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GAME

SET
FETCH
ACE YOUR PHOTOSHOP
COMPOSITES!

PLUS
OVER AN HOUR
OF EXPERT VIDEO
LESSONS!
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GAME
SET DOWNLOAD THE
GAME
SET FETCH P
PROJECT FILES
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FETCH
ACE YOUR PHOTOSHOP
COMPOSITES!
issue's iles, type
COMPOSITES!
PLUS the following link
PLUS
OVER AN HOUR
OVER AN HOUR into your web
OF EXPERT VIDEO OF EXPERT VIDEO
LESSONS!
LESSONS! browser on your
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Welcome to issue 64 of Practical Photoshop! FIND US HERE


If you enjoy the issue, why not subscribe and get
a whole year for just $19.99? http://bit.ly/practweet
http://bit.ly/pracface
This months cover takes inspiration from Sebastian
Magnanis wonderful dog montages and with Also available on:
Wimbledon upon us, we couldnt resist a tennis-
themed makeover. Find out how to make your own
fantastical images like this with our ultimate guide http://tiny.cc/1vlrsx

toPhotoshop compositing.

http://tiny.cc/ewlrsx
James Paterson, Editor t james.paterson@futurenet.com

www.digitalcameraworld.com http://tiny.cc/9ulrsx

Photoshop Creative Spread Puppet Warp Levitate your


News composites the word efects subjects
Q Content-Aware Q Make montages Q Get creative with Q Make people Q Make friends
Cropping and other like the cover with text efects for a sprout wings with and family ly with
new CC features this months feature cool wordy portrait warp and mask skills this simple trick
NEWS its more efective on some
images than others. As youd

NEW PHOTOSHOP
expect, it works very well on
images with simple details
around the edges, like plain
patches of sky and land, but

CC UPDATES it may not be so efective on


images with iner detail around
the edges of the frame.
As is often the case with
new features, its more of a
The latest version of Photoshop CC worklow improvement than
brings several welcome new features an oh-my-gosh-wow-this-is-
amazing new thing, as you can
easily get to the same point in
CONTENT-AWARE a wonky horizon. The new three quick steps (select empty

CROPPING Content-Aware Crop will


automatically ill in any empty
areas with the Magic Wand;
expand the selection slightly;
A new feature for the areas by analyzing the rest Use Content-Aware Fill). But its
Crop Tool helps to ill in of the image and generating still a welcome improvement to
the empty parts around the new pixels to ill the space. the Crop Tool, and one that will
edge of the frame that often Of course, as with the come in handy when images
occur when you straighten current Content-Aware tools, have gone on the fritz.
FACIAL-AWARE LIQUIFY that automatically detects
faces and lets you reshape
adjust jawlines, enlarge eyes
and complete other retouching.
The Liquify command the features while keeping Its clever but, as with the
has long been one of everything else in proportion. other Liquify settings, its
the best tools for pushing How handy this is will depend usually best to keep the edits
pixels into new shapes. Now on how often you need to subtle unless, that is, youre
its been given a new feature reshape faces, tweak smiles, using it for comedy efect.

MATCH FONT
This new feature could
prove useful any time
you need to identify or try to
match a certain font, without
knowing what the original font
is actually called. Simply go to
Type > Match Font and draw
a box around the words, and
the command will search both
your font library and Adobes
Typekit online font library to
ind the right font, or suggest
something similar. If a similar
font is found in Typekit, you
can click the Sync button to add
Not sure what the font in an image is? The new Match Font feature should be able to identify
itforyou and even download it if its part of Adobes extensive Typekit library. it to your Creative Cloud library.
Master the art of
convincing Photoshop
composites and
learn how to make our
cover image with this
comprehensive guide
Of all Photoshop projects,
compositing images
into one fantastic frame is
perhaps the most enjoyable
and creative pursuit. Here
well show you how to shoot,
build and inish of convincing
Photoshop composites like our
cover image.Weve broken it
down into six diferent stages:
capture, selections, reinement,
masks, compositing and
inishing touches. At each
stage youll ind in-depth
advice and videos on the
tools and setting used.
With Wimbledon
currently gripping the
sporting world, weve
created a shaggy,
McEnroe-inspired
underdog. But you can
use a similar worklow
to make all kinds of
amazing composites
go wherever your
imagination takes you!

DOWNLOAD THE PROJECT FILES HERE http://tiny.cc/8bhfcy ON YOUR PC OR MAC


STAGE 1: CAPTURE
Getting things right in-camera makes piecing
thecompositetogether so much easier...
The irst stage in making a montage is either shooting or choosing the images you
want to combine. If you have the opportunity, its a lot easier if you can shoot fresh
images: then you can plan how the montage will come together at the shooting stage.
TIP 1 LIGHT
CONSISTENTLY
It makes things much easier if
each element in the composite
is shot under similar lighting
conditions or at least has the
light coming from the same
direction. The quality of the light
in particular the color temperature
and whether its hard or soft
should also be consistent across
the frames.
TIP 2 CLEAN
BACKGROUNDS
Elements photographed
against a clean, uniform
background are much easier
to cut out. So if you know
this is the plan, use a plain
wall or sheet for a backdrop.
This way, it only takes a few
moments to select the plain
color later on. Any space will
do a patch of blue wall in
a small kitchen was enough
for our photo shoot.

