Photoshop CS4 100 Simplified Tips & Tricks

$24.99 US$29.99 CAN £16.99 UK

Category:Computer Graphics and Image Processing

You already know Photoshop® CS4 basics. Now you’d like to go beyond with shortcuts, tricks, and tips that let you work smarter and faster. And because you learn more easily when someone shows you how, this is the

book for you. Inside, you’ll find clear, illustrated instructions for 100 tasks that reveal cool secrets, teach timesaving tricks, and explain great tips guaran-teed to make you more productive with Photoshop® CS4.

www.wiley.com/go/photoshopcs4top100

1. Minimal text and maximum illustrations2. Task-oriented, step-by-step approach3. Navigational aids connect instructions to illustrations4. Self-contained, two-page lessons5. Uniform layout makes it easy to read less, learn more

Demonstrates a new spin on a common task

Introduces a new skill or a new task

Combines multiple skills requiring in-depth knowledge

Requires extensive skill and may involve other technologies

How easy is it?Look for these symbols marking the difficulty of each task.

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Includes 14 bonus tips & tricks!

by Lynette Kent

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U.S. Sales

Contact Wiley at (800) 762-2974 or fax (317) 572-4002.

LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THEPUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONSOR WARRANTIES WITH RESPECT TO THE ACCURACY ORCOMPLETENESS OF THE CONTENTS OF THIS WORK ANDSPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDINGWITHOUT LIMITATION WARRANTIES OF FITNESS FOR APARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OREXTENDED BY SALES OR PROMOTIONAL MATERIALS. THEADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BESUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITHTHE UNDERSTANDING THAT THE PUBLISHER IS NOTENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHERPROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE ISREQUIRED, THE SERVICES OF A COMPETENT PROFESSIONALPERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NORTHE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISINGHEREFROM. THE FACT THAT AN ORGANIZATION ORWEBSITE IS REFERRED TO IN THIS WORK AS A CITATIONAND/OR A POTENTIAL SOURCE OF FURTHER INFORMATIONDOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHERENDORSES THE INFORMATION THE ORGANIZATION ORWEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAYMAKE. FURTHER, READERS SHOULD BE AWARE THATINTERNET WEBSITES LISTED IN THIS WORK MAY HAVECHANGED OR DISAPPEARED BETWEEN WHEN THIS WORKWAS WRITTEN AND WHEN IT IS READ.

FOR PURPOSES OF ILLUSTRATING THE CONCEPTS ANDTECHNIQUES DESCRIBED IN THIS BOOK, THE AUTHOR HASCREATED VARIOUS NAMES, COMPANY NAMES, MAILING, E-MAIL AND INTERNET ADDRESSES, PHONE AND FAXNUMBERS AND SIMILAR INFORMATION, ALL OF WHICH AREFICTITIOUS. ANY RESEMBLANCE OF THESE FICTITIOUSNAMES, ADDRESSES, PHONE AND FAX NUMBERS ANDSIMILAR INFORMATION TO ANY ACTUAL PERSON, COMPANYAND/OR ORGANIZATION IS UNINTENTIONAL AND PURELYCOINCIDENTAL.

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Photoshop® CS4: Top 100Simplified® Tips & TricksPublished by Wiley Publishing, Inc. 10475 Crosspoint BoulevardIndianapolis, IN 46256www.wiley.com

Published simultaneously in Canada

Copyright © 2009 by Wiley Publishing, Inc., Indianapolis,Indiana

Library of Congress Control Number: 2008942307

ISBN: 978-0-470-44254-8

Manufactured in the United States of America

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No part of this publication may be reproduced, stored in aretrieval system or transmitted in any form or by any means,electronic, mechanical, photocopying, recording, scanning orotherwise, except as permitted under Sections 107 or 108 ofthe 1976 United States Copyright Act, without either the priorwritten permission of the Publisher, or authorization throughpayment of the appropriate per-copy fee to the CopyrightClearance Center, 222 Rosewood Drive, Danvers, MA 01923,978-750-8400, fax 978-646-8600. Requests to the Publisher forpermission should be addressed to the PermissionsDepartment, John Wiley & Sons, Inc., 111 River Street,Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, oronline at www.wiley.com/go/permissions.

Trademark AcknowledgmentsWiley, the Wiley Publishing logo, Visual, the Visual logo,Simplified, Read Less - Learn More and related trade dress aretrademarks or registered trademarks of John Wiley & Sons, Inc.and/or its affiliates. Adobe and Photoshop are registeredtrademarks of Adobe Systems, Inc. All other trademarks are theproperty of their respective owners. Wiley Publishing, Inc. is notassociated with any product or vendor mentioned in this book.

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CREDITS

ABOUT THE AUTHOR

Sr. Acquisitions EditorJody Lefevere

Project EditorSarah Hellert

Technical EditorDennis R. Cohen

Copy EditorScott Tullis

Editorial ManagerRobyn Siesky

Business ManagerAmy Knies

Sr. Marketing ManagerSandy Smith

Project CoordinatorErin Smith

Media Development ProjectManagerLaura Moss

Media Development AssociateProducerJosh Frank

LayoutAndrea HornbergerJennifer Mayberry

Graphics Ana Carrillo

Ronda David-BurroughsJill A. Proll

Quality Control TechnicianJohn Greenough

ProofreaderCynthia Fields

IndexerBroccoli Information Mgt.

Media Development AssistantProject Manager

Jenny Swisher

Vice President and ExecutiveGroup PublisherRichard Swadley

Vice President and ExecutivePublisherBarry Pruett

Composition DirectorDebbie Stailey

Lynette Kent (Huntington Beach, CA) studied art and French at Stanford University, whereshe received a Master’s degree. A photographer and artist, Lynette writes books and

magazine articles on digital imaging and photography. She enjoys traditional and digitalpainting and often blends these techniques with her photographs. Her photos and thosepermitted per agreement can be found at www.wiley.com/go/photoshopcs4top100. In

addition to the Top 100 Simplified Tips & Tricks titles for Photoshop CS2, CS3, and CS4, herlatest book is Teach Yourself VISUALLY Adobe Photoshop Lightroom 2. She has also written

Teach Yourself VISUALLY Mac OS X Leopard and Teach Yourself VISUALLY Digital Photography,3rd edition. Lynette helps run the Adobe Technology Exchange of Southern California, a

professional organization for photographers, graphic designers, and fine artists.

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HOW TO USE THIS BOOK

Photoshop® CS4: Top 100 Simplified® Tips & Tricks includes 100 tasks that reveal cool secrets, teach timesavingtricks, and explain great tips guaranteed to make you more productive with Photoshop. The easy-to-use layout letsyou work through all the tasks from beginning to end or jump in at random.

Who is this book for?

You already know Photoshop basics. Now you’d like to go beyond, with shortcuts, tricks and tips that let you worksmarter and faster. And because you learn more easily when someone shows you how, this is the book for you.

Conventions Used In This Book

1 StepsThis book uses step-by-stepinstructions to guide you easilythrough each task. Numberedcallouts on every screen shot showyou exactly how to perform eachtask, step by step.

2 TipsPractical tips provide insights tosave you time and trouble, cautionyou about hazards to avoid, andreveal how to do things inPhotoshop that you never thoughtpossible!

3 Task NumbersTask numbers from 1 to 100indicate which lesson you areworking on.

33

44

22

11

Demonstrates a new spin on acommon task

Introduces a new skill or a newtask

Combines multiple skills requiringin-depth knowledge

Requires extensive skill and mayinvolve other technologies

4 Difficulty LevelsFor quick reference, the symbolsbelow mark the difficulty level ofeach task.

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Table of Contents

Working with Layers, Selections, and Masks#12 Name and Color-Code Layers to Organize the

Layers Panel 28

#13 Duplicate and Change the Background Layer for More Options 30

#14 Adjust a Photo with an Adjustment Layer 32

#15 Blend Two Photos Together with a Layer Mask 34

#16 Add a Design with a Custom Shape Layer 36

#17 Accentuate a Sky with a Gradient Fill Layer 38

#18 Make a Selection with the Quick Selection Tool 40

#19 Use Refine Edge to Make All Selections Better 42

#20 Paint a Quick Mask to Make a Detailed Selection 44

#21 Add Layers as Smart Objects for Flexible Changes 46

#22 Apply Filters as Smart Filters for Dynamic Adjustments 48

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Customizing Photoshop for Your Projects#1 Select the Color Settings for Your Projects 4

#2 Set the Preferences for the Way You Work 6

#3 Move the Panels and Tools to Customize Your Workspace 8

#4 Personalize Your View of Bridge 10

#5 Add a Keyboard Shortcut for a Favorite Filter 12

#6 Create a Custom Action to Increase Your Efficiency 14

#7 Design a Customized Brush with Your Settings 16

#8 Make a Special Gradient to Suit Your Design 18

#9 Calibrate and Profile Your Monitor for Better Editing 20

#10 Turn on the Full Power of Photoshop with a Pen Tablet 22

#11 Change Your Window Views 24

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Straightening, Cropping, and Resizing#23 Crop Your Images to Improve Composition with

Photographers’ Rules 52

#24 Create a Level Horizon 54

#25 Expand the Canvas with a Reverse Crop 56

#26 Crop and Straighten in Camera Raw 58

#27 Straighten Crooked Scans Quickly 60

#28 Create Multiple Images from One Original 62

#29 Change Your Perspective with the Crop Tool 64

#30 Straighten Buildings with One Filter 66

#31 Create a Panorama from Multiple Photos 68

#32 Resize Your Image with Minimal Visible Loss 70

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Retouching Photographs#33 Remove Blemishes to Improve the Skin 74

#34 Reduce Wrinkles with a Soft Touch 78

#35 Remove Red Eye to Quickly Improve any Photo 80

#36 Change Eye Color Digitally 82

#37 Add a Gradient Layer to Lighten the Irises 84

#38 Brighten the Eyes by Lightening the Whites 86

#39 Add Depth to the Eyes to Emphasize Them 88

#40 Add a Catch Light to Make the Eyes Come Alive 92

#41 Sharpen Just the Eyes to Add Focus 94

#42 Whiten Teeth to Add a Youthful Look 96

#43 Add a Soft-Focus Effect to Make a Portrait Glow 98

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Changing and Enhancing Colors and Tone#44 Improve an Underexposed Photo in Two Steps 102

#45 Improve an Overexposed Photo in Three Steps 103

#46 Remove a Colorcast to Improve the Overall Color 104

#47 Colorize a Black-and-White Photograph 106

#48 Change a Color Photo into a Custom Grayscale Photo 108

#49 Add a Creative Touch with a Little Color 110

#50 Dodge and Burn with a Special Layer 112

#51 Increase Saturation Subtly Using a Vibrance Adjustment Layer 114

#52 Use Camera Raw to Visually Adjust Any Photo 116

#53 Recover Highlights with Camera Raw 118

#54 Improve a Sky with the Graduated Filter in Camera Raw 120

#55 Create a Split Tone for a Special Effect in Camera Raw 122

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Making Magic with Digital Special Effects#56 Apply a Photo Filter for Dynamic Adjustments 126

#57 Add a Quick Dark Vignette Effect to Direct the Focus on the Subject 127

#58 Add Action with a Simulated Motion Blur 128

#59 Blend Separate Photos for the Best Group Shot 130

#60 Merge Multiple Raw Photos to 32-Bit HDR 132

#61 Apply a Split-Neutral Density Filter Using Smart Objects 134

#62 Adjust Depth of Field with a Lens Blur Filter 136

#63 Use the Auto Blend Tool to Create Greater Depth of Field 140

#64 Create a Silhouette for a Custom Design 144

#65 Become a Digital Architect with the Vanishing Point Filter 148

#66 Erase Items in Perspective with the Vanishing Point Filter 152

#67 Add a Simulated Reflection to an Object with the Clone Stamp Tool 154

#68 Blend One Image into Another with a Displacement Map 156

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Designing with Text Effects#69 Paint Different Colors into a Text Title 162

#70 Add a Double-Neon Glow to Text for a Unique Design 164

#71 Create a Custom Watermark to Protect Your Images 166

#72 Fill a Shape with Text to Create Unique Effects 168

#73 Warp Type for a Fun Effect 170

#74 Add Perspective to Type and Keep It Sharp 172

#75 Make Your Text Follow Any Path 174

#76 Create an Photo-Filled Title 176

#77 Blend Text into a Photograph Creatively 178

#78 Create an Amazing Colored Shadow 180

#79 Weave Text and Graphics for Intriguing Designs 182

7

8 Creating Digital Artwork from Photographs#80 Make Any Photo Appear Sketched on the Paper 186

#81 Add Your Own Signature to Any Artwork 188

#82 Create a Digital Pen-and-Ink Drawing 190

#83 Give a Photograph a Woodcut Look 192

#84 Convert any Photo to a High Contrast Stylized Image 194

#85 Turn a Photo into a Colored-Pencil Illustration 196

#86 Posterize a Photo for a Warhol-Style Image 198

#87 Change a Photograph into a Pen-and-Colored-Wash Drawing 202

#88 Compose a Photo Collage 206

#89 Turn a Photo into a Hand-Painted Oil Painting 208

#90 Paint a Digital Watercolor 212

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Table of Contents

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Giving Your Images a Professional Presentation#91 Frame a Photo with Photo Corners 218

#92 Make a Line Frame from within a Photo 219

#93 Apply a Filter to Give a Photo an Artistic Edge 220

#94 Create Your Own Custom Edge 222

#95 Create a Custom Slide Template 224

#96 Create a Custom Color Background 226

#97 Make a Photo Look like a Gallery Print 228

#98 Make a Contact Sheet of Your Photos 232

#99 Create a Slide Show Presentation 234

#100 Create a Web Photo Gallery 236

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10 Plugging in to Photoshop CS4#101 Embellish a Photo Effortlessly with Graphic Authority 240

#102 Enlarge Images with Maximum Quality with Alien Skin Blow Up 2 242

#103 Change Your Photos into Art with Alien Skin Snap Art 244

#104 Colorize a Black-and-White Photo with AKVIS Coloriage 246

#105 Make a Selection and Remove the Background with Vertus Fluid Mask 248

#106 Control Digital Noise with Nik Dfine 250

#107 Sharpen Photos with Finesse Using Nik Sharpener Pro 252

#108 Apply Photo Filters Digitally Using Nik Color Efex Pro 254

#109 Enhance Colors and Light Selectively with Nik Viveza 256

#110 Create a Dynamic Black-and-White Image with Nik Silver Efex Pro 258

#111 Transform an Image with an Action from Kubota Image Tools 260

#112 Explore Colors Visually with AutoFX Software 262

#113 Enhance Your Portraits with Imagenomic Portraiture 264

#114 Travel Beyond Bridge with Extensis Portfolio 266

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Customizing Photoshop

for Your Projects

Photoshop is an incredibly powerful program.Not only can you perform many different taskswith Photoshop, but you can also choose froma number of ways to complete each project.

By setting up Photoshop to work for you, youcan develop your own techniques and findways to adapt the standard tools so you canbe more creative.

When you work on an image, you may preferto see some panels and not others. You mayalso prefer certain tool settings to others.Customizing Photoshop to work your waymakes you more productive, the programmore useful, and everything you do withPhotoshop much more fun.

With Photoshop CS4, Adobe has changed thelook of the interface and taken customizationto a new level. You can modify your settingsand preferences by adjusting the workspace,the panels, and the tools to fit therequirements of specific projects. You canclose some panels and open others to simplifyyour screen and keep only the tools you needavailable. You can make your own gradients,customize shortcuts, and design your ownbrushes. These may seem like boring steps,yet by learning to customize Photoshop yougain familiarity with the program and becomemore efficient as you try different projects.

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Select the Color Settings for Your Projects . . . . . . . . . . . . . 4

Set the Preferences for the Way You Work. . . . . . . . . . . . . 6

Move the Panels and Tools to Customize Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Personalize Your View of Bridge . . . . . . . . . . . . . . . . . . . . 10

Add a Keyboard Shortcut for a Favorite Filter . . . . . . . . . 12

Create a Custom Action to Increase Your Efficiency. . . . . 14

Design a Customized Brush with Your Settings . . . . . . . . 16

Make a Special Gradient to Suit Your Design . . . . . . . . . . 18

Calibrate and Profile Your Monitor for Better Editing . . . 20

Turn on the Full Power of Photoshop with a Pen Tablet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Change Your Window Views . . . . . . . . . . . . . . . . . . . . . . . 24

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1 Click Edit.

2 Click Color Settings.

SELECT THE COLOR SETTINGSfor your projects

Using Photoshop CS4 is an image-alteringexperience! You can improve photographs, repurposethem, or create original designs. Because printedimages and Web images have different limits on therange of colors that they can represent, you need toset the working color space for your project.

Photoshop’s default color space is set to sRGB, alimited color space intended for Web images to beviewable on even the lowest-quality monitor. sRGB is

a much smaller color space than what bettermonitors can show and what printers can actuallyproduce. Designers and photographers generallyprefer the larger color space called Adobe RGB(1998) for working with projects intended for print.

In Photoshop CS4, you can easily choose your workingcolor space and save it. Set your color space to theNorth America Prepress 2 settings and Adobe RGB(1998) to make your printed colors look much better.

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The Color Settings dialog boxappears.

3 Click here and select NorthAmerica Prepress 2.

4

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l The RGB setting changesto Adobe RGB (1998).

Note: ProPhoto RGB is aneven larger color spaceoften preferred byprofessional photographersbecause it includes a widerrange of tones and allowsfor fine detail editing.

The rest of the ColorSettings dialog boxchanges to reflect thepreferred working spacefor images that you print.

4 Click More Options.

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The dialog box expands.

5 Click here and select Relative Colorimetricfor a graphic design project or Perceptualfor most photographic projects.

6 Click OK.

Your color settings are saved until youreset your preferences.

Chapter 1: Customizing Photoshop for Your Projects

Customize It!You can save your own Color Settings preset. Thename of the preset changes to Custom when youdeselect any check box or make any other changes.Click Save after customizing your settings. Type aname in the Save dialog box and click Save. Yourcustomized preset appears in the Settings pop-upmenu, ready for you to choose.

Try This!You can synchronize the color settings in otherCreative Suite CS4 applications to match your savedcustom Photoshop CS4 color settings. In Photoshop,click File and select Browse in Bridge. In Bridge, clickEdit and select Creative Suite Color Settings. ClickNorth America Prepress 2 and click Apply.

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1 Click Photoshop (Edit).

2 Click Preferences.

3 Click General.

SET THE PREFERENCESfor the way you work

The Preferences menu option includes ten options forPhotoshop and one for Camera Raw. All thePhotoshop-specific preferences are accessed throughdifferent panes in the main Preferences dialog box.Although you can work with the default settings,changing some of these can make your computer runmore efficiently or make working with your projectseasier. For example, by default, Photoshop is set touse more than half of the available RAM. You canlower this setting to fit the amount of RAM installedin the computer and the number of applications you

run at the same time. You can change the defaultcolors for the guides and grid when they are similarto those in your image. Designating an additionalplug-ins folder keeps third-party items separate fromthose included with Photoshop. You can set aseparate scratch disk to speed up your work on largefiles and set Photoshop to automatically launchBridge.

Read through each Preferences pane and select thesettings to make Photoshop work for you.

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The General Preferences dialogbox appears.

4 Click any arrows to change yoursettings.

5 Click to select the options youwant or to deselect those you donot want.

6 Click Next to continuecustomizing Preferences.

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The dialog box changesto the InterfacePreferences.

7 Click to select theinterface options youwant or deselect thoseyou do not want.

8 Click Next.77

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9 Make any other changes that you preferin the other Preferences panes.

0 Click OK when you have cycled throughall the Preferences panes.

! Click Photoshop (File).

@ Click Quit Photoshop (Exit).

The next time you start the application,your own settings take effect.

Did You Know?You can use keyboard shortcuts toset the Preferences. Press Ô+K(Ctrl+K). Set your options for theGeneral Preferences. Press Ô+2(Ctrl+2), and so on, for each of thePreferences panes.

Try This!You can change the defaultPreferences so that just pressingthe appropriate letter toggles eachtool. In the General Preferencespane, deselect the Use Shift Keyfor Tool Switch check box.

Did You Know?You can restore the Preferencesany time by holding theÔ+Option+Shift (Ctrl+Alt+Shift)keys as you launch the application.Click Yes in the dialog box thatappears, and the Preferences arereset to the defaults.


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1 With an image open, click View.

2 Click Screen Mode.

3 Click Full Screen Mode WithMenu Bar.

Move the panels and tools to

CUSTOMIZE YOUR WORKSPACEThe workspace in Photoshop refers to the layout ofthe different panels and tools on your screen.Photoshop CS4 enables you to design yourworkspace to fit your needs. You can then save yourcustom workspace to reuse it with other images.

You can open the panels that you use most andcollapse others into buttons. You can move andresize individual panels and docks. You can move thesingle-column toolbox, dock it, or change it to a two-column toolbox. When you select Full Screen Mode

With Menu Bar from the View menu, your imageappears as large as possible with all the tool panelsavailable. You can save the layout with yourpreferred tools and panel locations.

Photoshop CS4 also includes some preconfiguredworkspaces, which you can use or modify toaccommodate different tasks, such as one for color-correcting photographs and one for workingwith type.

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The image on-screen maximizesto fill the space.

4 Click here to reduce the panelgroups to buttons with names.

5 Click here and drag to the rightto shrink the docks to buttonsonly.

6 Click here to change the width ofthe toolbar.

7 Click here and drag to move theOptions bar.

8

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Note: You can make anychanges you prefer foryour custom workspace.

8 Click here to open theWorkspace menu.

Note: Optionally, clickWindow and clickWorkspace.

9 Click Save Workspace.

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The Save Workspace dialog box appears.

0 Type a name for your workspace.

! Make sure that the Panel Locations checkbox is selected.

l You can also save custom keyboardshortcuts and menus by selecting thesecheck boxes.

@ Click Save.

Your custom workspace is saved.

Did You Know?You can return to the original defaultworkspace any time by clickingWindow, Workspace, and Essentials(Default) or by clicking Essentials inthe Workspace pop-up menu on thetop toolbar. You can also deleteunused custom workspaces byclicking Window, Workspace, andDelete Workspace and selecting theone that you want to delete.

More Options!You can also change workspacesby clicking the name of the currentworkspace on the menu bar andthen clicking another workspacefrom the pop-up menu.

Try This!Photoshop CS4 includes a numberof predesigned workspaces forparticular projects, such as Colorand Tone or Painting. You canselect a Photoshop CS4predesigned workspace by clickingWindow, selecting Workspace, andthen clicking a specific workspacefrom the menu.


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1 Launch Bridge.

Note: You can make any changesyou prefer for your customworkspace.

2 Click the Folders tab to navigateto a folder of images.

3 Click and drag the Metadataand Keywords tabs to the leftpanel between the Folders andthe Filter tab.

4 Click and drag the Preview tabto the center pane.

5 Click and drag the Content tabto the right pane.

PERSONALIZE YOUR VIEWof Bridge

Bridge, which ships with Photoshop CS4, acts as apower browser and central hub for all the CreativeSuite 4 applications and shows all types of files andfolders that are available. You can even seethumbnails of documents and files from otherapplications, such as Word or Acrobat files. When youdouble-click a thumbnail from Bridge, the otherapplication launches. You can open Bridge fromwithin Photoshop or as a separate application.

Bridge offers different ways to search, categorize,

and view your files, options for adding information,and automation for various repetitive tasks. Bycustomizing and saving your own Bridge workspace,you can review and compare images more efficientlyand have more fun doing so.

To launch Bridge from within Photoshop, click Fileand Browse in Bridge. You can also click the Bridgebutton in the Options bar, or press the keyboardshortcut Ô+Option+O (Ctrl+Alt+O).

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The Content images alignvertically on the right.

6 Click an image to see it in thePreview tab.

7 Click here and drag to the right.

The Preview tab enlarges and theContent tab narrows.

l You can also click the leftseparator bar and drag to the leftto enlarge the Preview tab more.

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8 Click Window.

9 Click Workspace.

0 Click New Workspace.00

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The New Workspace dialog box appears.

! Type a name for the workspace.

@ Make sure that both check boxes arechecked.

# Click Save.

Your custom workspace is saved and listedin the top panel.

More Options!You can sort files using the Filterpanel. For example, you can viewonly the portrait-orientationimages or all the images createdon a specific date. You can alsocompare images in the Previewpanel by pressing Shift andclicking multiple images in theContent panel.

Enlarge It!Press Tab and the Preview windowfills the screen as the other panelsslide away on the sides. Press Tabagain to return to your customBridge workspace.

Try This!Press Ô (Ctrl) and click multipleimages in the Content panel tocompare them in the Previewpanel. You can also stack theselected images by clicking Stacksand then Group or by pressingÔ+G (Ctrl+G).


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1 Click Edit.

2 Click Keyboard Shortcuts.

ADD A KEYBOARD SHORTCUTfor a favorite filter

Photoshop includes keyboard shortcuts for the toolsthat you use most often. Many of the tools alreadyhave keyboard shortcuts assigned. Still, you may findyourself going to the menu to select an item, such asthe Gaussian Blur filter, so often that a personalizedkeyboard shortcut becomes a huge timesaver.

You can create your own custom keyboard shortcutsor even change some Photoshop keystrokes tosomething that you can remember better. If thekeyboard shortcut that you choose is already

assigned by Photoshop for another function, awarning appears. Although you should generallyavoid keyboard shortcuts that are used by youroperating system, you can change Photoshop’sdefault shortcuts, or you can apply a different set ofkeystrokes that are not already assigned.

Learning and using custom keyboard shortcuts canstreamline your workflow, leaving you more time fordesigning and photo-editing.

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The Keyboard Shortcuts andMenus dialog box appears withthe Keyboard Shortcuts tabpreselected.

3 Click here and select ApplicationMenus.

4 Click the Filter disclosure triangle.

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The filters are listedalong with any existingkeyboard shortcuts.

5 Scroll down to the filterfor which you want toadd a shortcut.

6 Click the filter.

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The filter is highlighted, and an emptydata field appears under the Shortcutcolumn.

7 Press Ô (Ctrl) and type your shortcut inthe data field.

Note: A shortcut must contain either Ô(Ctrl) or an F key (function key) in thename.

8 Click Accept.

The Photoshop Defaults set is modified toinclude your shortcut.

9 Click OK to finish adding your customkeyboard shortcut.

Did You Know?You can access the Keyboard Shortcuts and Menusdialog box by using the keyboard shortcut Ô+Shift+Option+K (Ctrl+Shift+Alt+K).

Try This!You can save and print a list of all keyboard shortcuts.Click Summarize in the Keyboard Shortcuts andMenus dialog box and save the file as PhotoshopDefaults.htm. Open the file and print the list forreference.


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Note: As an example, thefollowing steps show creating anaction of opening a new 7- x-5-inch document at 300 pixels/inchfor a greeting card.

To create an action for changingan image, start by opening animage.

1 Click Window.

2 Click Actions.

l The Actions panel appears.

3 Click the New Action button.

l Alternatively, you can click hereand select New Action from themenu.

CREATE A CUSTOM ACTIONto increase your efficiency

Actions help you perform repeated steps quickly. Anaction is a series of commands that you can apply toan image with one click of the mouse. Unlike akeyboard shortcut, which can only invoke acommand, an action can open a command, applychanges to an image, step through anothercommand, apply it, and even save a file in aparticular way. You can create your own actions forsteps that you do over and over and add them to theActions panel.

Using the Actions panel, you record a sequence ofsteps and save your new action. When you need toapply the same steps to a different image, even toan entire folder of files, you play the action, andPhotoshop automatically applies the steps.

Actions can help you automate your work forrepetitive tasks, leaving you more time to work oncreative projects.

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The New Action dialog boxappears.

4 Type the name of your action.

5 Click here and select a functionkey for a keyboard shortcut.

l You can click here and select acolor for the action.

6 Click Record.

l The Record button in the Actionspanel turns red.

7 Perform the steps that you wantto record as an action.

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8 Press Ô+N (Ctrl+N) toopen a new file.

The New file dialog boxappears.

9 Type your specificdimensions in theWidth and Heightfields.

0 Type 300, or yourdesired resolution, inthe Resolution field.

! Click OK.

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l A new untitled document appears.

@ After you perform the last step of youraction, click the Stop Recording button.

l Your custom action is now recorded and islisted in the Actions panel.

You can test your action by pressing thekeyboard shortcut that you assigned.

More Options!You can apply an action to a folderof files by clicking File, Automate,and Batch and selecting the actionand a source folder. Or you canapply an action to a group ofimages from Bridge by clickingTools, Photoshop, and Batch.

Try This!You can make the actions easier tofind by selecting Button Mode inthe Actions panel’s pop-up menu.Your actions change to color-coded buttons.

Did You Know?You can load other prerecordedactions included with PhotoshopCS4 such as Frames or ImageEffects by clicking the Actionspanel’s pop-up menu and clickinga set in the bottom section of themenu.


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1 Click the Brush tool.

2 Click the Brushes panel togglebutton.

l You can also click the Brushespanel button if it is visible.

The Brushes panel opens.

3 Click the preset brush that youwant to modify into a custombrush.

4 Click Brush Tip Shape.

DESIGN A CUSTOMIZED BRUSHwith your settings

Whether you retouch photographs, design brochures,or paint from scratch, you will use many differentvariations of the Brush tool.

The pop-up menu on the Options bar includes avariety of brushes, and you can modify the attributesof any of the existing brushes to suit your drawingstyle or your image. You can then save the modifiedbrush as your own custom brush so that it is readyto use for your next design.

A number of other tools also have modifiable brushoptions, including the Pencil tool, the Eraser tool, theClone Stamp tool, the Pattern Stamp tool, the HistoryBrush, the Art History Brush, the Blur tool, theSharpen tool, the Smudge tool, the Dodge tool, theBurn tool, and the Sponge tool.

Customizing Brush tools for your projects is atimesaving technique, and it is fun.

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The controls for the brush shapeare now visible.

5 Click and drag any of the slidersto change the size and look.

6 Drag the black handles and grayarrow to alter the roundness andbrush angle.

l The Preview window displays thechanged brushstroke.

7 Click another attribute that youwant to change, such as DualBrush ( changes to ).

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The window changes todisplay new settings.

8 Click and drag any ofthe sliders to changethe size and look.

9 Click another selectionin the window.

l The Preview windowdisplays the changedbrushstroke.

0 Click the New Brushbutton at the bottom ofthe panel.

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The Brush Name dialog box appears.

! Type a name for your brush.

@ Click OK.

l Your customized brush is now available inthe Brushes panel and stored with yourPhotoshop CS4 Preferences.

# Click here to open the brush picker.

$ Click here to open the menu.

% Click Save Brushes.

When the Save dialog box appears, type aname for this brush set and click Save.

Your brushes, including your new custombrush, are now saved in Photoshop CS4Brushes folder in the Presets folder.

Important!You can save your brushes folderto another location on your harddrive, such as the Documentsfolder, rather than the Photoshopfolder. Your custom brush set canthen be transferred to anothercomputer or reloaded if you haveto reinstall Photoshop.

