L AYER styles that appears:

Figuur 20.9 Select Stroke from the list of L AYER styles. This will bring up PHOTOSHOPs L AYER Style dialog box set to the Stroke options in the middle column. Im going to increase my stroke Size to about 16 pixels. You may want to set yours to a different value depending on the size and resolution of your image. Im going to leave the Position option set to Outside, which is going to place the stroke entirely on the outside of the shape edges. Finally, Im going to click on the color swatch for the Color option at the bottom, which by default is set to red (because Adobe thinks everyone will naturally want red as their stroke color), and from the Color Picker that appears, Im going to select white as my stroke color. Click OK to exit out of the Color Picker once youve chosen white:

Figuur 20.10 Change the options circled in red above for the stroke. When youre done, click OK to exit out of the L AYER Style dialog box and apply the stroke! Here after applying my stroke to create my photo border, is my nal result:

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Figuur 20.11 The nal rounded corners result. And there we have it! Thats how incredibly easy it is to give a photo rounded corners in PHOTOSHOP using a vector mask and the Rounded Rectangle Tool!

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21
How To Straighten Crooked Photos

Written by Steve Patterson. In this PHOTOSHOP tutorial, were going to learn a quick and easy way to straighten crooked photos. Lets face it, unless you take all your photos with your camera mounted on a tripod, some of your photos are going to turn out a bit crooked. Fortunately, PHOTOSHOP makes it incredibly easy to straighten them in just a few simple steps and without any guess work! Heres a photo I took recently outside the New York, New York Hotel & Casino in Las Vegas:

Figuur 21.1 The original image. 323

HOOFDSTUK 21. HOW TO STRAIGHTEN CROOKED PHOTOS Typical tourist-quality photo. It was taken with a small compact camera while walking down the street, as and we can see, it turned out a little crooked. The Statue of Liberty looks like shes leaning a little to the right. No worries though. Well have her straightened out in no time. Lets get started! Download our tutorials as printable PDFs! Learning PHOTOSHOP has never been easier!

21.1 Step 1: Select The Measure Tool


To best way to straighten images in PHOTOSHOP is by using the Measure Tool, which takes all the guess work out of it. As well see in a moment, as long as theres something in the image that should be straight, PHOTOSHOP will do most of the work for us! The Measure Tool, by default, is hiding behind the Eyedropper Tool in the Tools palette, so to select it, youll need to click and hold your mouse button down on the Eyedropper Tool for a second or two. A y-out menu will appear showing you the other tools hiding behind it. Click on the Measure Tool to select it:

Figuur 21.2 Select the Measure Tool in the Tools palette.

21.2 Step 2: Click And Drag Along Something That Should Be Straight
Look for something in your image that should be straight, either HORIZONTALLY or vertically. Were going to drag along its edge with the Measure Tool so PHOTOSHOP has something to work with when trying to gure out how crooked the photo actually is. In my case, Im going to click and drag HORIZONTALLY along the roof of the building directly behind Ms. Liberty. Obviously the roof should be perfectly H ORIZONTAL, yet it clearly isnt at the moment. Ill simply click once on the left side of the roof, then hold my mouse button down and drag over to the right side of the roof. This draws a thin line between where I rst clicked on the left and where I nished dragging on the right, and PHOTOSHOP uses the angle of this line to determine how far the image will need to be rotated in order to straighten it:

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HOOFDSTUK 21. HOW TO STRAIGHTEN CROOKED PHOTOS

Click and drag with the Measure Tool along the edge of something in the photo that should be straight HORIZONTALLY or vertically. If you look up in the Options Bar at the top of the screen, you can see the angle of the line youve just drawn (its the number listed to the right of the letter A). In my case, we can see that my line is on an angle of 1.9 degrees:

The Options Bar showing the angle of the line drawn with the Measure Tool.
PHOTOSHOP

can now use this angle to determine how far to rotate the image in order to straighten it.

21.3 Step 3: Choose The Rotate Canvas Arbitrary Command Go up to the Image menu at the top of the screen, choose Rotate Canvas, and then choose Arbitrary:

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PHOTOSHOP

Tutorials: Go to Image > Rotate Canvas > Arbitrary.

I have to laugh every time I do this because the word arbitrary actually means random or by chance, yet thats exactly the opposite of what were doing here. Were not randomly rotating our image or leaving anything to chance. Weve used the Measure Tool to nd out exactly how much of an angle our image needs to be rotated by, and now PHOTOSHOP can use the information weve given it to straighten our image without any guess work. As Ive said before, much of the problem with learning PHOTOSHOP comes from getting around the terminology, and in this case, I dont know what Adobe was thinking. However, life goes on. Once you select Arbitrary, PHOTOSHOP pops up the Rotate Canvas dialog box, and as we can see, all the work has already been done for us. In my case, PHOTOSHOP has already entered a value of 1.85 for the Angle option, and it even knew that the image will need to be rotated counterclockwise, which is why the CCW option is also selected:

The Rotate Canvas dialog box with the angle and direction already selected for us. You may be wondering why PHOTOSHOP entered an angle of 1.85 when the Options Bar showed an angle of 1.9 a moment ago. The reason is because PHOTOSHOP rounds off the angles in the Options Bar to 1 decimal place, so it showed 1.9 even though the angle of the line we drew with the Measure Tool was actually 1.85. The angle shown in the Rotate Canvas dialog box is the correct angle.

21.4 Step 4: Click OK To Rotate And Straighten The Image


At this point, all we need to do is click OK in the Rotate Canvas dialog box to exit out of it and have PHOTOSHOP rotate and straighten our image for us:

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Figuur 21.3 The image has now been rotated and straightened. Everything looks good, and the Statue of Liberty is no longer leaning to the right. We were able to straighten the image perfectly without any guess work thanks to the Measure Tool and the Rotate Canvas command.

21.5 Step 5: C ROP The Image With The C ROP Tool


Of course, there is a small problem. By rotating the image inside the document W INDOW, weve added some white canvas areas around the outside of the photo. Well need to nish things off by CROPPING away those areas, and for that, we can use PHOTOSHOPs C ROP Tool. Select the C ROP Tool from the Tools palette, or simply press the letter C on your keyboard to select it with the shortcut:

Figuur 21.4 Select the C ROP Tool.

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HOOFDSTUK 21. HOW TO STRAIGHTEN CROOKED PHOTOS Then, with the C ROP Tool selected, simply click near the top left corner of your image and drag down towards the bottom right to create a border around the area you want to keep. Fine-tune your selection by dragging any of corner handles or by dragging the top, bottom, left or right sides of the selection:

Use the C ROP Tool to drag out a selection around the part of the image you want to keep. Once youve dragged out your CROPPING border, press Enter (Win) / Return (Mac) to have PHOTOSHOP C ROP the image:

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Figuur 21.5 The image is now straightened and cropped. And there we have it!

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22
Recreate the super-saturated look of Fuji Velvia in PHOTOSHOP

Fuji Velvia F ILM was only introduced in 1990, but with its super-saturated colours, ne-grain and SHARPNESS it quickly changed the look of LANDSCAPE and nature photography. There were several lms that could match some of these characteristics, but it soon became the F ILM of choice for many LANDSCAPE and nature photographers who wanted to give their shots maximum impact. Here, well show you how to recreate the look of this iconic F ILM to improve a digital LANDSCAPE shot.

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22.1 Step 1: RAW settings


Find your original image and open it in Adobe Camera RAW.

Set WHITEBALANCE to Daylight. To mimic the basic look of Velvia, set Clarity to +25 and Saturation to +20. Next, click on the Camera Calibration tab and select Camera LANDSCAPE from the drop-down menu before hitting Open Image.

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22.2 Step 2: Adjust hue and saturation


In the main PHOTOSHOP Elements W INDOW, open a new Hue/Saturation Adjustment L AYER and in the Master channel set the Saturation to +15 and the Hue to +2. Next, choose Yellows and set Hue to +3, Saturation to +4 and Lightness to -8. Choose Blues and set Hue to +12 and Saturation to -4.

22.3 Step 3: Reduce NOISE


To smooth out any NOISE in the image you now need to duplicate the B ACKGROUND L AYER by pressing Ctrl+J, and then go to F ILTERNOISEReduce noise. In this W INDOW, set Strength to 4 to smooth out the tones, Preserve Details to 60% and Reduce Colour NOISE to 35%.

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22.4 Step 4: S HARPEN up


To mimic the ne detail and clarity of Velvia, duplicate the L AYER youve just created (Ctrl+J)and then change Blending Mode to Overlay by clicking on the word Normal at the top of the L AYERS palette. Go to F ILTEROtherH IGH PASS and change Radius to 1.5 to boost the SHARPNESS of the image. Click OK.

22.5 In camera
The LANDSCAPE Picture Control or Style presets available on many DSLRs will also create a similar look to Fuji Velvia, so check your manual. Or, simply boost the saturation and sharpening settings on your camera.