TIP 3 THINK
ABOUT THE SEAMS
Often its the joins and
seams in a composite that
are hardest to get right, so
plan out how one object will
connect to another. Here,
holding the white shirt up to
the dogs fur gives us a little
segment we may add in later
to make the join look more
natural. Whether you end up
using all the shots or not, its
better to take more than you
need in this kind of project.
STAGE 2: SELECTIONS
Learn how to isolate parts of
your images in seconds with
Photoshops powerful array
ofselection tools
Once youve captured the
images for a montage, the
next stage in the process is to cut
out the parts youd like to combine.
Now is when your selection
skills come to the fore. Byusing
Photoshops powerful array of
selection tools, we can isolate
partsof our images for further
edits. Heres how

IN DEPTH... WATCH THE VIDEO


THE QUICK SELECTION TOOL http://tiny.cc/2gfcy

WATCH THIS BONUS VIDEO


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MAGIC WAND
This dog hair would be a nightmare to select
QUICK SELECTION TOOL
The Quick Selection Tool excels at isolating
manually, but a couple of clicks with the complicated objects in fact, its our go-to
Magic Wand picks up the background in tool for most selections when making
seconds. Uncheck Contiguous and hold Shift composites. Paint over an object and the
while clicking to add to the initial selection, tool will seek out the edges. If it goes wrong,
then invert it (Select > Inverse) to select hold Alt and paint to subtract. As you add
the subject instead. For greater control, and subtract, the tool learns more about
tryisolating the background with Color the colors you want to target and performs
Range (Select > Color Range). withgreater accuracy.

IN DEPTH...
THE PEN TOOL

WATCH THIS BONUS VIDEO


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QUICK MASK
After making a selection, heres a useful
PEN TOOL SELECTIONS
Clever selection tools like Quick Selection,
feature that lets you remove or add extra Color Range and Focus Area are great time-
components to adjust the selection. Press Q savers, but sometimes a manual selection
to toggle Quick Mask mode on or of. It puts a is the only way to get the job done. Its
pink overlay over unselected parts. Now you especially useful with clean, hard-edged
can paint with the Brush Tool set to white or objects like the racket handle here. Click
black to add or subtract parts of the image toadd anchor points, and drag for curved
from the selection, or paint grey to add lines. Once complete, right-click thepath
areasof semi-transparency. andchoose Make Selection.
STAGE 3:
REFINE EDGE
Improve your selections and
make complicated cutouts the
easy way with Photoshops
Refine Edge command
After using selection
tools to isolate part of
an image, the next stage is to
improve the selection to make
it as perfect as possible. Theres
only one tool for the job here:
the Reine Edge command. As
youll see, it houses several
useful features in one

WATCH THE VIDEO


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TIP 1 OPEN REFINE EDGE TIP 2 EXPAND THE RADIUS
The key to picking up all the ine detail in
To enter Reine Edge, either click the button
in the options bar when any selection tool the fur here is to paint over the area with
is being used, or alternatively go to Select the Reine Radius Tool. This expands the
> Reine Edge. Begin by checking Smart area along the selection edge in which the
Radius, then increase the Radius slightly. command will seek out similar pixels, so it
Check ShowRadius to view exactly what allows you to grab all that extra background
isincludedin the area of reinement. hiding in-between the hairs.