More Options!Photoshop CS4 includes manydifferent brush files listed both atthe bottom of the submenus onthe Brushes panel and the Brushoptions menu in the Options bar.You can load any set by clicking itsname and then clicking Append inthe dialog box to add this set tothe existing brushes.

Did You Know?You can view the brushes by nameor as a list rather than by thestroke thumbnails. Click the pop-up menu on the Brushes PresetPicker or the Brushes panel. ClickText Only or click a list view oreven a different-sized thumbnail.


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1 Click the Gradient tool.

2 Click a gradient type in theOptions bar, a linear gradient inthis example.

3 Click inside the gradientthumbnail in the Options bar.

MAKE A SPECIAL GRADIENTto suit your design

You can use the Gradient tool to blend colors to filltext with soft gradations of color, to fill backgroundswith a colored gradient, to work with layers andmasks, and for making composite images. You canfind more gradient color sets in the pop-up menu inthe Options bar. You can also create your owngradient by sampling colors from areas in your imageor choosing different colors altogether.

You can add intermediate colors and design a blendamong multiple colors in any order that you want.

You can even design gradients that fade from anycolor to transparent.

You can also choose a style for the gradient, such aslinear, radial, angled, reflected, or diamond. Youcustomize the gradients from the Gradient Editor.Start with an existing gradient and modify the colors,the color stops, and other variations in the dialogbox. The possibilities are almost endless!

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The Gradient Editor dialog boxappears.

4 Click the left color stop under thegradient bar to select it.

5 Click the Color thumbnail tochoose a new color.

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The Color Picker dialogbox appears.

6 Select a color from thedialog box.

Note: If you have animage open, you canmove the cursor over theimage to select a color.

7 Click OK.

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l The selected color fills the left color stopin the Gradient Editor.

8 Click the right color stop under thegradient bar to select it.

9 Repeat steps 5 to 7 to select the colors forthe right color stop.

0 Type a name for your new gradient in theName field.

! Click New.

l The custom gradient appears in thepresets.

@ Click OK.

Your custom gradient remains in thegradient presets so you can apply it againto other projects.

Caution!You must save your custom gradients in a presetlibrary to avoid losing them when you resetPhotoshop’s preferences. Click Save in the GradientEditor dialog box or choose Save Gradients from thepop-up menu in the Gradient picker. Type a name foryour gradient library with the suffix .grd. Click Save,and your gradients are saved in Photoshop’s presets.

More Options!Vary your custom gradient by adding color stops.Press Option (Alt) and drag the first color stop toanother location or drag a new color stop over othercolor stops. To remove a color stop, click the colorstop and drag straight down.


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1 Install and launch the softwareincluded with the device, andplug the device into a USB port.

Note: Macintosh users should belogged in as an Admin account.

2 Click the monitor image.

3 Click Easy.

4 Click the Forward button.

CALIBRATE AND PROFILEyour monitor for better editing

You adjust colors in Photoshop based on what you seeon the screen. Because each monitor displays colordifferently and because a monitor’s characteristicschange over time, you should calibrate and profileyour monitor regularly to make sure that you areviewing the colors that are actually in your files.

Calibration is the process of setting your monitor toan established color standard. Profiling is the processof creating a data file describing how your monitorreproduces color or an International ColorConsortium (ICC) profile.

You need to use a hardware calibration device called acolorimeter or spectrophotometer to accurately adjustyour monitor. The software-only methods includedwith the operating system are too subjective. Both X-Rite and DataColor make affordable devices. Acolorimeter can only correct the colors on yourscreen. A spectrophotometer can also measure andadjust color for your printer.

Please note that the following steps are those usedwith an X-Rite i1 Display LT. You can follow similarsteps for an X-Rite Pantone Huey, ColorMunki, orother device.

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The Monitor Type screenappears.

5 Click to select your monitor type.


7 Place your i1 Display on a blacksurface or place the i1 Pro in itscradle and click Calibrate.

8 Click the Forward button tocontinue.

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The Place Your Eye-One on the Monitor screenappears.

9 Place the unit on themonitor as the imageshows.


The screen goes black, andthen a box appears underthe colorimeter on thescreen.

The box fills with white,then black, and then colorsas the device automaticallymeasures the colorpresentation capabilities ofyour monitor.

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l A new screen appears, showing the nameof the monitor profile created by thedevice.

! Click here to select a reminder for thenext calibration.

@ Click the Forward button.

A dialog box appears, telling you wherethe profile was saved on your computer’shard drive.

# Click OK.

$ Quit the i1 Match software applicationand disconnect the i1 Colorimeter orSpectrophotometer.

Did You Know?As monitors age, they lose theircolor accuracy more quickly.Calibrate and profile regularly —monthly if your monitor is new orweekly if your monitor is over twoyears old. CRT monitors need towarm up for 30 minutes beforeyou calibrate and create a profile.

Important!The brightness level of LCDmonitors is often set to themaximum at the factory. When youfirst calibrate and profile an LCD, itmay appear dark by comparison.However, after calibrating andprofiling, the monitor displays amore accurate representation ofthe colors in your images.

More Options!X-Rite’s i1 Match software keeps aHelp file open in a column alongthe right side of the screenexplaining each step as youproceed. You can increase yourunderstanding of color calibrationby reading the explanations as youproceed.


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1 With a Wacom tablet plugged intoa USB port and the Wacom driverinstalled, open the Tabletpreferences.

The Tablet preferences open to thePen tab.

2 Click and drag the Tilt Sensitivityslider to the right for greater tiltresponse.

3 Click and drag the Tip Feel sliderfor a softer or firmer touch.

l You can click Details instead ofusing the slider.

4 When a window drops down, testyour settings by drawing in the TryHere box. Click and drag theSensitivity slider toward Firm orSoft, and then draw in the Try Herebox again. You can also click theTry Here box and then move theClick Threshold slider toward Lowor High and test again.

5 Click different rocker switchsettings.

6 Click the Eraser tab.

The Eraser preferences appear.

7 Click and drag the Eraser Feel sliderfor softer or firmer eraser pressure.

8 Click the Functions tool tocustomize the tablet keys.

Turn on the full power of Photoshop with a

PEN TABLETUsing a mouse as an input device may work forplacing insertion points in text or dragging arectangular selection in Photoshop, but using a Brushtool or selecting specific areas with a mouse issimilar to writing your name with a bar of soap —clunky and inaccurate. You can edit images withgreater comfort and control using a pressure-sensitive tablet and pen, such as the Wacom Intuosor Cintiq. More than 20 Photoshop tools, such as theBrushes, the Eraser, the Quick Selection tool, theClone Stamp, the Dodge and Burn tools, and otherscan be customized only when a tablet is connected to

the computer. You can then change brush size,roundness, flow, or opacity by applying more or lesspressure with the pen.

Instead of scooting the mouse around, you use thepen to place the cursor exactly where you want, andmake precise selections or paint digitally as with atraditional paintbrush on paper.

The key to using a tablet and pen and turning on thefull power of Photoshop is to start by setting theTablet Preferences located in the System Preferencesor Control Panel.

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The ExpressKeyspreferences appear.

9 Click any of the optionsto change the settingsfor this ExpressKey.

0 Type the keystrokes inthe window that dropsdown and click OK.

! Type a name for theKeystroke in the nextwindow that dropsdown.

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@ Click OK to apply the keystroke and name tothe ExpressKey.

# Repeat steps 8 to 12 for any other ExpressKeyyou want to change.

l The ExpressKeys display the names you typed.

$ Click the Touch Strip tab.

The Touch Strip preferences appear.

% Click here to change the scrolling speed.

^ Click here and select Keystrokes.

& Click in the first Click to Set box.

* Type your keystroke preferences in the dialogbox that appears and click OK.

( Type a name for the Keystroke in the nextwindow that drops down and click OK.

) Repeat steps 16 to 18 for the other Click toSet box.

q Click the Close button.

Your custom settings are saved in thePreferences.

Try This!You can save different settings foreach option depending on theapplication. Click the plus sign ( ) to the right of the Applicationsection and select an application.Then set the Pen, Eraser,ExpressKeys, and Touch Stripoptions for the tools you use mostin that particular application andclose the Tablet Preferences. Yourpen tablet will respond differentlydepending on the application.

Important!There are three basic types ofWacom pen tablets: the Bamboo,the Intuos, and the Cintiq, andeach comes in multiple sizes. ThePreferences dialog box variesslightly depending on the type ofWacom tablet you have connected.

Did You Know?More than 20 Photoshop tools arespecifically designed for use with apressure-sensitive tablet and pen.For example, using a mouse, youcan only select Off or Fade forBrush opacity. With a tabletattached to the computer, you canalso select Pen Pressure, Pen Tiltand Stylus Wheel, giving you morenatural and responsive controlwhen painting or editing photos.


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1 Click File.

2 Click Open.

The Open dialog box appears.

3 Shift+click multiple images toselect them.

4 Click Open.

Change your

WINDOW VIEWSPhotoshop CS4 enables you to open and view yourimages in various configurations on the screen. Youcan open multiple similar photographs at the sametime to see which one is the best of the group. Youcan also have two windows of the same image open.

Photoshop automatically opens multiple images asseparate tabs in one window. You can quickly changefrom one image to the next by clicking the tabs, andyou can close any images you do not need byclicking X on the image tab. You can select oneimage and open it in a separate window while leaving

all the others as tabs in the group or view all theimages as cascading individual windows. You can alsotile multiple windows so they all fit on the screen atonce. You can open a second window of one imageand view an enlarged version in one window and thefull photo in the other, so you can edit a particulararea while still viewing the overall effect on the entireimage. Comparing specific areas on similar photos iseasy because you can match the areas displayed ineach of the images and even match a zoomed-inlocation.

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l The images open in the defaulttabbed mode.

5 Click any tab to view a differentimage.

6 Click Window.

7 Click Arrange.

8 Click Float All in Windows.

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l The images open inseparate windowscascading down thescreen.

9 Click Window.

0 Click Arrange.

! Click Tile.

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l The images tile across the screen.

@ Click the Hand tool.

# Click and drag in one image to move it tothe bottom right corner.

$ Click Window.

% Click Arrange.

^ Click Match Location.

All the windows move their contents todisplay the bottom right corner of eachimage.

Did You Know?If you zoom in on one image andthen tile the windows, you canclick Window, Arrange, and MatchZoom to zoom the same amounton all the windows.

More Options!You can drag one or morewindows to a second monitor. Youcan then have all your tools andpanels on one monitor and allyour images on the other, or oneversion of an image on onemonitor and an edited version onthe other.

Try This!Click the Arrange Documentsbutton ( ) in the Photoshop barand click any of the buttons toselect a different tilingarrangement, or click Match Zoom,Match Location, or Match Zoomand Location to quickly changeyour window views.


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Working with Layers,

Selections, and Masks

Unless you use Photoshop only to resize andprint photographs, you will use layers,selections, and masks for most projects. Youmay simply duplicate a layer as a safety stepor build a complex multilayered imagecombining layers and layer effects withselections and masks.

A layer is a similar to a transparency sheetwith an image on it. You can edit, transform,or add filters to a layer independently fromother layers. You can make one layer alter thelook of a layer above or below it. You canflatten all the layers to finalize an image orsave a file with the layers for future editing.You can also drag a layer from one documentto another.

Selections enable you to isolate areas in yourimage and apply different effects or filterswithout affecting the rest of the image. Youcan even select areas on one layer and createa new layer with that selection. You can makeselections with many Photoshop toolsdepending on the type of area that you needto isolate or remove. You can copy, move,paste, and save selections.

A mask is a selection shown as a grayscaleimage: The white areas are selected; the blackareas are not. You can use masks to block outareas of an image or to prevent edits. You cancreate bitmap layer masks with painting toolsor resolution-independent vector masks with ashape tool.

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Name and Color-Code Layers to Organize the Layers Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Duplicate and Change the Background Layer for More Options . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Adjust a Photo with an Adjustment Layer . . . . . . . . . . . . 32

Blend Two Photos Together with a Layer Mask . . . . . . . . 34

Add a Design with a Custom Shape Layer . . . . . . . . . . . . 36

Accentuate a Sky with a Gradient Fill Layer . . . . . . . . . . . 38

Make a Selection with the Quick Selection Tool . . . . . . . . 40

Use Refine Edge to Make All Selections Better . . . . . . . . . 42

Paint a Quick Mask to Make a Detailed Selection . . . . . . 44

Add Layers as Smart Objects for Flexible Changes. . . . . . 46

Apply Filters as Smart Filters for Dynamic Adjustments . . . 48

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CLOSE LAYER TABS

1 Click here on any unused tabgroup.

2 Click Close Tab Group.

The tabbed group disappearsand the other tabbed groupsexpand to fill the space.

Note: Optionally, repeat steps 1and 2 for other unused groups.

Note: You can also click and draga panel out of a group tomaintain it on the screen beforeclosing the other tabs in thetabbed group.

NAME ANDCOLOR–CODE LAYERSto organize the Layers panel

Layers are one of Photoshop’s most powerful featuresand the key to editing any image. You can nameindividual layers to help you remember which oneapplied a specific adjustment to an image. You canalso color-code your layers to help you visuallyorganize the Layers panel. You can view all the layersby scrolling or you can expand the Layers panel toview all the layers at once by clicking and draggingthe Layers panel tab to separate it from the otherpanels on the screen. You can also close any panel

tab groups you are not using so the Layers panelexpands automatically to fill the space.

Although the tasks in this chapter add only a fewlayers to each image, you will accumulate many morelayers in the Layers panel as you work, depending onthe complexity of the project. Whether you workalone or with a group of designers and share projects,naming layers and color-coding them helps youmaintain an organized Layers panel and streamlinesyour workflow and the entire editing process.

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RENAME LAYERS

1 Double-click the name of a layer.

2 Type a new name in the box.

3 Repeat for any other layers togive each layer a distinctivename.

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COLOR-CODE LAYERS

1 Start by clicking onelayer, such as the PhotoLayer, to select it.

2 Click here on the Layerstab.

3 Click Layer Properties.

The Layer Propertiesdialog box appears.

4 Click here and select adifferent color.

5 Click OK to apply thecolor to the layer.

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l The layer’s visibility button box changescolor.

6 Repeat steps 1 to 4 to color other layers.

29Chapter 2: Working with Layers, Selections, and Masks

Try This!You can group multiple layers into one layer group byselecting the layers and then clicking the New Groupbutton ( ) on the bottom of the Layers panel, or byclicking Layer and selecting Group Layers from themain menu. Layer groups can be opened for editingpurposes and then collapsed to display a single folder.You can also move layers in a group all at once.

More Options!You can merge any layers that do not need to remainseparately editable. Make sure the two layers are oneabove the other in the Layers panel by clicking anddragging them if necessary. Click the top layer toselect it. Click the pop-up panel menu button ( )on the Layers panel and select Merge Down, or pressÔ+E (Ctrl+E). You can also merge layers byÔ+clicking (Ctrl+clicking) two or more layers andthen click Layers and Merge Selected.

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1 Open an image in Photoshop.

Note: In this example, theexposure in an overexposed image is adjusted by duplicatingthe Background layer andchanging the layer blend mode.

2 Click and drag the Backgroundlayer thumbnail over the NewLayer button and release themouse button.

DUPLICATE AND CHANGEthe Background layer for more options

The Background layer is generally the bottommostimage in the Layers panel — and the only layer inthe file when you first open a new photograph. Youcan duplicate the Background layer and use it to editthe photo or simply work on the duplicated layer toprotect the original. Layers are the key tonondestructive image editing — that is, working onyour images without damaging existing pixels.

Although it does increase the file size, working on aduplicated layer works well for simple changes andcan be used as a safety step in most workflows. Witha duplicate Background layer, you can quickly

compare your modified image with the original byclicking the visibility button, the leftmost box next tothe layer thumbnail in the Layers panel, to toggle theduplicated layer on and off to see the changes youmade.

You can add layers above the original Backgroundlayer to edit the image. You can also convert theoriginal Background layer to a regular unlocked layerso you can apply special layer effects directly to thislayer, change its fill or opacity settings, or move it toanother position in the Layers panel.

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Photoshop places a duplicatedBackground layer above theoriginal.

3 Double-click the Backgroundcopy’s name in the Layers panelto highlight it.

4 Type a different name for thecopy.

5 Click here and change the blendmode to Multiply.

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The photo appearsdarker.

Note: If the photo is stilloverexposed, follow steps6 and 7. If it appears toodark, go directly to step8.

6 Click and drag thecopied layer over theNew Layer button andrelease the mousebutton.

7 Repeat step 6 until thephoto appears slightlydark.

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8 Click and drag to the left directly on theword Opacity to lower the opacity of thetop layer until the photo appears properlyexposed.


Try This!You can duplicate the Backgroundlayer or any other layer with akeyboard shortcut. Click the layerto be duplicated in the Layerspanel to select it and make it theactive layer. Press Ô+J (Ctrl+J).

More Options!To move the Background layer,you must unlock it by double-clicking its name, typing a newname in the dialog box thatappears, and clicking OK.

Did You Know?The selected layer is called theactive layer. You can selectmultiple layers by pressing Ô(Ctrl) and clicking them. You canthen move them together or addeffects to them all at the sametime.

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1 Open an image in Photoshop.

Note: In this example, anoverexposed image is edited usingan adjustment layer.

2 Click one of the adjustment layerbuttons such as Brightness andContrast.

Adjust a photo with an

ADJUSTMENT LAYERYou can make a variety of adjustments to an imageusing the Adjustments option on the Image menu.However, each time you change the pixels in animage, you lose some data. If you combineadjustments, you lose even more pixel information.By applying an adjustment layer instead, you canmake color and tonal changes to your image withoutchanging any pixel values.

With adjustment layers, you can edit the adjustmentat a later time. You can reduce or vary the effect of

the adjustment by using the Opacity or Fill sliders.You can also combine various adjustment layers.

You can access the adjustment layers from either theLayer menu in the Layers panel, or in theAdjustments panel, which provides more options.With the Adjustments panel open, you can quicklyadd adjustment layers and access the adjustmenttools without opening menus or dialog boxes to blockyour view of the image. Using the options in theAdjustments panel, you can make the adjustmentaffect all the layers below, or just the top layer.

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l An adjustment layer appearsabove the Background layer inthe Layers panel, and theBrightness/Contrast adjustmentsappear.

3 Click and drag the sliders toadjust the photo.

The adjustment layer’s changesare applied to the image.

4 Click the Return to AdjustmentList arrow.

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The Adjustments panelreturns to theAdjustment layer list.

5 Click anotheradjustment such asBlack & White.

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l Another adjustment layer appears in theLayers panel and the Black & Whiteadjustment options appear.

6 Click the Click and Drag button and thenclick and drag directly on areas of thephoto to change the values.

7 Click the View Previous State button totemporarily view the adjustment prior tothe slider changes you made in step 3.

8 Click the visibility button to toggle thevisibility of the adjustment layer on andoff.

9 Click the Reset button to reset theadjustment layer to the default settings.

0 Click the trash button to delete theadjustment layer.


More Options!All adjustment layers include a layer mask,represented by a white thumbnail in the Layerspanel. You can click the layer mask thumbnail andpaint with black in the image to limit where theadjustment affects the underlying photo. If youaccidentally reveal too much of the underlying image,you can change the foreground color to white andpaint in the mask to reapply more of the adjustment.

Did You Know?You can use an empty adjustment layer and changethe layer blending mode to get the same effect asduplicating a layer and changing the blending mode.Simply click an Adjustment Layer button in the panelbut do not make any changes. Then select a differentblending mode for the empty adjustment layer in theLayers panel.

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1 With the two photographs youwant to blend open, click theMove tool.

2 Click and drag the photo youwant to blend on top of thephoto you want for the base.

3 Close the original top photo.

Note: If the images are the samesize and resolution, the top imagehides the base image.

BLEND TWO PHOTOS TOGETHERwith a layer mask

Layer masks open a world of imaging possibilitiesthat you just cannot create with traditional tools.Using a layer mask to hide parts of an image, youcan easily blend one photograph into another andcreate designs that are sure to grab a viewer’sattention. For example, you can blend a photographof a wedding couple into a photo of the bride’sbouquet or blend a photo of a potato with a photo ofa person lying on a couch.

You can blend with a black to white gradient on thelayer mask for a smooth transition, or simply use a

brush to paint away parts of the image. As you paintwith black on a white layer mask, the images blend.If you paint away too much, simply reverse thecolors and paint with white.

This technique is especially effective using a pentablet. You can easily control how much of the imageyou reveal with each brush stroke by setting thebrush opacity to respond to pen pressure.

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4 Click the Layer Mask button inthe Layers panel.

l A white layer mask thumbnailappears in the Layers panel.

5 Click the Default Colors icon toset the foreground andbackground colors.

6 Click the Switch Colors icon tomake the foreground color black.


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8 Click here to open thebrush picker.

9 Click a soft-edgedbrush.

0 Click the layer mask inthe Layers panel tomake sure it is stillselected.

! Paint over areas to hideparts of the top imageand reveal more of thebackground photo.

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@ Click the Switch Colors icon to reverse theforeground and background colors.

# Paint with white to fill in areas where youhave painted away too much of the topimage.

The white paint strokes bring some edgedetails of the top image back.


Try This!Using a pen tablet, you can varyyour paint strokes with penpressure. Click the Brushesthumbnail to open the BrushesPresets. Click Shape Dynamics andset Size Jitter Control to PenPressure.

Customize It!Double-click the Foreground Colorbutton in the toolbox and select agray in the color picker. Paintsome areas of the layer mask withgray to make them only partiallyvisible.

More Options!Type some text in an image usingthe Type tool ( ) and click theLayer mask in the Layers panel.Paint over some areas of theletters with black to hide them tomake the text appear from behindparts of an image.

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1 Duplicate the Background layerof an image.

2 Click the Shape tool.

3 Click the Custom Shape tool inthe options bar.

4 Click here and double-click ashape in the menu.

5 Click here.

6 Double-click a style button inthe menu.

Add a design with a

CUSTOM SHAPE LAYERCustom shapes are resolution-independent vectorshapes, meaning that they maintain crisp edgeswhen resized or saved in a PDF file. You can selectany of Photoshop CS4’s predesigned custom shapesor create your own shape with the Pen tools. You canalso load custom shapes you purchase from thirdparty vendors. You can add shapes to any image as adesign element or to alter the shape of a photo.

Shapes are applied as separate layers, and eachshape layer has two parts: the fill layer and a linked

vector mask. The mask is the shape’s outline. Youcan choose the fill layer’s color in the Options barbefore you draw the shape or you can click in the fillbox for the shape layer in the Layers panel andselect a different color for the shape. You can alsoset the fill color to a zero opacity fill.

You can add special effects such as a drop shadow ora stroke to a shape layer by clicking the Layer Stylebutton (fx) at the bottom of the Layers panel.

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7 Click and drag in your image todraw the shape.

8 Ô+click (Ctrl+click) the shapethumbnail.

The shape changes to aselection.

9 Click the layer thumbnail anddrag it to the trash.

The selection remains on theimage.

0 Press D to reset the foregroundand background colors.

! Press X to make the foregroundcolor white.

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@ Press Ô+J (Ctrl+J) toduplicate the selectiononto its own layer.

# Click the Backgroundcopy layer to select it.

$ Click the AdjustmentLayer button in theLayers panel.

% Click Gradient.

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The base image is covered with a white-to-transparent gradient fill.

^ Click OK in the Gradient Fill dialog box orclick to change the attributes.

The shape highlights the subject of thephoto.


More Options!You can access more custom shapes than the defaultset by clicking the Custom Shape button ( ) in theOptions bar and clicking the Shape to open theselection menu. When you click the drop-down arrowon that menu, you can select one of the shapegroups at the bottom of the menu or select All to seeall the installed shapes at once. Then double-click ashape thumbnail to select it.

Try This!Create a gradient fill with a color from your image.Click the Foreground Color box to open the colorpicker. Move the cursor outside of the Color Pickerdialog box and click a color from your image. ClickOK to close the dialog box.

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1 Open an image with a dull sky.

2 Click the Default Colors icon toset the foreground to black.

Note: Optionally, click to select acolor to use a gradient for acreative effect.

3 Click the New Fill or AdjustmentLayer button.

4 Click Gradient.

ACCENTUATE A SKYwith a gradient fill layer

You may have a scenic photo in which the sky is a bitdull. The lighting may have called for a differentexposure setting, or you may need a neutral densityfilter or polarizing filter on the camera. Still, you maywant to use the photo in an album or a graphicdesign project. You can add a little blue to darkenthe sky, add some black to make a gray sky moreforeboding, or add an orange color to give the sky agolden glow. You can greatly improve an otherwiseboring tourist photo using a gradient fill layer.

You can visually adjust the amount of color you add,and because you are using a fill layer, you can goback and increase or decrease the amount of colorafter you apply the gradient fill layer. You can evenchange the color that you applied to get a differenteffect or to create a more dramatic look. Thistechnique is most effective on a photo with a largesky area and an open horizon.

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The Gradient Fill dialog boxappears, and a foreground-to-transparent gradient is applied tothe image.

5 Make sure that the angle is set to90 degrees.

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6 Click Reverse ( changes to ).

The gradient reverses toblack at the top,changing to transparentat the bottom of theimage.

7 Position the cursor overthe image.

8 Drag upward in theimage until thegradient covers only thesky and the clouds lookmenacing.

9 Click OK.

!!

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0 Click here and click Overlay.

! Double-click the layer thumbnail for thegradient fill.

The Gradient Fill dialog box reappears.

@ Position the cursor over the image.

# Drag downward in the image to increasethe darkened sky or drag upward to lessenthe effect.

Each time that you drag in the image withthe Gradient Fill layer selected, the look ofthe sky changes.


Did You Know?Multiple layers increase the file size of your image.Because Photoshop requires more memory to workon larger files, you should merge layers that will notbe changed later. Pressing Ô+E (Ctrl+E) merges thehighlighted layer with the layer below. PressingÔ+Shift+E (Ctrl+Shift+E) merges all the visible layers.

Try This!You can apply a gradient fill layer on a photo showinga large body of water such as a lake or the ocean.Experiment with different foreground colors for thegradient fill for both dramatic and creative effects.

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1 Click the Quick Selection tool.

2 Click here to open the brushpicker.

3 Click and drag the Diameterslider to change the brush tipsize.

l If you have a pen tabletattached, you can click here toset the brush size with penpressure.

Make a selection with the

QUICK SELECTION TOOLThe Quick Selection tool in Photoshop CS4 enablesyou to easily select broad areas of an image bysimply painting over them. You can use the QuickSelection tool to remove a background and isolatethe main subject.

You can brush over different parts of a photo, varyingthe brush size as you work, or just click areas for amore limited selection. Once you have made yourfirst selection, the tool automatically changes to theAdd to Selection tool, so you can easily add areaswithout pressing any additional keys. You cansubtract from the selection by pressing and holding

Option (Alt) as you paint, or using the Subtract fromSelection tool in the Options bar.

This task shows the basic steps for selecting asubject and putting it on a separate layer. You canalso select the background on a duplicated layer andpress Delete (Backspace) to remove the backgroundfrom the image, leaving just the subject on the layer.With any active selection you can click Layer in themenu and click Inverse to invert the selection.

For most selections, you will need to use the tools inthe following two tasks to refine the selection.

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4 Click and drag inside the part ofthe image you want to select.

5 Click and drag in another area tobe selected.

l The tool changes to the Add toSelection option.

6 Press Ô+spacebar(Ctrl+spacebar) and click tozoom in.

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7 Continue clicking anddragging in the imageto select more areas.

8 Press Option (Alt).

l The tool changes to theSubtract from Selectiontool.

9 Click in areas that youwant to remove fromthe selection.

0 Press and hold thespacebar and click inthe image to move to adifferent area.

! Click any other areas toremove them from theselection.

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@ Press Option+spacebar (Alt+spacebar) andclick to zoom out.

# Press Ô+J (Ctrl+J) to put the selection onits own layer.

l The selected area appears on a new layerabove the Background layer.


Enhance It!You can click the Auto-Enhanceoption in the Options bar toreduce the roughness of theselection boundary and extend theselection toward the edges itdetects. Depending on the speedof your computer, adding theAuto-Enhance option may slowthe selection process.

Keyboard Shortcuts!To quickly change the brush sizeas you work, you can use thekeyboard. Press the left bracketkey to decrease the brush size orthe right bracket key to increasethe brush size.

More Options!To quickly Zoom in and out of thephoto to make it easier to selectthe subject, press Ô(Ctrl)+spacebar to zoom in andOption (Alt)+spacebar to zoomout as you select different areas.

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1 Repeat steps 1 to 3 in theprevious task.

2 Click and drag in thebackground in the photo toselect it.

3 Press Ô+Shift+I (Ctrl+Shift+I) toinvert the selection.

Note: Optionally, click Select andclick Inverse.

l The foreground subject isselected.

4 Click the Refine Edge button inthe Options bar.

The subject appears against asolid background.

5 Click Preview ( changes to )to see the changes as you makethem.

6 Click and drag the Radius sliderto soften the edge outline.

7 Click and drag the Contrastslider to remove edge artifactsand to sharpen edges.

8 Click another preview button,such as the Quick Mask mode,to view the selection.

Note: Each of the different previewbuttons changes the previewmode so you can view theselection either against a white orblack background or so you cansee the mask or the quick mask ofthe selected area.

USE REFINE EDGEto make all selections better

The Refine Edge floating panel is accessible in theOptions bar whenever any selection tool is selected.Using Refine Edge, you can clean up selections,soften or feather the edge outlines, remove edgeartifacts or jaggies, and expand or contract selectedareas. The panel offers various previewing options,showing the selection on different coloredbackgrounds or as a red masked area to help yousee the edges of the areas you are selecting and thechanges you are making. You can use the Refine

Edge panel with any active selection, regardless ofthe tool used to create the selection. Whenever thereis a selection in the image, the Refine Edge buttonappears in the Options bar.

This task starts with a selection of the backgroundand then inverts the selection to show the subjectmatter in the selection marquee. You can also selectthe subject directly, as in the previous task,depending on the detail in your image and what ismost easily selected.

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9 Click and drag theSmooth slider tosmooth the selectionoutline.

0 Click and drag theFeather slider to createa softer-edgedtransition.

! Click and drag theContract/Expand sliderto adjust the selectionedges.

@ Click a different previewbutton, such as theblack backgroundpreview mode.

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# Repeat steps 6 to 12 to make the bestselection possible.

$ Click OK to save the selectionadjustments.

Your refined selection appears on theimage and you can press Ô+J (Ctrl+J) toput the selection on its own layer.


Try This!You can use a keyboard shortcut to quickly changethe preview mode when using the Refine Edge panel.Press F to cycle through each preview mode. Press Xto temporarily view the original image.

Did You Know?Moving the Radius slider improves the edge of theselection and helps in areas with more detail.Increasing the Contrast amount sharpens the edgesof the selection. The Smooth slider removes jaggededges of a selection, and the Feather slider adds auniform blur to the selection edge. TheContract/Expand slider contracts or increases theedges of the selection.

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1 Click the Zoom tool and clickand drag to enlarge the areayou want to select.

2 Click the Default Colors icon toset the foreground color to blackand the background to white.

3 Click the Quick Mask Modebutton.



PAINT A QUICK MASKto make a detailed selection

You can select a rectangular or oval area with theMarquee tools, select freeform or geometric areaswith the Lasso tools, or make other selections withthe Quick Selection tool. When your image requires amore detailed or precise selection, you can use theBrush tool in Quick Mask mode to make a detailedselection or to adjust any previously selected area.