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23
Replace boring skies with PHOTOSHOP selection tools

Figuur 23.1 [Our start image for this PHOTOSHOP tutorial. ] When it comes to taking photos (or trying to top up your tan) the weather inevitably will let you down, even when youre shooting in an exotic holiday destination. This can be especially annoying if youre trying to capture white sands, bright blue seas and clear blue skies. But thanks to one of our favourite PHOTOSHOP tricks, we can select our start images drab overcast sky and use the PHOTOSHOP selection tools to replace it with a more brochure-like graduated blue. On its own, the PHOTOSHOP Magic Wand tool can select most of the pictures original sky, even if it contains a mixture of greyscale C LOUDS and patches of blue. However, the Magic Wand wont be up to the challenge of including delicate details, like our straw parasols ne, pointy leaves. Fortunately the Magic Wand belongs to a team of selection tools that have the combined ability to tackle just about any selection challenge. Below well show you how to use the Selection Brush to add or subtract from the Magic Wands initial selection to include the parasol, beach and sea, then turn the selection into a L AYER M ASK, and then 334

HOOFDSTUK 23. REPLACE BORING SKIES WITH PHOTOSHOP SELECTION TOOLS coax back missing details, like delicate palm tree fronds. Well also show you how to use the Gradient tool to create a clear blue sky from scratch, and even add a couple of C LOUDS to add points of interest and a sense of depth to the scene. All youll need for this PHOTOSHOP tutorial is PHOTOSHOP Elements 9 or higher and about 20 minutes to spare!

23.1 Step 1: Start selecting


Open your original image. In the L AYERS palette, double-click on the B ACKGROUND thumbnail to unlock it; it will be renamed L AYER 0. Grab the Magic Wand tool from the Tools palette and, in the Options bar, set the Tolerance to 41 and tick Contiguous. Click on the sky. The marching ants selection marquee will appear. Hold Shift and keep clicking to add more sky.

23.2 Step 2: Modify your selection


To remove bits of the parasols top edge, grab the Selection Brush from the Tools palette and tick the Subtract From Selection icon in the Options bar. Choose a round brush in the Brush preset picker with a Size of 45 and Hardness of 85%. Spray on the edge of the parasol to remove it; if you keep Shift pressed as you click, you can spray a straight line between two points and modify the selection more quickly.

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23.3 Step 3: Make a mask


Go to SelectReneEdge. Pop Smooth to 22 to remove jagged selection edges. Set Feather to 1.0 and click OK. Choose SelectInverse from the main drop-down menu. Click the Add L AYER M ASK icon at the bottom of the L AYERS palette (see page 43 if using Elements 8 or earlier). The selection turns into a BLACK AND WHITE mask that turns the sky 100% transparent while keeping the parasol, sea and beach 100% solid.

23.4 Step 4: Sample sky colour


Click the L AYER 0 thumbnail to target it. Grab the Eyedropper tool and click on a remaining patch of blue sky hiding between the lower leaves of the parasol. The foreground colour will turn light blue. Click on the B ACKGROUND colour swatch. In the Colour Picker, set R to 35, G to 65 and B to 110. Click OK. Youll now have a light-blue foreground and a darker-blue Background.

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23.5 Step 5: Draw a sky


Click the Create New L AYER icon. Drag L AYER 1 below L AYER 0. Grab the Gradient tool, select the Gradient Editor, then Foreground to B ACKGROUND, then the Linear Gradient icon. On L AYER 1, draw a gradient upwards from the horizon to create a graduated sky. Any patches of original sky clinging to the parasols fronds become the same colour as the gradient.

23.6 Step 6: Reveal delicate details


Grab the Brush tool. Choose a soft-edged brush with a Size of 200. Set Opacity to 20%. Click on the L AYER Mask. Set the foreground colour to white. Spray over the leaves at the bottom of the parasol to reveal more delicate details. Copy-and-paste your new Cloud.

Use a Lighten Blending Mode to add it to the scene. Duplicate the L AYER and use ImageRotateFlipLayerHorizontal to create another Cloud.

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Figuur 23.2 Our nished image.

23.7 Top PHOTOSHOP tip


When removing bits of the parasols top edge from the Magic Wands initial selection in Step 2, you may end up removing parts of the sky from the selection too. To add bits of sky to the selection, click on the Add To Selection icon in the Options bar. You can use the Options bars Add To and Subtract From modes to ne-tune the selection marquee until only the sky is selected. By pressing the Alt key you can toggle between the Add To and Subtract From modes with ease!

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24
Snowakes Photo Border In PHOTOSHOP
Written by Steve Patterson. Samenvatting In this PHOTOSHOP photo effects tutorial, well learn how to create a simple snowakes photo border, which can be a fun nishing touch for photos of family and friends during the holidays or of any snowy winter scene. Ill be using PHOTOSHOP CS5 here, but any recent version of PHO TOSHOP will work. Heres what the nal result will look like:

Figuur 24.1 The nal snowakes photo border effect. Lets get started!

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24.1 Step 1: Create A New PHOTOSHOP Document


PHOTOSHOP ships with a ready-made snowake brush that we could use for our effect, but its default size is a little too small for our purposes here, and increasing a brush beyond its default size makes it look soft and dull. Since we want everything to look nice and SHARP, well quickly create our own, larger snowake brush using one of PHOTOSHOPs built-in custom shapes (if youve already completed our Holiday Photo Border tutorial, you may already have a custom snowake brush ready to use, in which case you can skip to Step 8).

First, well need a document to create the brush in, so go up to the File menu in the Menu Bar along the top of the screen and choose New:

Figuur 24.2 Go to File > New. This opens the New Document dialog box. Enter 200 pixels for both the Width and Height, and make sure the B ACKGROUND Contents option is set to White, then click OK to exit out of the dialog box. A new 200x200 pixel document, lled with white, will appear on your screen:

Make sure your measurement type is set to pixels, not inches or anything else.

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24.2 Step 2: Select The Custom Shape Tool


Select the Custom Shape Tool from PHOTOSHOPs Tools panel. By default, its nested behind the Rectangle Tool, so click on the Rectangle Tool and hold your mouse button down for a second or two until a y-out menu appears, then select the Custom Shape Tool from the list:

Figuur 24.3 Select the Custom Shape Tool.

24.3 Step 3: Load The Nature Shape Set


Not only does PHOTOSHOP ship with a ready-made snowake brush, it also ships with a few snowake custom shapes that we can choose from. We just need to load in the set that contains these shapes. To do that, with the Custom Shape Tool selected, right-click (Win) / Control-click (Mac) anywhere inside the new document to quickly access the Shape Picker, then click on the small arrow in the top right corner:

Figuur 24.4 Click on the small triangle in the top right corner of the Shape Picker. Clicking on the arrow opens a menu with lots of additional shape sets ready to be loaded in to photoshop. The one were looking for is the Nature set. Click on it to select it:

Figuur 24.5 Select the Nature shape set from the menu.

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PHOTOSHOP will ask if you want to replace the current shapes with the Nature shapes or if youd rather just append them to the list, which will add them below the original shapes. Click the Append button:

Figuur 24.6 Choose Append to add the Nature shapes in with the original shapes.

24.4 Step 4: Select One Of The Snowake Shapes


Scroll through the list of thumbnails until you see the snowake shapes (theres three of them in a row). If you have Tool Tips enabled in PHOTOSHOPs Preferences, the name of each shape will appear when you hover your mouse over its thumbnail. We only need one of the snowake shapes for our photo border, so pick your favorite of the three by clicking on its thumbnail to select it, then press Enter (Win) / Return (Mac) to close out of the Shape Picker. Im going to choose the rst snowake (the one on the left):

Figuur 24.7 Choose one of the three snowake shapes by clicking on its thumbnail.

24.5 Step 5: Select The Fill Pixels Option


PHOTOSHOP gives us three different types of shapes that we can draw - vector shapes, paths and pixelbased shapes. We can switch between the types by selecting them in the Options Bar. Since were going to create a brush out of the snowake shape, and brushes are made of pixels, well draw pixel-based shapes. Click on the Fill Pixels icon in the Options Bar (the one on the right) to select it:

Each icon in the row of three selects a different type of shape. The Fill Pixels icon is the one on the right. 342

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24.6 Step 6: Drag Out A Snowake


Make sure your Foreground color is set to black by pressing the letter D on your keyboard, which resets PHOTOSHOP s Foreground and B ACKGROUND colors to their defaults (black is the default Foreground color). Then, click near the top left corner inside the document, hold down your Shift key, then drag out a snowake shape. Holding down the Shift key as you drag constrains the aspect ratio of the shape so it doesnt look distorted. If you need to reposition the shape as youre drawing it, hold down your spacebar, move the shape into position with your mouse, then release your spacebar and continue dragging:

The black area will become the brush. The white area will be transparent.

24.7 Step 7: Create A Brush From The Shape


Go up to the Edit menu at the top of the screen and choose Dene Brush Preset:

Figuur 24.8 Go to Edit > Dene Brush Preset. Name the new brush Snowake when the Brush Name dialog box appears, then click OK to close out of it. You can also close out of the snowake shapes document W INDOW at this point since we no longer need it (theres no need to save it if PHOTOSHOP asks):

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Figuur 24.9 Name the new brush Snowake.

24.8 Step 8: Open Your Photo


With the snowake brush created, open the photo you want to add the border to. Heres the image Ill be using:

The original image.

24.9 Step 9: Add A New Blank L AYER


Click on the New L AYER icon at the bottom of the L AYERS panel to add a new blank L AYER above the B ACKGROUND Layer. PHOTOSHOP names the new L AYER L AYER 1:

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Figuur 24.10 Add a new blank L AYER above the image on the B ACKGROUND Layer.