IN DEPTH...
REFINE EDGE

WATCH THIS BONUS VIDEO


http://tiny.cc/hxefcy
TIP 3 FINE-TUNE CONTRAST
Press F to cycle through diferent views, assessing your work against diferent backgrounds.
Sometimes adding a touch of Contrast and negative Shift Edge can tighten the edge around
complicated hairs and fuzzy details. Once done, set Output to Layer Mask and click OK.
PHOTOSHOP ANATOMY: THE REFINE EDGE BOX EXPLAINED
1 VIEW MODE need to erase parts wider in problem selection for a curvier
Start by choosing of theradius. areas to direct the inish. Feather will
a view that shows commands attention soften the edge.
the best contrast 4 SHOW RADIUS there, and narrow it Contrast will add
between subject Check Show Radius along simpler parts deinition and create
and background. You for a useful view that ofthe edge until a harder edge. Shift
can press F to cycle shows exactly which youre happy. Edge allows you
between them all, or to push the edge
J to toggle the Radius inwards or outwards.
View on or of.
4 6 DECONTAMINATE
1 COLORS
2 EDGE DETECTION If colors from the
The Radius slider lets original background
you expand the area are showing in the
2
of reinement along
the edge in which the
3 fringes, try checking
Decontaminate
command will include Colors. This ills the
or exclude pixels.
Checking Smart
5 fringe area with color
sampled from nearby
Radius will make the pixels. As its a non-
radius contract or reversible process,
expand along the the tool sets the
edge, depending output to New Layer
on the object. For with Layer Mask.
a quick, precise
selection check 6 7 OUTPUT
Smart Radius then You can leave this
increase Radius until as Selection to
the edge improves. 7 use a marching
ants selection.
But we often set
3 REFINE RADIUS TOOL this to Layer Mask,
This brush-based which converts the
tool lets you hand- selection to a mask
paint a radius, ideal areas of the edge 5 ADJUST EDGE (hiding everything
for increasing the are being reined by These four sliders else on the layer);
area of reinement the command. You allow you to make New Layer, which
to cover tricky areas can then paint with basic changes to the copies it to a new
with lots of gaps the Reine Radius selection. Smooth layer; or New Layer
in-between, like hair Tool to expand the will take the edge of with Layer Mask,
or fur. Hold Alt if you area. Make the radius jagged parts of the which does both.
STAGE 4: LAYER MASKS
Master the most essential feature for all kinds of compositing
Once the selection is as perfect as you can make it, the next step is to change it into
aLayer Mask. This way, you control exactly whats visible or hidden. It might be that,
ifthe selection is good enough to begin with, you neednt do anything to the mask at all.
Butif needs be, you can go in and ine-tune whats revealed or not...

WATCH THE VIDEO


http://tiny.cc/1hfcy

WHAT IS A HOW DO I WHICH


LAYER MASK?
A layer mask is simply a
MAKE ONE? THUMBNAIL?
Click the Add Mask icon in the When you add a mask, a little
function that lets you hide Layers Panel, then simply mask thumbnail appears
portions of a layer, thereby start painting with the Brush in the Layers Panel next to
revealing the content of the Tool set to black to hide parts the thumbnail that shows
layers below. As such, masks of a layer. If youve already the layer contents. The key
are hugely useful for making made a selection from part is to keep track of what
composites: they mean you of the layer, click the mask is highlighted: if the layer
can piece together diferent icon to convert the selection thumbnail is highlighted
objects without having to to a mask. Alternatively, go rather than the mask,
resort to destructive tools through Reine Edge and set painting black will simply add
like the Eraser. Output to Layer Mask. black pixels onto the image.
7 TOP TIPS FOR
LAYER MASKS
PAINTING ON MASKS Mode to Overlay.
While painting on This enables you to
masks with the gently tidy up any
Brush Tool, press D messy edges you
to set colors to black come across.
and white; black
hides, white reveals. COPY MASKS
Press X to lip Hold Alt and drag a
between the two. layer mask thumbnail
from one layer to
ADD A FULL MASK another to copy it
Alt-click the Add over, or Cmd/Ctrl-
Mask icon in the click the thumbnail
Layers Panel for to load a selection
a black mask that
completely hides the REFINE MASK
layer (or highlight Right-click a mask
a white mask thumbnail and
thumbnail and press choose Reine Mask
Cmd/Ctrl+I to invert to access a near-
it to black). identical set of
controls to Reine
VIEW A MASK Edge, which let you
You can Alt-click a improve the mask.
layer mask thumbnail
to toggle a view on UNLINK
or of that shows the Click the little link
layer mask instead of between layer and
the image. mask thumbnails in
the Layers Panel to
PAINT WITH OVERLAY toggle it of. This lets
When youre painting you move the layer
in white or black on contents or mask
amask, try setting independently of
the Brush Blend one another.
STAGE 5: COMPOSITING
Learn how to fit all the pieces together
Now youve managed to cut out all the separate elements that will go into your
montage, its time to bring them together. This can be kind of like itting together
ajigsaw puzzle. Its where your skills at transforming and positioning come to the fore.

THE COMBINING
MOVE TOOL
The Move Tool is essential for
IMAGES
There are a few ways to copy
positioning and transforming diferent images into one document.
diferent shapes into a composite. We like to drag them across image
Grab the tool and check Auto-Select windows with the Move Tool (or up
Layer in the tool options at the top, to one tab then down into another).
so that you can highlight layers by Alternatively, right-click a layer,
clicking over an image belonging to choose Duplicate and select a
that layer. Check Show Transform diferent image in the Destination
Controls too for a bounding box drop-down. Other options are to use
that gives you quick access to File > Place Embedded, or simply
transforming options. tocopy and paste.

WATCH THE VIDEO


http://tiny.cc/1rfcy
TRANSFORMING SMART
LAYERS
As you position all the diferent
OBJECTS
Resizing a pixel layer to make it
parts, youll need to use Transform smaller will actually delete some of
to rotate, resize and sometimes the pixels from that element which
warp layers. Hit Cmd/Ctrl+T or is ine if you want to keep it smaller,
(ifenabled) click the bounding box but not so good if you change your
to transform a layer. You can right- mind and want to make it bigger
click while transforming for all the again. To safeguard this, you can
diferent options like Warp and right-click the layer and choose
Skew. While resizing, hold down Convert to Smart Object. Now you
Shift to keep the original image can transform an element as much as
proportions, or hold down Alt to you like without a loss in quality, and
resize from the centre point. also use ilters non-destructively.
01 First go to the
shirt image:
thisll be the base
for all the other
efects as you
bring in diferent
dog body parts.