The Quick Mask mode is an editing mode in whichprotected areas are covered with a translucentcolored mask. You paint directly on the areas youwant to select, adjusting the brush size as you work

to make the selection more precise. The quick maskcovers the area with a translucent red so you can seewhat you are selecting. You can also specify adifferent masking color if the area you are selectinghas a lot of red in it.

Using this masking technique, you are actuallymasking the areas you paint, so you must invert theselection before making any adjustments. The areasyou painted over are then selected, and theremainder of the image is now masked.

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6 Select a hard-edged brush.

7 Click and drag the MasterDiameter slider to adjust the size.

8 Paint over the areas you want toselect.

l The painted areas are coveredwith a red translucent mask.

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9 Click the Switch Colorsicon to reverse theforeground andbackground colors andmake white theforeground color.

0 Paint over any areasthat you do not wantselected.

! Click the Switch Colorsicon to make black theforeground color.

@ Continue painting untilthe whole area iscovered in red.

# Click the Quick MaskMode button to turnoff the Quick Maskmode.

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$ Press Option+spacebar (Alt+spacebar) tozoom back out.

l Dashed lines indicate the areas that werenot masked.

% Click Select.

^ Click Inverse.

The selection now includes only the areayou painted in the Quick Mask mode.


Caution!Remember that you are creating amask, which actually selects theinverse of the area you arepainting over. You must invert theselection by clicking Select andselecting Inverse before you makeadjustments to the selected area.

Important!You may need to feather aselection before you makeadjustments. After you invert theselection, click Select and clickRefine Edge to adjust the selectionusing the Refine Edge panel as inthe previous task.

More Options!If the image you are painting on isvery red, change the maskingcolor. Double-click the Quick MaskMode button ( ) and click thecolor box in the Quick MaskOptions dialog box to pick a newcolor. You can also reduce thedefault mask opacity of 50% ifnecessary to see the selected areabelow the mask more clearly.

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OPEN AN IMAGE AS A SMART OBJECT

1 Click File.

2 Click Open As Smart Object.


3 Navigate to and click a file toopen.

4 Click Open.

The file opens as a smart object.

ADD LAYERS AS SMART OBJECTSfor flexible changes

A smart object layer is a type of layer that functionsas a pointer to the original image file. This type oflayer gives you creative flexibility for editing becausethe original pixel data of the image is preserved. Youcan edit a smart object layer and then change theadjustment you applied without altering the imagequality.

For example, when you transform or scale a regularimage layer to reduce the size, some pixels areremoved. If you then transform the layer back again,you lose image quality because your previouschanges permanently altered the actual pixels.

However, if you open the same photograph as asmart object layer, or convert the layer to a smartobject layer, you can scale the layer without anyimage data loss.

You can open a document as a smart object, convertone or more layers in Photoshop to smart objectlayers, or move a smart object layer into anotherdocument, maintaining its quality as a smart object.You can also place an Illustrator or other vector fileinto a document as a smart object and maintain thevector’s sharp edges or forms even when resizing.

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CONVERT AN OPEN IMAGE LAYER TO A

SMART OBJECT LAYER

1 With an image already open,click Layer.

2 Click Smart Objects.

3 Click Convert to Smart Object.

l The layer is changed to a smartobject layer and appears in theLayers panel with the SmartObject button. The layer is alsorenamed to Layer 0.

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OPEN A CAMERA RAW IMAGE

AS A SMART OBJECT AND

COPY IT TO ANOTHER

DOCUMENT

1 Open a new blankdocument.

2 Open a Camera Rawimage as a smart objectas in the first section ofthis task.

3 Camera Raw opens.Click OK withoutmaking any changes tothe RAW file.

4 Click Window and thenFloat All in Windows.Then click Window andTile so that you can viewboth images on-screen.

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5 Click and drag the smart object layer tothe blank document.

6 Click here to close the original smartobject file.

The smart object layer appears in theother document.

l You can double-click the smart objectlayer to reopen Camera Raw and continueto edit the RAW file.


More Options!You can edit the contents of anysmart object layer, not just RAWfiles. Click Layer, Smart Objects,and Edit Contents. Click OK in thewarning dialog box that appears.Edit the original file and pressÔ+S (Ctrl+S). The smart objectimage is updated.

Try This!You can create duplicates of asmart object layer in a documentand link them. When you replacethe contents of one smart objectlayer, all the duplicates areautomatically updated at the sametime.

Did You Know?You can place a Camera Rawimage from the Bridge as a smartobject layer into a Photoshop file.The smart object layer remainscompletely editable as a cameraRAW file without any data loss.

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1 Open or convert an image as asmart object as shown in theprevious task.

2 Click Filter.

3 Click a filter such as GaussianBlur.

4 Click and drag the sliders andadjust any options in the dialogbox that appears.

5 Click OK.

APPLY FILTERS AS SMART FILTERSfor dynamic adjustments

Filters in Photoshop are used to add blur, reducenoise, sharpen, or style an image. When you apply aregular filter you permanently alter the pixels. Byapplying a smart filter instead, you can edit andchange the settings of the filter at any time, evenafter the document has been saved and reopened.Any filter applied to a smart object layer becomes asmart filter.

You can apply a smart filter to the entire smartobject layer or to a selection on a smart object layer.You can remove or hide smart filters at any time. You

can add multiple smart filters one on top of anotherand then change the order of the smart filters tochange the resulting effect. You can also add a maskto a smart filter. You can then paint on the mask withblack to hide or white to reveal different areas of thefilter and create detailed edits on specific areas, allwithout altering the image data.

All the Photoshop filters, with the exception of Liquifyand Vanishing point, and the Shadow/Highlight andVariations adjustments and can be applied as smartfilters.

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l The smart filter appears belowthe smart object layer in theLayers panel.

l A layer mask is automaticallyapplied to the smart filter.



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8 Click a soft-edge brushin the brush picker.

9 Press D to restore thedefault black and whiteforeground andbackground.

0 Click the smart filterlayer mask thumbnail toselect it.

! Click in the image topaint with black toremove the filter fromspecific areas.

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l The painted areas appear black in thelayer mask, and the filters are removedfrom those areas in the photo.

@ Double-click the filter name to reopen theSmart Filter dialog box and adjust thesettings.


Try This!Click the triangle by the smartobject layer to reveal the smartfilters or any layer effects appliedto the layer. Double-click the EditBlending Options button ( )next to the smart filter. A blendingmode dialog box appears. ClickMode to select a differentblending mode. Click Opacity todrag the slider to a differentpercentage.

More Options!To change the effect, click anddrag one smart filter above orbelow another one in the Layerspanel. To delete an individualsmart filter, click its name anddrag it to the Layers panel trash( ). To delete all the smart filterson a layer at once, click and dragthe text Smart Filters on the smartobject layer to the trash.

Did You Know?You can move a smart filter or agroup of smart filters to anothersmart object layer in the layerspanel by pressing Option (Alt) anddragging the smart filter. However,you cannot drag a smart filter ontoa regular layer.

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Straightening, Cropping,

and Resizing

A well-balanced image, free from odd-lookingdistortions, can mean the difference between asnapshot and a good photograph. The overalllayout of the image, how it is cropped, andwhere the main subject is placed in relation tothe background are essential visual elementsin any image. Your digital photo may havebuildings that appear top-heavy or out ofperspective. A crooked horizon or unbalancedsubject matter can make even a great imagelook like the work of a beginner. Your digitalphotos almost always need to be resized to fityour projects. Even the best photographershave images that require some cropping orresizing. You can follow similar guidelines inboth design projects and photographs.

With Photoshop CS4, you can use a variety ofstraightening and cropping tools to improve

the composition of an image. You can alsostraighten and crop several crookedly scannedphotos in one step. You can even makemultiple photos from one original image orcreate a panorama from several separateimages. Using Photoshop and Camera Raw,you can fix various types of camera lensdistortions and correct the perspective onbuildings; the software does most of the workfor you.

Photoshop CS4 makes all such previouslytime-consuming or difficult tasks quick andeasy. Tools and resampling algorithms help youstraighten, crop, adjust, and resize images,saving hours of tedious work to make all yourimages look better.

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Crop Your Images to Improve Composition with Photographers’ Rules. . . . . . . . . . . . . . . . . . . . . . . . . 52

Create a Level Horizon. . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Expand the Canvas with a Reverse Crop. . . . . . . . . . . . . . 56

Crop and Straighten in Camera Raw. . . . . . . . . . . . . . . . . 58

Straighten Crooked Scans Quickly. . . . . . . . . . . . . . . . . . . 60

Create Multiple Images from One Original. . . . . . . . . . . . 62

Change Your Perspective with the Crop Tool . . . . . . . . . . 64

Straighten Buildings with One Filter . . . . . . . . . . . . . . . . . 66

Create a Panorama from Multiple Photos. . . . . . . . . . . . . 68

Resize Your Image with Minimal Visible Loss . . . . . . . . . . 70

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1 With the image you want tocrop opened, double-click theBackground layer’s name.

The New Layer dialog boxappears with Layer 0 for thelayer’s name.

2 Click OK.

CROP YOUR IMAGESto improve composition with photographers’ rules

Designers and photographers use various techniquesto balance an image and catch the viewer’s attention.They may change the placement of the horizon tothe upper or lower third of the image. They maydivide the entire image into thirds horizontally andvertically and place the main subject at theintersection of the thirds. They may just offset themain subject to guide the viewer into the image.Perfectly composing a photograph in the camera’sviewfinder is not always possible; however, you canrecompose and improve that photo by cropping it inPhotoshop.

You can use Photoshop’s rulers and drag guides todivide the image into thirds as guidelines or just tomark the center of focus as a visual reference. Withyour image on a separate layer, you can use theMove tool to recompose your image, placing the mainsubject where it is most effective.

Then you can use the Crop tool to crop the imageand readjust the overall layout. You can also cropvisually, specify dimensions in the Options bar, useone of the preset sizes, or create a crop size andsave it as a preset.

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The locked Background layerchanges to a regular layer.

3 Click View.

4 Click New Guide.

The New Guide dialog boxappears with Vertical selected.

5 Type 33% in the Position box.

6 Click OK.

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l A vertical blue guideappears on the firstthird of the image.

7 Repeat steps 3 to 6,typing 66% in step 5.

l A second vertical blueguide appears on thesecond third of theimage.

8 Click View.

9 Click New Guide.

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0 In the New Guide dialog box, click Horizontal( changes to ).

! Type 33% in the Position box.

@ Click OK.

# Repeat steps 8 to 12, typing 66% in step 11.

A rule-of-thirds grid in blue is visible over theimage.

$ Click the Move tool.

% Click and drag in the image to place the mainfocus of the image near the intersection of twoguides.

^ Click the Crop tool.

& Click and drag across the image to select yourcropped photo.

* Click the commit button in the Options bar toaccept the crop.

Note: Once the image is cropped, the guides are nolonger placed at one-third intervals on the page.

( Click View.

) Click Clear Guides to remove the guides.

53Chapter 3: Straightening, Cropping, and Resizing

Try This!You can use the Crop tool ( ) to rotate the areaand get a different composition. Drag out a cropmarquee with the Crop tool, and then position thecursor just outside the area. It changes to a double-headed arrow ( ). Move the cursor to rotate thecropped area. Click the commit button ( ) tocommit the crop.

Customize It!Create your own Crop tool preset. Click the Crop tooland type your values in the Options bar. Click theTool Preset picker, the leftmost thumbnail in theOptions bar. Click the New Tool Preset button ( )on the right in the drop-down menu. Name your toolin the dialog box and click OK. Your custom croppingtool is added to the menu.

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1 In an image with a crookedhorizon line, click and hold theEyedropper tool to reveal theRuler tool.

2 Click the Ruler tool.

3 Click and drag from one side ofthe image to the other, alongwhat should be the horizon line.

Note: You can click and dragalong a building or any line thatshould be horizontal.

Create a

LEVEL HORIZONYou may have a photograph that is perfect for yourdesign, but the photo was shot at a crooked angle.You can easily fix that photograph in Photoshopwithout doing any math to adjust the angle of thehorizon line.

Photoshop includes a Ruler tool, found in the toolboxunder the Eyedropper tool. This tool is intended tohelp you position elements precisely in a designlayout and can calculate distances between twopoints in the unit of measure that you have set in

Preferences. When you click and drag the Ruler toolacross your image, a nonprinting line is drawn, andthe Options bar displays all the numeric informationrelating to the line and angle.

You can also use this tool to have Photoshopcalculate how many degrees your image should berotated to level the horizon and then have Photoshopstraighten the photo for you. You can then use theCrop tool to cut off the angled edges of the image,giving your photograph a straight horizon line.

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l The Ruler tool draws a line acrossthe image.

4 Click Image.

5 Click Image Rotation.

6 Click Arbitrary.

The Rotate Canvas dialog boxopens with the exact angleneeded to straighten the horizon.

7 Click OK.

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The image is rotated,and the horizon is morelevel.

8 Click the Crop tool.

9 Click and drag in theimage to select the areathat you want to crop.

0 Drag the corneranchors to the edges.

! Drag the center anchorsup or down to fit theimage.

@ Click the commitbutton in the Optionsbar to commit the crop.

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The image is cropped, and the horizon isnow straight.


Did You Know?You can easily check thedimensions of an open photowithout opening the Image Sizedialog box. Select the Crop tool( ) and click Front Image in theOptions bar. The current width,height, and resolution are shownin the data fields.

Attention!The Crop tool retains thedimensions of the previous crop.Be sure to click Clear in theOptions bar to reset the tool andremove any old settings beforeyou click and drag the Cropmarquee in a new image.

Try This!Although you have less controlover the area to be cropped, youcan crop a photo using theRectangular Marquee tool ( ) orcrop any selected area. Click anddrag a selection in the image withthe Marquee tool. Click Image andselect Crop. The images crops tothe selection’s bounding rectangle.

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1 In an opened image, click theDefault Colors icon in thetoolbox to set the foreground toblack and the background towhite.

2 Click the Zoom tool.

3 Click the Zoom Out box in theOptions bar.

4 Click in the image several timesto zoom out.

Expand the canvas with a

REVERSE CROPWhen you think of cropping, you generally think ofreducing the physical size of an image by cuttingaway areas around the borders. In Photoshop, youcan also use the Crop tool to expand your canvas,give your photo or image a wider border, or quicklycreate a new colored background for a photo.

Expanding the canvas with the Crop tool is quick andyou can see exactly how your image appears on theenlarged canvas. In addition, using the reverse-cropmethod, you can create a border that is uneven,

larger on one side than the other for a page layout ora note card, or larger on the bottom than on the topas in a gallery print.

You can use this technique to enlarge your canvasvisually or use precise dimensions for your finalimage. By specifying the width and height for yourfinished design in the boxes in the Options bar, youcan click and drag out the crop marquee in the imageand maintain the exact dimensions you typed.

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The image view becomes smalleron a gray background area.


6 Type the width and height foryour finished canvas in theOptions bar.

7 Click and drag across the entireimage.

l The crop marquee appears onthe image in proportion to thedimensions you set.

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8 Click and drag thecorner anchor points ofthe crop marquee toextend the crop area.

9 Click and drag theexpanded area aroundyour photo to fit yourdesign.

0 Click the commitbutton in the Optionsbar to commit the crop.

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l The canvas is enlarged and filled with thebackground color.


Try This!Click the Background Color box inthe toolbox to open the colorpicker. Click another color to selectit as the foreground color. Thenfollow the steps above to enlargethe canvas using the reverse-cropmethod. The extended canvas areafills with your selected colorinstead of white.

More Options!If you are working on a series ofimages with specific sizes, you cancreate a custom Crop tool presetusing the Tool Preset picker. Youcan then use your custom croptool to quickly reverse-crop agroup of photos. All your imageswill have the same-sized canvas,making your design and layouttasks much easier.

Change It!Click the Crop tool ( ) and typethe width and height for yourfinished design in the boxes in theOptions bar. When you click anddrag out the crop marquee in theimage, it maintains the exactdimensions you typed.

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1 Launch Bridge and click a JPEG,TIFF, or RAW format image.

2 Click File.

3 Click Open in Camera Raw.

Note: If the file is already in aRAW format, you can open it with Photoshop CS4, whichautomatically opens it in CameraRaw.

CROP AND STRAIGHTENin Camera Raw

Many digital cameras can save image files in thecamera manufacturer’s proprietary RAW format.Image files in the RAW format are like digitalnegatives and contain the actual picture data from thedigital camera’s image sensor without any in-cameraprocessing applied. When you edit images in the RAWformat, you maintain more control because youinterpret the image data rather than let the cameramake the adjustments and conversions automatically.

Using Photoshop CS4 and the Camera Raw converterthat is installed with Photoshop CS4, you can notonly open photos saved in various RAW formats but

also make color and sharpness enhancements to avariety of formats including RAW, JPEG, and TIFF. Inaddition, you can crop and straighten those imagesin Camera Raw before editing them in Photoshop.

After you crop and straighten the image files inCamera Raw, you can save them in the RAW fileformat and easily reprocess the images at any time.You can also continue to edit and refine them inPhotoshop and save them in another file format.

Using Camera Raw to crop and straighten gives youmore options for editing and saving images.

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The photo opens in Camera Raw.

4 Click the Straighten tool.

5 Click and drag on a horizontal orvertical line in the previewimage.

l The preview image is rotatedwith the new angle, and amaximum bounding boxappears.

l The Crop tool is automaticallyselected.

6 Click and drag the corneranchors to adjust thecomposition of the photo ifnecessary.

7 Click and drag inside thebounding box to move the entireselection in the image.

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The bounding boxmoves to the area ofthe photograph thatyou want.

8 Press and hold Option(Alt).

l The Open Imagebutton changes toOpen Copy.

9 Click Open Copy toopen the image inPhotoshop withoutaltering your original.

Note: Pressing andholding the Option (Alt)key also changes theCancel button to Resetso that you can startover.

The cropped andstraightened imageopens in Photoshop.

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Did You Know?You can select and crop multiple images at once tothe same size in Camera Raw. All the selected imagesare displayed on the left of the dialog box and thefirst one is shown in the main window. Click theSelect All button and then the Synchronize button;both buttons are on the left pane of the dialog box.Select the Crop check box. Click OK to close thedialog box. Select the Crop tool ( ) and crop theimage in the main window. All selected images arecropped in the same way.

More Options!You can crop to specific proportions in Camera Raw.Click and hold the Crop tool. Click a preset from thepop-up menu or click Custom. In the Custom Cropdialog box, type the exact ratio or dimensions andclick OK. The Camera Raw Crop tool is set for yourspecific size.

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1 In Photoshop, open a file withmultiple scans.

2 Click File.

3 Click Automate.

4 Click Crop and StraightenPhotos.

STRAIGHTEN CROOKED SCANSquickly

When you are not bogged down with repetitive tasks,you can be more productive and creative. Photoshophas many features to help both your productivity andyour creativity, such as automated image processing.

Scanning images one at a time is one of thoseprojects that can be very time-consuming. You haveto scan one image, crop it, and save it — and thenlift the scanner top, reposition another image on thescanner bed, and start over.

Using a flatbed scanner with a large scanning area,you can scan multiple images at one time and let

Photoshop separate these into multiple files.Photoshop’s Automate command for cropping andstraightening photos even saves time when scanningjust one photo. You can place a photo on the scannerbed without lining it up perfectly because Photoshop’sCrop and Straighten Photos command can crop andstraighten that one scan.

The Crop and Straighten Photos command works bestwhen the images have clearly defined edges andthere is at least 1/8-inch between each image. Thecommand may work more quickly if all the imageshave similar tones.

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l Photoshop automatically cropsand separates the images ontoseparate windows as tabs.

5 Click Window.

6 Click Arrange.

7 Click Float All in Windows.

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l Photoshop places allthe separate images inwindows cascading onthe screen.

8 Click Window.

9 Click Arrange.

0 Click Tile.

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Photoshop arranges the original scan andall the separate images on the screen.


Important!Photoshop does not replace the original scan withthe separated photos, and it does not automaticallysave the separate images. Instead, Photoshoprenames each separated file using the same name asthe original scan and labels it “copy,” “copy 2,” andso on. Be sure to click File and click Save As torename and save each file.

More Options!You can scan multiple images at once and decide tokeep only one of them. Make a selection borderaround that one image, including some background.Press and hold Option (Alt) as you select File,Automate, and then select Crop and StraightenPhotos. Photoshop crops and straightens that onephoto and puts it in a separate file.

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1 Open a wide photograph.

2 Click and hold the Rectangletool and select the CustomShape tool.

3 Click the Fill Pixels button in theOptions bar.

4 Click the Custom Shape pickerin the Options bar.

5 Select the Square Thin Frameshape.

6 Click the New Layer button inthe Layers panel.

CREATE MULTIPLE IMAGESfrom one original

Although tools such as the Crop and StraightenPhotos command are meant as productivity aids tocrop and straighten multiple images at one time, youcan use the same tool in various creative ways.

You can create multiple images from one file by usingthe command to divide one photograph into multiplesections. You can make individual photographs fromeach section of the original or apply a diptych ortriptych look to an image, making two or threepanels for the image, which you can print and frameseparately.

Select a plain, rectangular frame shape as a customshape to designate the areas that you want to cropinto new images. Photoshop turns those separateshapes into separate images that you can save asnew files. The trick to this technique is to leave asmall margin around each of the shape selectionsand to create a separate layer for each shape whenyou use the Custom Shape tool. If you do not wantthe shape as part of your final print, you can delete itbecause the shape is on a separate layer.

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l A new empty layer is placedabove the background.

7 Click and drag a frame shape inthe image.

8 Repeat steps 6 and 7 twice tohave two more layers and twomore frame shapes.

Note: Keep at least a 1/8-inchspace between each shape.

9 Click here.

0 Click Merge Down.

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! Repeat steps 9 and 10until there is only oneframe layer above theBackground layer.

Note: Optionally,Shift+click all three framelayers and click Layerand then Merge Layers.

@ Click File.

# Click Automate.

$ Click Crop andStraighten Photos.

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Photoshop separates the segments andcreates three new files with the name ofthe original plus “copy,” “copy 2,” and“copy 3.”

% Repeat steps 5 to 10 of Task #27 toseparate and tile the windows.

^ Click the close button of the original file.

& Click and drag each file to align the threenew separate files to view the triptych.


Important!Be sure to create a new layer for each frame that youdraw. You can then resize and rotate the shapes byclicking Edit and selecting Free Transform to changethe frame shapes using the transformation anchors.Merge all the custom shape layers into one layerbefore applying the Crop and Straighten Photoscommand.

More Options!You can drag the shape layer to the trash ( ) oryou can modify the shapes to add a framed look.Select the shapes by Ô+clicking (Ctrl+clicking) theshape layer. Click Edit and click Fill. Select a color forthe frames. Then click Layer, click Layer Style, andapply a bevel and drop shadow to the shape layer.

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1 Open a photo containing adistorted rectangular object.


Note: If there are any dimensionsshowing in the fields in the Croptool Options bar when you firstselect the Crop tool, click the Clearbutton in the Options bar toremove them.

3 Click and drag a croppingmarquee in the image.

The selected area is light, andthe area that you want to cropaway is dimmed.

CHANGE YOUR PERSPECTIVEwith the Crop tool

When you photograph an object from an angle ratherthan from a straight-on view, the object appears outof perspective, displaying keystone distortion. Forexample, the top edges of a tall building photographedfrom ground level appear closer to each other at thetop than they do at the bottom. If you photograph awindow and cannot get directly in front of it to takethe shot, the window appears more like a trapezoid.Depending on the photograph, you can correct thistype of distortion with a number of Photoshop’s tools.

The Crop tool in Photoshop CS4 has a special optionthat enables you to transform the perspective in animage and quickly adjust the keystone distortion.Your image must have an object that was rectangularin the original scene for the Crop tool’s perspectivefunction to work properly. You first adjust thecropping marquee to match the rectangular object’sedges and then extend the marquee to fit yourimage. When you click the commit button, Photoshopcrops the image as large as possible whilemaintaining the angles of the rectangular object.

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4 Click to select Perspective ( changes to ).

5 Click and drag each corneranchor of the cropping marqueeand align it with a corner of anobject, such as a window, that isrectangular but that appears at aperspective angle in the photo.

Note: To zoom in with the cropmarquee showing, press Ô+spacebar (Ctrl+spacebar) and click in the image. Press Option+spacebar (Alt+spacebar) and click in the image to zoom out.

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6 Click and drag each ofthe center anchorpoints to fit the edgesof the entire image.

7 Click the commitbutton in the Optionsbar to commit the crop.

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Photoshop realigns the image andchanges the perspective.


Attention!If Photoshop shows an error, youmay not have placed the cornerhandles correctly. Click the cancelbutton ( ) in the Options barand adjust the cropping marquee.Also, the Crop tool ( ) may notfix the perspective distortion if it isapplied to an image that hasalready been cropped for size.

Keyboard Shortcuts!Press C to access the Crop tool.Press Return (Enter) to committhe perspective crop or Esc tocancel it. Or Control+click (right-click) in the image and select Cropor Cancel from the menu.

Change It!Click the word Opacity in theOptions bar and drag to changethe darkness of the shield oncropped areas, or click in the Colorbox and select a different color forthe shield. You can also turn theshield off by clicking the check boxto deselect it.

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1 Open an image as a smartobject or open a file and convertit to a smart object layer.

Note: See Task #21 forinformation about smart objects.

2 Click Filter.

3 Click Distort.

4 Click Lens Correction.

STRAIGHTEN BUILDINGSwith one filter

Depending on the focal length of a camera lens orthe f-stop used, a photograph may show commonlens flaws such as barrel and pincushion distortion.Barrel distortion causes straight lines to bow outtoward the edges of the image. Pincushion distortion

displays the opposite effect, where straight linesbend inward. If the camera tilts up or down or at anyangle, the perspective also appears distorted. TheLens Correction filter in Photoshop CS4 can help youfix these and other lens defects easily.

When you photograph tall buildings, the buildingsmay appear to be larger at the top than at thebottom. The Lens Correction filter enables you toeasily line up the perspective of the buildings with avertical plane. You can use the filter’s image grid tomake your adjustments more accurately, or you canturn the grid off if you choose. The filter even has anoption to let you select how to correct the missingareas along the edges that occurred when theperspective was repaired.

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The Lens Correction dialog boxappears with a large preview ofthe image and a grid overlay.

5 Drag the Vertical Perspectiveslider to align the tallest buildingwith the grid.

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The image appears witha changed perspectiveplane.

l You can view the edgeagainst a darkbackground by clickinghere and selectingBackground Color, orview the image withthe edge extended byselecting EdgeExtension.

6 Click OK to commit thechanges.

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The adjusted image reopens inPhotoshop.


8 Click and drag in the image.

9 Click the anchors of the crop area toadjust your image.

0 Click the commit button in the Optionsbar.

The image is cropped, and the buildingsappear straight.


Try This!You can edit the adjustment bydouble-clicking the LensCorrection smart filter in theLayers panel to reopen the LensCorrection dialog box beforecropping the final image. You canreset the adjustments in the dialogbox by pressing Option (Alt). TheCancel button changes to Reset.Click Reset to remove the changesand start over.

More Options!You can save the Lens Correctionsettings and reapply them to otherimages. Set the options in theLens Correction dialog box. Clickthe Manage Settings menu button( ) next to the Custom Settingsand choose Save Settings. Thesaved settings appear in theSettings drop-down menu.

Did You Know?In addition to barrel andpincushion distortion, the LensCorrection filter can fix bothchromatic aberration, a coloredfringe along the edges of objects,and vignetting, the appearance ofdarker corners or edges in theimage.

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1 In Photoshop, click File.

2 Click Automate.

3 Click Photomerge.

CREATE A PANORAMAfrom multiple photos

You can combine multiple photographs into onecontinuous image to create a panorama. Forexample, you can take two or more overlappingphotographs of a scenic horizon, or even a number ofscans of parts of a large document, and thenassemble them in Photoshop with the Photomergecommand. You can combine photos that are tiledhorizontally as well as vertically.

The Photomerge command in Photoshop CS4 canautomatically position and blend each layer usingindividual layer masks. You can also choose to blendthe images manually using Interactive Layout.

To make any Photomerge project as successful aspossible, photos or scans intended for mergingshould have an overlap of 25 to 40 percent. Youshould also maintain the same exposure for eachphotograph or keep the same scanning settings foreach scan. If you are shooting the photos, use atripod to keep the camera level so the photos line upcorrectly. By shooting in the Portrait mode orvertically, and shooting more images, you have alarger area to crop from for your final image, givingyou a taller and more realistic result.

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The Photomerge dialog boxappears.

4 Click Browse.


5 Navigate to and Ô+click(Ctrl+click) the images to selectthem.

6 Click Open.

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The selected files arelisted in the dialog box.

7 Click Auto to select theautomatic layout.

8 Make sure that BlendImages Together isselected.

9 Click OK.

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Photoshop aligns the images based oncontent and blends them into a singleimage.

Note: The new image is a multilayered file.


! Click and drag across the blended imageto make your final panorama.

@ Adjust the corner anchors to fit yourimage.

# Click the commit button in the Optionsbar.

The panorama is cropped to the selectededges.


More Options!The Perspective option (see step 7) uses one imageas a reference and adjusts the perspective of theother images to match by overlapping the content ofthe reference image. The Cylindrical option reducesthe bowed shape that can occur in some mergedphotos, and Spherical has the opposite effect. Collageand Reposition help Photoshop align uneven images.

Change It!In the Photomerge dialog box, you can add more filesto be included in the merge by clicking the Browsebutton again and navigating to the new source filesto be added. You can always remove a file from theSource Files list by selecting the file and clickingRemove.

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1 Open a photo that you want toenlarge.

l The current size of the image asshown on-screen appears here.

2 Click Image.

3 Click Image Size.

RESIZE YOUR IMAGEwith minimal visible loss

You often need a different size image than the original.You can resize images using the Image Size dialog box.

By deselecting the Resample Image check box in thedialog box, you can adjust the width, height, orresolution without affecting image quality or pixeldimensions. However, to change the overall size of animage, you must check the Resample Image box;Photoshop resamples by adding or removing pixels toadjust for the new size.

Photoshop’s interpolation methods — the way itassigns values to added pixels and smoothes

transitions between juxtaposing pixels — work well to preserve the quality and detail as long as the sizechanges are not extreme. Third-party plug-ins (seeChapter 10) are better for enlarging greater than 150to 200 percent.

The generally recommended resampling method forreducing image size is Bicubic Sharper, althoughBicubic Smoother is intended for enlarging. However,many photographers find that depending on theimage, the Bicubic Sharper resampling method, alongwith a resolution of 360 ppi, actually works best bothfor enlarging and reducing photos.

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The Image Size dialog boxappears, showing the current sizeof the opened image.

4 Make sure that the ResampleImage check box is selected.

5 Double-click in the Width box tohighlight the contents.

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6 Type the width that youwant for the finalprinted image.

l The heightautomatically adjustsproportionally.