24.10 Step 10: Fill The New L AYER With White


Go up to the Edit menu at the top of the screen and choose Fill:

Figuur 24.11 Go to Edit > Fill. This opens the Fill dialog box. Change the Use option to White, then click OK to close out of the dialog box. The document will appear lled with white:

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HOOFDSTUK 24. SNOWFLAKES PHOTO BORDER IN PHOTOSHOP Figuur 24.12 Set the Use option to White, then click OK.

24.11 Step 11: Select The Area Where The Photo Will Appear
Go up to the Select menu and choose All. This selects the entire document, placing a selection outline around the edges:

Figuur 24.13 Go to Select > All. With the document now selected, go back up to the Select menu and this time, choose Transform Selection:

Figuur 24.14 Go to Select > Transform Selection. The Transform Selection command lets us resize or reshape the selection outline itself without affecting whatever is inside the selection. Click on the top transform handle (the little square), hold down your Alt (Win) / Option (Mac) key, then drag the handle a short distance inward towards the center of the document so theres roughly a half inch between the selection outline and the documents outer edge. By holding down the Alt / Option key as you drag, youll resize the selection outline from its center, causing the bottom transform handle to move at the same time. Then, do the same thing with the left transform handle, holding down Alt / Option and dragging it inward, leaving the same amount of space between the selection outline and the edge of the document. The right handle will move in at the same time. Press Enter (Win) / Return (Mac) when youre done to accept the change:

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Hold down Alt (Win) / Option (Mac), then drag the top and left handles inward.

24.12 Step 12: Delete The Area Inside The Selection


Press Backspace (Win) / Delete (Mac) on your keyboard to delete the white area inside the selection, revealing the photo underneath. Leave the selection outline active:

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Delete the area inside the selection but leave the outline in place, since we still need it.

24.13 Step 13: Expand The Selection


We need to make the selection outline a little bigger. We could use the Transform Selection command again, but theres an even easier way. Go back up to the Select menu, choose Modify, then choose Expand:

Figuur 24.15 Go to Select > Modify > Expand. When the Expand Selection dialog box appears, enter a value of around 20 pixels, then click OK:

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Figuur 24.16 Expand the selection by 20 pixels or so. The edges of the selection will expand outward by 20 pixels. Notice that the corners of the selection outline, which were SHARP a moment ago, have become rounded. This is a drawback to using the Expand Selection command and why its not always the best choice for making selection outlines larger, but for our purposes here, the rounded corners wont cause us any problems:

All four edges of the selection outline expand outward by 20 pixels.

24.14 Step 14: Apply The Gaussian Blur F ILTER


Next, we need to soften the edges of the photo border, creating a smooth transition between the border and the image in the center, and we can do that by blurring it (the border, not the image). Go up to the F ILTER menu at the top of the screen, choose Blur, then choose Gaussian Blur:

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Figuur 24.17 Go to F ILTER > Blur > Gaussian Blur. When the Gaussian Blur dialog box appears, increase the Radius value for the blur to around 8 pixels, which should soften the border edges nicely, then click OK to close out of the dialog box:

Figuur 24.18 Increase the Radius value to 8 pixels, then click OK. The border edges now appear softer. Once again, leave the selection outline active since we still need it. In fact, its going to become the path for our snowakes:

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Softer border edges.

24.15 Step 15: Select The Brush Tool


Select the Brush Tool from the Tools panel:

Figuur 24.19 Select the Brush Tool.

24.16 Step 16: Select The Snowake Brush


With the Brush Tool selected, right-click (Win) / Control-click (Mac) anywhere inside the document to quickly open the Brush Picker, then scroll through the thumbnails until you nd the snowake brush we 351

HOOFDSTUK 24. SNOWFLAKES PHOTO BORDER IN PHOTOSHOP just created. It should be the last one in the list. Click on it to select it, then press Enter (Win) / Return (Mac) to close out of the Brush Picker:

Click on the snowake brushs thumbnail to select it, then press Enter (Win) / Return (Mac).

24.17 Step 17: Set The Brush Dynamics Options


Press F5 on your keyboard to quickly open PHOTOSHOPs full Brushes panel, then click directly on the words Shape Dynamics in the left column of the panel. Make sure you click directly on the words, not just inside the checkbox, otherwise youll turn Shape Dynamics on but wont be given access to its options:

Click on the words Shape Dynamics in the left column of the Brushes panel. With Shape Dynamics selected, set both the Size Jitter and Angle Jitter options to 100%, which will add lots of randomness to the size and rotation angle of the snowakes:

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Figuur 24.20 Set the Size Jitter and Angle Jitter to 100%. When youre done setting the Shape Dynamics options, click directly on the word Scattering in the left column of the Brushes panel, then increase the Scatter value to around 250%, which will randomly scatter the snowakes around instead of them all appearing in a straight line. When youre done, press F5 once again to close out of the Brushes panel:

Figuur 24.21 Click on Scattering, then set Scatter to 250%.

24.18 Step 18: Convert The Selection Outline Into A Path


Switch over to your Paths panel, which is grouped in with the L AYERS and Channels panels (click on the name tabs at the top to switch between the panels). Then click on the Make Work Path From Selection icon at the bottom of the Paths panel:

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Figuur 24.22 Click the Make Work Path From Selection icon.
PHOTOSHOP will convert the selection outline into a path, and a Work Path will appear in the Paths panel. The term work path simply means its a temporary path. We could make it permanent by saving the path, but theres no need:

Temporary paths are called work paths in photoshop. If we look at the image in the document W INDOW, we see that the selection outline has been replaced by a thin, solid line, which is our path:

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The thin line is the path the snowakes will follow around the image.

24.19 Step 19: Set The Foreground Color To White And Lower The Brush Size
Press the letter X on your keyboard to swap PHOTOSHOPs Foreground and B ACKGROUND colors, which will set the Foreground color to white (photoshop paints with the current Foreground color). Then, right-click (Win) / Control-click (Mac) anywhere inside the document to once again bring up the Brush Picker and lower the Size of the brush down to around 50 px (pixels), since the default size of our snowake brush is too large for our photo border effect. Press Enter (Win) / Return (Mac) when youre done to close out of the Brush Picker:

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HOOFDSTUK 24. SNOWFLAKES PHOTO BORDER IN PHOTOSHOP Figuur 24.23 Drag the Size slider towards the left to lower the brush size.

24.20 Step 20: Stroke The Path With The Snowake Brush
Finally, click on the Stroke Path With Brush icon at the bottom of the Paths panel:

Figuur 24.24 Click the Stroke Path With Brush icon, second from left. The rst snowakes appear around the image, scattered along the path:

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Figuur 24.25 Scattered snowakes with random sizes and angles appear along the path. Depending on the size of the image youre working with, you may nd that the current brush size is too large or too small. If thats the case, press Ctrl+Z (Win) / Command+Z (Mac) to undo the initial snowakes, then simply use the left and right bracket keys on your keyboard to change the brush size. Pressing the left bracket key ( [ ) makes the brush smaller while the right bracket key ( ] ) makes it larger. Once youve resized your brush, click on the Stroke Path With Brush icon to try again. It may take a few attempts with different brush sizes to get it right. After adding your initial snowakes, click the Stroke Path With Brush icon a few more times to add additional snowakes to the border. When youre happy with the results, click anywhere in the empty gray area below the Work Path in the Paths panel to hide the path from view inside the document:

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Figuur 24.26 Click in the empty area in the Paths panel to turn the path off. Note that the Stroke Path With Brush option is grayed out and unavailable when the path is not visible in the document. If you want to add more snowakes, youll rst need to make the path visible again by clicking on the Work Paths thumbnail in the Paths panel:

Turn the path back on by clicking on its thumbnail. You can only stroke the path when its visible. Here, after clicking the Stroke Path With Brush icon three more times to add additional snowakes, is my nal result:

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The nal snowakes photo border effect. And there we have it!

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25
Tearing A Photo To Reveal Another PHOTOSHOP Tutorial
Written by Steve Patterson. In this PHOTOSHOP Effects tutorial, were going to look at another movie poster-type of effect. Were going to learn how to create the illusion that a piece of a photo is torn away to reveal another photo underneath it. I saw this effect used in a poster for a tv show on the FX Network, and when I realized how easy it would be to do something similar in PHOTOSHOP, well, here we are. To create the effect, well be colorizing one photo and converting the second one to BLACK AND WHITE, then adding some NOISE, enhancing shadows and highlights, and using a few L AYER masks to blend it all together. Im going to use this same photo from one of our other recent tutorials, Create An Optical Illusion By Filling A Photo With More Photos, because it works perfectly for the effect were going for here:

Figuur 25.1 The rst photo. Im also going to be using this photo, or more specically, the guy from this photo:

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Figuur 25.2 The second photo. And heres the nal effect well be working towards:

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Figuur 25.3 The nal result. Lets get started!

25.1 Step 1: C ROP The Main Photo Around The Persons Face
Im going to start by working on the photo of the woman, which is going to be the photo that ends up with a piece torn out of it, and the rst thing Im going to do is C ROP the photo so that all Im left with is the area around her head. Ill use the C ROP Tool for this, so Ill grab my C ROP Tool from the Tools palette:

Figuur 25.4 Select the C ROP Tool.