02 Next you
can select a
portion of the wall
and copy it to a
new layer. Enlarge
it, then drag it to
the bottom.

03 Now bring
in the cut-
out dog head
by dragging it
across with the
Move Tool, then
transform it into
place by the collar.
04 Highlight
the mask
thumbnail. Paint
black to hide the
parts of the dog
you dont want,
revealing the shirt.

05 The left of
the head is
tricky, as the dogs
body makes it hard
to cut out. Copy
over a portion of
the right side.

06 Next, ill in
the space
around the neck
area. Select a piece
of dog fur from a
shot, drag it in and
place below the
shirt layer.
07 Bring in a
paw, position
it and convert it
to a Smart Object.
Add a mask to hide
the top so it goes
under the shirt.

08 You can use


Puppet Warp
(Edit > Puppet
Warp) to reshape
the arm by plotting
and dragging pins,
creating a bend at
the elbow.

09 Duplicate
the arm
layer and discard
the Puppet Warp
ilter you applied,
then lip the layer
and place it on the
other side.
10 Cut outand
bring inthe
ball, transforming
it to resize it. Drag
it below the arm
layer so it looks like
its being held.

11 To reduce the
racket handle
length, bring in
another handle.
Rotate it to match
the angle of the
existing one. Drag
the layer below
the paw layer.

12 Finally, bring
in an image
of blue sky,
positioning the
layer above the
plain backdrop
andlowering
Opacity a little.
STAGE 6: FINISHING TOUCHES
Bring everything together into a convincing whole with
a few simple retouching tricks and tonal tweaks

Once all the


pieces are
in place, it helps to
make the scene look
realistic if you add a
few efects on top of
everything. Think of
all the characteristics
of an image tones,
noise, depth of ield
and then apply those
same features to
the composite, and
everything will soon
gel together

WATCH THE VIDEO


http://tiny.cc/bljfcy

DOWNLOAD THE PROJECT FILES HERE http://tiny.cc/8bhfcy ON YOUR PC OR MAC


TIP 1 CLONING LAYERS
There will inevitably be a few messy
TIP 2 SHADOWS
To add shadows, make new layers above the
patches that need tidying up. Heres where parts of the image you want to afect, then
the Clone Tool comes in. Either set the tool paint with black at a low Opacity. Here we
to Sample All Layers and make a new layer want to add a shadow on the racket handle
at the top of the stack; or add a layer just so it looks as if the dog is holding it. Drag a
above the part you want to ix and set the new layer above the handle layer, then grab
tool to sample Current And Below so it the Brush Tool, set it to black at 20% Opacity,
ignores all the layers above it in the stack. and paint over the handle to darken it.

TIP 3 TONING
Once all the pieces are in place, add a few efects on top of everything for a united look.
Youcan use any method you like for toning: we like Color Lookup Adjustment Layers, the
Camera Raw Filter and the Nik Collection plugins. Here weve used Analog Efex Pro from
theNik Collection (now free) to add a vintage efect. First make a merged layer at the top
ofthe stack with Cmd/Ctrl+Shift+Alt+E, then add the efect to the layer.
SPREAD
THE WORD
Wordsmith James
Paterson explains how
to cover a portrait with
a passage of text for
a striking yet easily
achievable efect
From adistance, this image
looks like anyother black-
and-white portrait, but acloser
look revealsachaotic jumble of
sentences thatappear torise and
fall, matching the faces contours.
It looks complex, but the efect
issurprisingly easy to pull of.
Whats more, besides the striking
visuals, it also lets you run with a
theme depending on your choice
of words we pasted in a therapy-
themed passage, but you can use
whatever you fancy.
The most efective Photoshop
tool for your text-based portrait
isthe Displace Filter. This shifts
pixels one way or another to give
the illusion of depth, based on
asource image.
If you want to use your own
shot for this efect, ideally choose
one with a simple dark backdrop
PROJECT INFO
so that the head stands out.
Directional lighting over the face Youll learn
How to cover a portrait with words
will also help to give depth to using theDisplace ilter WATCH THE VIDEO
the efect, perhaps from a single http://tiny.cc/gsefcy
Youll need Itll take
light (as we used here) or even Photoshop CC 15 minutes
awindow. Heres how its done

DOWNLOAD THE PROJECT FILES HERE http://tiny.cc/8bhfcy ON YOUR PC OR MAC


CREATE A WORDY PORTRAIT
01 CONVERT
TOMONO
Open the portrait . Go to
the Layers panel, click
the Create Adjustment
Layer icon and choose
Black and White. Tweak
the tones you dont
want the skin too
bright, so lower the
Reds. Once done, press
Cmd/Ctrl+Shift+Alt+E
to merge a new layer.