7 Type 360 in theResolution box.

8 Click here and selectBicubic Sharper (bestfor reduction).

9 Click OK.

A progress bar mayappear depending onthe speed of thecomputer’s processorand the size of theimage while Photoshopprocesses theenlargement.

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The enlarged photo appears.

0 Click here to check the file size in thewindow frame.


Test It!Make two copies of an image. Enlarge the first usingBicubic Smoother and the second using BicubicSharper. Crop the same 4-x-6-inch section on bothenlargements and paste these into two newdocuments. Because resampling may reduce detailand sharpness, apply the Smart Sharpen filter withthe same settings to each new document and printthem for comparison.

Did You Know?A resolution of 150 to 360 ppi is generallyrecommended for inkjet printing. Images for on-screen viewing only need a resolution of 72 ppi.Images intended for a printing press require aresolution of twice the line screen of the press,referring to the number of lines of dots that appearper linear inch (lpi) on the printed piece. If the linescreen is 133 lpi, the resolution should be 266 ppi.Rounding up to 300 ppi is generally recommended.

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Retouching PortraitsYou can use Photoshop to give your subjects adigital makeover and make them look morebeautiful, younger, and healthier. However, it isso easy to alter images in Photoshop that newusers often overdo it and make people looklike plastic versions of themselves. You aretrying to enhance a person’s best features andminimize other areas, not turn him or her intosomeone else. If your subject looks at hisphoto and thinks that he looks good, you havedone your job well.

You can use the tools in Photoshop CS4 toremove blemishes and red eye, enhance theeyes, whiten teeth, soften the face, and more.You can also change a model’s hair color oreye color to fit a client’s request. You can adda catch light to the eyes even if it was notcaptured by the camera to enhance a portrait.

You can even reduce wrinkles and smooth theskin without plastic surgery.

Applying the enhancements on separate layersenables you to preserve the original image aswell as blend or reduce the changes, makingthem appear more natural. You should alwayswork on a duplicate of the original file evenwhen you make minor enhancements. Tofinalize the image, select Flatten Image fromthe Layer menu before saving it with a newname. Like a magician, you should not revealyour tricks or show the original unretouchedphoto to the subject!

Because these enhancements should be subtle,a pen tablet is particularly useful whenretouching portraits.

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Remove Blemishes and Improve the Skin . . . . . . . . . . . . . 74

Reduce Wrinkles with a Soft Touch . . . . . . . . . . . . . . . . . . 78

Remove Red Eye to Quickly Improve Any Photo . . . . . . . 80

Change Eye Color Digitally . . . . . . . . . . . . . . . . . . . . . . . . 82

Add a Gradient Layer to Lighten the Irises . . . . . . . . . . . . 84

Brighten the Eyes by Lightening the Whites . . . . . . . . . . 86

Add Depth to Eyes to Emphasize Them . . . . . . . . . . . . . . 88

Add a Catch Light to Make the Eyes Come Alive . . . . . . . 92

Sharpen Just the Eyes to Add Focus . . . . . . . . . . . . . . . . . 94

Whiten Teeth to Improve a Smile . . . . . . . . . . . . . . . . . . . 96

Add a Soft-Focus Effect to Make a Portrait Glow . . . . . . . 98

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1 With the image open, drag theBackground layer over the NewLayer button to duplicate it.

l A Background copy layer isadded, but the screen does notchange.

2 Click the Zoom tool.

3 Click Resize Windows To Fit ( changes to ).

4 Click and drag over the blemishareas to zoom in.

REMOVE BLEMISHESand improve the skin

You can greatly improve a portrait by removing skinimperfections. Blemishes may be natural, but theyare rarely a desirable feature in a photograph. WithPhotoshop, you can easily remove or reduce thenumber of blemishes. You can even leave some whilemaking them less obvious.

As with many other projects in Photoshop, you canuse a variety of tools to reduce or remove blemishes.Depending on the areas that need to be retouched,the Clone Stamp tool, the Patch tool, and the HealingBrush can all be used; however, the Spot Healing

Brush is the most effective tool for removing smallimperfections. The Spot Healing Brush automaticallysamples the areas around the spot to be removedand blends the pixels so you do not need to specifythe source sample. The key to using the Spot HealingBrush is to work in stages on separate layers and toadjust the brush as you work such that the brushsize is just slightly larger than the blemish.

You can then change the opacity of each layer andmake the changes less obvious. If you do not like thechanges, you can simply discard the layers.

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The image is enlarged and fillsthe screen.

5 Click the New Layer button toadd a new empty layer.

l A new layer is added in theLayers panel, but the screen doesnot change.

6 Click the Spot Healing Brush.

7 Click Sample All Layers ( changes to ).

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8 Move the cursor over ablemish in the photoand press the leftbracket key to reducethe brush size or theright bracket key toincrease the brush size.

Note: The brush sizeshould be just largerthan the blemish thatyou want to remove.

9 Click each of the worstblemishes of a similarsize first.

Photoshop removes theblemishes and blendsthe surrounding skinarea.

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0 Click the New Layer button to addanother empty layer.

! Repeat steps 8 to 10, clicking the otherblemishes.

l Layer 2 should be highlighted in theLayers panel.

@ Click here and drag the Opacity slider forLayer 2 to the left until the skin looksnatural.

75Chapter 4: Retouching Portraits

More Options!Once you have finished removing the blemishes, youcan combine all the blemish repair layers with theBackground copy layer, leaving just the originalBackground layer and the Background copy layer. You can then quickly compare the before and afterimages by turning on and off the visibility button ( ) for the Background copy layer.

Did You Know?If you use a pen tablet rather than a mouse, you canset the size in the brush picker to respond to PenPressure. Then set the initial brush size to be justlarger than the largest blemish. To vary the size asyou brush, press harder to remove large blemishesand press lightly to remove smaller blemishes.

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# Press Option (Alt) and click theNew Layer button.

The New Layer dialog boxappears.

$ Type a name such as Skin Tonein the Name field.

% Click here and select Overlay forthe mode.

^ Click Fill with Overlay-neutralcolor (50% Gray).

& Click OK.

REMOVE BLEMISHESand improve the skin

The Spot Healing Brush generally removes blemishesand imperfections and makes the skin appearcleaner. However, the blemishes often discolor thesurrounding skin tone, and removing the blemishescan leave spots or streaks of mismatched colors onyour subject. You can easily improve the overall skintone and smooth any blotches the Healing Brush mayhave left using the skin-smoothing technique, astaught by Jane Conner-ziser.

Known as one of the best photo retouchers in theprofessional photography industry, Jane teaches

classes in portrait photography, facial retouching, andfine-art portrait painting at her Digital Art School inFlorida, as well as across the United States andinternationally. You can learn more about Jane’smany classes and seminars atwww.janesdigitalart.com.

This technique adds a special dodge and burn layerto your image. You can control the amount of tonaladjustment and improve the skin without making thephoto appear retouched and without altering youroriginal file.

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l A gray layer in Overlay modeappears in the Layers panel.

* Click the Brush tool.

( Click here and select a small soft-edged brush.

) Click here and reduce the brushopacity to about 3%.

q Click the Default Colors icon toreset the default colors to blackand white.

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w Click the Switch Colorsicon to reverse thecolors, making whitethe foreground color.

e Paint over any darkspots in the image tosmooth the skin.

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The skin tone appears smoother.

Note: The skin tone changes are very subtleand should be more visible on your monitorand on a printed photo than in the photoon these pages.

r Continue painting over any dark areas,adjusting the size of the brush tool asnecessary.

t Click here and drag the Opacity slider tothe left to reduce the effect for a morenatural look.

y Click the visibility button for the gray layermultiple times, turning it off and on tocompare the image before and after theadjustment.

The skin tone is smoothed and appearsnatural rather than over-corrected.


More Options!You can press X to reverse the background andforeground colors and paint with black to darken anyareas that appear too light. However, if your imagestarts to appear unnatural, open the History paneland click back several steps to undo the changes.Then continue painting until the skin tone appearsnatural.

Attention!You may not see much of a change as you paint with the Brush opacity set to 3%; however, when youturn off the visibility button ( ) for the layer, youwill definitely see the changes. You can increase ordecrease the brush opacity one or two percent, brushover an area, and then check the changes by togglingon and off the visibility button.

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1 Click and drag the Backgroundlayer thumbnail over the NewLayer button to duplicate thelayer.

2 Click the Zoom tool and zoomin to enlarge the areas withwrinkles.


4 Click and hold the Spot HealingBrush tool and select the HealingBrush tool.


REDUCE WRINKLESwith a soft touch

You can remove wrinkles with Photoshop in a varietyof ways, including cloning them away with the CloneStamp tool or patching them using the Patch tool.However, if you remove all the wrinkles and give aperson perfectly smooth skin, the effect is notbelievable. Using the Healing Brush tool and aseparate layer, you can maintain more control overthe corrections and give your subject a rejuvenatedyet natural appearance.

You can modify the Healing Brush to a mediumsoftness and change its shape and angle so that your

brush strokes are not as visible when you literallypaint away the wrinkles. You can create a specialwrinkle-removing brush by changing attributes in thebrush picker in the Options bar. The effect appearseven more realistic if you use a pressure-sensitivepen tablet and set the Healing Brush to respond topressure.

After you brush away the years, you can change theopacity of the altered layer to reintroduce justenough wrinkles to appear natural.

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6 Set the Diameter slider to a brushsize wide enough to cover thedeepest wrinkles.

7 Drag the Hardness slider to themidpoint to build a brush withjust slightly soft edges.

8 Click one dot on the circle in thethumbnail and drag toward thecenter to change the roundnessof the brush.

9 Drag the arrowhead to changethe angle of the stroke in thedirection of the deepest wrinkles.

0 Click here and select All Layers.

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! Option+click (Alt+click)an area of clear skinnear one wrinkle tosample.

@ Click and drag directlyon the first wrinkles topaint them away.

# Click here and repeatsteps 8 to 12, changingthe brush angle androundness for the otherwrinkles.

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$ With the top layer selected, click here anddrag the slider until the wrinkles appeardiminished and still natural.

The wrinkles on the face are lesspronounced, and the person appearsslightly rested and younger.


Try This!To make painting more natural try using a pen tablet.By setting the rocker switch on the pen to the Option(Alt) key, you can press the switch to sample areaswith the Healing Brush tool. Also, use many smallstrokes rather than one larger one when you paintover wrinkles with the Healing Brush and samplenearby areas of clear skin often. The skin tones willmatch more closely, and the results appear morenatural.

Try This!You need to zoom in and out often when removingwrinkles. Instead of changing tools when the HealingBrush is selected, press Ô+spacebar (Ctrl+spacebar)and click to zoom in. Press Option+spacebar(Alt+spacebar) to zoom out.

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REMOVE RED EYE IN PHOTOSHOP

1 In Photoshop, open a photo thathas a red eye effect.

2 Press Ô+spacebar(Ctrl+spacebar) and click anddrag over the eyes to zoom in.

3 Press Ô+J (Ctrl+J) to duplicatethe background layer as a safetystep.

4 Click and hold the Spot HealingBrush tool to see the other tools.

5 Click the Red Eye tool.

REMOVE RED EYEto quickly improve any photo

You can remove the red eye effect from your photosquickly using either the Red Eye tool in Photoshop orthe Red Eye Removal tool in Camera Raw.

Red eye is caused by the reflection of a camera flashin a person’s retina. When you shoot in a darkenedroom, the subject’s irises are wide open and theirpupils enlarged, increasing the chances for red-eyephotos. Using a camera with the flash mounteddirectly above the lens also causes more red eyesthan using a bounce flash or a flash unit that ispositioned away from the camera lens.

The default settings for pupil size and darken amountfor both tools are the same and can be adjusted tofit your image. You can quickly apply the Red Eyetool in Photoshop to one eye. If necessary, undo thecorrection, adjust the darken amount in the Optionbar, and apply the tool again. In Camera Raw, youcan more easily control the effect as you apply theRed Eye removal tool by adjusting the correction oneach eye individually.

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6 Click and drag over one eye.

The red is replaced by a darkgray.

7 Repeat step 6 for the other eye.

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REMOVE RED EYE IN

CAMERA RAW


2 Click Open.

3 Navigate to the red eyephoto in the Opendialog box.

4 Click here and selectCamera Raw.

5 Click Open.

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The photo opens in Camera Raw.

6 Click the Red Eye Removal tool.

7 Click and drag an area across one eye,including some of the surrounding face inthe selection rectangle.

The red is replaced by a neutral gray.

8 Click Show Overlay to deselect it ( changes to ).

9 Click and drag the Pupil Size slider to adjustthe size of the gray area covering the pupil.

0 Click and drag the Darken slider to adjustthe strength of the gray area.

! Repeat steps 7 to 10 for the other eye.

@ Click Open Image to open the image inPhotoshop.


Try This!In Photoshop, press J to select theSpot Healing Brush tool ( ).Then press Shift as you press Jagain three times to select the RedEye tool ( ).

More Options!You can remove the red-eye effectfrom all photographs, whetherthey are scanned from film orprints or start out as digital files.

Did You Know?You can often avoid red eye byusing the red-eye reductionfeature included with somecameras. This feature minimizesthe red-eye effect by firing severalflashes an instant before thephoto is taken, forcing the pupilsto close slightly just as the finalflash and shutter are released.

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1 Click and drag the Backgroundlayer over the New Layer buttonto duplicate the layer as a safetystep.

2 Click the Zoom tool and zoomin to enlarge the eyes.

3 Click the Eyedropper tool.

4 Click here and select 3 by 3Average.

5 Click in the iris to set a referencecolor as the foreground color.


CHANGE EYE COLORdigitally

The eye color often appears grayer or darker inphotos than the actual color of the eyes when youlook at the person directly. You can improve manyphotos by adding a little color to the iris of the eyes.You can simply add a little more color or you canchange the color to a different hue.

When you colorize the eyes, you are looking for anatural eye color. You can also select any color as theforeground color and paint in the irises. If you haveanother photo of the same person where the eyecolor appears more natural, you can sample the eye

color from the first photo and paint it into the onewith the grayed eyes. Colorizing the eyes naturallydepends on the specific brush options you set in theOptions bar.

You can also use the same technique to apply oneperson’s eye color to another subject’s eyes. Agenciesoften request a specific eye color for a model tobetter blend into the color scheme of an advertisingpiece. You can save time by using Photoshop tochange the eye color in the original photo and avoidfinding and photographing a different model.

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The Options bar changes.


8 Drag the Master Diameter sliderto set a brush size just smallerthan one-half the iris.

9 Click and drag the Hardnessslider to 50% so there is only aslightly soft brush edge for betterblending.

0 Click the Airbrush button toenable it.

! Click the Foreground Color boxin the toolbox.

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The Color Picker dialogbox appears.

@ Click and drag the Hueslider to another color.

# Click OK to close thecolor picker.

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$ Click the New Layer button to add a newempty layer.

% Click here and select Color for the layerblend mode.

^ Click and drag over both irises to paint inthe new color.

& Click the Eraser tool and erase if you paintover other areas.

* Click here and drag the Opacity slider tothe left until the eye color appears natural.

The irises of the eyes are now a differentcolor.


More Options!If you have another photo with an appropriate eyecolor, you can use the Color Replacement toolinstead of the standard Brush tool. The tools are inthe same group in the tool box. Option+click(Alt+click) in the first photo using the ColorReplacement tool ( ) to sample the color of theeyes that you want to use. Then apply the color onthe empty layer of the image you are correcting,using a soft-edged brush.

Did You Know?Dogs’ and cats’ eyes often show a greenish or whiteeye when they are photographed with a flash. TheRed Eye removal tool ( ) does not remove thateffect. You can, however, paint in the eye color usingthe techniques described in this task.

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1 Click the New layer button inthe Layers panel to add a newlayer.

2 Click the Default Colors icon toreset the default colors to blackand white.

3 Press X to reverse the defaultcolors, making the foregroundcolor white.

4 Click the Zoom tool and zoomin to enlarge the eyes.

Add a gradient layer to

LIGHTEN THE IRISESThe eyes are generally considered the mostimportant feature in a portrait. You can add interestto the eyes and draw the viewer in by giving theeyes a digital brightening effect. You can improve theeyes in a variety of ways in Photoshop. Somemethods work better on one image than another, solearning and trying various techniques lets youimprove your images according to your subject andthe project’s requirements.

You must apply the gradient on a separate layer, notonly to protect the original image and make it easy

to undo the effect, but also so you can adjust thestrength of the eye brightening to fit your photo andmake it look natural. You adjust the layer opacity asyou view the effect on-screen before flattening thelayers and saving the file. This technique is veryquick and often gives just enough sparkle to anotherwise dark eye.

Like all portrait retouching, the effect should besubtle and yet still brighten the subject’s eyes.

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The Options bar changes.

6 Click the Radial gradient.

7 Click here and select theForeground (white) totransparent gradient.

l Reverse should be uncheckedand Dither and Transparencyshould be checked.

8 Click in the center of one pupiland drag to the edge of the iris.

9 Repeat step 8 for the second eye.

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0 Click here to changethe layer blend mode.

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The bright white spots blend into andlighten the irises.

@ Click the word Opacity and drag to theleft to reduce the layer opacity until theeye color appears lighter but still natural.

The irises of the eyes are now brighter.

# Click the layer visibility button to turn itoff and compare the before and afterviews.


Did You Know?The default gradient always uses the current foreground and background colors in the toolbar. Set theforeground color before you select the gradient tool and then press G to quickly select the Gradient tool. Youcan also access the other tools on the toolbox by pressing a specific letter, such as V for the move tool or Z forthe Zoom tool. When multiple tools are grouped together, like the Spot Healing Brush, the Healing Brush, thePatch tool, and the Red Eye tool, you can press the one-letter keyboard shortcut to access the first tool andthen repeatedly Shift+click the letter to cycle through all the grouped tools.

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1 With the Background layerduplicated, click the Zoom tooland zoom in on the eye area.

2 Click the Lasso tool and draw aselection around the white areaof one eye.

3 Press Shift and select the otherwhite areas of the eyes.

Note: You can also click the Addto Selection button ( ) andcontinue selecting other areas.

4 Click Select.

5 Click Modify.

6 Click Feather.

7 Type 3 for the Feather Radius.

Note: The feather radius dependson your photo’s size.

8 Click OK.

9 Click the Hue/Saturation button.

The panel changes to theHue/Saturation panel, and aHue/Saturation layer appears inthe Layers panel.

0 Drag the Saturation slider to theleft just enough to remove theredness.

The whites appear gray.

! Press Ô+0 (Ctrl+0) to zoom outand view the whole face.

BRIGHTEN THE EYESby lightening the whites

You can quickly enhance any portrait by lighteningthe whites of the eyes. The eyes are the mostimportant feature of the face and the key to aperson’s individuality. Whether the whites of the eyesare bloodshot or just appear dull, lightening themcan enhance the whole face. Brightening anddesaturating the white area draws the viewer into thesubject’s personality.

Lightening the whites of the eyes is a multistep andmultilayer process. You first select the whites andremove the redness using a Hue/Saturation

adjustment layer. Then you brighten the eyes with aCurves adjustment layer and change the blendingmode of the layers.

The whites of people’s eyes are not completely white,so this adjustment requires not only making aprecise selection, but also viewing the entire photoas you apply the changes. Because the adjustmentsare on separate layers, you can easily go back andmodify the adjustments to enhance the overall imageand keep the subject looking natural.

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@ Click and drag theLightness slider to theright slowly just enoughto lighten the whites.

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# With the Hue/Saturation layer stillselected, click and drag the Opacity sliderto the left if necessary to reduce the effectuntil the eyes look brighter but stillnatural.

The subject’s eyes appear bright withoutappearing artificially lightened.


More Options!In most panels, dialog boxes, andOptions bars, clicking and draggingon the word associated with aslider activates the scrubby sliders.The cursor changes to a pointingfinger. Click and drag across theword, changing the amount in thedata field.

Did You Know?Pressing Shift as you select with aselection tool enables you to addto a selected area or add aseparate selection. Pressing Option(Alt) as you drag over a selectedarea enables you to remove areasfrom that selection.

Try This!With the selection tool still active,you can quickly access the Feather dialog box, or otheroptions, once you make aselection by Control+clicking(right-clicking) in the selectionarea. A contextual menu appears,listing options such as Feather andSelect Inverse.

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1 Click and drag the Backgroundlayer over the New Layer buttonto duplicate it.

2 Click the New Layer button.

l A new empty layer is added tothe Layers panel.

3 Double-click in the Opacity datafield and type 10 to view a morerealistic adjustment as you work.

Note: You can increase or decreasethe Opacity before saving the file.

4 Click the Zoom tool and clickand drag across both eyes tozoom in.

ADD DEPTH TO EYESto emphasize them

Removing red eye and lightening the whites of theeyes improves any portrait photograph. You can alsomake your subject more interesting by adding otheradjustments that emphasize the eyes. You can addmore contrast to the iris by lightening some areasand darkening others. You can add depth to the eyesby darkening the eyelashes and the natural outline ofthe eyes. This digital technique is similar to dodgingand burning in the darkroom.

Instead of using Photoshop’s Dodge and Burn toolson the image, however, you can use the Brush tool

on separate empty layers and vary the opacity ofeach layer to control the adjustments. Painting withwhite lightens areas. Painting with black darkensareas, lengthens the eyelashes, and adds definitionto the eyes. Using the Opacity setting in the Layerspanel, you can fine-tune the adjustments before youfinalize the image.

Making the eyes sparkle by using a variation ofdigital dodging and burning in Photoshop helps drawthe viewers’ attention to the eyes and engages themin the photo.

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5 Click the Default Colors icon toreset the foreground andbackground colors to thedefaults.

6 Click the Switch Colors icon toreverse the foreground andbackground colors and set theforeground to white.


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8 Click here to open thebrush picker.

9 Click and drag theMaster Diameter sliderto select a small brushthat fits inside the iris.

0 Click and drag theHardness slider to 0%to build a very softbrush.

! Paint in the center ofeach iris.

@ Click the Switch Colorsicon to reverse theforeground andbackground colors andset the foreground toblack.

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&& # Press the left bracket key to reduce thebrush size.

$ Paint with black around the edges of theirises and in the pupils.

% Click the New Layer button to add asecond empty layer.

^ Double-click in the Opacity data field andtype 20 to view a more realisticadjustment on this layer as you work.

& Click the Brushes button if it is on-screen,or press F5 to open the Brushes panel.


Did You Know?You can save and reuse an eyelashbrush. With the settings that youcreate for Brush Tip Shape (seestep 19), click the panel menubutton ( ) on the right in theBrushes panel. Click New BrushPreset. Type a name in the dialogbox and click OK.

Try This!Press D to set the foreground andbackground colors to the defaultblack and white. Press X to quicklyswitch the foreground andbackground colors as you digitallydodge and burn.

Try This!To lighten dark brown eyes, trysetting the foreground color to adark red or burgundy color insteadof white. Paint in the irises on aseparate layer and adjust theopacity. Adding red to dark browneyes softens the look.

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* Press Ô+spacebar(Ctrl+spacebar) and then click inthe image to zoom in to see theeyelashes.

( Click Brush Tip Shape.

) Select a very small brush tomatch the size of the eyelashes.

q Click and drag the Hardnessslider to 100% to build acompletely hard-edged brush.

w Drag the brush angle and thedots on the roundness icon toconform the brush shape to theeyelashes of one eye.

e Paint over the eyelashes one at atime to darken them.

r Repeat steps 22 and 23 to adjustthe brush for different angledeyelashes.

t Press the spacebar and click anddrag in the image to move tothe other eye.

y Repeat steps 22 to 24, adjustingthe brush to fit the shape of thelashes of the other eye.

u Click here to close the Brushespanel.

i Press Option+spacebar(Alt+spacebar) and click in theimage to zoom out to see thewhole face.

ADD DEPTH TO EYESto emphasize them

Retouching portraits is always tricky. You want toimprove the image and still preserve the person’scharacter. Because the eyes can define personality,enhancing the eyes almost always helps the overallportrait and helps the viewer focus on the subject.

When you work on any portrait and especially whenyou work on the eyes, you need to make smallchanges. Large changes are too often obvious, andyour subjects want to see themselves and be seen attheir best, not different. Make small changes andrepeat these on several layers. You can easily adjust

the opacity of each layer independently, creatingmore variations in brush strokes and colors. Withadjustments on multiple layers, it is also easier tochange or delete enhancements that do not seemnatural.

Using a pressure-sensitive pen tablet also gives morevariety to brush strokes. Use light brush strokesinstead of heavy ones. Many of the brush options canbe set to respond to pressure or tilt, allowing you toalter brush styles with fewer trips to the Brushespanel.

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o Click Layer 1 tohighlight it.

p Click in the Opacitydata field.

Q Press the keyboardup or down arrowsto increase ordecrease the layeropacity until theirises look natural.

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TTW Click Layer 2 to highlight it.

E Click in the Opacity data field.

R Press the keyboard up or down arrows toincrease or decrease the opacity until theeyelashes look darker but still natural.

The eyes now appear stronger and stillnatural and help focus the viewer’s eyes.

T Click here and select Flatten Image tofinalize the photo.


More Options!You can add eyeliner to the eyes in a photograph.First add another layer. Lower the opacity to about18%. Paint with black at the edge of the eyelashes oneach eye. Click in the Opacity data field and use thekeyboard up and down arrows to increase or reducethe opacity of the layer until the eyeliner looksnatural.

Did You Know?You can use the same technique shown in this taskto enhance light eyebrows. Add a layer and reducethe opacity to 8%. Open the Brushes panel and clickBrush Tip Shape. Set the hardness to 0% and changethe size, angle, and roundness to match the shape ofthe eyebrows. Paint a few smooth strokes over botheyebrows using black. Change the layer’s opacity asneeded.

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1 With the Background layerduplicated, click the Zoom tooland zoom in on the eye area.


3 Click here and select a brushslightly larger than the finalcatch light should be.

4 Click and drag the BrushHardness slider to 0%.

5 Click Opacity in the Options barand drag the slider to 40%.

6 Press D to reset the foregroundand background colors.

7 Press X to reverse the colors,making white the foregroundcolor.


9 Click once in each eye to createthe catch lights.

0 Click here and drag theHardness slider completely tothe right (100%) to build a hardbrush with no edge softness.

! Click here and drag the slider tothe right to return the brushopacity to 100%.

@ Click the Layer Mask button toadd a layer mask.

ADD A CATCH LIGHTto make the eyes come alive

When the light source — whether it comes from a camera flash, side lighting, or a natural light source — reflects in the subject’s eyes, it forms acatch light. A catch light, also called a specular

highlight, in a subject’s eyes adds life and sparkle tothe subject and brightens the overall photograph.More importantly, it draws attention to the subject’seyes and engages the viewer.

If the subject in a photograph does not have anyspecular highlights in the eyes or if the subject’s eyes

appear somewhat dull, you can use Photoshop to addcatch lights. The trick is to make them look real.

Jane Conner-ziser, one of the most experienced andwell-respected portrait retouching masters, teachesthis technique in her classes and instructional videos.Jane creates catch lights with diffused edges andemphasizes the use of two separate layers, one forthe glow and the other for the sparkle of catch lights.By placing them on separate layers, you can adjustthe catch lights to achieve a natural, realistic look.

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The foreground colorchanges to black.

# Paint over the top ofthe catch light so that itconforms to the uppereyelid.

$ Click here and drag thelayer opacity to about70% to slightly betterblend the effect.

% Click the New Layerbutton to make a newempty layer.

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^ Press X to reverse the default colors, makingthe foreground color white.

& Press the left bracket key multiple times toreduce the brush size to about half theprevious size.

* Click once in the center of each catch light.

( Click Filter.

) Click Blur.

q Click Gaussian Blur.

The Gaussian Blur dialog box appears.

w Click and drag the Radius slider between1.5 and 3 pixels to soften the edges.

e Click OK.

A soft-edged catch light with a sparkle inthe center appears in each eye.


More Options!You can refine the catch lightsmore by viewing the whole face at once. Press Option+spacebar(Alt+spacebar) and click to zoomout. Click and drag the LayerOpacity slider for each of the catchlight layers until you see a brightsparkle with a natural diffusededge.

Important!The catch lights must correspondto the natural direction of the lightto appear natural. If the light iscoming from the right, the catchlights should be on the right sideof the pupils, just slightly abovethe center.

Did You Know?Studio portrait lighting is oftenarranged to intentionally createcatch lights to help draw attentionto the eyes. Different types ofphotographic lighting producedifferent styles of catch lights.

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2 Double-click the Zoom tool toview the image at 100%.

3 Press the spacebar, click in theimage, and move it to see theeyes.

4 Click Filter.

5 Click Sharpen.

6 Click Smart Sharpen.

SHARPEN JUST THE EYESto add focus

The final step to enhancing the eyes in a photographis to sharpen the eye area. You want to add focusand draw the viewer into the photo, but you may notwant to sharpen the rest of the face or the skin. Youcan selectively sharpen the eyes by using a Sharpenfilter and then applying the filter with the Historypanel and History Brush.

You can use not only the Unsharp Mask filter forsharpening, but also the Smart Sharpen filter. This

filter is not only easier to use, but it also has addedfeatures including a much larger preview.

After you sharpen the entire portrait, you can hidethe effect using the History panel to go back to aversion of the photo before the sharpening wasapplied. Then using the History Brush, you can paintthe sharpening effect on the eye area where youwant the focus.

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The Smart Sharpen dialog boxappears.

7 Click in the Preview window anddrag to see the eyes area.

8 Click here and select Lens Blur.

9 Click and drag the Radius sliderto 1.5 to increase the area to besharpened.

0 Click and drag the Amount sliderto sharpen the eye, generallybetween 80 and 115 percent.

! Click More Accurate ( changesto ).

@ Click OK to apply thesharpening.

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The sharpening isapplied to theBackground copy layer.

# Click Window.

$ Click History to openthe History panel.

Note: When the Historypanel opens, you canclick and drag it on thescreen so you can see theeyes.

% Click the box to the leftof the Smart Sharpenstep to set the sourcefor the History Brush.

^ Click the previous statenamed Duplicate Layerin the History panel.

& Click here to close theHistory panel.

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* Click the History Brush tool.

( Click here to open the brush picker.

) Select a totally soft-edge brush (0%) that islarge enough to cover the edge of the eyes.

q Paint over the eyes, eyelashes, andeyebrows with the History Brush to applythe sharpening.

w Click the visibility button for theBackground copy on and off to comparebefore and after sharpening.

The sharpening is applied only to the eyeareas.


Attention!The Smart Sharpen filter applies only to one layer. Ifyou have made other adjustment layers, you mustmerge them before applying the sharpening. PressÔ+Option+Shift+E (Ctrl+Alt+Shift+E). Theadjustment layers and the Background layers mergein the new layer. All the adjustment layers,Background copy, and original Background layersremain unchanged.

Did You Know?Always view the image at 100% magnification whenyou use a sharpening filter to get the most accurateview on-screen of your changes. Still, the amount ofdetail visible in a print may be slightly different fromwhat you see on the screen. The amount of detailcan vary depending on the type of printer and paperused.

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1 Zoom in and make a selection ofthe teeth using the Quick Maskmode or the Quick Selectiontool.

Note: To use the Quick Maskmode, see Task #20. To use theQuick Selection tool, see Task #18.