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HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL I could also press C to quickly access it with the keyboard shortcut. Then Im simply going to click and drag out a selection around the womans head, making sure her face ends up in the center of my selection:

Figuur 25.5 Drag out a selection with the C ROP Tool. When Im happy with my selection, Ill press Enter (Win) / Return (Mac) to accept it, and PHOTOSHOP will C ROP the image for me:

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Figuur 25.6 The image is now cropped.

25.2 Step 2: Duplicate The B ACKGROUND L AYER


Next, we need to duplicate the B ACKGROUND L AYER because were going to be lling the original B ACK GROUND L AYER with black in a moment, so press Ctrl+J (Win) / Command+J (Mac) to duplicate it. We can now see our duplicate above the original in the L AYERS palette, which PHOTOSHOP has named L AYER 1:

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Press Ctrl+J (Win) / Command+J (Mac) to duplicate the B ACKGROUND Layer.

25.3 Step 3: Add More Canvas Space And Fill It With Black
Click on the B ACKGROUND L AYER in the L AYERS palette to select it. Were going to add more canvas space to the left and right of the image, and were going to use the C ROP Tool to do it. But rst, press the letter D on your keyboard to quickly reset your Foreground and B ACKGROUND colors if needed, so black becomes your Foreground color (white becomes your B ACKGROUND color), and then press X on your keyboard to swap them, so black becomes your B ACKGROUND color. Select the C ROP Tool once again. Then with the B ACKGROUND L AYER selected in the L AYERS palette, drag out a selection with the C ROP Tool around the entire image. When you release your mouse button, youll see little square handles appear around the image, one in each corner, and one on the top, bottom, left and right. Hold down Alt (Win) / Option (Mac) and drag out either of the side handles to add more canvas space. Add an extra inch or so on either side (holding down the Alt/Option key moves both side handles at once as you drag):

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Hold down Alt (Win) / Option (Mac) to drag out either of the side handles to add more canvas space. Press Enter (Win) / Return (Mac) when youre done, and PHOTOSHOP will add your additional canvas space and will also ll it with black, since black is our B ACKGROUND color:

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Figuur 25.7 The canvas space now added on the sides and lled with black.

25.4 Step 4: Fill The Entire B ACKGROUND L AYER With Black


PHOTOSHOP has lled the extra canvas space with black for us, and everything looks ne in our image, but if we look at our B ACKGROUND L AYER thumbnail in the L AYERS palette, we can see that only the extra canvas space has been lled with black. The photo itself is still there:

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HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL The B ACKGROUND L AYERs thumbnail in the L AYERS palette still shows the original image. Only the extra space on the sides has been lled with black. To x that and ll the entire B ACKGROUND L AYER with black, press Alt+Backspace (Win) / Option+Delete (Mac), which lls the L AYER with the current B ACKGROUND color (black in our case). Again, nothing looks different in the image itself, but the B ACKGROUND L AYER thumbnail in the L AYERS palette is now showing solid black:

The B ACKGROUND L AYERs thumbnail now shows the entire L AYER lled with black.

25.5 Step 5: Add A L AYER M ASK On L AYER 1


Click on L AYER 1 in the L AYERS palette to select it. Then click on the Add A L AYER M ASK icon at the bottom of the L AYERS palette:

Figuur 25.8 Click the Add A L AYER M ASK icon. This adds a L AYER M ASK to L AYER 1, and it also adds a L AYER M ASK thumbnail on the L AYER in the L AYERS palette:

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A L AYER M ASK thumbnail has now been added to L AYER 1 in the L AYERS palette. The L AYER M ASK itself, rather then the contents of the L AYER, is now selected, and we know that by the white highlight border around the L AYER M ASK thumbnail.

25.6 Step 6: Paint With Black On The Mask To Blend The Edges Of The Image In
With The B ACKGROUND We want the edges around our image to blend in with the black B ACKGROUND, and were going to accomplish that by painting around the edges with black on our L AYER Mask. We need the Brush Tool to paint with, so either select it from the Tools palette or press B on your keyboard:

Figuur 25.9 Select the Brush Tool. We want to paint with black, so press X on your keyboard to swap your Foreground and B ACKGROUND colors again, which makes black your Foreground color. Then, with a large soft-edge brush, paint along the edges of the photo to blend them in with the Background. Because were painting on the L AYER M ASK, not the actual L AYER, anywhere we paint with black will hide the image. It looks like were painting directly on the image itself because were painting with black and the B ACKGROUND is black, but if the B ACKGROUND was a different color, youd see that were really just hiding the image as we paint on the L AYER mask. You can change the size of your brush with the left and right bracket keys on your keyboard (the left bracket key makes the brush smaller and the right one makes it larger), and to make sure your brush has a soft edge, hold down your Shift key and press the left bracket key a few times (pressing the right bracket key while holding Shift makes the brush harder). Then paint around the edges to blend them in with the black Background. 369

HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL Heres my image after painting around the edges:

The image after painting around the edges with black to blend them in with the Background.

25.7 Step 7: Colorize The Image


With L AYER 1 still selected, hold down Alt (Win) / Option (Mac) and click on the New Adjustment L AYER icon at the bottom of the L AYERS palette:

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Hold down Alt (Win) / Option (Mac) and click on the New Adjustment L AYER icon. Then select Hue/Saturation from the list that appears:

Figuur 25.10 Select Hue/Saturation from the list. By holding down Alt/Option. this tells PHOTOSHOP to bring up the New L AYER dialog box before adding the adjustment Layer. Click inside the checkbox to the left of the Use Previous L AYER to Create Clipping Mask option to select it. By selecting this option, the Hue/Saturation adjustment L AYER is going to affect only the L AYER directly below it (L AYER 1) and will have no effect on any other Layers. This isnt so important at the moment, but it will be once we drag our second photo into the image. Click OK to exit out of the dialog box, and the Hue/Saturation dialog box will appear. Select the Colorize option in the bottom right corner of the dialog box, then drag the Hue slider to select the color for your image, keeping an eye on your image as you drag. Im going to set my Hue to a value of about 38:

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Drag the Hue slider to set the color you want to colorize your image with, keeping an eye on your image as you drag. Click OK when youre happy with the color youve chosen to exit out of the dialog box. Heres my image after colorizing it:

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Figuur 25.11 The image after colorizing it with the Hue/Saturation adjustment Layer.

25.8 Step 8: Add Some Dramatic L IGHTING With A Curves Adjustment L AYER
Right now the womans face looks a little too bright for the effect were going for. Lets add some dramatic L IGHTING to her face, using a Curves adjustment L AYER and the L AYER M ASK it comes with. Dont worry if youve never used Curves before or if it seems too advanced for your current PHOTOSHOP skill level. All Im going to do is add the adjustment Layer. Im not going to actually do anything with it, other than change its blend mode, which Ill do in a moment. First, I need to add it though, and I want to add it between L AYER 1 and my Hue/Saturation adjustment L AYER, so Im going to click on L AYER 1 in the L AYERS palette to select it. Then, Im going to click on the New Adjustment L AYER icon at the bottom of the L AYERS palette once again:

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Click on L AYER 1 to select it, then click the New Adjustment L AYER icon once again. This time, Im going to choose Curves from the list:

Figuur 25.12 Select the Curves adjustment Layer. When the Curves dialog box appears, Im simply going to click OK to exit out of it, since I dont need to change any of the settings. All I need to do is change the blend mode of the Curves adjustment L AYER from Normal to Multiply in the top left corner of the L AYERS palette:

Change the blend mode of the Curves adjustment L AYER from Normal to Multiply to darken the image. 374

HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL And thats going to darken my image for me:

The image after adding a Curves adjustment L AYER above it set to the Multiply blend mode. Her face is a lot darker now, but lets use the L AYER M ASK the adjustment L AYER came with to bring back some of the original brightness and give us some dramatic Lighting. Select your Gradient Tool from the Tools palette, or press G on your keyboard to quickly select it:

Figuur 25.13 Select the Gradient Tool. Then, in the Options Bar at the top of the screen, look in the gradient preview thumbnail and make sure you have the Foreground to B ACKGROUND gradient selected (it will be black on the left and white on the right), and click on the Reected Gradient option:

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Make sure the Foreground to B ACKGROUND (black to white) gradient is selected in the Options Bar, and click on the Reected Gradient option. Then, with my Gradient Tool, Im going to click somewhere in the middle of the womans nose and drag my mouse over to the right edge of her face:

Figuur 25.14 The L IGHTING is now more dramatic on her face. I also want to bring back all of the original brightness in her eyes, so Im going to switch back to my Brush Tool, and with black still as my Foreground color, Im going to use a much smaller brush (again, you can change the size of the brush on the y with the left and right bracket keys) and paint over her eyes:

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Figuur 25.15 Painting with black over her eyes to bring back the original brightness. Heres my image after brightening up her eyes:

Figuur 25.16 The image after restoring the brightness in the womans eyes.

25.9 Step 9: Select The Area To Tear Out Of The


Image With The Lasso Tool Grab your Lasso Tool from the Tools palette, or press L to quickly select it:

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Figuur 25.17 Select the Lasso Tool. Then drag out a selection around the area you want to tear out of the image. Im going to select an area from the top of the image to the bottom through the center of the womans face. Try to make your selection rough and jagged as youre dragging to create the torn look:

PHOTOSHOP

Effects: Drag a seletion through the image which will become the area that is torn out of

it.