02 BLUR AND SAVE


Go to Filter > Blur
> Gaussian Blur and set
Radius toabout 20px.
Next, go to File > Save
As and save acopy
named map, making
sure the format is set
toPhotoshop Document
(PSD). Once done, click
the eye icon in the
Layers panel to hide
theblurred layer.

03 ADD YOUR
WORDS
Choose some text
then highlight and copy
it with Cmd/Ctrl+C. Back
in Photoshop, grab the
Horizontal Type Tool
and drag a text box
from top left to bottom
right. Choose a blocky
font in the tool options,
then paste the text
with Cmd/Ctrl+V.
CREATE A WORDY PORTRAIT
04 APPLY DISPLACE
Use the Character
Panel (go to Window>
Character) to alterthe
leading and sizetomake
the text morecompact.
Go to Filter>Distort>
Displace, choose
Convert to Smart
Object; set both
Horizontal and Vertical
to 10px. Click OK and
load your saved PSD ile.

05 SELECT AND FILL


Hold Cmd/Ctrl
and click the thumbnail
on the text layer to load
the words as a selection,
then click the eye icon to
hide the layer. Next, click
the Create New Layer
icon in the Layers Panel.
Go to Select > Inverse
then go to Edit > Fill.
Choose Contents: Black
and click OK.

06 BOOST THE
CONTRAST
Click the Create
Adjustment Layer icon
and choose Curves.
Plot an S-curve by
dragging one pointup
near the top right, and
a second down near
the bottom left. The
more pronounced the
S-shape is, the greater
the contrast.
MAKE A MONTAGE WITH WATCH THE VIDEO
http://tiny.cc/sffcy

MASKS AND PUPPET WARP PROJECT INFO

Discover how to create a winged igure with Youll learn


afew simple montage skills and Puppet Warp How to reshape objects
using Puppet Warp, and
make a composite image
The Puppet Warp tool lets it takes makes it better suited
Youll need
you push and pull objects to changing the overall shape of Photoshop CS6 or above
into new shapes. If youve ever an object, like the wings in the Itll take
used Liquify, this does a similar job, composite here. Watch the video 20 minutes
but the pins and mesh approach for the full walkthrough.
DOWNLOAD THE PROJECT FILES HERE http://tiny.cc/8bhfcy ON YOUR PC OR MAC
BEFORE

COME FLY WITH ME


Levitate your subjects with digital trickery. WATCH THE VIDEO
James Paterson shows you how to lift of http://tiny.cc/n1ifcy

Levitating portraits have a Although you might label it as


magical, mysterious quality aPhotoshop efect, the bulk of
PROJECT INFO
that forces the viewer to look the work here is done in-camera.
twice but theres nothing difficult As long as everything is captured Youll learn
How to prepare a simple
about this type of visual trickery. under the same conditions, the photo shoot to take all the
All you need is a tripod and, if you digital editing need only take a few shots youll need; and how
like, a few simple props. Well show minutes. If you want to take things to edit a composite shot to
make a levitation efect
you how to plan your shots so that slightly further, you can even
Youll need
theyre easy to combine later in reposition the person elsewhere 5SJQPEt1IPUPTIPQ
Photoshop something that, with in the scene, as we did here to give
Itll take
a little direction, even a complete our ballooning Hollie here a little One hour
Photoshop novice can do. more air.
DOWNLOAD THE PROJECT FILES HERE http://tiny.cc/8bhfcy ON YOUR PC OR MAC
TOP TIPS GET THE DETAILS RIGHT...

01 THINK LOCATIONS
When it comes to choosing a
location, pretty much anywhere indoors
02 WIND IN THE HAIR
We certainly didnt need any extra
wind on this blustery hillside, but if the air
or outdoors will do. Simple scenes will is still, a bit of movement in the hair can
probably work best, as you need the add to the efect. Try using a relector or
space to let the efect breathe. boardto fan the hair.

03 WATCH THE SKIES


Consistent lighting is key. If youre
shooting outside, watch for the sun
04 GO SHALLOW
A shallow depth of ield will draw
attention to the subject, blur out the
dipping in and out. Itll be harder to match background and give the image more of a
up a shady shot with a sunny one, so wait dreamy feel. Use a wide aperture, such as
until the sun goes back in. f/5.6, and a longer lens to emphasize blur.
HOW TO GET THAT FLOATY FEELING

01 KEEP THE CAMERA STILL


If everything is captured in
alignment, things are much easier to
02 POSE THE SUBJECT
Perch your subject on a stool or
ladder. Pay particular attention to the
piece together later on, so a tripod point at which they contact the perch.
isamust. A low camera angle will help Make sure that clothes stay loose, and
to emphasize thespace between the that the stool or ladder doesnt obscure
subject and the ground. any part of the body.