2 Click Select.

3 Click Modify.

4 Click Feather.

The Feather Selection dialog boxappears.

5 Type 1 in the Feather Radiusfield to slightly soften the edgeof the selection.

6 Click OK.

7 Click the Zoom tool and zoomout to see the whole image.

8 Press Ô+H (Ctrl+H) to hide theselection marquee.

The selection marquee is nolonger visible, but the teeth arestill selected.

9 Click the Hue/Saturation buttonto create a new adjustmentlayer.

WHITEN TEETHto improve a smile

You can greatly improve every portrait in which thesubject is smiling by applying a little digital toothwhitening. Yellow teeth always dull a smile as well asthe overall look of the photo.

You first select the teeth and soften the selection, toavoid a visible line between the areas that arelightened and the rest of the image. Although thereare many ways to make a selection in Photoshop,using the Quick Mask mode or the Quick Selection toolas described in Chapter 2 works well when making adetailed selection such as selecting a person’s teeth.

After the teeth are selected, whitening is a two-stepprocess. You have to remove the yellow and thenbrighten the teeth by adjusting the saturation. As inthe previous tasks, duplicate the Background layer asa safety step and zoom in to make the detailedselection. Then zoom out to see the whole imagebefore adjusting the color. Digital tooth whiteningshould be a subtle adjustment to keep the smile andthe person looking natural.

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The Hue/Saturationpane appears in theAdjustments panel anda Hue/Saturation layeris created in the Layerspanel.

0 Click here and selectYellows.

! Click and drag theSaturation slider slowlyto the left to removethe yellow.

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@ Click here and select Master.

# Click and drag the Lightness slider slowlyto the right to brighten the teeth.

$ Press Ô+D (Ctrl+D) to deselect the teeth.

% Press Ô+Shift+E (Ctrl+Shift+E) to merge allthe visible layers into one layer.


Try This!When zooming in on an image, press and hold thespacebar; the pointer temporarily changes to theHand tool. You can click and drag around your imagewith the Hand tool and easily move to the area thatneeds to be adjusted. When you release thespacebar, you change back to the tool that waspreviously selected.

Did You Know?Feathering softens the edge of a selection andsmoothes the transition between two distinct areas.You can also click Select and click Refine Edge tofeather the selection edge. The default settings of theRefine Edge dialog box include a one-pixel feather.Click OK in the dialog box and continue lighteningthe teeth as shown here.

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2 Click Filter.

3 Click Convert for Smart Filters.

4 Click OK in the message box.

Add a soft-focus effect to

MAKE A PORTRAIT GLOWYou can apply Photoshop’s filters to mimic thephotographic filters used in traditional filmphotography. However, by using a combination ofPhotoshop filters, layers, and blending modes, youcan add special effects and create unique imageswith a painterly quality that go beyond thepossibilities of film photography. You can add a soft-focus effect to a portrait that not only minimizesskin imperfections but also adds a romantic glow tothe subject’s skin and still keeps the subject’s mainfeatures in focus.

You first apply the filter and then modify the effectusing the blending modes and the opacity settings.When the overall effect is pleasing, you can apply amask to refocus the eyes and other areas.

By converting the layer you are working on to applySmart Filters, you can control the effects andcontinue to adjust the effects with layer modes andopacity changes and edit the photo without affectingany pixels. Converting a duplicated layer is great forexperimenting with different creative techniques. Ifyou do not like the changes, simply delete the layer.

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55l The Background copy layer is

changed into a smart objectlayer.

5 Click Filter.

6 Click Blur.

7 Click Gaussian Blur.

The Gaussian Blur dialog boxappears.

8 Click and drag the Radius sliderto blur the image.

Note: Use a blur of about 4 to 8pixels for low-resolution and 10 to14 pixels for high-resolutionimages.

9 Click OK to apply the blur.98

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0 Click here and selectthe Screen blend mode.

The image is lightened.

! Click the Layer maskbutton to add a layermask.

The foreground color isset to black.

@ Press B to select theBrush tool.

# Click here to open thebrush picker.

$ Click a soft-edged brushjust large enough tooutline the eye area.

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% Click the Airbrush button.

^ Click here and drag the slider to the leftuntil 40% appears in the Opacity field.

& Paint over the eyes and other importantfeatures to bring them out.

* Click here and drag the Opacity slider tothe left to get the amount of glow thatyou want.

The soft focus is applied to the overallportrait while keeping the main featuresof the subject in sharp focus.


Did You Know?Dragging the Background layer over the New Layer button ( )automatically names the duplicatedlayer “Background copy.” You canalso duplicate the Background layer by pressing Ô+J (Ctrl+J). Theduplicated Background layer is thennamed “Layer 1.”

Try This!To experiment with the amount ofGaussian Blur, or any other smartfilter, double-click the filter namein the Layers panel to reopen thedialog box. Change the slideramounts and watch the changeson your image.

More Options!You can select and modify brushes from either the brushpicker in the Options bar or fromthe floating Brushes panel. Whenyou edit or save a brush in oneplace, the brush is automaticallyupdated in the other.

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Changing and Enhancing

Colors and Tone

Color is the heart of Photoshop. Whether youwork on a design or a photograph, you oftenadjust the hue, saturation, and brightness ofan image. Using Photoshop, you can fine-tuneshadows and highlights or completely alter theoverall tone of a photograph. You cantransform a color photograph into a grayscaleimage, colorize an old grayscale image, ormake a color image look like an antiquecolorized photograph. You can also tone aphoto as photographers used to do in thedarkroom. And you can create these effects inmany different ways.

Because some pixel information is discardedwhenever you make color and tonaladjustments, you should apply corrections ona duplicate layer, on separate layers, or on asmart objects layer. Photoshop CS4’sadjustment layers and the new Adjustmentspanel also help you make some changes

without permanently altering pixel values. Inaddition, opening or converting an image or alayer to a new smart object enables you toapply most filters as smart filters, makingthem continuously editable and nondestructive.You can reedit adjustment layers and smartfilters before you flatten the image.

Camera Raw, included with Photoshop CS4,not only adds powerful controls for editingimages, but can also open a variety of fileformats, including RAWs, JPEGs, and TIFFs, so you can start with nondestructive edits inCamera Raw for most photos.

Whenever you make color or tonal adjustments,start by calibrating and profiling your monitor asdiscussed in Task #9. Otherwise, you may bechanging colors that are not really in the image,and what you see on your monitor can lookvery different when it is printed.

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Improve an Underexposed Photo in Two Steps . . . . . . . 102

Improve an Overexposed Photo in Three Steps . . . . . . . 103

Remove a Colorcast to Improve the Overall Color . . . . . 104

Colorize a Black-and-White Photograph . . . . . . . . . . . . . 106

Change a Color Photo into a Custom Grayscale Photo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Add a Creative Touch with a Little Color . . . . . . . . . . . . 110

Dodge and Burn with a Special Layer . . . . . . . . . . . . . . . 112

Increase Saturation Subtly Using a Vibrance Adjustment Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Use Camera Raw to Visually Adjust Any Photo. . . . . . . . 116

Recover Highlights with Camera Raw . . . . . . . . . . . . . . . 118

Improve a Sky with the Camera Raw Graduated Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Create a Split Tone for a Special Effect in Camera Raw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

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IMPROVE ANUNDEREXPOSED PHOTOin two stepsYou may find a photograph that is perfect for yourproject or has the subject just the way you want, butit is underexposed. Fixing an underexposedphotograph with traditional photography tools wasdifficult. Fixing such a photo with Photoshop is mucheasier, and there are many ways you can accomplishthe correction. You can use a variety of Photoshopfilters and adjustments to correct the exposure.However, you can sometimes make a quick correctionusing a duplicated layer and altering the layer blendmode. This two-step technique is worth a try beforeyou work with any of the other methods.

Depending on the photo, the exposure may appear corrected the first time that you apply the technique. For otherimages, you may need to repeat the steps once oreven twice. You can even apply a half step byduplicating the layer with the changed blend modeand reducing the effect by changing the Opacityslider of the layer. You can also adjust the Fill sliderto lower the effect of the layer without altering anylayer styles on that layer.

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1 With an underexposed photoopen in Photoshop, click anddrag the Background layer overthe New Layer button toduplicate it.

2 Click here and select Screen.

The photo appears lighter.

Note: The photo may look finethis way, or you may need to addanother layer and change it as insteps 3 and 4.

3 Click and drag the Backgroundcopy layer over the New Layerbutton to duplicate the copy.

4 Click here and drag the Opacityslider to the left to change theopacity of the top layer and theamount of lightening.

The underexposed imageexposure is improved.

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IMPROVE ANOVEREXPOSED PHOTOin three stepsAn overexposed photograph is impossible to salvagewith traditional darkroom techniques. Too much lightmeans that there is nothing in the film to print.Digital photography and Photoshop can improvephotos in almost magical ways. Although it may beeasier to lighten a dark photo, you can easily reducesome of the highlights in an overly bright photographand often improve the image. You can use theShadows/Highlights command in the basic mode toeffectively reduce the highlights.

With most dialog boxes in Photoshop, when you movethe slider to the right you increase the amount. Whenyou use the Shadows/Highlights adjustment to reducethe highlights, it works in the opposite fashion.

By applying the Shadows/Highlights command on asmart object layer you can continue to adjust theexposure nondestructively. This three-step techniquefor improving an overexposed photo is worth testingbefore spending time with other methods ordiscarding the photo.

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441 Click and drag the Background

layer over the New Layer buttonto duplicate it.

2 Click Layer, click Smart Objects,and click Convert to SmartObject from the menu.

l The Background copy layer isconverted to a smart object.

3 Click Image.

4 Click Adjustments.

5 Click Shadows/Highlights.

6 Click and drag the Shadows sliderto the left to 0%.

7 Click and drag the Highlightsslider to the right until the imagelooks the way you want.

l You can click Show More Options( changes to ) to refine theadjustment using the othersliders.

8 Click OK.

The image exposure is improved.

103Chapter 5

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2 Click Image.


4 Click Match Color.

REMOVE A COLORCASTto improve the overall color

Whether you have a scanned image or one from adigital camera, your image may show a colorcast dueto improper lighting, white balance settings, or otherfactors. A colorcast often appears as a reddish,bluish, or greenish tint over the whole image.Photoshop has many tools that you can use toremove colorcasts, including the White Balancesetting in Camera Raw; sometimes you may need to try different ones, depending on thephotograph. Using the Match Color command asshown here to remove a colorcast is simple and oftenworks well.

Intended for matching the colors between twoimages, the Match Color command uses advancedalgorithms to adjust the brightness, color saturation,and color balance in an image. Because you canadjust the controls in different combinations, usingthis command on just one image gives you bettercontrol over the color and luminance of the imagethan many other tools.

When using the Match Color command on aduplicated layer, you can use the layer’s Opacityslider to blend the results with the Background layerto achieve the best color for your image, as well ascompare the before and after images.

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5 Click Neutralize to remove thecolorcast ( changes to ).

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6 Click and drag theFade slider slowly tothe right to reduce theeffect, if necessary.

7 Click and drag theColor Intensity sliderto the right toincrease the colorrange, if necessary.

8 Click and drag theLuminance slider tothe right to increasethe luminance, ifnecessary.

9 Click OK to apply thechange.

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0 Click here and drag the slider to adjustthe overall effect if necessary.

The colorcast is removed and the colorsappear more natural.

105Chapter 5: Changing and Enhancing Colors and Tone

Did You Know?You can view the floating Histogram panel andsee the color changes as they are made. ClickWindow and click Histogram to display theHistogram panel. Click and drag the Histogrampanel so that you can keep it open and still seethe image and your other panels.

More Options!If there is an area in the image that is normallyneutral gray, you can also correct a colorcastusing the Levels command. Click the Levelsbutton ( ) in the Adjustments panel to createa new adjustment layer. Click the Gray Pointeyedropper, the middle eyedropper in the Levelspane. Click in the part of the image that shouldbe neutral gray to neutralize the colorcast. Ifnecessary, click another area until the colorsappear natural.

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1 Click Image.

2 Click Mode.

3 Click RGB Color.

The color mode changes, but the image on the screendoes not.


5 Click here and select Soft Light.

6 Click the Quick Selection tool.

7 Click Sample All Layers in theOptions bar ( changes to ).

8 Click in an area to make aselection.

Note: You can use any of theother selection tools to completethe selection.

9 Click in the foreground color inthe toolbar.

The Color Picker dialog boxappears.

0 Click and drag the Color sliderto select a color range.

! Click in the Color Preview box toselect a color.

@ Click OK to close the dialog box.

COLORIZEa black-and-white photograph

Hand-coloring a photograph can be a difficult processusing traditional paints and traditional film photos.With Photoshop, hand-coloring an old black-and-white image is much easier. You can use any black-and-white photo, called a grayscale image, and paintareas using any colors that you choose.

You can start with larger areas and then focus in onspecific parts to colorize individually and onadditional layers. By making selections of detailedareas and then applying the colors, you can be asprecise as necessary to achieve the effect. Zoom in

to select and paint detailed areas and then zoom outto see the overall effect. Continue making differentselections and choosing other colors until the wholeimage is colorized. After the entire image is painted,you can lower the opacity of each colored layer as afinal touch.

You can vary the size of the Brush tool as you paintusing the left and right bracket keys. If you are usinga pressure-sensitive stylus and tablet, open theBrushes panel, click Shape Dynamics, and set theControl to Pen Pressure.

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# Press B to select theBrush tool.

$ Click here to open thebrush picker.

% Click a soft-edgedbrush.

^ Paint over the selectedareas to apply the color.

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& Click here and drag the Opacity slider forthe layer to adjust the color.

* Repeat steps 4 to 17 until the entireimage is painted.

The black and white photo now appearsin color.


Try This!Instead of clicking the foregroundcolor, simply click in the SetForeground Color box in the Colorpanel to open the color picker withoutchanging tools. You can also move thecursor over the Color panel and click inthe color ramp to select a color — allwithout changing tools. Click and dragthe RGB sliders to adjust the colors.

More Options!You can select realistic colors for skintones or hair by sampling the colorsfrom another color image. Keep theother image open on the screen whileyou are colorizing the grayscale photo. With the color picker open,move the cursor outside the dialog box to sample real colors from thecolor image. Then paint in thegrayscale image with those colors.

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1 Click here and select Essentialsto make sure the Adjustmentspanel is open.

2 Open an image to convert tograyscale.

3 Click the Black and Whiteadjustment layer button.

Change a color photo into a

CUSTOM GRAYSCALE PHOTOYou can convert a color image to black and whiteusing many different tools and techniques inPhotoshop, and because there are no fixed rules onwhich colors in an image should match specific levelsof gray, you can create a variety of differentgrayscale images from just one color photograph.

The Black and White adjustment in Photoshop CS4offers a powerful conversion method with completevisual control. You interactively determine whichshade of gray is applied to any particular color rangein the image by moving the sliders in the

Adjustments panel. And because you are editingusing a nondestructive adjustment layer, the originalimage data is preserved.

Although you can access the Black and Whiteadjustment layer from the menu, using theAdjustments panel in Photoshop CS4 is faster. Inaddition, the Black and White pane of theAdjustments panel includes a number of presets thatyou can use or modify, or you can create and saveyour own preset.

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The image converts to a defaultgrayscale image.

4 Click Auto to see the changes.

The grays in the image change.

Note: The Auto function in theBlack & White Adjustments panemaps the colors to grays differentlyfrom the Default setting.

5 Click and drag any of the slidersto vary the grays according tothe colors in the image.

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The gray tones change.

6 Click here and selectone of the presets, suchas Infrared.

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The grayscale image changes accordingly.

7 Click and hold the View Previous Statebutton to temporarily view the previousblack and white conversion.

8 Click and drag any of the sliders tocustomize the preset settings.


Important!Converting a color image to grayscaleis not the same as changing themode to grayscale, which in effectthrows away image data. When youconvert a color image to grayscale,you map individual colors to differentshades of gray, preserving the samecomplete tonal range that exists inthe color image. The image remainsin RGB mode.

Change It!Checking the Tint check box in theBlack and White pane enables you tocolor-tone the grayscale image. Dragthe Hue slider to the color that youwant and then move the Saturationslider to increase the amount of tint.

More Options!You can also convert a color image when you open the image in the Camera Raw dialog box. Click the HSL/Grayscale tab and click the Convert to Grayscalecheck box. Adjust the color sliders to alter the grayscale valuescorresponding to the colors in the underlying image.

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1 Open a color photo.

2 Follow steps 3 to 5 of Task #48to apply a black and whiteadjustment layer.

ADD A CREATIVE TOUCHwith a little color

You can hand-color an old grayscale photograph withPhotoshop to create an antique look. You can alsostart with a color image, convert it to grayscale as inTask #48, and then colorize it to get a very differentlook; this type of colorization is much easier toaccomplish. You can colorize the entire photo or justone area for effect. You can brush the color intospecific areas and even create a more or less mutedcolorized effect by changing the opacity of the brushas you paint. Start with a low opacity setting andbring the original color back gradually.

If you have already saved a grayscale version of thephoto without the original layers, you can still usethe method shown here. First open both the originalcolor image and the converted grayscale photo. Usingthe Move tool, hold the Shift key as you click anddrag the grayscale version onto the original colorphoto. Then follow steps 4 to 13 of this task usingthe Eraser tool instead of the Brush tool to paint avery creative image.

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The photo appears in grayscale.

The color photo is theBackground layer. The Black andWhite adjustment layer with awhite mask appears as thesecond layer.

3 Click the mask thumbnail in theLayers panel to select it.

4 Click the Default Colors icon toreset the foreground andbackground colors to black andwhite.

5 Click the Switch Colors icon ifnecessary to reverse the colors,making the foreground colorblack.



8 Select a brush size.110

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9 Click the Airbrushbutton.

0 Double-click here andtype 20 to lower theopacity.

! Paint over the area tobe colorized.

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@ Double-click here again and type 40 toincrease the opacity.

# Press the left bracket key several times toreduce the brush size.

$ Paint over parts of the colored area toincrease the color.

The image is selectively colorized and theviewer’s attention is drawn to the perfectspot.


Keyboard Shortcut!You can change the size of theBrush tool by pressing the rightbracket key to increase the size andthe left bracket key to reduce thesize. You can also change the opacityof the Eraser tool ( ) by clickingonce in the Opacity data field andpressing the up arrow on thekeyboard for an increase or thedown arrow for a decrease.

Did You Know?You can vary the hardness orsoftness of the Eraser or Brush toolsusing the keyboard instead of thebrush picker. Click the Eraser orBrush tool to select it. Hold the Shiftkey down as you repeatedly pressthe right bracket key to increase thehardness or the left bracket key toincrease the softness.

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USE A LAYER IN THE SOFT LIGHT BLEND

MODE

1 Click the Default Colors icon toreset the foreground andbackground colors to black andwhite.

2 Click the New Layer button tocreate a new empty layer.

3 Click here and select Soft Lightfor the layer blend mode.


5 Click here and select a soft-edged brush.

6 Double-click here and type 30to set the brush opacity to 30%.

DODGE AND BURNwith a special layer

Dodging and burning are photographic terms describingthe traditional darkroom method for brightening anddarkening tones in an image. You can effectively dodgeand burn a digital image in Photoshop.

Although Photoshop CS4 includes digital dodge andburn tools, these tools directly affect the pixels onthe layer, making your edits permanent anddestructive. Using a separate layer and the Brushtool to dodge and burn not only adjusts the imagenondestructively, it also gives you greater controlover the adjustment.

You can digitally dodge and burn on a separate layerwith two different methods. One uses a separateempty layer in the Soft Light blend mode. The otheruses a separate layer filled with neutral gray in theOverlay blend mode. With either type of layer, youdodge by painting with white and burn by paintingwith black on the layer. By setting the brush opacityto about 30% to start, you can increase the effect asyou work by brushing over an area multiple times.

Both methods give you complete control overdodging and burning digitally.

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7 Click and drag to paint withblack in the light areas of theimage to darken, or digitallyburn them.

8 Click the Switch Colors icon toreverse the foreground andbackground colors, making theforeground color white.

Note: You can also press X toreverse the foreground andbackground colors.

9 Click and drag to paint withwhite in the dark areas of theimage to lighten, or digitallydodge them.

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USE A LAYER IN THE OVERLAY

BLEND MODE

1 Click the Default Colors icon to reset the foreground and background colors to black and white.

2 Press Option (Alt) and click the New Layer button to create a new empty layer.

The New Layer dialog box appears.

3 Click here and select Overlay.

4 Click Fill with Overlay-neutral color (50% gray) ( changes to ).

5 Click OK.

l A new layer appears filled with gray in theLayers panel but the image in the mainwindow is unchanged.

6 Repeat steps 4 to 9 in the Soft Light Blendmode method described in the first part ofthis task.

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More Options!You can even create separatelayers for dodging and burningusing either method. Name onelayer Burn and the other Dodge.You can then adjust the layeropacity of the dodge or burnlayer individually to give youeven more control and use theLayer panel’s Opacity slider toadjust the effect.

Try This!If the darkening or lightening isnot as strong as you want, youcan just release the mousebutton and click and paint overthe same area again. Becauseyou are using the brush at a lowopacity to start, you can paintover an area multiple times toincrease the effect.

Did You Know?When you use a layer filled with50% gray in the Overlay blendmode, the layer displays a graythumbnail in the Layers panel,but appears as a transparentlayer over the image in the mainwindow.

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1 Open an image.

2 Click Window.

3 Click Adjustments to open theAdjustments panel.

Note: Optionally, click Essentialsto have the Adjustments panelincluded in the right panel.

4 Click the Vibrance button.

Increase saturation subtly using a

VIBRANCE ADJUSTMENT LAYERVibrance is similar to saturation in that they bothincrease or decrease the intensity of the colors. Unlikesaturation, vibrance affects only the less saturatedareas and minimizes any effect on the more saturatedareas in the image, thus increasing the intensity ofthe colors while maintaining a more naturalappearance. The Vibrance adjustment also improvesskin tones better than the Saturation adjustment,which saturates all the colors in the image.

You can increase the intensity of the colors in animage without altering the original pixels by using aVibrance adjustment layer. You can apply the

adjustment by clicking Layer, selecting NewAdjustment Layer, and selecting Vibrance. However,you can also use the Adjustments panel, whichenables you to quickly apply a variety of imagemodifications as nondestructive adjustment layers.The panel includes one-click buttons as well as anumber of presets for the various options.

You can adjust both the vibrance and the saturationusing the sliders in the Adjustment panel’s Vibrancepane to increase the intensity of the colors in yourimage.

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The Vibrance adjustments paneappears.

5 Click and drag the Vibrance sliderto the right to increase theintensity of the colors.

6 Click and drag the Saturationslider slightly to the right toincrease all the colors ifnecessary.

The colors in the image intensify.

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7 Click and hold the ViewPrevious State button toview the image beforethe adjustment.

The adjustment istemporarily hidden.

8 Release the mouse toview the adjustmentagain.

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9 Click and drag to adjust the sliders toincrease or decrease the vibrance andsaturation.

0 Click the Return to Adjustment List arrowto view all the options in the Adjustmentspane, and apply more adjustments ifdesired.


More Options!You can remove the Vibrance orany adjustment layer and return tothe list of Adjustments by clickingthe trash can ( ) in theAdjustments pane.

You can return to the list ofadjustments by clicking the arrow( ) any time without removingthe adjustment you just applied.

Try This!Click the visibility button ( ) inthe Adjustments pane totemporarily turn off the effect ofthe adjustment layer. Click thePrevious State button ( ) in theAdjustments pane or press thebackslash key to temporarily viewthe previous adjustment state. Clickthe Reset button ( ) to reset theadjustment to the default settings.

Did You Know?When you apply adjustments as adjustment layers, a mask is automatically created. You can then paint on the mask with black to hide the adjustment on certain areas, allowing the original image to appear.

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SET THE CAMERA RAW PREFERENCES TO

OPEN JPEGS AND TIFFS

1 Click Photoshop (click Edit).

2 Click Preferences.

3 Click Camera Raw.

USE CAMERA RAWto visually adjust any photo

Most digital cameras can create JPEGs andsometimes TIFF files. Advanced digital cameras canalso write a manufacturer’s proprietary camera RAWformat, such as NEF or CR2. The RAW file format isthe most direct representation of what the camerasensor captured because the data is not processed orcompressed in the camera. Such proprietary RAWfiles require specific software to convert the file inthe computer. Photoshop CS4 includes Camera Rawto convert RAW images. However, Camera Raw is apowerful image editor on its own.

Camera Raw automatically launches whenever youopen a proprietary manufacturer’s RAW file. However,you can set the Camera Raw preferences to openboth JPEGs and TIFFs automatically as well to takeadvantage of the many editing tools.

You can then open any photo using Camera Raw and make specific adjustments, including cropping,straightening, spot removal, and fixing red eye. Youcan work with one or multiple images at one timebefore opening each photo individually in Photoshopto make more specific adjustments.

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The Camera Raw Preferencesdialog box appears.

4 Click here and selectAutomatically open all supportedJPEGs.

5 Click here and selectAutomatically open all supportedTIFFs.

6 Click OK to save the Camera Rawpreferences.

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OPEN A JPEG (OR TIFF) IN

CAMERA RAW

1 In Photoshop, click Fileand select Open.

The Open dialog boxappears.

2 Click a JPEG or TIFF toopen it in Camera Raw.

3 Click Open.

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The file automatically opens in Camera Raw.


5 Click and drag in the image to crop it.

6 Click Open Image.

The cropped version of the image opens inPhotoshop.


Did You Know?A camera RAW file is a file format that contains the unprocessed and uncompressed picture data exactly ascaptured by the digital camera’s image sensor, along with the information about how the image was captured,called the image’s metadata.

A camera’s JPEG file is a photo file that has been processed and compressed by the digital camera’s internal processor.

Photoshop Camera Raw is software that interprets the camera RAW file to build and process the color image yousee on your monitor.

When you adjust a RAW file in Photoshop Camera Raw, the adjustments are saved as metadata and all the originalimage data is preserved. When you edit a JPEG file in Camera Raw, you are adjusting pixels that have already beenaltered by the camera.

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1 Open Bridge.

2 Click a photo to select it.

3 Click File.

4 Click Open in Camera Raw.

Note: You can also open mostcamera manufacturers’ RAW filesby double-clicking the file in anyfolder or in Bridge.

RECOVER HIGHLIGHTSwith Camera Raw

The Recovery slider is one of the many valuable toolsin Camera Raw. The Recovery slider can often reduceor remove the clipped highlights. Clipped or blownhighlights print as completely white areas becausethe image has no pixel information in these areas.Clipped highlights can ruin an otherwise goodphotograph and are often difficult to control withother tools.

With an image open in Camera Raw, you can see theblown-out highlights by clicking the Highlight Clippingwarning triangle in the histogram. The highlights

without any colored pixels appear in red. Conversely,clicking the Shadow Clipping warning triangle in thehistogram makes the overly dark shadow areas orcompletely black areas with no tonal range appear inblue.

The Recovery slider works in combination with theExposure slider. Using both sliders, you can improvethe exposure and prevent most of the highlights frombeing completely blown out. The Exposure and theRecovery sliders are located on the Basic tab.

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5 Click here to view theoverexposed highlights.

6 Click here to view theunderexposed shadows.

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l White highlights appearin red, and blackshadows appear inblue.

7 Click and drag theRecovery slider slowlyto the right to lessenthe red colored areas.

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The red colored highlights are reduced.

8 Click and drag the Exposure slider slowlyto the left to reduce the red coloredhighlights more.

9 Repeat steps 7 and 8 as needed to adjustthe photo.

0 Click Open Image to open the image inPhotoshop.

Note: Optionally, click Save Image to savethe image with the new adjustments.

The blown-out highlights are reduced andthe photo displays a better exposure.


Did You Know?The latest version of Camera Raw includes anAdjustment Brush tool ( ) so you can selectivelypaint Exposure, Clarity, Brightness, and otheradjustments onto specific areas of a photo. You canthen refine the amount of the adjustments by movingthe appropriate sliders. You can also use theGraduated Filter tool ( ) in Camera Raw to apply agradual blend of selected adjustments over specificareas of the photo.

Try This!You can quickly access the Camera Raw preferences fromwithin Camera Raw by clicking the Open preferencesdialog button ( ) in the Camera Raw toolbar.

More Options!The Fill Light slider in Camera Raw performs changessimilar to the Shadows/Highlights adjustment inPhotoshop CS4. The Fill Light slider brightens only theshadows without changing other values. The Blacksslider changes the black points in the photo, darkening it.

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1 Open an image with a large skyarea in Camera Raw.

2 Click the Graduated Filter tool.

IMPROVE A SKYwith the Camera Raw graduated filter

When you first open an image in Camera Raw, theinterface displays the tools in a top toolbar andnumerous color and tone adjustments on the Basictab. These sliders help you adjust the tone, whitebalance, and saturation of the overall image. Onother tabs, you can adjust different tones and colorsindividually, make lens corrections, alter colors in theimage, sharpen and reduce noise, and even savesome of your settings as presets so that you canreapply them to similar images.

The Graduated Filter tool enables you to apply tonalchanges similar to a photographic graduated filter.For example, you can easily dramatize an open skyin a landscape photo by changing the exposure,saturation, clarity, or color of just the sky andcompletely change the mood of the image.

With Camera Raw, you control the colors in theimage by what you see on the screen, so it isessential to work with a properly calibrated andprofiled monitor as discussed in Task #9.

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The Graduated Filter tool optionsappear under the Histogram.

3 Click Show Overlay ( changesto ).

4 Press and hold Shift and click anddrag from the top of the imageto where the sky meets theforeground.

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The Graduated Filteroverlay appears withtwo adjustment pins onthe image.

5 Click and drag theExposure slider to theleft to darken the sky.

6 Click and drag theother sliders on theGraduated Filter panelto increase the intensityof the sky.

Note: Optionally, clickthe Color box and selecta graduated filter colorto apply to the sky.

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The sky in the photo changes as youmove the sliders.

7 You can click Open Image to open thephoto in Photoshop or Shift+click OpenImage to open the photo as a smartobject in Photoshop.

l You can click Save Image to convert andsave the image with the Graduated Filteradjustment.

l You can click Done to apply the changesand close the dialog box without openingthe image in Photoshop.


More Options!Once you have applied the Graduated Filtersettings, you can continue to adjust the imagein Camera Raw. Click the Zoom tool ( ) toreturn to the Basic panel. The adjustments youapplied with the graduated filter remain on theimage. You can then use any of the other toolsin the toolbar or the sliders and tabs in theright panel to edit the photo.

Try This!You can apply multiple Graduated Filteradjustments to an image by applying one andthen selecting New ( changes to ) to startanother one. You can always go back and editany adjustment. Make sure that Show Overlayis selected and click the Graduated Filter pinon the image. Edit is automatically selected( changes to ) so you can move theadjustment sliders to change the appliedgraduated filter.

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1 In Photoshop, click File andselect Open.


2 Navigate to the file and click toselect it.

3 Click here and select CameraRaw, if it is not already selected.

4 Click Open.

CREATE A SPLIT TONEfor a special effect in Camera Raw

Creating split-tone effects in the traditional darkroomwas difficult and labor-intensive. With Camera Rawincluded with Photoshop CS4, you can easily create asplit-tone look, in which a different color is applied tothe shadows and highlights. You can also visually addor remove tones while previewing the image.