25.10 Step 10: Select The L AYER M ASK On L AYER 1


And Fill The Selection With Black

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HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL Were going to ll our selection with black, and were going to do that on the L AYER M ASK of L AYER 1 so that we hide the womans face in the area inside the selection. To do that, rst click on the L AYER M ASK thumbnail on L AYER 1 in the L AYERS palette to select it:

Click the L AYER M ASK thumbnail on L AYER 1 to select the L AYER Mask. Then use the keyboard shortcut Alt+Backspace (Win) / Option+Delete (Mac) to ll the selection with black. The part of the womans face that was inside the selection is now hidden from view, revealing the black B ACKGROUND behind it:

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After lling the selection with black on the L AYER M ASK, the area inside the selection is now hidden from view, revealing the black B ACKGROUND behind it. Press Ctrl+D (Win) / Command+D (Mac) to clear the selection.

25.11 Step 11: Apply The Spatter F ILTER To


Enhance The Jagged Lines Lets make our torn edges look a little more torn using the Spatter Filter. Go up to the F ILTER menu at the top of the screen, choose Brush Strokes, and then choose Spatter. This brings up the F ILTER Gallery dialog box set to the Spatter options on the right. You may want to experiment with the settings on your own, keeping an eye on the preview W INDOW on the left of the dialog box, but Im going to set my Spray Radius to 10 and my Smoothness all the way to 15:

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Figuur 25.18 Go to F ILTER > Brush Strokes > Spatter. Click OK to exit out of the dialog box. My torn edges through the center of the image now look a bit more torn:

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The image after applying the Spatter F ILTER to enhance the torn edges effect.

25.12 Step 12: Drag The Second Image Into The Document
Its time to add our second image into the document. We want the image to appear behind our main image, which means we need to be placed on a L AYER below the main image in the L AYERS palette, so click on the B ACKGROUND L AYER in the L AYERS palette to select it. The second image will then be placed between the B ACKGROUND L AYER and L AYER 1 when we drag it into the document, which is what were going to do next. With both images open in their own document W INDOW on the screen, grab your Move Tool from the Tools palette or press V on your keyboard to select it:

Figuur 25.19 Select the Move Tool. Then, with the Move Tool selected, click anywhere inside the second image and drag it over and into the main document: 382

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PHOTOSHOP

Effects: Click inside the second photo and drag it into the main document.

Close out of the second images document W INDOW after youve dragged it into the main document. If we look in the L AYERS palette of the main document now, we can see that the second image has been placed on its own L AYER between the B ACKGROUND L AYER and the main image L AYER (L AYER 1), and has named the new L AYER L AYER 2:

The second image is now on its own L AYER, named L AYER 2, between the B ACKGROUND L AYER and L AYER 1.

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25.13 Step 13: Resize And Reposition The Image With The Free Transform Command
Press Ctrl+T (Win) / Command+T (Mac) to bring up PHOTOSHOPs Free Transform handles around the second image and drag any of the corner handles to resize the image as needed. If you cant see the corner handles because the image extends beyond the viewable area of the document, press Ctrl+0 (Win) / Command+0 (Mac) to t everything on the screen. Hold down Shift as youre dragging to constrain the image proportions. Also, click anywhere inside the image and drag it around the screen with your mouse to move it into position. In my case, I want the guy in the photo to appear inside the area I just tore out of the main photo, so Im going to make the image smaller by dragging the corner handles and then Ill click inside the image and move it where I want it:

Move and resize the second image as needed with the Free Transform command. When youre happy with the size and position of your image, press Enter (Win) / Return (Mac) to accept it.

25.14 Step 14: Desaturate The Second Image


We want the image that appears behind the main photo to be in BLACK AND WHITE, so lets quickly desaturate it using the keyboard shortcut Ctrl+Shift+U (Win) / Command+Shift+U (Mac):

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Figuur 25.20 Desaturate the second image.

25.15 Step 15: Add A L AYER M ASK To The Second Image


With L AYER 2 still selected, click on the Add A L AYER M ASK icon at the bottom of the L AYERS palette:

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Figuur 25.21 Click the Add A L AYER M ASK icon. This adds a L AYER M ASK, and a L AYER M ASK thumbnail, to L AYER 2:

Figuur 25.22 The L AYER M ASK now added to L AYER 2.

25.16 Step 16: Paint With Black Around The Edges Of The Second Image
Select the Brush Tool once again, and with black still as your Foreground color, use a large soft-edge brush and paint around the edges of the second image to hide them, just as we did with the main image. In my case, Im going to hide all the edges so that only the are around the guys face is left showing: 386

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The image after painting away everything except the area around the guys face in the second image. Im also going to paint along the edge of where the left tear edge of the main photo meets the second image, which will create a nice drop SHADOW effect on the left side of the guys face, giving the image some depth. Im going to keep the main part of my brush cursor just to the left of the tear edge so that only the soft edge of the brush is extending onto his face as I paint:

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Creating a SHADOW with the Brush Tool along the left side of the guys face. Heres my image after painting the SHADOW along the left side of his face:

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The SHADOW along the left side of the guys face adds some depth to the image.

25.17 Step 17: Add Some NOISE To The Image


Click on the very top L AYER in the L AYERS palette, which should be your Hue/Saturation L AYER, and then click on the New L AYER icon at the bottom of the L AYERS palette to add a new L AYER above all the others:

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Figuur 25.23 Add a new L AYER at the top of the L AYERS palette. Press Ctrl+Backspace (Win) / Command+Delete (Mac) to ll the new L AYER with white. Then go up to the F ILTER menu at the top of the screen, choose NOISE and then choose Add NOISE, which brings up the Add NOISE dialog box. Im going to set my Amount to somewhere around 20% to add a little NOISE to the image, and Im going to make sure that Ihave the Gaussian and Monochromatic options at the bottom selected:

Add some NOISE to the image with the Add NOISE Filter. 390

HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL Your image will now be lled with BLACK AND WHITE noise. Go up to the blend mode option in the top left corner of the L AYERS palette and change the blend mode for the L AYER from Normal to Color Burn and lower the Opacity value down to about 30%:

Change the blend mode of the NOISE L AYER to Color Burn and lower the opacity to about 30%. Heres my image at this point. Were almost done:

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Figuur 25.24 The image after adding noise.

25.18 Step 18: Add Another New L AYER And Set Its Blend Mode To
Overlay Were almost done! Were just going to add a few more highlights and shadows to the image. Click on the New L AYER at the bottom of the L AYERS palette once again, and when the new L AYER appears at the top of the L AYERS palette, set its blend mode to Overlay:

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HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL

Click on the New L AYER icon once again, then set the blend mode of the new L AYER to Overlay. Grab your Brush Tool once again, and up in the Options Bar, lower the opacity of the brush down to about 20%:

Figuur 25.25 Lower the opacity of the brush down to about 20% in the Options Bar. Then with black as your Foreground color, paint along any areas where you want to enhance the shadows in the image. I want to enhance the shadows along the sides of the womans face, under her chin, maybe a little around her eyes, and on the side of her mouth, so Im simply going to paint over those areas with my brush. Since Ive lowered the opacity of my brush to 20%, I can slowly build up shadows by painting a stroke, releasing my mouse, and then painting another stroke over the same area as needed. If you make a mistake, simply press Ctrl+Z (Win) / Command+Z (Mac) to undo the brush stroke and continue painting:

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HOOFDSTUK 25. TEARING A PHOTO TO REVEAL ANOTHER - PHOTOSHOP TUTORIAL

Figuur 25.26 Use a soft-edge brush set to black to darken shadows in the image. Then press X on your keyboard to switch your Foreground color to white and paint on the image to enhance any highlight areas. Im going to lower the size of my brush and click a few times in each of her eyes to really brighten them:

Figuur 25.27 Paint over any areas with white to enhance highlights. Im going to paint one or two strokes around her nose and chin as well with a larger brush to enhance those highlights a little. When youre happy with the highlights and shadows in your image, youre done! Here, after enhancing the highlights and shadows, is my nal result:

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Figuur 25.28 The nal result. And there we have it!

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26
Placing An Image Inside Of Another In
PHOTOSHOP
Written by Steve Patterson. Samenvatting In this PHOTOSHOP Effects tutorial, were going to learn how to place an image inside of another image using the Paste Into command in Photoshop. With this years Super Bowl coming up, all of the major electronics stores have been lling their websites and weekly yers with pictures of the latest high denition tvs showing the big game. If its not a major sports event being displayed on the screens, its usually the latest blockbuster DVD movie release or big budget video game. Of course, none of these images are really being displayed on the screen, since its next to impossible to take a high quality photo of something appearing on tv. Its all done in Photoshop. An image of whatever it is they want to have appearing on tv is simply pasted into the image of the tv itself. In this PHOTOSHOP tutorial, were going to see how its done so you can use the same technique with your own images! Here, I have an image of the sort of tv youd probably nd in an electronics stores yer:

An image of a tv, similar to what youd nd on an electronics stores website or in their weekly yer. And heres the image I want to have appearing on the tv:

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

A photo of a football game. Heres what its going to look like when were done:

The game now appears to be displaying on the tv screen. This is a very easy effect to create, so lets get started! Download our tutorials as printable PDFs! Learning PHOTOSHOP has never been easier!