03 EXTRA BODY PARTS


Shoot extra frames for parts of the
body that were in contact with the perch.
04 SHOOT THE EMPTY SCENE
Now move the subject and their
perch out of the frame and take a shot
For example, if your subject is standing, of the empty scene. Switch the lens to
irst capture them on one leg, then the manual focus so that it doesnt move, and
other, so you have two dangling legs to make sure the exposure and lighting is
work with. consistent with your earlier shots.
PIECE IT TOGETHER

01 COPY AND PASTE


Open your images. If you shot in
raw, synchronize changes to exposure or
02 ADD A MASK
Go to the Layers Panel (Window
> Layers). You need to make a hole in
colors across the set. In the image with the top layer to reveal the clear scene
the subject, press Cmd/Ctrl+A then Cmd/ underneath. Click the Add Mask icon in
Ctrl+C to copy, then go to the empty the Layers Panel. Grab the Brush Tool,
scene. Press Cmd/Ctrl+Shift+V to paste. andpress D then X to set its color to black.

03 HIDE THE STOOL


Zoom in around the perch and paint
with black to hide the area. Paint precisely
04 FIX THE DETAILS
The point where the subject meets
the stand is crucial. If you have an extra
where the perch meets the body, and body shot, use the Lasso to select the
more loosely elsewhere. If you go over area and copy and paste it in, then press
the body by accident, press X to switch Cmd/Ctrl+T to transform and position the
towhite then paint to reveal areas. layer, using a layer mask as before.
CUT OUT YOUR SUBJECT

01 MAKE A SELECTION
Grab the Quick Selection Tool. Paint
over the subject to make a selection.
02 ASSEMBLE YOUR COMPOSITE
Weve cut out the left leg and
balloons from other shots in the same
(Hold Alt and paint to subtract if the tool way. Drag them to the empty image with
goes wrong.) Go to Select > Reine Edge. the Move Tool, then press Cmd/Ctrl+T to
Use the settings to tweak the selection, position each element. Add a tonal efect
then choose Output: Layer Mask. on top with an Adjustment Layer.

TAKE IT FURTHER
An urban location, like the car
park here, can work well for
the levitation efect. We used
a long lens (a 70-200mm zoom
at 135mm) and included soft BEFORE
foreground detail to add to the
mood of the image, making it
feel like a chanced upon scene.
In the original shot, the model
is lying on a stool (a real workout
for the stomach muscles!).
Weve removed the stool using
a clear shot of the scene, and
suggested movement in the
clothes by warping them slightly
Exposure: 1/250 sec, f/3.5, ISO 800
with Photoshops Liquify Filter.
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Your quick-start guide and reference
to image editing in Photoshop

If youre relatively new to editing in typical image-editing worklow in Photoshop;


Photoshop, or you just dont know an overview of raw ile editing; a guide to the
where to begin, then this section is the best six most useful layers; and a glossary of the
place to get started. Over the next nine pages, most useful shortcuts. This guide condenses
youll ind an overview of the diferent versions most of the tools and techniques youll use
of Photoshop available; a breakdown of the every time you import a new roll of pictures.
LIGHTROOM 6
100.07 OR INCLUDED WITH
CREATIVE CLOUD WINDOWS, OS X
Lightroom combines
the professional raw-
processing tools in the
more expensive Photoshop
CC with the asset-organizing
powers of the cheaper
Photoshop Elements.
Lightroom is available as
a traditional boxed copy
(Lightroom 6), and as part of

PHOTOSHOP CC
8.57/$9.99 PER MONTH WINDOWS, OS X
a Creative Cloud subscription
(Lightroom CC). Essentially,
the applications are the same,
Photoshop is the software of choice for most professional except Lightroom CC has
and non-professional photographers. Beyond the standard Creative Cloud support, ongoing
photo-editing features, it boasts a vast array of more updates, and access to the
creative tools and ilters. Layers are one of the key diferences mobile and web worklows.
between Photoshop and Lightroom. They enable you to mask out
selected parts to build up increasingly sophisticated images.
LIGHTROOM MOBILE
INCLUDED WITH CREATIVE CLOUD
IPHONE, IPAD, ANDROID
Lightroom Mobile is
the lightweight iPad,
iPhone and Android
version of the application,
integrated with Lightroom CC
but not Lightroom 6. To use
Lightroom Mobile you need
to sign up for an Adobe ID so
that you can access the Adobe
Creative Cloud. This enables
you to create a collection
of photos on your desktop
copy of Lightroom and sync
ELEMENTS 14 79.10/$99.99 WINDOWS, OS X them viathe Creative Cloud
Elements is the consumer variant of Photoshop, and to Lightroom Mobile on your
contains many of its key tools and features within a portable devices. You can then
simpliied interface. Its limited, but it does provide access use Lightroom Mobile to edit or
to layers for those who have switched to a Lightroom worklow. add ratings to your pictures.
ADOBE SHAPE
FREE
IPHONE, IPAD, ANDROID
Adobe Shape enables
you to turn photos and
sketches into beautiful
vector shapes for use in your
designs or artwork. The app
smooths out jagged edges in
images, resulting in gorgeous
vectors that are endlessly
scalable, just as if youd drawn
them by hand with the Pen tool.
Make a shape with the mobile
app and the next time you open
Photoshop on your desktop, the