This feature of Camera Raw lets you associate hueand saturation with the lightest colors separatelyfrom the hue and saturation values associated withthe darkest colors in the image. You can then adjust

the Balance slider to emphasize the tone of thehighlights or the tone of the shadow areas.

Because you create the split tone in Camera Raw, thealteration to the image is completely nondestructive.The original image always remains intact. You canreopen Camera Raw to change the color or saturationamounts any time to adjust the effect.

You can apply a split tone to either a grayscale or acolor image; however, the toning is often mosteffective on a grayscale photo with high contrasts.

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The Camera Raw dialog boxappears.

5 Click the Split Toning tab.

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6 Click and drag the Highlights Hue slider to select the color for the highlights.

7 Click and drag the Highlights Saturation slider to increase the saturation in the highlight areas.

8 Click and drag the ShadowsHue slider to select the colorfor the shadows.

9 Click and drag the ShadowsSaturation slider to increasethe saturation in the shadowareas.

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0 Click and drag the Balance slider to theright to shift the toning more into thehighlights or to the left to emphasize thetones in the shadows.

! Repeat steps 6 to 10 to adjust the splittone effect.

@ Click Open Image to open the tonedimage and continue editing it inPhotoshop.

Note: Optionally, click Save Image to save itwith the adjustments and a different name.

The grayscale image appears as atraditional split-tone image with differentcolored shadows and highlights.


Did You Know?You can automatically openany image from Camera Rawas a smart object inPhotoshop. Press Shift and theOpen Image button changes toOpen Object. Once inPhotoshop, you can double-click the smart object layer toreopen the image in CameraRaw and edit the settings.

More Options!If you add a split tone to acolor image, you can stillconvert it to grayscale afterapplying split toning. Using theHSB/Grayscale tab ( ) inCamera Raw, you can alsochange the effects of the splittoning.

Try This!Leave the Saturation slider setto 0 and press the Option (Alt)key as you drag the Huesliders. The preview shows a100% saturation of that hue.After you select the hue, movethe Saturation sliders to theamount that you want.

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Making Magic with Digital

Special Effects

Since Photoshop’s inception, photographers andgraphic designers alike have been using theapplication for digital imaging and photomanipulation. Photoshop can transform anaverage shot into a good photograph, a goodphotograph into a great one, and a great imageinto creative fine art. Photoshop CS4 adds evenmore power and control to digital imageediting. Just as with the previous versions,there are many different ways to create adesign or enhance a photograph. You can usethe old tools in new ways and in combinationwith the new techniques to create, improve, orcompletely alter any image.

You can simulate the effect of using traditionalphotographic filters to enhance the colors orchange the areas in focus in an image. You

can draw attention to one part of the imageusing a vignette or simulate traditionalphotographic effects with a digital filter. Usingthe Merge to HDR feature, you can combinemultiple exposures to realize a photo with awider range of tones than the camera cancapture in one shot. You can also use theflexibility of smart objects and Camera Raw tovary the luminosity of a photo. You can evenuse parts of a photo and multiple layers tocreate an original design. The Vanishing Pointfilter enables you to add or remove items in animage while maintaining the basic perspective.

Photoshop CS4 not only offers more methodsfor altering images, but also gives you moreopportunities to be creative.

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Apply a Photo Filter for Dynamic Adjustments. . . . . . . . 126

Add a Quick Dark Vignette Effect to Focus on the Subject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Add Action with a Simulated Motion Blur . . . . . . . . . . . 128

Blend Separate Photos for the Best Group Shot . . . . . . 130

Merge Multiple Raw Photos to 32-Bit HDR. . . . . . . . . . . 132

Apply a Split-Neutral Density Filter Using Smart Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Adjust Depth of Field with a Lens Blur Filter . . . . . . . . . 136

Use the Auto Blend Tool to Create Greater Depth of Field. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Create a Silhouette for a Custom Design . . . . . . . . . . . . 144

Become a Digital Architect with the Vanishing Point Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Erase Items in Perspective with the Vanishing Point Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Add a Simulated Reflection to an Object with the Clone Stamp Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Blend One Image into Another with a Displacement Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

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APPLY A PHOTO FILTERfor dynamic adjustments

Different lighting conditions produce different colortemperatures on the image. Photographers sometimesuse colored lens filters to correct for the lightingdifferences, change the color balance in their photos,or even create a more dramatic image. You can alterthe white balance setting on digital images in bothCamera Raw and Photoshop, as shown in Chapter 5.You can also use the Photo Filter adjustment inPhotoshop to apply a traditional lens filter effect to animage whether it is digital or scanned from film.Because Photoshop considers the Photo Filter anadjustment rather than a filter, you find the Photo

Filter adjustment under both the Image ➪ Adjustments and Layer ➪New Adjustment Layer menus. However, using the Adjustments panel is the quickestand easiest way to access this adjustment.

Using a Photo Filter adjustment can visually changethe time of day in the photo, turning midday intosunset. You can also revive an image, turning a blandphoto into a dramatic one, by applying a blue orviolet filter across the entire image, or warm a coolphoto by applying a warming filter.

1 Click here and select Essentialsto set up the workspace.

2 Click the Photo Filter adjustmentlayer.

Note: Using a Photo Filteradjustment layer does not alterthe original image until youflatten the layers.

The Photo Filter options appearin the Adjustments panel.

l Make sure that PreserveLuminosity is selected.

3 Click here and select a coloredfilter.

4 Click and drag the Density sliderto the right to increase the effectif necessary.

The Photo Filter adjustment isapplied to the entire image.

Note: You can duplicate the layerto increase the effect or changethe layer blend mode to Hue tosoften the effect.

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Add a quick dark vignette effect to

FOCUS ON THE SUBJECTA dark vignette around the edges of a photograph isoften due to the light falloff in the camera lens.However, darkening the edges of an image can alsohelp focus the viewer’s eye on the subject in thecenter of an image. For other images, a darkenededge can simulate the look of an old photograph.Used on a portrait, it can create a dramatic look byappearing to focus a soft light on the subject. With alandscape, you can simulate a burned-in edge,essentially enhancing the center of the image.

You can create a vignette effect in many ways with Photoshop. Most methods involve separate layers and multiple steps. This quick vignette technique usesthe Lens Correction filter, almost opposite from theway it was intended, and makes adding a darkened-or lightened-edge vignette very fast. When you applythe filter as a smart filter, the effect is alsocompletely editable even after it has been applied.

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1 Open an image as a smartobject or convert it using one ofthe methods described in Task#21.

2 Click Filter.

3 Click Distort.

4 Click Lens Correction.

The Lens Correction dialog boxappears.

5 Click Show Grid to remove thegrid lines ( changes to ).

6 Click and drag the Amountslider to the left for a dark-edgevignette effect.

Note: You can move the Amountslider to the right to create a light-edge vignette.

7 Click and drag the Midpointslider to control how far thedarkened areas extend into thephotograph.

8 Click OK.

The smart filter is applied to theimage.

127Chapter 6

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1 With the image as a smartobject layer (see Task #21), clickFilter.

2 Click Blur.

3 Click Motion Blur.

Add action with a

SIMULATED MOTION BLURYou can add a sense of movement to action shots byusing a filter to simulate the motion of the subjects.Photoshop includes a number of blur filters, includingone for motion blur. Unlike the Gaussian Blur filter,which blurs pixels in clusters, the Motion Blur filterblurs pixels in both directions along straight lines.You can choose the angle of movement and thedistance in pixels that are affected by the blur in thefilter dialog box to simulate both the direction andspeed of motion of the subject of the photo.

The Motion Blur filter blurs the entire image,removing all details. Both the subject matter and the

background are blurred, making the photo look asthough the camera and not the subject was movingwhen the shot was taken. By adding a layer maskfilled with black to hide the motion blur, you can thenselectively paint in white over certain areas to createthe illusion of movement while keeping the mainsubject and the background in focus. Apply the filteras a smart filter on a previously converted smartobject layer, and you can edit the amount of blurafter applying it for even more visual control.

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The Motion Blur dialog boxappears.

4 Click and drag the straight line inthe circle to rotate the angle ofthe motion.

5 Click and drag the distance sliderto adjust the amount of blur.

6 Click OK.

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l The filter is applied tothe smart object layer.

7 Press D to reset black asthe foreground color.

8 Click the Layer Maskicon for the smart filter.

The mask appears witha line around it, andthe foreground colorchanges to white.

9 Press Option+Delete(Alt+Backspace) to fillthe smart filter layermask with black.

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The motion blur effect is hidden, and themask is filled with black.


! Click here and click a soft-edge brushfrom the brush picker.

@ Click the Switch Colors icon to reverse theforeground and background colors so thatwhite is the foreground color.

# Paint in the image over the areas whereyou want the motion blur to appear.

The motion blur is applied to specificareas and the subject appears to bemoving through the background.

Chapter 6: Making Magic with Digital Special Effects

Did You Know?You can also use the Wind filter for alinear motion effect. Instead of selectingthe Motion Blur filter, click Filter, Stylize,and then Wind. Click From the Right orFrom the Left to select the direction ofthe movement. Click OK to close thedialog box. Then follow steps 7 to 12 inthis task to selectively paint in theappropriate motion.

More Options!After applying the Motion Blur smartfilter, you can instead leave the blur overthe entire image and paint back thesubject and foreground to bring themback into focus. Click the mask to selectit as in step 8 and press X if necessary toreverse the foreground and backgroundcolors so that black is the foregroundcolor. Paint with black over the areas thatyou want in focus.

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1 Open the photos to combine.

2 Click the Move tool.

3 Click and drag one photo ontop of the other.

4 Click here to close the photothat you just dragged.

BLEND SEPARATE PHOTOSfor the best group shot

Photoshop CS4 includes an Auto-Align Layerscommand to help you combine separate photos forpanoramas or for composites. Auto-Align Layersanalyzes edges and common elements in each imageand brings them into alignment with each other. Thistool works very well when combining multiple photosof a group so that everyone looks their best in thefinal photo.

You can drag all the separate images onto one of theimages, making multiple layers. When you run theAuto-Align Layers command, Photoshop matcheseach layer with the others so that the similar shapesand forms match as much as possible. You can thenadd a layer mask to the layers to merge the images,erasing the unwanted parts of each layer. For groupshots, you erase the closed eyes or grimaces toreveal the best expressions of everyone in the group.

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5 Press Shift and click each layer toselect it.

6 Click Edit.

7 Click Auto-Align Layers.

The Auto-Align Layers dialog boxappears.

8 Click a projection style,depending on the elements inthe photos ( changes to ).

Note: In this example, you aretrying to align people in a groupshot; Auto Projection will workbest.

9 Click OK.130

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l Photoshop aligns the photos by the content and renames the layers Layer 0 and Layer 1.

0 Click the top layer to select it.

! Press D to set the foreground color to black.

@ Click here and drag the top layer’sopacity to 60% to see the shapes below.

# Click the Brush tool.

$ Click here and select a soft-edged brush.

% Click the Layer Mask button to add alayer mask to the top layer.

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^ Paint with black on the top layer to showthe best group shots.

Note: The top layer’s mask should still beselected.

l The mask displays the painted areas inblack.

& Click here and drag the top layer’s opacityback to 100%.

The final image blends the preferredsubjects from both images.

l You can click the Crop tool and crop theimage to final size.


Caution!Make sure that the toplayer’s mask is still selectedand that the foregroundcolor is set to black whenyou paint on the photo toreveal the parts of theimage on the layer below.

Did You Know?Photoshop automaticallyselects one alignmentprojection option (see step8) based on the contentsof the images you arecombining. You can try itand then press Ô+Z(Ctrl+Z) to undo the auto-alignment and try adifferent option.

More Options!The Auto-Blend Layerscommand blends separatelayers and tries to reduceor eliminate theperspective differences aswell as the differences incolors or luminancewithout leaving a seam.This command works wellfor scenic photos.

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OPEN MERGE TO HDR FROM BRIDGE

1 In Bridge, Ô+click (Ctrl+click) toselect the images to merge.

Note: Photos taken specifically touse with the Merge to HDRcommand would normally appearin sequential order.

2 Click Tools.

3 Click Photoshop.

4 Click Merge to HDR.

Note: Continue the steps startingwith step 9 below.

MERGE MULTIPLE RAW PHOTOSto 32-bit HDR

Dynamic range in a photo refers to the ratio betweenthe dark and bright areas. The human eye can adaptto different brightness levels, but the camera cannot.Using Photoshop CS4, you can merge multiple photosof the same scene but with different exposures into ahigh dynamic range (HDR) image. The merged imagecan display luminosity levels even beyond what thehuman eye can see, and far more shades of thecolors in the visible world than any camera cancapture in a single photo. Although HDR images areoften used for motion pictures and special lightingeffects in some high-end photography, Photoshop

CS4’s Merge to HDR command enables the stillphotographer to create detailed yet realistic imageswith a wide dynamic range.

The Merge to HDR command works best on a seriesof photos taken with a tripod so that only the lightingof the image differs and nothing is moving. Theaperture and ISO of the images should be the samein each photo. The shutter speed should vary fromone to two f-stops in each direction. You can merge toHDR with at least three photos; however, you caninclude more photos with varying shutter speeds soyour photos have a large variation in the image tones.

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11OPEN MERGE TO HDR FROM PHOTOSHOP


2 Click Automate.

3 Click Merge to HDR.

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The Merge to HDR dialog box appears.

4 Click Browse.


5 Navigate to and Ô+click (Ctrl+click) to select the images to use.

6 Click Open.

l The files appear in the list box.

7 Click Attempt to Automatically AlignSource Images ( changes to ).

8 Click OK.

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Photoshop opens, analyzes, aligns, andcombines the images into one multilayeredfile.

The larger Merge to HDR dialog box appears.

9 If necessary, click to deselect a source image.

0 If necessary, click and drag the White PointPreview slider just enough to see all thedetails in the image.

Note: The White Point Preview adjustment isapplied when you open the image inPhotoshop. The slider does not delete any ofthe merged image data, which remains in themerged file. You can adjust the white pointagain later by clicking View and then 32-bitPreview Options.

! Click OK.

Photoshop merges the files into a documentnamed Untitled_HDR.


More Options!Refine the merged image even more byconverting it to a 16-bit or an 8-bit image.Click Image, click Mode, and click either 8or 16 bits/Channel. An HDR Conversiondialog box appears. Click and drag theGamma slider to the left to increase thecontrast or to the right to decrease thecontrast. Then click and drag the Exposureslider to the desired brightness. Click OKto finish the conversion.

Did You Know?The bit depth describes how much colorinformation exists per pixel in an image. A greater number of bits per pixeltranslates into greater color accuracy, with more shades of each color or moreshades of grays in the image.

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1 Click File.

2 Click Open As Smart Object.


3 Click a file to select it.

4 Click here and select CameraRaw.

5 Click Open.

Apply a split-neutral density filter using

SMART OBJECTSYou may have photographed a scene with a vibrantsky, but the resulting photo did not reflect the dramathat you saw. The light in the sky or a reflection ofwater may have created a dynamic range larger thanwhat the camera could capture. Photographerssometimes use a split-neutral density filter on thelens to capture such a large dynamic range. Using a tripod, you can also take multiple exposures of the same scene and combine the images usingPhotoshop’s Merge to HDR command. However, youcan effectively simulate a neutral-density filter or a

multi-exposure photograph using a combination ofCamera Raw and smart object layers.

Using two copies of a smart object layer, you can useCamera Raw to adjust a photograph — first toemphasize the foreground and next to edit a copyand emphasize the background or sky. You can thenuse a layer mask to combine the best exposures ofboth images. You can also edit each layer againbefore flattening and saving the final image file witha new name.

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Camera Raw opens.

6 Move the sliders to simulate thebest exposure for theforeground.

7 Click OK.

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l The file is opened in Photoshop as a smart object.

8 Click Layer.

9 Click Smart Objects.

0 Click New Smart Object via Copy.

l The smart object layer is duplicated but not linked to the original.

! Double-click the Smart Object icon onthe new smart object layer.

The image opens in Camera Raw again.

@ Repeat steps 6 and 7, but this timeselect the best exposure for the sky.

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# Press D to set the foreground andbackground colors.

$ Click the Layer Mask button to add a layermask to the top layer.

l White becomes the foreground color.

% Click the Gradient tool.

^ Click the Linear gradient.

& Press Shift and click and drag from justabove the horizon to just below thehorizon.

The gradient on the mask allows theproperly exposed sky from the top smartobjects layer to be seen on the smartobjects photo layer with the well-exposedforeground.


Caution!You must duplicate the smart objectlayer using the menu path Layer,Smart Objects, New Smart Object viaCopy to edit each one independently.If you duplicate the smart object bydragging it over the New Layer buttonin the Layers panel, the smart objectlayers are linked to each other, andediting one edits the other at thesame time.

More Options!If the file is in the RAW format, youcan start from Bridge. Double-clickthe RAW file to open Camera Raw.Make your adjustments for theforeground. Shift+click Open Object.The file then opens as a smart object,and you can continue with the rest of the steps in the task starting atstep 8.

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1 With a photo open, click theChannels tab in the Layerspanel.

2 Click the New Channel buttonto add a new black Alphachannel.

Note: Optionally, you can press Fonce to view the photo against agray background.

ADJUST DEPTH OF FIELDwith a Lens Blur filter

You can draw the attention of the viewer into themain subject of an image by controlling the depth offield, or defining the part of the image that is infocus and blurring other areas. Photographers controlthe depth of field by changing the aperture setting onthe camera. A small opening results in a greaterdepth of field with more of the image in focus. Alarger aperture creates an image with less depth offield and only the center of the image in focus. Youcan use Photoshop’s blur filters to selectively adjustthe depth of field in your digital images.

Use the Lens Blur filter and a white-to-black gradienton an Alpha channel, a special type of channel forsaving a selection, to create a smooth transition fromthe focused areas to the out-of-focus areas in thephoto. Click one area in the image to set the mainfocal point. Areas with the same level of gray in theAlpha channel as the selected area are now in focus.All other areas are blurred, depending on the level ofgray in the Alpha channel.

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The image is covered with black,and the channel is named Alpha 1.

3 Click the Visibility box for theRGB channel to see the image.

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All the channels arevisible, and a red maskcovers the image.

4 Click the Alpha 1channel to highlight it.

5 Press D to select theforeground andbackground colors.


7 Click the Lineargradient.

8 Press and hold the Shiftkey as you click anddrag in the image fromthe background towardthe foreground.

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The red mask area appears as a redgradient.

9 Click the RGB channel to highlight it.

0 Click Filter.

! Click Blur.

@ Click Lens Blur.


More Options!You can keep a selected area in focus whenyou apply the Lens Blur. Make a selection.Click Select and then Save Selection. Type aname in the data field in the Save Selectiondialog box and click OK. Next, click theChannels tab and deselect the visibilitybutton of the new channel. Click the RGBchannel to select it and click the Layers tab.Now when you apply the Lens Blur filter,everything in the selection remains in focus.

Try This!You can create a channel with two selections,one for the main subject and the second foran area slightly farther in the background. Fillthe first selection with white and the secondwith a light gray. Apply the Lens Blur filterwith this channel as the source. Your imagenow has areas with three distinct levels offocus.

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The Lens Blur dialog box appears.

# Click and drag all the sliders tothe left to remove any blur effect.

$ Click here and select Alpha 1.

ADJUST DEPTH OF FIELDwith a Lens Blur filter

Photoshop includes other blur filters. All the blurfilters can soften or blur either a selected area or theentire image. These filters smooth the transitionsbetween areas of contrast from hard edges or shadedareas by averaging the pixels that are juxtaposed toany lines or edges in an image. The Lens Blur filterworks best for creating or simulating depth of field ina photo because it uses a depth map to determinethe position of the pixels to blur. You can set thespecific area to start blurring the focus in the image

by specifying the source for the depth map. Usingthe Lens Blur filter with a separate Alpha channel ora layer mask as the source enables you to specifyexactly what is in sharp focus and how much depthof field to apply. The Lens Blur filter also enables youto determine the shape of the iris to control how theblur appears. By changing the shape, curvature, orrotation of the iris in the Lens Blur dialog box, youcontrol the look of the Lens Blur filter.

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% Click the main subject in theimage to assign the point of focus.

^ Click Invert to set the blur to thebackground ( changes to ).

& Click and drag the Radius slider tothe right to blur the background.

l If necessary, click and drag theBlur Focal Distance slider to adjustthe point of focus.

Note: The Blur Focal Distancenumber corresponds to the level ofgray at the targeted point in theAlpha channel.

* Click OK.

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The Lens Blur filter isapplied to the image in the areas covered by the red gradient.

( Click the visibilitybutton on the Alpha 1 channel to deselect it and hide the red mask.

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) Click the Layers tab.

The main subject in the image is sharpwhile the rest of the image gradually blursout of focus as it gets farther away fromthe focal point.


Attention!Film grain and noise are removedwhen the Lens Blur filter is applied.You can replace some of the noiseand make the image look morerealistic. First, zoom in to see theimage at 100%. Click and drag theAmount slider in the Noise section of the Lens Blur dialog box until theimage appears less changed and thenclick OK.

Did You Know?Applying a Lens Blur filter rather thana Gaussian Blur filter preserves moreof the geometric shapes in theoriginal image. Highlights in theimage also reflect the Shape settingthat is chosen in the Iris section ofthe Lens Blur dialog box. You cansmooth the edges of the iris androtate it by changing the BladeCurvature and Rotation settings.

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1 Click File.

2 Click Scripts.

3 Click Load Files into Stack.

Use the Auto Blend tool to create

GREATER DEPTH OF FIELDThe depth of field you can capture depends on thetype of camera, the aperture, and the focusingdistance. Larger apertures — or smaller f-stopnumbers — and closer focal distance produce imageswith a shallower depth of field, or less of the imagein focus. Using smaller apertures — larger f-stopnumbers — produces photos with greater depth offield or more of the overall image in focus.

Sometimes you cannot use as small an aperture asyou would need to create a photo with a very largedepth of field because of the distance involved, orbecause of the lighting conditions. You can combinemultiple shots and blend them together using thecapabilities in Photoshop CS4 to create a larger depthof field.

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The Load Layers dialog boxappears.

4 Click Browse.


5 Ô+click (Ctrl+click) multiplephotos to select them.

6 Click Open.

l The files appear in the LoadLayers dialog box.

7 Click Attempt to AutomaticallyAlign Source Images ( changesto ).

8 Click OK.

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l The images all open asindividual layers of onefile named Untitled1.

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9 Click the first layer and Shift+click the lastlayer to select all the layers at once.

0 Click Edit.

! Click Auto-Align Layers.


Did You Know?Depth of field occurs as agradual transition, witheverything in front of andbehind the focusing distanceof the camera lens losingsharpness.

Try This!You can also start byselecting the files andopening them all as separatefiles. Then click File, Scripts,and Load Files into Stack. Inthe Load Layers dialog box,click Add Open Files to selectall the currently open filesand click OK, and thencontinue with step 9 above.

Did You Know?The Auto-Align Layerscommand aligns the layersbased on similar content,such as corners and edges, ineach of the different layers.

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The Auto-Align Layers dialogbox appears.

@ Click an alignment option ( changes to ).

Note: The Auto projection option,in which Photoshop analyzes theimages for content and positionsthem in the layout, generallyworks well when blending imageswith overlapping areas to increasedepth of field. You can experimentwith other projection layouts.

# Click OK.

Use the Auto Blend tool to create

GREATER DEPTH OF FIELDTo create the best blend for extending the depth offield of the final image, you should use a tripod anduse the manual focus of the camera. With the fullimage in the viewfinder or on the camera’s LCD,manually focus on the area closest to the camera andtake the first shot. Then change only the focus pointto see the next area over in sharp focus. Continuetaking photos until all the areas are in focus in atleast one shot.

The Auto-Blend Layers command only works withRGB or Grayscale images and does not work withsmart object layers or Background layers. Andalthough the Auto-Blend dialog box does have anoption for blending multiple images into a panorama,the Photomerge command generally produces betterphoto blends for panoramas.

You can use as many photos as required to captureeach area of the scene in sharp focus.

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A progress bar appears as thelayers are automatically aligned.

Note: You may not see anoticeable change on screen.

$ With all the layers still selected,click Edit.

% Click Auto-Blend Layers.

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The Auto-Blend Layersdialog box appears.

^ Click Stack Images ( changes to ).

& Click Seamless Tones and Colors ( changes to ).

* Click OK.

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A progress bar appears as the layers areblended based on the content, and layermasks are created.

The layers are blended using the layermasks and the depth of field is increased,reflecting all the points in sharpest focusof each layer.


More Options!The Auto-Blend Layerscommand can also be usedto create a correctlyilluminated composite frommultiple images of a scenewith different over- orunderexposed areas.

Attention!Although you did selectAttempt to AutomaticallyAlign Source Images in theLoad Layers dialog box (step 7), the Auto BlendLayers command generallyworks best if you apply theAuto-Align Layers commandbefore attempting to autoblend the layers.

More Options!You can also convert videoframes shot against a staticbackground into layers andthen use the Auto-AlignLayers command to combinethese frames and add ordelete specific areas fromthe frames.

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CREATE THE SILHOUETTES AND

BACKGROUND

1 Open the photos with theobjects for the silhouettes and anew blank document with thewidth, height, and resolution setfor the custom layout.

2 Press D to set the foregroundcolor to black.

3 Click the Quick Select tool.

l Optionally, you can click theLasso tool to select the subject.

4 Click and drag a detailedselection around the subject.

5 Press Ô+J (Ctrl+J) to put theselected area on its own layer.

6 Press Ô (Ctrl) and click the Layer 1 thumbnail to target theselection and make it active.

7 Press Option+Delete(Alt+Backspace) to fill theselection with black.

8 Repeat steps 3 to 7 for anyadditional photos.

9 Click the blank document toselect it.

0 Click the foreground color in thetoolbox.

CREATE A SILHOUETTEfor a custom design

Many advertising layouts are designed with asilhouetted person or object against a plain, coloredbackground. You can easily create a similar design bymaking a selection in a photograph and using thatselection in a background document. The silhouettedesign can be very effective, not only as anadvertising piece but also as a business card, agreeting card, a postcard, or an original logo.

Not all objects in a photograph can be used as asilhouette. The subject needs to have a detailed

enough shape when contrasted against a backgroundto not only stand out but also be recognizable.People or objects that are angled or positionedparallel to the plane of the photograph often workbest. The size of the object is not important becauseyou can transform and resize the silhouetted item tofit your design. You can use just one silhouette orcombine any number of objects from various photosand place these on any colored background. Just addsome text to complete the design.

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The color picker appears.

! Click to select a color for the new document.

@ Click OK.

Note: If a Warning triangle (Out of Gamut indicator) appears next to the selected color, it indicates that a color will not print exactly as seen on thescreen. You can click the colorswatch under the Out of Gamutindicator and Photoshopautomatically changes the colorselection to the closest InGamut (printable) color.

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# With the blank document selected, pressOption+Delete (Alt+Backspace) to fill thelayer with the new foreground color.

The new document fills with theforeground color.


More Options!Pressing Ô+Tab (Ctrl+Tab)enables you to cycle through allopen documents. You can selectthe one that you need to workon without clicking and draggingthe others out of the way in thedocument window.

Did You Know?If all your documents open astabs, you can click Window,Arrange, and then Float All inWindows and view each imagein a separate window. You canalso click Window, Arrange, andthen Cascade to make all theopen documents align andoccupy the least amount ofspace on-screen.

More Options!Press Ô++ (Ctrl++) to enlargethe preview. Press Ô+– (Ctrl+–)to reduce the preview. PressÔ+spacebar (Ctrl+spacebar)and click to zoom in even withanother tool selected. PressOption+spacebar (Alt+spacebar)and click to zoom out.

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$ Click the Move tool.

% Click one of the photos toactivate it.

^ Click the black silhouette anddrag it onto the new document.

& Repeat steps 14 to 16 for anyadditional silhouettes.

CREATE A SILHOUETTEfor a custom design

The silhouette technique can be used in a variety ofways. It can be the main part of the design or asecondary element in the overall piece. A weddingthank-you note, for example, may have a smallsilhouette of the couple kissing on the inside or backof the card.

You can make variations to the silhouette and thebackground depending on the purpose of the piece.Highlighting specific areas such as a bracelet or abelt adds dimension and focus to the silhouette.Select these areas as the first step. Jump the

selections to a separate layer and fill them with whiteto contrast against the black silhouette, and thencontinue creating the silhouetted form. Place thehighlights layer above the silhouette layer and mergethese two layers. For a more subtle overall effect,you can apply a gradient to the background layerinstead of using a solid color. Place the mostimportant part of the silhouette over the lightest partof the gradient. As the gradient gets lighter, thesilhouette stands out more due to the increasedcontrast.

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l The silhouettes appear onseparate layers in the newdocument.

* Click Auto-Select ( changes to ).

( Click Show Transform Controls( changes to ).

) Click the Close button to closeeach of the original photos usedfor silhouettes.

Note: Do not save the changes tothe images when the dialog boxappears.

q With the new design documentselected, press Ô++ (Ctrl++) toenlarge this document.146

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w Click the first silhouette. Then press Shift and drag the corner of thetransformation anchors to resize the silhouette.

e Click and drag the silhouette into position.

r Press Return (Enter) to apply thetransformation.

t Repeat steps 22 to 24for any additionalsilhouettes.

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APPLY A GRADIENT

y Click the Background layer to select it.

u Click the Gradient tool.

i Shift+click and drag in the image to createa gradient from the foreground color towhite.

ADD TEXT TO YOUR DESIGN

o Click the Type tool.

p Select a color, font, and size in the Typetool’s Options bar.

Q Click in the image and type some text.

W Press Return (Enter) to apply the text.


Keyboard Shortcuts!Pressing Ô+T (Ctrl+T) opensthe Transformation controls.You can press Return (Enter)instead of clicking thecommit button ( ) on theOptions bar to apply thetransformation. You canpress Esc instead of clickingthe cancel button ( ) tocancel the transformation.

Did You Know?Selecting the Auto-Selectcheck box on the Optionsbar enables you to click anitem in a multilayereddocument; the layer thatcontains the item isautomatically selected in theLayers panel.

Try This!Selecting the ShowTransform Controls checkbox on the Options barmakes the transformationanchors appear. You canthen click and drag thecorner anchors to resizeitems quickly.

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1 Open a main image.

2 Click the New Layer button toadd a new layer.

3 Open a second image to beused on the main image.

4 Press Ô+A (Ctrl+A) to select theentire second image.

Note: You can select just an area.

5 Press Ô+C (Ctrl+C) to copy theimage.

6 Click here to close the secondimage.

BECOME A DIGITAL ARCHITECTwith the Vanishing Point filter

The Vanishing Point filter helps Photoshop recognizethe third dimension of objects so that you canmanipulate items in perspective. Using the Grid tool,you create a grid over a rectangular area. You mustalign the anchor points of the grid precisely with thecorners of a rectangular area in the photo. With thefirst grid area set, you can extend the grid by pullingon the anchor points to cover a larger area with ablue grid in the same perspective. You can then pulla secondary plane around 90 degree corners to addmore perspective planes to the image.