26.1 Step 1: Select The Area You Want To Paste The Second Image Into
First, open the image you want to place the second image into and draw a selection around the area where the second image is going to appear. The selection tool you use will of course depend on the shape of the area you need to select. I want my second image to appear inside the tv screen, which is a simple four-sided shape, so Im going to use PHOTOSHOPs Polygonal Lasso Tool , which by default is hiding behind the standard Lasso Tool in the Tools palette. Im going to click on the Lasso Tool icon, then Ill hold my mouse button down for a second or two until the y-out menu appears, and then Ill select the Polygonal Lasso Tool from the list:

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Selecting the Polygonal Lasso Tool from the Tools palette in Photoshop. The Polygonal Lasso Tool allows you to draw a selection by simply clicking at different points where the direction of the selection needs to change. Each time you click at a new point, PHOTOSHOP will add a straight line between the new point and the last point you clicked on, similar to how the Pen Tool works when drawing straight path segments. You simply continue clicking around the area that needs to be selected until youve outlined the entire area and youve made your way back to the beginning. When you click again on that rst point, PHOTOSHOP will create the selection. Selecting the tv screen with the Polygonal Lasso Tool is easy. All I need to do is click in each of the four corners. Ill start with the top left corner, then make my way down to the bottom left corner, then over to the bottom right corner, and up to the top right corner. We can see the three lines that have been created so far:

Clicking in each corner of the tv screen with the Polygonal Lasso Tool to draw a selection around it. To complete the selection, Ill click once again on the same spot I started with in the top left corner of the tv screen, and PHOTOSHOP will create my selection for me:

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Click again on the initial point to complete the selection.

26.2 Step 2: Copy The Second Image To The Clipboard


Open your second image in PHOTOSHOP and press Ctrl+A (Win) / Command+A (Mac) to place a selection around the entire image:

Press Ctrl+A (Win) / Command+A (Mac) to place a selection around the entire image. Then press Ctrl+C (Win) / Command+C (Mac) to copy the image to the clipboard.

26.3 Step 3: Paste The Second Image Into The Selection


Switch back to your original image in Photoshop. You should still see the selection you created a moment ago. Were going to paste the second image directly into this selection. To do that, go up to the Edit menu at the top of the screen and choose Paste Into :

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP Selecting Paste Into from the Edit menu. Three things will happen to the original image when you choose Paste Into. PHOTOSHOP will add a new L AYER above the B ACKGROUND L AYER in the L AYERS palette, it will place the second image on to the new L AYER, and it will use the selection we made to create a L AYER M ASK , which will hide all areas of the second image that fall outside of the selection, leaving only the area inside the selection visible. In other words, the only part of my football image that will be visible is the area that ts inside the selection I made around the tv screen. First, lets look at the L AYERS palette for the original image to see whats happened. We can see that I now have two L AYERS - the original B ACKGROUND L AYER on the bottom which contains my tv image, and the new L AYER, L AYER 1, above it which contains the football photo. We can also see the L AYER M ASK thumbnail (circled in red) showing us the L AYER M ASK that was created. The white, rectangular-shaped area in the center of the thumbnail is the area that was selected (the tv screen), and all the black area around it is the area that was not selected:

PHOTOSHOP adds a new L AYER to the original image, places the second image on to the new L AYER , and creates a L AYER M ASK based on the selection we made in Step 1.

And if we look at the image itself, we can now see the football image appearing on the tv screen:

The second image now appears inside the selection we made in the original image.

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26.4 Step 4: Resize The Second Image With Free Transform


The only problem at the moment is that the tv is on an angle and the photo Ive pasted into it is not, so the perspective between the two images isnt matching up. To x that, Ill press Ctrl+T (Win) / Command+T (Mac) to bring up PHOTOSHOPs Free Transform box and handles around the second image. The rst thing Im going to do is try to t as much of the football photo into the tv screen as I can, so Ill hold down Shift+Alt (Win) / Shift+Option (Mac) and drag one of the four corner handles in towards the center to make the image smaller. Holding Shift constrains the proportions of the image as I drag so I dont accidentally distort the look of the image, and holding down Alt/Option tells PHOTOSHOP to resize the image from its center, which makes things easier:

Resize the image as needed with PHOTOSHOPs Free Transform command. Now that Im happy with the size of my second image, Im going to x the perspective problem. With Free Transform still active, Im going to hold down Shift+Ctrl+Alt (Win) / Shift+Command+Option (Mac), which temporarily turns Free Transform into Perspective transform mode. You could also go up to the Edit menu, choose Transform , and then choose Perspective , but the keyboard shortcut is easier if you already have the Free Transform handles active. In Perspective transform mode, Im going to click again on the handle in the top left corner and drag it down a little. As I drag the top left corner handle down, the handle in the bottom left corner is going to move up at the same time. This will allow me to reduce the height of the left side of the football image without affecting the height of the right side of the image, creating the illusion that the image is on the same angle as the tv:

Use Perspective transform mode to correct any perspective problems between the two images.

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP Now that Im happy with the size and angle of the second image, Ill press Enter (Win) / Return (Mac) to accept the changes and exit out of the Free Transform command.

26.5 Step 5: Add An Inner SHADOW L AYER Style


To nish off the effect, Im going to add a slight SHADOW to the edges of the football image so it looks more like its actually displaying on the tv screen and less like someone just pasted it on there (even though thats exactly what we did). With L AYER 1 selected, Ill click on the L AYER Styles icon at the bottom of the L AYERS palette and Ill select Inner SHADOW from the list of L AYER styles:

Click on the L AYER Styles icon at the bottom of the L AYERS palette and select Inner SHADOW from the list. This brings up PHOTOSHOPs L AYER Style dialog box set to the Inner SHADOW options in the middle column. Lower the Opacity of the Inner SHADOW to around 60% so its not quite as intense, then lower both the Size and Distance down to 1 px . You may also need to adjust the Angle of the SHADOW depending on your image. I have mine set to 120 :

Change the options for the Inner SHADOW L AYER style circled above. Click OK to exit out of the L AYER Style dialog box and apply the SHADOW, and youre done! Here, after adding my SHADOW effect around the edges of the football image so it looks more natural on the tv screen, is my nal result:

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HOOFDSTUK 26. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

The nal result. And there we have it!

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27
Placing An Image Inside Of Another In
PHOTOSHOP
Written by Steve Patterson. Samenvatting In this PHOTOSHOP Effects tutorial, were going to learn how to place an image inside of another image using the Paste Into command in Photoshop. With this years Super Bowl coming up, all of the major electronics stores have been lling their websites and weekly yers with pictures of the latest high denition tvs showing the big game. If its not a major sports event being displayed on the screens, its usually the latest blockbuster DVD movie release or big budget video game. Of course, none of these images are really being displayed on the screen, since its next to impossible to take a high quality photo of something appearing on tv. Its all done in Photoshop. An image of whatever it is they want to have appearing on tv is simply pasted into the image of the tv itself. In this PHOTOSHOP tutorial, were going to see how its done so you can use the same technique with your own images! Here, I have an image of the sort of tv youd probably nd in an electronics stores yer:

Figuur 27.1 An image of a tv, similar to what youd nd on an electronics stores website or in their weekly yer. And heres the image I want to have appearing on the tv:

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HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Figuur 27.2 A photo of a football game. Heres what its going to look like when were done:

The game now appears to be displaying on the tv screen. This is a very easy effect to create, so lets get started!

27.1 Step 1: Select The Area You Want To Paste The Second Image Into
First, open the image you want to place the second image into and draw a selection around the area where the second image is going to appear. The selection tool you use will of course depend on the shape of the area you need to select. I want my second image to appear inside the tv screen, which is a simple four-sided shape, so Im going to use PHOTOSHOPs Polygonal Lasso Tool , which by default is hiding behind the standard Lasso Tool in the Tools palette. Im going to click on the Lasso Tool icon, then Ill hold my mouse button down for a second or two until the y-out menu appears, and then Ill select the Polygonal Lasso Tool from the list:

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HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Figuur 27.3 Selecting the Polygonal Lasso Tool from the Tools palette in Photoshop. The Polygonal Lasso Tool allows you to draw a selection by simply clicking at different points where the direction of the selection needs to change. Each time you click at a new point, PHOTOSHOP will add a straight line between the new point and the last point you clicked on, similar to how the Pen Tool works when drawing straight path segments. You simply continue clicking around the area that needs to be selected until youve outlined the entire area and youve made your way back to the beginning. When you click again on that rst point, PHOTOSHOP will create the selection. Selecting the tv screen with the Polygonal Lasso Tool is easy. All I need to do is click in each of the four corners. Ill start with the top left corner, then make my way down to the bottom left corner, then over to the bottom right corner, and up to the top right corner. We can see the three lines that have been created so far:

Figuur 27.4 Clicking in each corner of the tv screen with the Polygonal Lasso Tool to draw a selection around it. To complete the selection, Ill click once again on the same spot I started with in the top left corner of the tv screen, and PHOTOSHOP will create my selection for me:

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HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Figuur 27.5 Click again on the initial point to complete the selection.