ADOBE PHOTOSHOP
FREE IPAD, ANDROID
MIX shape will sync to your Library.
Drag it in to any document to
add color and make further
Mix enables you to merge two photos together adjustments.
to create a composite image. It ofers a simpliied
compositing process that makes it easy for beginners
to start combining an object from one image with a background
ADOBE BRUSH
from another. You can then send the composite to Photoshop
FREE
for further edits. If you like, you can also use Mix to edit a single
IPHONE, IPAD, ANDROID
image. It ofers a few simple tonal adjustments and more Adobe Brush enables
complex edits such as Content-Aware Fill. you to make your
own custom brushes
from photos or sketches for
use in Photoshop, Illustrator
ADOBE COLOR or the Sketch app. The most
successful subjects are usually
FREE IPHONE, IPAD, ANDROID those that can be easily
If you ever need help isolated, such as a splash
selecting coordinated colors against white, or a leaf against
for your designs, try using the sky. You can capture objects
Adobe Color. It enables you to create for your brush tips using your
color themes from photos taken on devices camera, choose from
your mobile device. This could be your camera roll, or use your
anything from a scene in your local Creative Cloud library. Once
park to a famous painting. So if you captured, you can then ine-
come across an inspirational scene, tune the look of the tip and
capture the colors and save them. apply brush settings.
ADOBE COMP CC
FREE IPAD
If youre a designer
who wants to build
a quick layout for a
web or print page, then Comp is
the ideal place to start piecing
ideas, images and text together.
You can draw common design
elements such as text or image
boxes with quick gestures. For
example, a couple of squiggly
lines with a dot makes a
header, and a cross makes an

ADOBE
FREE IPAD
PHOTOSHOP SKETCH image box. It makes it easy to
mock up a layout in seconds.
You can then add words and
As the name suggests, this app enables you to paint graphics. The app even spits
freehand using a selection of brushes, colors and other out a Photoshop, Illustrator or
tools. However, Sketch is more than just a painting InDesign document.
app. It also enables you to connect with like-minded creatives,
so you can follow artists and see their work updating. Once BEHANCE
youre done sketching the image on your iPad, you can upload
to the Sketch community or continue working on the image CREATIVE PORTFOLIO
in Photoshop CC. You can also bring in brushes made with FREE IPAD, IPHONE
Adobe Brush, and for those who cant paint, theres an option Behance is the online
to overlay images so you can trace over a photo. Sketch is social space for
compatible with Adobes pen and ruler hardware, Ink and Slide, creatives to share
but you can get great results with your inger. and showcase their portfolios,
connect with one another,
and ind work. With work
from the best photographers,
PHOTOSHOP FIX digital artists and designers
out there, its also a great
FREE IPAD place to ind inspiration for
Fix is a retouching app a new project. If youre a
for altering portraits and Creative Cloud subscriber you
ixing marks or blemishes can set up a Behance page in
in your photos. Intelligent facial minutes. The Behance app
recognition locks onto eyes, lips for iOS devices enables you to
noses and chins, making it easy to manage your page, while the
tweak a smile, tuck in a jawline or Creative Portfolio app provides
enlarge eyes, should you wish. a polished portfolio.
Manage your photos from capture to output in three stages

The image-editing process begins as


1
soon as youve transferred your photos
from your memory card to your computer.
1 The irst stage is to begin sifting
through your pictures to discover which are
the keepers. The image organizer that comes
with Photoshop is ideal for this task. Adobe
Bridge has controls for keywording, rating and
iltering your images, and there are handy tools
for batch renaming iles, creating panoramic
stitches, making contact sheets and more.
Launch Adobe Bridge and navigate to a
folder containing new images. Use the cursor
keys to quickly lick through the images and
click below a thumbnail to add a star rating, or
use the keyboard shortcut Cmd/Ctrl+1-5. You 2
can then ilter your images by the star rating to
group the ones you want to work on.
2 The next step is to open the images
from Bridge into Adobe Camera Raw. ACR
is the best place to make initial changes to
your images to boost tones and correct any
problems with exposure and so on. It doesnt
enable you to combine images youll use
Photoshop for that but it does enable you to
make the kind of edits photographers need.
3 In Photoshop, you can further reine 3
the image with layers and adjustment layers,
which ofer a much more lexible way of
working than ACR. Once youve inished, its
time to share it with a wider audience. Go to
File>Save, and your image will be saved as a
Photoshop document (PSD). This keeps all the
layers intact, which means you can go back and
retweak the image at a later date. However,
PSD iles are large and take up lots of hard drive
space. If you want to share your images online
or via email or social media, save them as JPEGs.
Discover how to process your raw iles to perfection
The latest version of the raw ile rather than in Photoshop, youll ensure the
processor included with Photoshop is so best possible image quality, because raw iles
powerful that most photos can be processed contain more picture information than bitmap
entirely in the raw processor, with no need for images such as un-layered PSDs and JPEGs.
further editing in Photoshop. And by making Heres our reference to the features youll use
your adjustments in Adobe Camera Raw the most in the Basic panel.