With Photoshop CS4, you can also rotate thesecondary plane by any amount to fit a perpendicularor even an angled plane in the photo.

After all the grids or perspective planes are defined,you can change the look of the image by erasingitems, copying objects from one area of the image toanother, or adding items from other images, all whilekeeping the perspective in the original photo.

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7 Click Filter.

8 Click Vanishing Point.

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The Vanishing Pointdialog box appears.

l The Create Plane tool isautomatically selected.

9 Click four corners of anarea that shows theperspective of thephoto to create a bluegrid.

0 Click the Edit Planetool.

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! Click and drag the center points of thegrid to extend the plane.

@ Press Ô (Ctrl) and click and drag a centerpoint to create a perpendicular plane.


Caution!When you plan to copy anitem or a layer from onephoto to paste into another inperspective, be sure to copythe item first to save it to theClipboard before you choosethe Vanishing Point filter.

Did You Know?When you are in the VanishingPoint dialog box, you can usethe Zoom tool ( ) toenlarge the area where youplan to apply the anchorpoints of the plane. You canalso zoom temporarily in asyou are placing or adjustingthe anchor points by pressingand holding X.

Important!You can use the VanishingPoint filter to increase the sizeof the building beyond theboundaries of the existingphoto. Increase the canvassize by clicking Image andCanvas Size and then addwidth or height to one side ofthe existing image.

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l The grid extends at a 90 degreeangle.

# Press Option+click (Alt+click)and drag a center point torotate the plane into position.

BECOME A DIGITAL ARCHITECTwith the Vanishing Point filter

You can expand a building to make it look taller thanit is by creating and then extending the perspectiveplane above the top of the existing building and thenusing the Vanishing Point stamp tool to clone in morebuilding. You can also increase the length of astructure by extending the grid past the edge of theexisting building. You can add or erase the windowsof a structure, add or remove a roof, or even addsigns on any building and easily place the signs inperspective.

Using the Vanishing Point grids takes a little practice.The first grid is the most important and must beaccurate. A blue grid shows a correct perspectiveplane. A red or yellow grid must be adjusted usingthe anchor points until the grid turns blue. However,even with a blue grid, you may need to readjust theanchor points to fit the perspective of the building orthe subject after you extend the grid. By carefullyadjusting the anchor points, you can match theperspective and change the architecture of anystructure.

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l The perspective plane swingsaround and aligns at a differentangle.

$ Press Ô+V (Ctrl+V).

l The pasted image appears in acorner of the Vanishing Pointdialog box.

% Click and drag the second imageover the perspective plane.

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l The second imagesnaps into perspectiveon the plane.

^ Click the Transformtool.

& Press Shift+click anddrag the corners of the second image to adjust it intoposition.

* Click OK.

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The sign is applied and follows theperspective of the building.

l You can click here and select a differentblending mode, such as Darker Color, tomake the colors of the second imageblend into the first.


More Options!You can also use the Vanishing Point filter toadd designs to boxes or book covers and makethe designs fit the perspective of the box orbook.

Did You Know?You can paint with a color in Vanishing Pointand the brush size and shape scale and changeorientation to fit the plane’s perspective.

Try This!You can create grids in Vanishing Point andsave them on a separate layer in thePhotoshop document. Click the New layerbutton ( ) in the Layers panel. Click Filter andclick Vanishing Point. Create the grids using theVanishing Point tools. Click the Settings andCommands for Vanishing Point button ( ) inthe Vanishing Point dialog box. Click RenderGrids to Photoshop. Click OK, and the gridsappear on the top layer of the file.

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1 Click the New Layer button inthe Layers panel to add anempty layer above theBackground layer.

2 Click Filter.

3 Click Vanishing Point.

ERASE ITEMS IN PERSPECTIVEwith the Vanishing Point filter

You can use the Clone Stamp tool, the Patch tool, orthe Healing Brushes to erase unwanted items in aphoto. If the areas are natural as in a sky or grass,cloning and patching is fairly easy. If the area beingpatched or cloned includes architectural elements andperspective, removing them becomes more difficult.You can use the Vanishing Point filter in PhotoshopCS4 to help you remove items in an image whilemaintaining perspective.

You can edit the image in Photoshop before and afterusing the Vanishing Point filter. By creating a

separate layer in Photoshop before applying theVanishing Point filter, you can more easily adjustthose areas once you are back in the main Photoshopwindow.

After you have finished editing the file, save it as aPSD, TIFF, or JPEG so the perspective planes youdrew in Vanishing Point will be saved with the file.You can then reopen the file, reopen the VanishingPoint filter, and continue to erase or edit inperspective at a later date.

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The Vanishing Point dialog boxappears.

4 Click the Create Plane tool.

5 Click four corners of an area thatshows the perspective of thephoto to create a blue grid.

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6 Click the Edit Planetool.

7 Click and drag thepoints of the grid toextend the plane.

8 Click the Stamp tool.

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9 Option+click (Alt+click) in an area in theperspective plane to establish thesampling point.

0 Click and drag carefully using shortstrokes in the area of the photo to beerased.

! Repeat steps 9 and 10, resampling severaltimes to keep the look natural.

@ Click OK.

The edits are applied to the top layer.

l You can click Layer and select FlattenImage, and then click File and select Save As to save the new version of thephoto.


Caution!If your grid is yellow or red,use the Edit Plane tool toadjust the anchor points untilthe grid turns blue. You canalso press Option (Alt),which changes the Cancelbutton to Reset. Click Resetto start over.

ImportantWhen erasing with theVanishing Point Stamp tool( ), Option+click(Alt+click) a straight line inthe area to be sampled. Thenclick along the same line inthe area to be removed tohelp align the parts you willbe cloning.

Did You Know?You can use the Stamp tooloptions and choose a Healmode. Click the Heal andselect On to blend thecloned strokes with thetexture of the sampledimage. Select Luminance toblend the cloned strokeswith the lighting of thesurrounding pixels.

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1 Click the Clone Stamp tool.

2 Click the New Layer button on theLayers panel to create a new layer.

3 Click here and select All Layers.

4 Click the Clone Source panel togglebutton to open the Clone Source panel.

5 Click to uncheck Clipped, Auto Hide,and Invert if these are selected ( changes to ).

6 Click and drag the Clone Source panelso it does not touch the image window.

ADD A SIMULATED REFLECTIONto an object with the Clone Stamp tool

You can create a reflection or a mirror image of thesubject in a photo using Photoshop with a variety oftechniques and different tools. Creating a perfectlymirrored reflection of the subject is tricky and caninvolve many techniques and tools for selectingobjects, duplicating and transforming layers,adjusting opacity, and more. However, you canquickly create a simulated mirror image of thesubject in a photo using the Clone Stamp tool andthe Clone Source feature of Photoshop CS4, asshown by Russell Brown, the Senior Creative Directorat Adobe.

The Clone Source tabbed panel enables you to seethe reflection as a guide before you paint it; however,this panel must be moved away from the main imagewindow to function correctly as a preview of whatyou are painting. You create the reflection on aseparate layer so you can adjust the look using thelayer opacity or a blended layer mask, or both.

Depending on the subject matter, angle of thesubject, and intended use of the photo, yourmirrored image can be convincingly realistic.

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7 Click Show Overlay ( changes to ).

8 Click the Maintain Aspect Ratio button toturn it off and unlink the Width andHeight.

9 Click in the Height box and type –100to set the vertical scale.

Note: Optionally, click the H and drag tothe left until –100 shows in the box.

0 Click the word Opacity and drag to the leftto reduce the preview opacity to 50% orlower so you can see both the reflectionand the original subject as you work.

! Press Option (Alt) and click at the bottomof the subject to be mirrored to sample it.

@ Move the cursor away from the imagewindow.

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The reflection appears as an overlay on the image.

# Click and drag using the Clone Stamp tool and a large brush to paint in the reflection.

Note: Start painting close to the spot you originally sampled in step 11.

$ Click Show Overlay to turn off the overlay( changes to ).

% Click and drag with the Clone Stamp toolto finish painting in the reflection.

^ Click the Layer Mask button to add a layermask.

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& Press D to reset the foreground andbackground colors to white and black.

Note: The foreground color should be whiteafter adding a layer mask and pressing D.

* Click the Gradient tool.

( Click and drag from the bottom of theoriginal subject to the bottom of thereflection using a white to black gradient.

The reflection appears to fade away fromthe subject.

) Click and drag the Layer Opacity slider tomake the reflection appear realistic.

l You can click here to change the layerblending mode to see if other modes,such as Soft Light, make the reflectionmore realistic.


Did You Know?The Clone Stamp reflectiontechnique works well onproduct shots and can also beused as a creative tool forspecial effects with rasterizedtype.

More Options!The Clone Source featureworks with the Healing Brushtool ( ) as well as with theClone Stamp tool.

Try This!You can change the offsetvalues in the Clone Sourcepanel to change the distanceof the reflection from thesubject. You can also vary theangle of the reflection byclicking and dragging on theangle icon or typing a setnumber of degrees in theClone Source panel.

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1 Open the photo that will be thebackground image.

2 Click Image.

3 Click Mode.

4 Click Grayscale to convert theimage to grayscale.

5 Click Discard in the warning boxthat appears.

Blend one image into another with a

DISPLACEMENT MAPYou can paste one image onto another and blend thepasted image into the Background layer by changingthe blend mode. The layer blending modes controlhow the colors in the top image combine with thepixels in the underlying image. They do not affect thetexture of either image. To make the top image blendinto the texture of the base image and make the finalimage appear more realistic, you can use the Distortfilter and a special file called a displacement map.

A displacement map is a grayscale version of animage saved as a Photoshop file. The Displace filterthen uses the displacement map essentially as anapplied texture. The black areas are the low pointsand the light areas are the high points of thecontours of the original image.

You create a displacement map of the backgroundimage and save it as a Photoshop file. Then youapply the Displace filter to the second image to beplaced of top of the background image.

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The image is converted tograyscale.

6 Press Ô+Shift+S (Ctrl+Shift+S).

The Save As dialog box appears.

7 Type Displace in the name field.

8 Click here and select Photoshop.

9 Click Save.

0 Click here to close the grayscaleDisplace image.

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! Open the image thatwill be blended.

@ Click Filter.

# Click Distort.

$ Click Displace.$$

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The Displace dialog box appears.

% Type a lower value such as 10 to 30 in boththe Horizontal and Vertical scale fields.

Note: The scale is the amount the filter willshift the selected pixels to make them wrap tothe contours of the base image, based on thebrightness values in the displacement map. Alow to middle value generally creates a morerealistic result for this task.

^ Click Stretch To Fit ( changes to ).

& Click Repeat Edge Pixels ( changes to ).

* Click OK.


Did You Know?If your grayscale image has very strongcontrasts, you can reduce the amountof texture in the displacement mapimage by somewhat blurring the imageafter changing it to grayscale. Click Filterand select Blur and then Gaussian Blur.Increase the Radius slightly and clickOK. Then save the image as thedisplacement image in the Photoshop(.psd) format.

More Options!You can add a layer mask to hide theeffect on certain areas of the image. Forexample, you could add a layer maskand paint with black over the rockclimber to make the sign appear to bepainted on the rocky surface only, andbehind the rock climber.

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A dialog box appears.

( Navigate to select thedisplacement image you savedearlier.

) Click Open.

Blend one image into another with a

DISPLACEMENT MAPThe Displace filter applies the displacement map towrap one image precisely over the other, forcing thetop layer to reflect the contours of the base layer.Other Photoshop filters such as Conté Crayon, Glass,Lighting Effects, and Texturizer also load otherimages or textures to produce their effects. However,not all these filters load the second image in thesame way. The Displace filter specifically distorts animage based on the different values of gray in thedisplacement map image. The greater the contrast inthe gray values, the more texture appears in theblended image.

This technique works best if both original images arethe same size and resolution. You can start byclicking Image and selecting Image Size to resize thetwo photos to match. If the images are not the samesize, the Displace filter either resizes or tiles themap, depending on the settings you select in theDisplace dialog box. Stretch to Fit resizes the map,whereas the Tile option repeats the map, creating apattern (see steps 16 and 17).

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The image is distorted.

q Press Ô+A (Ctrl+A) to select theentire image.

w Press Ô+C (Ctrl+C) to copy theimage.

e Click File.

r Click Open Recent.

t Click to select the image for thebackground again.

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l The background imageopens.

y Press Ô+V (Ctrl+V) topaste the distortedimage as a layer on topof the backgroundimage.

u Click here and change the blendingmode of the top layerto Multiply.

i Click on the wordOpacity and drag to theleft to reduce the layeropacity to fit yourimage.

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The top layer blends into the backgroundlayer, wrapping around the contours inthe background image.


Important!Photoshop cannot recognizea displacement map imagewith layers. Be sure toflatten any image you planto use as the displacementmap before saving it as aPhotoshop (.psd) file.

Try This!You can convert the phototo a black and white imageusing the Adjustments panel.Use the sliders to control theamount of dark and lightareas for the contours of thedisplacement map. Flattenthe image before saving it as the displacementPhotoshop file.

More Options!You can apply a slightGaussian Blur filter to thedistorted layer to make itblend even more with theunderlying background layer.

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Designing with Text EffectsIf a picture is worth a thousand words, then apicture with words has even more persuasivepowers. Although Photoshop CS4 is not apage-layout application, you can add text tophotographs for impact or to create an originaldesign. You can also create special text effectsto give personality to the words or even usethe words alone to create the design.

With Photoshop, you can apply effects to textin more creative ways and more quickly thanis possible using traditional tools. Not only canyou see the end result instantly, but you alsohave complete creative freedom to makechanges without wasting any paper or ink. Bycombining layer styles, patterns, colors, andfonts, you can create type with just the rightlook for your project. You can use text onimages and make the words appear as part of

the photograph and, conversely, make thephoto appear as part of the text.

When you type in Photoshop, the text is placedon a type layer as vectors, or mathematicallydefined shapes that describe the letters,numbers, and symbols of a typeface. You canwarp, scale, or resize the words, edit the text,and apply many layer effects to the text whilepreserving the crisp edges. Some commands,such as the filter effects, painting tools, andthe perspective and distort commands andtools, however, require the type to berasterized, or converted to a normal layer filledwith pixels. Be sure to edit the text beforerasterizing because, once the type layer hasbeen converted, the letters are essentiallypixels on a layer and are no longer editable as text.

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Paint Different Colors into a Text Title . . . . . . . . . . . . . . 162

Add a Double-Neon Glow to Text for a Unique Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Create a Custom Watermark to Protect Your Images . . . 166

Fill a Shape with Text to Create Unique Effects . . . . . . . 168

Warp Type for a Fun Effect . . . . . . . . . . . . . . . . . . . . . . . 170

Add Perspective to Type and Keep It Sharp . . . . . . . . . . 172

Make Your Text Follow Any Path. . . . . . . . . . . . . . . . . . . 174

Create a Photo-Filled Title . . . . . . . . . . . . . . . . . . . . . . . . 176

Blend Text into a Photograph Creatively . . . . . . . . . . . . 178

Create an Amazing Colored Shadow . . . . . . . . . . . . . . . 180

Weave Text and Graphics for Intriguing Designs . . . . . . 182

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1 Open any document or create anew one with the color modeset to RGB.

2 Click the Type tool.

3 Select the font family, style, size, and alignment in theOptions bar.

4 Click in the image and type thewords for the title.

5 Click the commit button in theOptions bar.

PAINT DIFFERENT COLORSinto a text title

You can customize a title for an album page or anyline of text by applying different colors to the wordsor to individual letters. Although you can colorizetype while it is still a vector shape by selectingdifferent colors or by adding a layer effect such as aColor Overlay or a Gradient Overlay, the text must berasterized and turned into pixels in order to use anyof Photoshop’s painting tools. Once the type is turnedinto pixels, you can paint different colors on textusing the brushes or the Gradient tool on wholewords, individual letters, or even parts of letters.

When you type with the Type tool in Photoshop, theletters appear in the current foreground color. Youcan select a different foreground color before youtype or you can change the text color after you typeby highlighting the words with the Type tool andchanging the color thumbnail in the Options bar. Inorder to add color to any kind of type, the documentmust be in RGB mode.

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6 Click Layer.

7 Click Rasterize.

8 Click Type.

l The type layer changes to a pixellayer in the Layers panel but theimage does not change.

9 Ô+click (Ctrl+click) the layerthumbnail in the Layers panel toselect the text.

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A selection marqueeindividually outlines theletters.


! Click the ForegroundColor box.

The color pickerappears.

@ Click in the color pickerto select anotherforeground color.

# Click OK to close thecolor picker.

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$ Paint over a letter or part of a letter withthe brush to change the color.

% Press X to reverse the foreground andbackground colors.

^ Repeat steps 11 to 14 to change eachletter’s color.

163Chapter 7: Designing with Text Effects

More Options!You can select the Gradient tool ( ) and acolored gradient from the Gradient Editor inthe Options bar. Click and drag across anyindividually selected letters to create avariegated color fill. You can click and dragmultiple times, changing the angle ordirection with each stroke. Each time youdrag, the fill style changes.

Try This!You can select colors for painting from anyopen image on your desktop. With theColor Picker dialog box open, move thecursor out of the dialog box and overanother image. The cursor changes to aneyedropper. Click anywhere in the otherphoto to select that color. The colorautomatically appears in the color box inthe color picker. Click OK to select thatcolor as the foreground color.

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1 Open a new blank document.


3 Select the font family, style, andsize in the Options bar.

4 Click in the image and type yourtext.

5 Click the commit button tocommit the type.

6 Click the Layer Style button.

7 Click Outer Glow.

ADD A DOUBLE-NEON GLOWto text for a unique design

You can easily give any text a double-neon gloweffect using a variation of a technique taught by ColinSmith of PhotoshopCAFÉ. Colin is an award-winningPhotoshop and Flash designer and teaches the newmedia through his instructional videos called thePhotoshop Secrets video training series. He alsowrites the CAFÉ cup, a free subscription newsletter,and runs the PhotoshopCAFE.com Web site, apowerful resource for Photoshop-related news.

The double-neon glow can be very effective forcreating album or Web page titles. Set against a dark

background, the glowing letters quickly capture yourviewer’s attention. You can easily change the way the letters glow on the screen by changing thebackground layer color or adding a gradientbackground. The double-glow effect surrounding theletters can be varied anytime and changed by simplydouble-clicking the effect button in the Layers panelto reopen the Layer Style dialog box. By keeping thetext as a type layer, you can edit the text andmaintain the glow, so you can use the double-glowtechnique for multiple applications.

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The Layer Style dialog boxappears.

8 Click and drag to increase thespread slider to about 13%,which is just over 1/8 the textsize.

Note: You can reopen any layerstyle by double-clicking on itsname in the layers panel later toreadjust the amounts if necessary.

9 Click and drag to increase thesize to about 15 pixels or 1/8 thetext.

0 Click Drop Shadow ( changesto ).

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The dialog box changes.

! Click here and select Normal.

@ Click and drag the Opacity slider to 100%.

# Click and drag the distance to 0 pixels.

$ Increase the size slider until it looks goodin the preview.

% Click the color box.

The Select Shadow Color dialog boxappears.

^ Click and drag the color slider.

& Click in the color box to select a glowcolor.

* Click OK to close the Shadow Color dialogbox.

( Click OK to close the Layer Style dialogbox.

) Press D to reset the foreground color toblack.

q Click the Background layer to select it.

w Press Option+Delete (Alt+Backspace) to fillthe background with black.

l You can double-click the name of anylayer style in the Layers panel to readjustthe neon glow.

The text appears with a neon glow againsta dark background.

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Attention!The double-neon glowtechnique works best on adark background; however,it does not need to be black.You can also select theGradient tool ( ) and clickand drag across theBackground layer to create agradient color fill.

Keyboard Shortcuts!With the Type tool ( )selected, pressing Return(Enter) moves the cursor tothe next line; pressingÔ+Return (Ctrl+Enter) orEnter on the numerickeypad applies the type orany transformations.Pressing Esc cancels thetype layer.

Try This!Type some text with theType tool. Before clicking thecommit button ( ), pressand hold Ô (Ctrl) to openthe transformation anchorpoints. Click and drag theanchors while pressing Ô(Ctrl) to transform the type.

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1 With the image open, click theType tool.

2 Select the font family, style, andsize in the Options bar.

3 Click in the image and type thetext for your watermark, such asyour name or company name.

4 Click the commit button.


6 Click Bevel and Emboss.

CREATE A CUSTOM WATERMARKto protect your images

If you upload your proofs to a Web site for clientapproval or if you sell your digital artwork online, youwant people to see the images but not to use thefiles without your permission. You can add a customwatermark with a transparent look to any image toprotect it and still keep the image visible.

A custom watermark can be as simple as your nameand the copyright symbol. After typing your name ona type layer and adding a large copyright symbol as

a shape layer, you can add any kind of bevel orembossed style to your personalized watermark. Youcan even copy the two layers to another photo toapply the same custom watermark. To give atransparent look to each layer, you can lower the Fillopacity, which affects only the fill pixels, leaving thebeveled areas appearing like a glass overlay. You canalso use the same technique to give a transparentlook to any text, shape, or other layer on any image.

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The Layer Style dialog boxappears.

7 Click here and select Inner Bevel.

8 Click here and select Smooth.

9 Click Contour ( changes to )and the Contour pane appears inthe Layer Style dialog box.

0 Click OK.

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! Click and hold theRectangle tool andselect the CustomShape tool.

@ Click here and selectthe copyright symbol.

# Press Shift and click anddrag in the photo tocreate a copyrightsymbol.

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The copyright symbol appears on theimage and as a shape layer in the Layerspanel.

$ Press Option (Alt) and click and drag theLayer Style button from the type layer tothe shape layer to copy the effect.

The same emboss style is applied to thecopyright symbol.

% Double-click in the Fill data field and type 0.

^ Click the type layer to select it and repeatstep 15.

The name and copyright symbol appearembossed on the image.


Caution!There are three options onthe Options bar for theCustom Shape tool. Whenyou select the Shape toolfor the copyright symbol,make sure that the ShapeLayer button ( ) ishighlighted on the Optionsbar rather than the Paths orFill Pixels button.

Did You Know?The Layers panel includestwo types of sliders. TheOpacity slider affects thevisibility of both the filledpixels and the layer style.The Fill slider affects onlythe transparency of the filledpixels without changing anystyle that is applied.

Try This!Double-clicking the Typethumbnail in the Layerspanel selects and highlightsall the type on that layer.Double-clicking the blankspace next to the name of alayer opens the Layer Styledialog box.

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1 Click and hold the Rectangletool and select the CustomShape tool.

2 Click the Paths button in theOptions bar.

3 Click here and click a shape toselect it.

FILL A SHAPE WITH TEXTto create unique effects

In Photoshop, you can type text in several ways.When you type, the text is placed on a type layerand the words remain editable until you rasterize,convert it to a shape layer, or flatten the layer. Youcan then scale, skew, or rotate it to fit a design. Youcan also control the flow of the characters you typewithin a bounding box by typing text as a paragraph,either horizontally or vertically. For text in arectangular shape, you can use the Type tool to dragdiagonally and define a bounding area and then clickand type the text. Typing text as a paragraph is

useful for creating brochures, scrapbooks, or variousdesign projects.

You can also use custom shapes as text boundingboxes for unique designs. You can drag out anyshape selected from the custom shape picker usingthe Custom Shape tool and type into the shape as abounding box. You can also use the Pen tool tocreate an original path to use as the bounding box.You can then fill the shape with paragraph text tocreate unique visual effects.

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4 Click and drag in the image tocreate the shape.

Note: Press Shift to constrain theshape and press the spacebar toreposition the shape as you drag.


6 Select the font family, style, size,and color.

7 Click a text alignment.

8 Click inside the shape.

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A bounding boxsurrounds the shape.

9 Type the text until theshape is full.

0 Click and drag theanchor points aroundthe shape to alter theform if necessary.

! Click the commitbutton.

@ Click the Move tool.

# Click and drag in theshape to reposition iton the page.

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$ Click the Background layer in the Layerspanel to view the text without the outlineof the shape.


Did You Know?Click the right-pointing arrow ( )on the custom shape picker in theOptions bar to load more shapes.Select All from the choices in themenu and click Append to addthese to the current set.

More Options!You can purchase and loadprofessionally designed custom vectorshapes from third parties, such asGraphicAuthority.com. You can alsocopy the purchased custom shapesfile directly into the Presets folder ofthe Photoshop CS4 application tohave the shapes automatically appearin the Custom Shapes menu afterrestarting Photoshop.

Try This!You can copy text from anotherdocument and paste it into theshape. Select the text in the otherdocument, and press Ô+C (Ctrl+C) to copy. Click thePhotoshop document. Use the Type tool ( ) to click in the shape. Press Ô+V (Ctrl+V) to paste the text.

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1 In a new blank document, clickthe Type tool.

2 Select the font family, style, size,justification, and color.

3 Click in the document and typethe text.

4 Click the Warp Text button.

WARP TYPEfor a fun effect

You can create many different effects with type bywarping the letters into various shapes. Although youcan warp text on a rasterized layer, the letters losetheir sharp edges and appear fuzzy. UsingPhotoshop’s Warp Text feature gives text acompletely new look and keeps the text sharp-edged and editable.

Type the text and then use the Warp Text dialog boxto transform it. You can select from a variety of warpstyles and use the sliders to alter the look. You can

control the direction of the warp as well as the sizeof the letters. Because the warp style is an attributeof the type layer, you can change the style at anytime by reselecting the layer with the Type tool andopening the Warp Text dialog box. As long as the textis on an editable type layer, you can change theletters and color them individually. With the text on aseparate layer, you can apply any layer styles beforeor after warping the text.

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The Warp Text dialog boxappears.

5 Click here and select a warp stylesuch as Fish.

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The text in the imagechanges to match thestyle selected.

6 Click and drag the Bendslider to change theamount of warp.

7 Click and drag theHorizontal Distortionslider to adjust thedirection of the effect.

8 Click and drag theVertical Distortion sliderto change the effect.

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9 Click OK to commit the warp.

0 Click the commit button to apply the text.

The style of warp and the changes to thetext are committed.

l You can change the text color; see the tipsection for more information.


Did You Know?You can change the color of thetext after you warp it. Select theType tool ( ) and click and dragacross the text to highlight it.Click the foreground color in thetoolbox, select another color fromthe color picker, and click OK toclose the dialog box. Click thecommit button ( ) in theOptions bar.

More Options!To see the color of the type asyou change it, highlight the type.Then press Ô+H (Ctrl+H), thekeyboard shortcut to Hide Extras.The type remains selected butthe highlighting is not visible.When you select anotherforeground color in the colorpicker, you instantly see the coloron your text.

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2 Select the font family, style, size,justification, and color.

3 Click in the image and type thetext.


ADD PERSPECTIVE TO TYPEand keep it sharp

When you warp a type layer, the letters always bendthe shape to some degree, even if you set the Bendslider to 0. Although using the Perspective functionfound under the Edit menu’s Transform submenumore accurately gives the illusion of textdisappearing into the distance, this function isunavailable for a type layer. If you rasterize the layerand turn the letters into pixels to use the Perspectivetransformation, the characters blur as you changethe angles. You can, however, add realistic

perspective to type and preserve the crisp edges byconverting the type layer to a shape layer.

Converting type to shapes changes the type layerinto a layer with a colored fill and a linked vectormask showing the outline of the letters. The outlineis actually a temporary path and appears in the Pathspanel as well. The text is no longer editable, but youcan alter the vector mask, modify the paths, addlayer styles, and use all the transformation tools tochange the look.

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5 Click Layer.

6 Click Type.

7 Click Convert to Shape.

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l The type layer in theLayers panel changes toa fill and vector mask.

Note: The type mayappear jagged if thevector mask remainsselected.

8 Click the vector mask todeselect it.

9 Click Edit.

0 Click Transform.

! Click Perspective.

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The text has a bounding box with anchorpoints.

@ Click one of the top corner anchors anddrag toward the center top anchor.

The text appears to be lying down on aperspective plane.

# Click the commit button.

The text retains its sharp edges even as itappears in a perspective plane.


Change It!You can also click oneof the top or bottomcorner anchors anddrag straight up orstraight down to createa vertical perspective.The letters seem todisappear into thedistance in a verticalposition.

Try This!When you need toselect the Type tool toedit type, double-clickthe T in the type layerthumbnail in the Layerspanel. The type on thelayer is highlighted,and the Type tool isautomatically selected.

More Options!You can also edit typeusing the Characterpanel. Click Windowand click Character toopen the Characterpanel. You can thenmake any type changesdirectly in the panel.

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1 Click the Quick Select tool.

2 Click the objects to make aselection.

l You can click the Refine Edgebutton to improve the selection.

3 Click the Paths tab.

4 Click here to open the Pathsmenu.

5 Click Make Work Path.

Make your text

FOLLOW ANY PATHYou can make text move along an angled line orcurve and swoop in any direction to create anoriginal design. By creating an angled path with thePen tool or a curved path with the Freeform Pen tool,you can place the Type tool cursor on the path andtype the text. The text flows along the path, startingfrom the insertion point. Another option is to create ashape using the Shape tool and place the text aroundthe edges of the shape. You can also use any object

in a photograph to create the path. When you addthe text, it flows along the edges of the object in thephoto, creating a sophisticated design.

You can use any selection tool to select the object.Convert the selection to a complex working pathusing the options in the Paths panel’s pop-up menu.The text remains on a type layer, so you can changeor add words or style and color the letters.

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The Make Work Path dialog boxappears.

6 Type 5 in the Tolerance field.

Note: For a more detailed path,type a smaller number to havemore control points on the path.

7 Click OK.

The dotted selection linesdisappear, and a new pathappears in the Paths panel.



0 Click the path and type the text.174

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The text follows the path, and a type path appears in the Paths panel.

! Click the Path Selection tool.

@ Press Ô+spacebar (Ctrl+spacebar) and click the image to zoom in.

# Click the dot at the beginning of the text.

l The cursor changes to an I-beam with asmall black arrow.

$ Drag along the path to reposition the text.

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Note: Optionally, drag the cursor across thepath to put the text on the other side of thepath.

% Press Option+spacebar (Alt+spacebar) andclick the image to zoom out.

^ Click the commit button to dismiss thetarget path and commit the changes.

The type follows the path line on thesubject.


Did You Know?When you click the Zoomtool ( ) to zoom in, yousee a small X indicating thebeginning of the text on apath, and a small Oindicating the end of thetext. If the text is center-aligned, a small diamondshape designates thecenter.

Try This!On sharp curves, lettersmay appear on top of eachother. Click Window andthen Character to open theCharacter panel. Select theletters and adjust thetracking in the Characterpanel or click between theletters and adjust thekerning.

Try This!To adjust kerning, clickbetween two letters andpress Option (Alt) and theright or left arrows. Toadjust tracking, select agroup of letters and pressOption (Alt) and the rightor left arrows.

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1 Open a photograph to use asthe base photo.


3 Select the font family, style, andjustification. The size will bereadjusted when you transformthe text in step 5.

Note: Thick sans serif fonts workbest for this effect.