27.2 Step 2: Copy The Second Image To The Clipboard


Open your second image in PHOTOSHOP and press Ctrl+A (Win) / Command+A (Mac) to place a selection around the entire image:

Figuur 27.6 Press Ctrl+A (Win) / Command+A (Mac) to place a selection around the entire image. Then press Ctrl+C (Win) / Command+C (Mac) to copy the image to the clipboard.

27.3 Step 3: Paste The Second Image Into The Selection


Switch back to your original image in Photoshop. You should still see the selection you created a moment ago. Were going to paste the second image directly into this selection. To do that, go up to the Edit menu at the top of the screen and choose Paste Into :

Figuur 27.7 Selecting Paste Into from the Edit menu. 407

HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP Three things will happen to the original image when you choose Paste Into. PHOTOSHOP will add a new L AYER above the B ACKGROUND L AYER in the L AYERS palette, it will place the second image on to the new L AYER, and it will use the selection we made to create a L AYER M ASK , which will hide all areas of the second image that fall outside of the selection, leaving only the area inside the selection visible. In other words, the only part of my football image that will be visible is the area that ts inside the selection I made around the tv screen. First, lets look at the L AYERS palette for the original image to see whats happened. We can see that I now have two L AYERS - the original B ACKGROUND L AYER on the bottom which contains my tv image, and the new L AYER, L AYER 1, above it which contains the football photo. We can also see the L AYER M ASK thumbnail (circled in red) showing us the L AYER M ASK that was created. The white, rectangular-shaped area in the center of the thumbnail is the area that was selected (the tv screen), and all the black area around it is the area that was not selected:

Figuur 27.8 PHOTOSHOP adds a new L AYER to the original image, places the second image on to the new L AYER, and creates a L AYER M ASK based on the selection we made in Step 1. And if we look at the image itself, we can now see the football image appearing on the tv screen:

Figuur 27.9 The second image now appears inside the selection we made in the original image.

27.4 Step 4: Resize The Second Image With Free Transform


The only problem at the moment is that the tv is on an angle and the photo Ive pasted into it is not, so the perspective between the two images isnt matching up. To x that, Ill press Ctrl+T (Win) / Com408

HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP mand+T (Mac) to bring up PHOTOSHOPs Free Transform box and handles around the second image. The rst thing Im going to do is try to t as much of the football photo into the tv screen as I can, so Ill hold down Shift+Alt (Win) / Shift+Option (Mac) and drag one of the four corner handles in towards the center to make the image smaller. Holding Shift constrains the proportions of the image as I drag so I dont accidentally distort the look of the image, and holding down Alt/Option tells PHOTOSHOP to resize the image from its center, which makes things easier:

Figuur 27.10 Resize the image as needed with PHOTOSHOPs Free Transform command. Now that Im happy with the size of my second image, Im going to x the perspective problem. With Free Transform still active, Im going to hold down Shift+Ctrl+Alt (Win) / Shift+Command+Option (Mac), which temporarily turns Free Transform into Perspective transform mode. You could also go up to the Edit menu, choose Transform , and then choose Perspective , but the keyboard shortcut is easier if you already have the Free Transform handles active. In Perspective transform mode, Im going to click again on the handle in the top left corner and drag it down a little. As I drag the top left corner handle down, the handle in the bottom left corner is going to move up at the same time. This will allow me to reduce the height of the left side of the football image without affecting the height of the right side of the image, creating the illusion that the image is on the same angle as the tv:

Figuur 27.11 Use Perspective transform mode to correct any perspective problems between the two images. Now that Im happy with the size and angle of the second image, Ill press Enter (Win) / Return (Mac) to accept the changes and exit out of the Free Transform command.

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HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

27.5 Step 5: Add An Inner SHADOW L AYER Style


To nish off the effect, Im going to add a slight SHADOW to the edges of the football image so it looks more like its actually displaying on the tv screen and less like someone just pasted it on there (even though thats exactly what we did). With L AYER 1 selected, Ill click on the L AYER Styles icon at the bottom of the L AYERS palette and Ill select Inner SHADOW from the list of L AYER styles:

Figuur 27.12 Click on the L AYER Styles icon at the bottom of the L AYERS palette and select Inner SHADOW from the list. This brings up PHOTOSHOPs L AYER Style dialog box set to the Inner SHADOW options in the middle column. Lower the Opacity of the Inner SHADOW to around 60% so its not quite as intense, then lower both the Size and Distance down to 1 px. You may also need to adjust the Angle of the SHADOW depending on your image. I have mine set to 120 :

Figuur 27.13 Change the options for the Inner SHADOW L AYER style circled above. Click OK to exit out of the L AYER Style dialog box and apply the SHADOW, and youre done! Here, after adding my SHADOW effect around the edges of the football image so it looks more natural on the tv screen, is my nal result:

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HOOFDSTUK 27. PLACING AN IMAGE INSIDE OF ANOTHER IN PHOTOSHOP

Figuur 27.14 The nal result. And there we have it!

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28
Wedding Couple in Wine Glass
Written by Steve Patterson. Samenvatting In this PHOTOSHOP Effects tutorial, were going to look at a classic PHOTOSHOP effect for wedding photography, placing the wedding couple inside a wine glass. This is a very easy PHOTOSHOP effect to create, requiring nothing more than a few basic tools, a L AYER M ASK, and a few minutes worth of effort. Well be nishing off the effect with a slightly more advanced blending option, but more advanced denitely doesnt mean more difcult, as well see. If youre not into wedding photography, you can use this PHOTOSHOP technique to place images inside any glass object, like a bottle or even an hour glass, and it also works great for placing images inside bubbles which is always a fun thing to do. Any recent version of PHOTOSHOP will work just ne. Heres the two images Ill be using in this PHOTOSHOP effects tutorial:

Figuur 28.1 The wedding couple.

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HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

Figuur 28.2 The wine glass. And heres the nal result well be working towards:

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HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

Figuur 28.3 The nal result. Lets get started!

28.1 Step 1: Drag A Selection Around The Couple With The Elliptical Marquee Tool
Were going to start things off by working on the photo of the wedding couple. Select the Elliptical Marquee Tool from PHOTOSHOPs Tools palette. By default, its hiding behind the Rectangular Marquee Tool, so youll need to click on the Rectangular Marquee Tool icon and hold your mouse down for a second or two, then select the Elliptical Marquee Tool from the y out menu that appears:

Select the Elliptical Marquee Tool. Then, with the Elliptical Marquee Tool selected, drag out an elliptical selection around the wedding couple. If you need to reposition your selection as you drag, simply hold down the Spacebar on your keyboard and then move your mouse around to reposition it. Release the Spacebar to continue dragging out the selection: 414

HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

Drag out an elliptical selection around the wedding couple.

28.2 Step 2: Feather The Selection


Next, were going to feather the selection, which is Photoshop-speak for making the selection edges softer. To do that, with the selection still active, go up to the Select menu at the top of the screen and choose Feather. When the dialog box appears, enter a Feather Radius value of about 15-20 pixels. Im going to set mine to 20 pixels:

Add a feather of about 15-20 pixels to the selection to soften the edges. Click OK to exit out of the dialog box.

28.3 Step 3: Drag The Selection Into The Wine Glass Photo
Now that we have our selection around the wedding couple and weve softened the selection edges, we need to drag the selection into the photo of the wine glass. For that, we need the Move Tool, so select it from the Tools palette or press V on your keyboard for the shortcut: 415

HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

Select the Move Tool. Then, with both images open in their own separate document W INDOWS, simply click with the Move Tool inside the photo of the wedding couple and drag the selection into the photo of the wine glass:

Click inside the photo of the wedding couple and drag them into the photo of the wine glass. 416

HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS Dont worry if some of your edges around the couple look like theyre cut off, as mine do at the top and on the right. Well be xing that in a moment with our L AYER mask. Also notice how the edges appear nice and soft (except of course for the areas that appear cut off), and thats thanks to the feather we applied to the selection. Once youve dragged the wedding couple into the other photo, you dont need to have their original image open on your screen anymore, so you can close out of it if you wish.

28.4 Step 4: Resize and Reposition The Wedding Couple With PHOTOSHOPs Free Transform Command
We need to move the wedding couple into position in front of the wine glass and well most likely need to resize them as well (I certainly need to with my image), and we can do both of these things using PHOTOSHOP s Free Transform command. Press Ctrl+T (Win) / Command+T (Mac) on your keyboard to bring up the Free Transform box and handles around them. To move the couple into position, simply click anywhere inside the Free Transform box and drag them into their new location with your mouse. The only spot you cant click on is that little target icon in the center of the Free Transform box. When I say cant, what I mean is, you can certainly click on it if you like, but if you do, youll move the target instead of moving the image. So if your goal is to move the image, not the little target icon, click anywhere except for on that target icon. To resize the couple, hold down Shift+Alt (Win) / Shift+Option (Mac) and drag any of the corner handles. Holding down Shift constrains the proportions of the image as you drag, and holding down Alt/Option tells PHOTOSHOP to resize from the center of the Free Transform box (technically, it tells PHOTOSHOP to resize the image around that little target icon, which is why you didnt want to move it):

Move and resize the couple as needed with Free Transform. 417

HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS Press Enter (Win) / Return (Mac) when youre happy with the size and location of the couple to accept the transformation.