THE BASIC CONTRAST


Makes light pixels brighter

PANEL IN ACR and dark pixels darker

HIGHLIGHTS
TEMPERATURE Controls the brightness
Use this slider to warm of the lightest pixels
or cool an image if the
White Balance tool fails to
correct a color cast SHADOWS
Controls the brightness
of the darkest pixels
TINT
This slider enables you to
correct a green or magenta WHITES
cast, again, if the White Sets a point on the tonal
Balance tool fails range at which pixels
should be pure white

EXPOSURE
Controls the overall CLARITY
brightness of the image Controls the amount
of midtone contrast

BLACKS
Sets a point on the tonal SATURATION VIBRANCE
range at which pixels Controls the overall color Adjusts the intensity of
should be pure black intensity of the image the less-saturated colors
The six most frequently used Photoshop layers for image
editing, and how to use them to improve almost any photo
Photoshop has many types of layers used may seem a little daunting for beginners,
and adjustment layers available, but but once youve got to grips with them, youll
there are six that youll ind you need to use ind they play a part in the creative process of
again and again. Learning how they should be almost every image you make.

01 LEVELS
This should be the irst layer you add
to an image, because it fundamentally alters
the tonal range of the entire image. Create
a Levels Adjustment Layer, drag the Black
Point slider inwards until it touches the left-
hand edge of the histogram, and drag the
White Point slider inwards to the right-hand
edge. This remaps the tones of the image to
make more of the available tonal range.

02 CURVES
Curves is one of the most powerful
adjustment layers. An S-shaped curve
brightens the highlights and darkens the
shadows, resulting in extra contrast. Create
a Curves Adjustment Layer and click the
middle of the diagonal line to add a central
control point. Drag down on the lower part
of the line and drag up on the upper part of
the line to improve image contrast.

03 HUE/SATURATION
This adjustment layer is best used
for altering the intensity and brightness
of individual color channels in an image
greens and blues in landscapes, for instance.
Create a Hue/Saturation Adjustment Layer,
click the Master menu and choose the color
channel youd like to adjust. Small changes
are usually the most efective.
04 HEALING LAYER
Most photos contain unwanted
marks or blemishes. The Spot Healing Brush
tool is efective at removing these. The best
way to apply the healing is on a new blank
layer, so that you can easily tone down or
remove selected healing work later without
having to start from scratch because you
healed directly on the background layer. To
do this, create a new blank layer, choose the
Spot Healing Brush tool from the Tools panel
and tick Sample All Layers on the Options
Bar, then continue as normal. AFTER BEFORE

05 DODGE AND BURN


One of the best ways to enhance a
photo is by lightening or darkening selected
areas of the image. This can be done with
the Dodge and Burn tools, but rather than
use them directly on the image, a separate
grey layer gives you greater control. To
create a Dodge and Burn layer, hold down
Alt and click the Create a new layer icon in
the Layers panel. Give the layer a name,
then choose Mode: Overlay. Check Fill with
Overlay-neutral color and click OK. Now use
the Dodge and Burn tools (with Range set to
Midtones) to work on the new layer.

06 SELECTIVE SHARPENING
Once all other adjustments have
been made, you need to sharpen the image
for output. The traditional way is to create a
merged layer at the top of the stack, apply
Unsharp Mask, then paint on the mask to
remove the sharpening from those parts
of the image you want to remain soft.
However, the Sharpen tool enables more
control over the process by enabling you to
build up the efect by brushing repeatedly
with a low opacity brush. Create a new blank
layer, select the Sharpen tool, tick Sample All
Layers and set a Strength of 50% or lower.
14 keyboard shortcuts that will massively improve your
speed and efficiency while working in Photoshop

D X
Reset the foreground and background colors Switch the foreground and background
to black and white color swatches

ALT+[SCROLL WHEEL] [ OR ]
Zoom in or out of the image Resize the brush tip

CMD/CTRL+SHIFT+ALT+E SHIFT+[ OR ]
Create a merged copy of all the layers in the Cycle backwards or forwards through the
layer stack layer blend modes

SPACE BAR CMD/CTRL+ALT+Z


Temporarily switch the current tool to the Hand Undo the last change made to the document.
tool, for moving around the image while zoomed in Works multiple times

ALT+[EYE ICON] CMD/CTRL+[LAYER MASK]


Switch of the visibility of all other layers in the Load the currently active layer mask as
layer stack, for before-and-after comparisons a new selection

CMD/CTRL+I CMD/CTRL+T
Invert the color of a layer mask to black Activate the Free Transform tool

SHIFT+[LAYER MASK] CMD/CTRL+J


Disable the efects of a layer mask Duplicate the current layer
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