28.5 Step 5: Add A L AYER M ASK To The Wedding Couple L AYER


If we look in PHOTOSHOPs L AYERS palette, we can see that we now have two layers. The wine glass image is on the bottom B ACKGROUND L AYER, and the wedding couple is on L AYER 1 above it. With L AYER 1 selected (the currently selected L AYER is highlighted in blue), click on the L AYER M ASK icon at the bottom of the L AYERS palette:

Click on the L AYER M ASK icon at the bottom of PHOTOSHOPs L AYERS palette. Youll see a L AYER M ASK thumbnail appear to the right of the L AYER preview thumbnail.

L AYER 1 now has a L AYER M ASK thumbnail to the right of the L AYER contents preview thumbnail. 418

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28.6 Step 6: Paint With Black Around The Edges Of The Wedding Couple
Now that we have our L AYER M ASK, were going to use it to blend the wedding couple in better with the wine glass, and well do that by painting with black and a soft-edged brush around the edges of the wedding couple image. For that, we need PHOTOSHOPs Brush Tool so select it from the Tools palette. You can also press B to select it with the keyboard shortcut:

Click on the L AYER M ASK icon at the bottom of PHOTOSHOPs L AYERS palette. We also need black as our Foreground color. If black isnt currently your Foreground color, simply press D on your keyboard, which will set white as your Foreground color and black as your B ACKGROUND color, and then press X to swap them. Then with a medium-size, soft-edged brush, simply paint along the edges of the wedding couple image to reveal the edges of the wine glass underneath them, and continue painting until the image of the couple is completely contained inside the glass. To resize your brush, use the left and right bracket keys on your keyboard. Pressing the left bracket key makes the brush smaller and pressing the right bracket key makes it larger. To soften the edges of the brush, hold down the Shift key and press the left bracket key a few times (holding Shift and pressing the right bracket key makes the brush edges harder):

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HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

Paint with black and a medium size, soft-edged brush around the edges of the wedding couple image to reveal the edges of the wine glass underneath them. If you make a mistake as youre painting, either press Ctrl+Z (Win) / Command+Z (Mac) to undo it or press X on your keyboard to set your Foreground color to white, paint over your mistake, then press X again to set your Foreground color back to black and continue painting around the edges. When youre done, your image should look something like this:

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The image after containing the wedding couple inside the wine glass.

28.7 Step 7: Use The Blend If Sliders To Bring Back Some Glass Highlights
The only thing left to do at this point is to bring back some of the highlights in the glass. We can do that easily using PHOTOSHOPs Blend If sliders. Click on the L AYER Styles icon at the bottom of the L AYERS palette, then choose Blending Options at the top of the list that appears:

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HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS Click on the L AYER Styles icon at the bottom of PHOTOSHOPs L AYERS palette and select Blending Options from the top of the list. This brings up PHOTOSHOPs L AYER Style dialog box set to the Blending Options in the middle column. The Blend If sliders are at the bottom. Youll see two black-to-white gradient bars. We want the bar at the very bottom. Click on the white slider at the bottom right of the gradient bar and begin dragging it towards the left. As you drag, youll notice any white highlights and light REFLECTIONS in the glass beginning to re-appear. Problem is, they have very harsh, jagged edges. To soften them, as soon as the highlights begin to reappear, release your mouse button, hold down your Alt (Win) / Option (Mac) key, and then click back on the slider and continue dragging it towards the left. By holding down Alt/Option, you split the slider in half and youll now be dragging only the left half of it. The area in between the two halves becomes a transition area between the wedding couple image and the glass highlights, giving us nice, soft edges to the highlights. The greater the distance between the two halves, the greater the transition area and the softer the edges of the highlights:

Drag the white slider for the bottom Blend If bar towards the left until you begin to see any highlights or light REFLECTIONS reappearing in the glass, then release your mouse button, hold down Alt (Win) / Option (Mac) and continue dragging the slider to split it in half and create soft, smooth edges for the highlights. Youll probably need to play with the slider halves a bit, moving each one left and right until youre happy with the results. When youre done, click OK in the top right corner of the L AYER Style dialog box to exit out of it, and youre done! Here, after bringing back some of the highlights in the glass with the Blend If sliders, is my nal wedding couple in the wine glass result:

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HOOFDSTUK 28. WEDDING COUPLE IN WINE GLASS

The nal effect. And there we have it!

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Index
A Adobe Photoshop . . . . . . . . . 2, 6, 7, 1214, 18, 19, 22, 2933, 35, 37, 39, 40, 43, 50, 54, 56, 59, 6769, 72, 74, 76, 77, 79, 80, 84, 85, 87, 93, 97, 100106, 108115, 117, 120, 123, 127, 134, 144148, 150, 159164, 167, 169, 170, 173, 177181, 188, 189, 199, 200, 202, 203, 205207, 211214, 216221, 223, 227, 232, 234, 237, 239, 240, 252257, 259262, 264, 265, 268, 271, 278, 281, 283292, 295, 304, 307, 312317, 321328, 330, 332, 334, 335, 338344, 352, 354, 355, 360, 363, 364, 366, 367, 371, 373, 378, 383, 384, 396 402, 404410, 412, 414, 417419, 421, 422 B Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4, 6, 14, 15, 20, 24, 30, 31, 62, 68, 71, 8688, 103, 104, 106, 113, 123, 136, 145, 147, 148, 159, 161, 162, 166177, 179, 180, 212214, 221, 223, 239, 250252, 258 260, 283, 284, 288, 296, 300302, 313, 314, 332, 335337, 340, 343345, 355, 364369, 375, 376, 379, 380, 382, 383, 400, 408, 418, 419 black and white . . 6, 13, 115, 145148, 170, 187, 204, 291, 336, 360, 384, 391 C Cloud . . . . . . . . . .161, 163167, 169, 234, 334, 335 Crop . . . . 9, 20, 100, 173, 256258, 318, 327, 328, 362, 363, 365 E exposure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 F Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295, 297, 330 Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5, 23, 26, 28, 37, 52, 95, 161, 163169, 173, 178180, 184, 186, 188191, 208, 251, 295, 296, 298, 301, 302, 307, 332, 333, 349, 350, 380382, 390 focus . . . . . . . . . . . . . . . 178, 179, 186, 286, 306, 307 424 H Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 histogram . . . . . . . . . . . . . . . . . . . . . . .9, 291, 299, 300 Horizontal . .22, 34, 218, 230, 232, 255, 258266, 268273, 275, 324, 325 J Judge . . . . . . . . . . . . . . . . . . . . . . . . . . . 7, 146, 155, 199 judging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 L landscape . . 29, 85, 115, 178, 193, 212, 215, 330, 331, 333 Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 1216, 1820, 2224, 2628, 30, 31, 35, 36, 38 45, 48, 49, 5358, 62, 63, 66, 6872, 75, 76, 80, 8491, 93, 94, 9698, 100, 103 107, 115, 122, 123, 125128, 130, 131, 133138, 141, 144148, 156, 158, 162, 163, 165, 166, 170176, 179, 180, 187, 188, 194197, 207209, 214, 215, 218 224, 226229, 232, 234, 239241, 243, 246, 249255, 258260, 262269, 271, 273280, 283, 284, 288, 290, 292, 293, 296303, 312318, 320, 321, 332, 333, 335337, 344, 345, 353, 360, 364, 365, 367371, 373375, 378, 379, 382, 383, 385, 386, 389393, 400, 402, 408, 410, 417419, 421, 422 lens .3, 15, 178180, 184186, 188191, 307, 308 Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373, 376 Soft . . . . . . . . . . . . 156, 158, 209, 245, 296, 298 Lightning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Luminosity . . . . . . . . . . . . . . . . . . . 292, 293, 298, 303 N noise . . . 95, 96, 278, 295, 297, 332, 360, 389391 P Photoshop Channel Mixer . . . . . . . . . . . . . . . . . . . . . . . . . 145 Layer Mask . . . . . . . . . . . . . . . . . . . . . . . 3, 14, 16, 28, 3840, 5356, 8991, 123, 128, 137, 178, 184, 263265, 267271, 275, 301, 313, 315, 316, 334, 336, 368, 369, 373,

INDEX 375, 378380, 385, 386, 400, 408, 412, 418, 419 printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170, 296 R Rain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 RAW Formaat . . . . . . 2, 6, 7, 11, 12, 295, 298, 331 Reection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 S Sepia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 shadow 67, 73, 278, 290, 291, 387389, 402, 410 sharp . 21, 170, 298, 303, 312, 330, 333, 340, 349 Sharpen . . . . . . . . . . . . . . . . . 295, 298, 299, 302, 333 High Pass . . . . . . . . . . 296298, 301, 302, 333 Unsharp mask . . . . . . . . . . 295, 298, 302, 303 spiegelreexcamera . . . . . . . . . . . . . . . . . . . . . . . . 295 V Vertical . . . . . 22, 40, 117119, 202, 255, 258260, 265269, 271273, 276, 277, 305 W whitebalance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Window . . . . . . . . . 4, 20, 22, 39, 55, 57, 68, 69, 72, 73, 82, 83, 102, 103, 118, 119, 121, 125, 146, 150, 154, 155, 187, 199, 201206, 218, 219, 222, 224, 226, 227, 237, 238, 240, 286, 327, 332, 343, 354, 380, 382, 383, 416

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