5 Press Ô (Ctrl) and click and dragthe transformation anchors tostretch the type.


Create a

PHOTO-FILLED TITLEYou can easily create mood-inspiring or memory-evoking titles for a photo or album page by making aphotograph fill the letters. Photoshop includes fourdifferent Type tools: the Horizontal and Vertical Typetools and the Horizontal and Vertical Type Mask tools.When you use the Type Mask tools, Photoshopautomatically creates a selection in the shape of theletters. However, using the regular Type tools tocreate photo-filled titles gives you more control overthe design and makes it easier to see the area of thephoto that will be cut out by the letters.

Filling text or any other object with a photograph orother image is one of the many collage and maskingtechniques in Photoshop. You type text and use aclipping mask to clip the photograph so that it showsonly through the letters and then mask the rest ofthe photo. Because the letters are on an editabletype layer, you can change the text even after theletters are filled with the image. You can also add adrop shadow or emboss to the type layer to makethe letters stand out.

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8 Click and drag the Backgroundcopy layer above the type layer.

9 Click Layer.

0 Click Create Clipping Mask.

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l The Background copy layer is indented with an arrow in the Layers panel, but the image does not change.

! Click the New Layer button to create a new empty layer named Layer 1.

@ Click and drag the new empty layer belowthe type layer.

# Press D to reset the foreground andbackground colors.

$ Press Ô+Delete (Ctrl+Backspace) to fill thelayer with white.

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The photo appears to fill the letters on awhite background.

% Click the Move tool.

^ Click the Background copy layer to select it.

& Click and drag in the image to move thephoto into position inside the letters.

The photo is repositioned within the letters,creating an attractive photo title.

l You can click the type layer to select it andclick the Layer Styles button to add a dropshadow and Bevel and Emboss layer effect.


More Options!You can also change thetype attributes using theCharacter panel. ClickWindow and thenCharacter to open thepanel. Position the cursorover any of the settings toactivate the scrubby sliders.Move the cursor to changethe settings.

Important!Be sure to highlight theBackground copy layer,which must be above thetype layer, when you createthe clipping mask.Changing the stackingorder of the layers after aclipping mask has beenapplied can remove theclipping mask.

More Options!You can create a clippingmask using two differentkeyboard shortcuts. PressOption (Alt) and clickbetween the two layers inthe Layers panel or selectthe layer and pressÔ+Option+G (Ctrl+Alt+G)to clip it to the layer below.

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1 Click Window.

2 Click Character to open theCharacter panel.

3 Repeat step 1 and click Layers ifnecessary to open the Layerspanel.

4 Open an image.

5 Arrange the panels to see theimage window.

BLEND TEXTinto a photograph creatively

When you type on a photograph, you can reduce theopacity of the type layer to make the letters fade intothe image in a uniform manner. For a moreinteresting effect, use the Blending options in theLayer Style dialog box to give the illusion of the textdisappearing behind different elements in thephotograph. You can make the letters disappearbehind clouds or trees, blend parts of the letters intoa mountain, or create a variety of different effectsusing the colors from the underlying layer and theBlending options for the text layer.

The Layer Style dialog box includes Blending Optionssliders for both the active layer and the underlyinglayer. The sliders determine which pixels appearthrough the active layer and which are hidden, basedon the brightness of the pixels. You can make thetext blend even more smoothly with the underlyingphoto by splitting the sliders and in effect partiallyblending some of the pixels in the tonal range.

Setting up your workspace first to view the Characterand Layers panel makes this task much easier.

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8 Make any other adjustments tothe type using the Characterpanel.


0 Press Ô+Return or Enter on anumeric keypad (Shift+Enter) orclick the commit button.

! Click the Layer Style button andselect Blending Options.

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The Layer Style dialog box appears.

@ Click here and select Red.

# Click and drag the Underlying Layer white slider slightly to the left to make the lightest values in the underlying photo appear through the text.

$ Press Option (Alt) and click and drag theleft half more to the left, separating theslider halves.

% Click and drag the slider halves to vary theareas of the photo that blend with thetext.

^ Repeat steps 12 to 15 using the blackslider for the underlying layer anddragging right instead of left to make thedarkest values of the underlying photoappear through the text.

& Repeat steps 10 to 14 for Green and Blueuntil the text blends with the elements inthe photograph.

* Click OK.

The text disappears behind some areas inthe photo and shows through other partsdepending on the color values in theimage.

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Did You Know?Splitting the whitehighlight or the blackshadow sliders for theunderlying layer definesa range of partiallyblended or compositepixels and softens thetransitions as the text isblended with thebackground photo.

Try This!You can also view theLayer Style dialog box byclicking Layer, LayerStyle, and then BlendingOptions or by double-clicking in the emptyspace next to the layername in the Layerspanel.

More Options!You can add a bevel andemboss, shadow, or anyof the other layer stylesto the letters at any time.Open the Layer Styledialog box and click anyof the styles to see andapply the effect.

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Note: You can click in the Sizefield and type the text size.



5 Ô+click (Ctrl+click) the typelayer thumbnail to select theletters.

Create an amazing

COLORED SHADOWWhen you apply a drop shadow to text using a LayerStyle drop shadow, the shadow is gray. Actualshadows of text or other objects are not gray and donot always have the same opacity. Shadows reflectthe colors of the objects they cover. If you selectanother color for the shadow in the Layer Styledialog box, the shadow appears unnatural anduniform in color.

You can apply a drop shadow with the same colorsthat occur in the real world by using a selection anda Brightness/Contrast adjustment. Then, by linking

the shadow layer to the text layer, you can repositionthe text in the image, and the shadow follows,automatically adjusting itself for colors in the imagebelow.

You can use the same technique to add a realisticshadow to text or to any object in an image. Adddepth to natural light shadows under a tree orincrease the shadow of a person in a sunlit photo.The greater the number of colors and texturesaffected by the shadow, the more natural yourcolored shadow appears.

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6 Click Select.

7 Click Modify.

8 Click Feather.

The Feather Selection dialog boxappears.

9 Click in the radius field and typea small amount such as 10.

0 Click OK.

! Click the Type tool.

@ Press the right arrow key severaltimes and the down arrow keyseveral times.

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The selection marqueemoves down and to theright.

# Click the Backgroundlayer thumbnail toselect it.

$ Click theBrightness/ContrastAdjustment button inthe Adjustments panel.

Note: You can also clickthe New AdjustmentLayer button in theLayers panel and clickBrightness/Contrast.

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The Brightness/Contrast adjustmentsappear in the panel, and the selectionmarquee is hidden.

% Click and drag the Brightness slider to theleft to create the drop shadow.

^ Ô+click (Ctrl+click) both the adjustmentlayer and the type layer in the Layerspanel to select them.

& Click the Link Layers button.

The type and its shadow are now linked.

* Click the Move tool.

( Click and drag the text around on thephoto.

The shadow follows the text, and theshadow’s colors automatically adjust tothe colors in the area of the photo below.


More Options!You can also keep the type andits shadow separate by notlinking them as in steps 16 and17. You can then move the typeand its shadow independentlyto view the shadow in a newposition for a different effect.

Did You Know?You can quickly change thealignment of type usingkeyboard shortcuts. Click in thetype and press Shift+Ô+L(Shift+Ctrl+L) to align left; pressShift+Ô+R (Shift+Ctrl+R) toalign right; and pressShift+Ô+C (Shift+Ctrl+C) toalign center.

Did You Know?The size of the feather radius(see step 9) sets the width ofthe feathered edge of theselection and ranges from 0 to250 pixels. A small featherradius in a very large imagemay not be visible and a largefeather radius in a smallerimage can spread too far awayfrom the selection.

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2 Select the font, size, and color.

3 Click in the document and typethe text.

4 Click the commit button or pressÔ+Return (Shift+Enter) or Enteron the numeric keypad tocommit the type.

5 Click Layer, Type, and thenConvert to Shape.

WEAVE TEXT AND GRAPHICSfor intriguing designs

You can create a design using type as the centralelement by changing the letter styles and size,adding layer effects, warping the text, or addingperspective. You can also make the individual lettersinterweave and interact with each other to add moreinterest to any project. By converting type layers toshapes and overlapping them, you can make some ofthe areas transparent to the background, creatingnew design elements. Add a shape to the text, makethe letters intertwine with the shape, and you cancreate eye-catching logos or page titles.

When you convert a type layer to a shape, the text isno longer editable. However, you can still moveindividual letters. You can transform, warp, andresize one letter at a time or a group of letters. Youcan also add layer styles to the grouped designelements and change the look completely. Becausethe letters and shapes are all on one layer, the colorand any layer styles that you use are applied to allthe elements on the layer. Flatten the layers as afinal step in creating the design.

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l The type layer changes to a filllayer and a vector mask.

6 Click the Path Selection tool.

7 Click and drag over the middleline of text to select it.

8 Click and drag the line up tooverlap the first line of text.

9 Click the Exclude OverlappingShape Areas button.

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The areas of text that overlap are reversed out.

0 Repeat steps 7 to 9 for other lines of text.

! Click and hold the Rectangle tool and click the Custom Shape tool.

@ Click here and click a shape to select it.

# Click the Exclude Overlapping ShapeAreas button.

$ Make sure that the vector mask thumbnailin the Layers panel is selected.

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% Click and drag the shape over the letters.

The areas of the shape and text thatoverlap are reversed out.

^ Click the Path Selection tool.

& Click the shape and drag it to reposition itin the design if necessary.

The shape interacts differently with thetype as it overlaps different areas.

* Click the Background layer to view thedesign.


More Options!You can apply a layer styleto the shapes and letters.Try adding a Bevel andEmboss layer style. ClickTexture and select apattern for the TextureElements. The pattern isapplied to all the coloredareas.

Important!Whenever you use the PathSelection tool ( ) tomove letters or the shape,you must target the vectormask layer thumbnail inthe Layers panel and clickthe Exclude OverlappingShape Areas button ( )on the Options bar toselect it.

Did You Know?You can use the PathSelection tool to moveindividual letters or theshape separately. Click oneletter and move it to createa different look. To undothe move, click theprevious state in theHistory panel.

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Creating Digital Artwork from

Photographs

You can use Photoshop to replicate traditionalart materials and techniques and seeimmediate results on your screen. If you havespent years in art school working withtraditional materials, you can find a whole newsource of creativity as you experiment withdifferent techniques. Even if you have nevertried art in any form or claim you cannot evendraw a straight line, you can use Photoshop todraw line art, sketch a person or a building,create a painted portrait, or paint with oils andwatercolors. You can experiment and try allsorts of projects without wasting any paperproducts or paints. You can vary colors, mixmedia, copy, trace, or draw freehand, andeven erase the results before anyone else can see your attempts!

The key to creating digital artwork is tocombine different layers, effects, smart filters,masks, and blend modes. The results vary withthe methods used, and the style of photographand the subject matter both affect the overalllook of the finished piece. You can varymethods to make your work more efficient andat the same time expand your creativehorizons. With so many options and choices,artistic experimentation with Photoshop can bevery addictive. You may spend a lot more timewith the art projects than you ever thoughtyou would.

The tasks and techniques described in thischapter are only a taste of what is possible.

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Make Any Photo Appear Sketched on the Paper . . . . . . 186

Add Your Own Signature to Any Artwork . . . . . . . . . . . 188

Create a Digital Pen-and-Ink Drawing. . . . . . . . . . . . . . . 190

Give a Photograph a Woodcut Look . . . . . . . . . . . . . . . . 192

Convert a Photo to a High Contrast Stylized Image . . . 194

Turn a Photo into a Colored-Pencil Illustration . . . . . . . 196

Posterize a Photo for a Warhol-Style Image . . . . . . . . . . 198

Change a Photograph into a Pen-and-Colored-Wash Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Compose a Photo Collage . . . . . . . . . . . . . . . . . . . . . . . . 206

Turn a Photo into a Hand-Painted Oil Painting . . . . . . . 208

Paint a Digital Watercolor . . . . . . . . . . . . . . . . . . . . . . . . 212

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2 Click Edit.

3 Click Fill.

The Fill dialog box appears.

4 Click here and select White.

5 Click OK.

Make any photo appear

SKETCHED ON THE PAPERYou can make a photo appear to be sketched ontothe page, giving a traditional photograph an entirelynew look. You can create a title page for an album ora Web gallery or use the technique as the final touchto a painted image. The image appears to be appliedto the paper using charcoal, soft pencils, or apaintbrush, leaving the edges and brush marksvisible. Starting with any image, you add a new layerfilled with white. You then use the Eraser tool toerase through the white to reveal areas of the image

on the underlying layer. Using this technique even ona slightly grainy photo intensifies the effect. You canconfigure the Eraser tool with any of Photoshop’sbrush settings and change them as you continuesketching the photo onto the page. The greater thenumber and opacity of the brush strokes, the moreof your photograph appears on the white layer. Byselecting rough-edged brushes and varying the styleof the strokes you use, your photo takes on thecharacteristics of a sketched image.

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A white layer covers the photo.

6 Click the word Opacity toactivate the scrubby slider anddrag to the left just enough tosee the image underneath.

7 Click the Eraser tool.


9 Click a brush with a rough-looking edge.

0 Click and drag the MasterDiameter slider to a large brushsize.

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! Click and drag acrossthe image using severalbroad strokes.

@ Click here to open thebrush picker.

# Click and drag theMaster Diameter sliderto a smaller brush size.

$ Click and drag acrossthe image to add morebrush strokes.

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% Click the word Opacity and drag the sliderfor the layer back to 100%.

^ Continue applying just enough strokesuntil the image looks sketched-in.

The image appears to be brushed orsketched on a page.

187Chapter 8: Creating Digital Artwork from Photographs

More Options!You can add more brushes to thebrush picker. Click the Brush drop-down arrow in the Options bar toopen the brush picker. Click the flyoutarrow (or pop-up menu) to open theBrush Picker menu. Click a brush setfrom the bottom section, such as DryMedia Brushes. Click Append in thedialog box that appears to add thebrushes to the existing list.

Customize It!You can view brushes by nameinstead of by the stroke thumbnail.Click the Brush drop-down arrow inthe Options bar to open the brushpicker. Click the flyout arrow (or pop-up menu) to open the Brush Pickermenu. Click Small List or Large List.You can return to the default brush setby selecting Reset Brushes from thesame list.

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1 Click File.

2 Click New.

The New dialog box appears.

3 Click here and select pixels.

4 Click in the fields for the size andwidth and type 2800.

5 Click in the field for the resolution andtype 360.

Note: Starting with a file 2800 × 2800pixels at 360 ppi gives you the space tomake a brush at the largest brush size of2500 × 2500 pixels. You can then easilyresize the brush to fit many differentimages.

6 Click OK.

Note: Make sure Background Contents isset to White, the default.

A new empty document appears.

7 Press B to select the Brush tool.

8 Click here to open the brush picker.

9 Select a hard-edged brush.

0 Click and drag the Diameter slider tomake the brush 35 to 40 pixels.

Note: You can pick any hard-edgedbrush for your signature. The numbershere are just guidelines.

! Click in the white image and click anddrag with the brush to sign yourname.

ADD YOUR OWN SIGNATUREto any artwork

Fine art prints are almost always signed by the artist.You can sign your digital projects one at a time afterthey are printed, or you can apply a digital signaturefrom within Photoshop. You can create a largecustom signature brush and save it in your brushpicker. You can then quickly apply your signaturedigitally to all your projects.

You can change the Diameter slider in the Brushoptions to add a signature to your images with anysize signature brush, and you can use any color by

selecting the color as the foreground color beforeapplying the brush.

You should put your signature on projects using aseparate layer to preserve the layer transparency.You can then add layer styles and easily change thecolor of the signature or even create a blindembossed signature effect.

Creating your own signature brush is bestaccomplished using a pen tablet because signingyour name with a mouse can be very difficult.

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Your signature appears on the white image.

@ Click the Rectangular Marquee tool.

# Click and drag just around your signature.

$ Click Edit.

% Click Define Brush Preset.

The Brush Name dialog box appears.

^ Type a name for your signature, such asMy Signature Brush.

& Click OK to save the signature brush.

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* Open an image to which to add thesignature.

( Click the New Layer button to add anempty layer.

) Click the Brush tool.

q Click here to open the brush picker.

w Select your signature brush and click anddrag the Master Diameter slider to adjustthe size to fit the image.

e Click once in the image.

Your signature appears.

l You can click the Add a Layer Style buttonto add a drop shadow or bevel.


Did You Know?You can create a custombrush from any signature or any other image up to2500 × 2500 pixels in size.Signature brushes work bestif they are created with abrush with the hardness setat 100%.

Attention!If you create your originalsignature in color, the custombrush is still created ingrayscale. You can changethe signature color bychanging the foregroundcolor before applying thesignature brush or after it isapplied to the image on aseparate layer.

Try This!Add a drop shadow andbevel to the signature layerusing the Layer Styles dialogbox. Then lower the Fillopacity of the layer to 0 togive your signature a blindembossed look.

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1 Press Ô+J (Ctrl+J) to duplicatethe Background layer.

2 Click the Black and White Presetsin the Adjustments panel.

The panel expands.

3 Click a Black and White presetsuch as Infrared to get a high-contrast grayscale image.

Create a digital

PEN-AND-INK DRAWINGYou can create the look of a pen-and-ink drawingfrom a photograph using a variety of methods inPhotoshop. Often the method you use depends onthe subject matter of the original. Photoshop includesmany filters such as Find Edges, which finds areas ofcontrast and outlines these; however, the filterapplies the colors in the image to the edges. Bychanging a duplicated layer to high-contrastgrayscale first and then applying the Smart Blur filterin the Edges Only mode, you get a black image with

white lines. You can then invert the image to getblack lines on a white background. Depending on thelook that you want, you can apply a filter such asMinimum with a 1-pixel radius to thicken the lines.

Often, the artistic effects do not appear strongenough in a large image. If your art project is stilltoo photographic, you can click File and selectRevert, and then click Image and select Image Sizeto reduce the image size before applying Photoshopfilters to achieve artistic-looking results.

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The image appears black andwhite.

4 Press Ô+E (Ctrl+E) to merge theadjustment layer with Layer 1.

5 Click Filter.

6 Click Blur.

7 Click Smart Blur.

The Smart Blur dialog boxappears.

8 Type 35 in the Radius field and35 in the Threshold field.

Note: The numbers in step 6 are aguide and will vary with the imageand the look that you want.

9 Click here and select High.

0 Click here and select Edge Only.

! Click OK.190

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The Smart Blur filter isapplied, and the imageturns black with whiteoutlines.

@ Click Image.

# Click Adjustments.

$ Click Invert.$$

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The drawing appears as black lines on awhite background.


Did You Know?You can make the linesthicker and darker byclicking Filter, Other, andthen Minimum. Set theRadius to 1 pixel. Forheavier lines, try clickingFilter, Artistic, and thenSmudge Stick, reducing thestroke length to 0.

More Options!You can get better resultsby increasing the contrast inthe original image. After thegrayscale conversion, clickImage, Adjustments, andthen Levels. Move bothsliders slightly toward thecenter to increase thecontrast.

More Options!You can put the black lineson a separate layer. Click awhite area using the MagicWand tool ( ). ClickSelect and then Similar toselect all white areas. ClickSelect and then Inverse.Then press Ô+J (Ctrl+J)and copy all the lines ontoa new empty layer.

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2 With the top layer selected, clickhere and change the layer blendmode to Color Burn.

3 Click Filter.

4 Click Other.

5 Click High Pass.

The High Pass dialog boxappears.

6 Click and drag the Radius slideruntil you just start to see theimage.

7 Click OK.

Give a photograph a

WOODCUT LOOKA traditional woodcut is an engraving made bycutting areas into a block of wood using gouges(types of wood chisels) and knives. The surface isthen inked and printed on paper or another material.The uncut areas are raised to receive the ink in aprocess similar to that of a rubber stamp. A woodcutoften has thicker black lines than other types ofengravings, depending on the style and skill of theartist. Sometimes the areas that are not inked on thepaper let the color of the paper show through, andother times those areas are painted or inked as well.

You can give a photograph a woodcut look usingPhotoshop to add a unique creative element to anydesign. Using a combination of filters andadjustments, you create a grayscale image and turnthe grayscale layer into a very high-contrast blackand white. Then using the layer blend modes, youallow only the black lines to show through on thebackground image. By changing the Backgroundlayer to a smart object, you can change the finishedimage and customize the settings.

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888 Click Image.


0 Click Threshold.

The Threshold dialog boxappears.

! Click and drag the ThresholdLevel slider between 123 and128 to see the outlines of thewoodcut.

@ Click OK.

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# Click the Background layer to select it.

$ Click Filter.

% Click Convert for Smart Filters.

l The Background layer icon changes to a smart object icon and the Background layer is renamed, in this case to Layer 2.

^ Click Filter.

& Click Blur.

* Click Gaussian Blur.

The Gaussian Blur dialog box appears.

( Click and drag the slider to blur the mainimage.

) Click OK.

q Click the Hue/Saturation button in theAdjustments panel.

w Click and drag the Saturation slider to theleft to adjust the look.

The photo looks like a woodcut with apainted or inked background.

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Change It!You can click theHue/Saturation adjustmentlayer to edit the settings.You can double-click thewords Gaussian Blur in theLayers panel to edit thesmart filter and change theamount of blur.

More Options!The High Pass filter retainsedge details whereverthere are sharp colorcontrasts and reduces therest of the image to a flatgrayscale. You can create awoodcut with less detail bylowering the setting of theHigh Pass filter.

Did You Know?The Threshold commandchanges images to high-contrast black and white, inwhich pixels with grayvalues above 128 turnwhite and pixels below 128turn black. Setting thethreshold below 128reduces the strength of thewoodcut lines.

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1 With an image open, click theThreshold button in theAdjustments panel.

CONVERT A PHOTOto a high contrast stylized image

An absolute black-and-white image is often used inmany designs. You can easily transform anyphotograph into such a high contrast black-and-whiteimage using an adjustment layer. You can determinethe areas to turn black and the areas to change towhite, and visually control the maximum contrast inyour photo. You can stylize the image even more byadding a solid color or a colored gradient and using ablend mode to combine the effects.

You can start with either a color or a grayscale imageand add a Threshold adjustment layer to convert the

image to a high contrast black and white. By addinganother adjustment layer with a color or a gradientfill and then setting the top layer to either the LighterColor or Darker Color blend mode, you can give thedesign a completely different look. All the changesyou make are applied using adjustment layers so theimage remains completely editable, enabling you toexperiment and try different colors and gradientsuntil you find the best design for your project.

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The color information in thephoto is changed to either blackor white.

l The Threshold slider andhistogram appear in theAdjustments panel.

2 Click and drag the slider to theright to make more tonal valuesshift to black or to the left tochange more tones to white.

3 Click the New Adjustment Layerbutton.

4 Click Gradient.

Note: Clicking Solid Color producesa two-tone stylized effect with onlyone color and either white orblack.

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The Gradient Fill dialogbox appears.

5 Click in the color bar toopen the GradientEditor.

The Gradient Editorappears.

6 Click a different preset.

7 Click OK to close theGradient Editor dialogbox.

8 Click OK to close theGradient Fill dialog box.

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The gradient is applied as a separateadjustment layer covering the image.

9 Click here and select Lighter Color tomake the gradient cover only the blackareas in the image, leaving the other areaswhite.

The gradient layer blends with the highcontrast of the image.


More Options!You can create your own customgradient in the Gradient Editor.Double-click in each of the lowercolor stops under the gradient toopen the color picker and select anew color.

Try It!Instead of Lighter Color, click theblend mode in the Layerspanel and select Darker Color. Theimage changes, applying thegradient blend to the previouslywhite areas in the image.

Did You Know?The Darker Color mode displaysonly the lowest color value fromboth the blend and base layer;conversely, Lighter Color showsonly the highest value color. Forexample, with the gradient layer inLighter Color blend mode, only thelightest color value in the imagelayer below — white in this case —appears through the gradient layer.

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1 Open the photo as a smart object byclicking File and then Open As SmartObject.

2 Press Ô+J (Ctrl+J) to duplicate the originalsmart object layer.

3 Click Filter.

4 Click Noise.

5 Click Median to open the Median dialogbox.

6 Click and drag the slider to about 4 toflatten the colors in the image and softenthe edges.

Note: The amount depends on the imagesize and the amount of detail in the image.

7 Click OK.

8 Click Filter, Brush Strokes, and thenSprayed Strokes to open the Filter Gallerydialog box.

9 Click and drag the Stroke Length slider tothe maximum and the Spray Radius sliderto a number in the first third of the slider.

Note: The amounts depend on the image sizeand the artistic look you want to achieve.

0 Click the New Effect Layer button toduplicate the Artistic layer.

! Click Crosshatch, and the filter optionschange.

@ Click and drag the Stroke Length sliderand the Sharpness slider to lowernumbers and increase the Strength slider.

# Click the New Effect Layer button toduplicate the Artistic layer again.

Turn a photo into a

COLORED-PENCIL ILLUSTRATIONColored-pencil illustrations are found in exhibitionsand galleries everywhere. Once thought of as anelementary medium, perfect for children, many artiststoday are working with colored pencils as a mediumin and of itself, and not just for texture studies, beforeusing another medium such as watercolor or oils.

You can transform a photograph into a colored-pencilillustration in Photoshop in many ways. Generally,you will get a more traditional colored-pencil effect

by reducing the image size before you apply thefilters. As with most of the Photoshop filters, simplyclicking a filter in the Filter Gallery rarely renders thesought-after effect. By simplifying the colors in theimage with the Median filter and then applyingseveral filters, the image more closely resembles atraditional colored-pencil drawing. Start by openingthe file as a smart object. You can then easily editthe filters after applying them.

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$ Click Artistic to display the available Artistic filters and select Colored Pencil.

The filter options change.

% Click and drag the Pencil Width slider to a lower value such as 3, and the Stroke Pressure slider to about 10 or just above the middlevalue. Click and drag the Paper Brightnessslider to the maximum so the paperunderneath appears white.

^ Click OK.

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** The Filter Gallery closes.

& Double-click the Zoom tool to see thedrawing at 100%.

* Click here and select Hard Light.

( Press Ô+J (Ctrl+J) to duplicate the toplayer.

) Click here and select Overlay for the toplayer’s blend mode.

The resulting image looks like a coloredpencil drawing.

l You can double-click the Filter Galleryname in the Layers panel to reopen theFilter Gallery and change any settings.


Did You Know?You can turn a colored-pencil illustration into agraphite pencil sketchby clicking the Black &White button ( ) inthe Adjustments panelor selecting any of theBlack-and-White presetsto fit your image.

More Options!To see the document infull on the screen,double-click the Handtool ( ) in the toolboxor click Fit Screen on theOptions bar. To zoom to100%, double-click theZoom tool ( ) in thetoolbox.

Attention!Any of the blend modesin the Lighten andOverlay sections willenhance the colored-pencil sketch. You canalso click the bottomlayer in the Layers panel and drag the Fillslider to the left for adifferent look.

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2 Click the Black & White buttonin the Adjustments panel.

POSTERIZE A PHOTOfor a Warhol-style image

Photoshop includes a Posterize command in theImage ➪ Adjustments menu that automaticallyposterizes an image by mapping the Red, Green, andBlue channels to the number of tonal levels that youset. However, to create a posterized imagereminiscent of the Andy Warhol style of the 1960sand 70s, you can use three adjustment layers insuccession instead. Use a Black & White adjustmentlayer to convert the photo to a grayscale image.Then apply a Posterize adjustment layer, specifyingthe levels that correspond to the number of colors

you want in the final image. A lower the number oflevels limits the number of colors that will beincluded, making the image more stylized. Finally,use a Gradient Map adjustment layer to map a colorto each of the levels of gray. You can edit any of theadjustment layers to change the colors or levels untilyou get the look that you want. For the best result,select a photo with a main subject on a plainbackground or extract the subject and place it on ablack background.

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The image turns to grayscale andthe options in the Adjustmentspanel change.

3 Click Auto to see if the contrastimproves.

4 Move the color sliders toenhance the contrast.

5 Click the arrow to return to theAdjustments panel list.

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6 Click the Posterize button ( ) in the Adjustments panel.

The options in the Adjustments panel change.

7 Type a low number such as 4 in the Levels data field.

Note: Use a low number tolimit the color gradationswhen creating a posterizedeffect.

8 Click the arrow to returnto the Adjustments panellist.

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9 Click the Gradient Map button ( ) inthe Adjustments panel.

The options in the Adjustments panelchange.

0 Click in the gradient.


Attention!You get better results if you matchthe number of gray levels with thenumber of color stops in thegradient. To add more gray levels,double-click the Posterizethumbnail in the Layers panel andincrease the number of levels.Then double-click the GradientMap thumbnail and add morecolor stops.

Try This!If you want a more realisticallycolored image, fill the color stopson the right in the Gradient Editorwith the lightest colors that youwant in the image and the colorstops on the left with the darkestcolors. The greater the number ofcolor stops and the more colorsyou use, the wilder the imageappears.

Important!The Poster Edges filter, located inthe Artistic filters in the FilterGallery, creates a completelydifferent look, more like anetching than a posterized print.

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The Gradient Editor appears.

! Click two areas below thegradient bar to add two morecolor stops.

Note: The number of color stopsshould match the levels ofposterization that you entered instep 7.

@ Click the leftmost color stop toselect it.

# Click the Color thumbnail.

POSTERIZE A PHOTOfor a Warhol-style image

After posterizing the first photo by following alltwenty-one steps in this task, you can create fourcopies of the posterized image using different colorsand place them in a new document to replicate theAndy Warhol-like layouts with four posterized andjuxtaposed images.

To create the second copy, open your posterizedimage and click File and then Save As to give thecopy another name. Click the Gradient Mapthumbnail in the Layers panel to reopen the GradientMap pane of the Adjustments panel. Click in the

gradient to open the Gradient Editor again. Changethe colors for each of the four color stops, alwaysselecting the darkest colors for the leftmost colorstops and the lightest colors for the rightmost colorstops. Click OK to close the Gradient Editor. Click Fileand then click Save, saving the second version withall the layers. Repeat this process until you have fourdifferent versions of the image.

To finish the project, create a new empty documentand click File and then Place to place each of the fourimages on the page.

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The Select stop color dialog boxappears.

$ Click and drag the color slider.

% Click in the color selector toselect the darkest of the fourcolors you will use.

Note: If the warning triangleappears, the color is out of gamutfor printing and will not print asyou see it. Click the small squarebelow the warning triangle toselect the closest in-gamut orprintable color.

^ Click OK to close the Select stopcolor dialog box.

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& Repeat steps 12 to 16,selecting each of theother three color stopsto change the color.

* Click OK to close theGradient Editor.

( Click the Black andWhite adjustment layer.

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The Black and White options appear inthe Adjustments panel.

) Click and drag the color sliders to changethe amount and areas of posterizedcolors.

q Press Ô+S (Ctrl+S) to save the file with allthe layers so you can readjust it later.

The final image looks like a posterized andstylized print design from another era.


Customize It!Use the Dodge and Burn tools to changeindividual areas. Click the Backgroundcopy layer and click the Dodge tool ( ).Click and drag in the image to makesome areas lighter. Click the Burn tool( ) and click and drag other areas tomake them darker. You can lower theExposure setting in the Options bar tolessen the change.

More Options!Instead of using a Gradient Map, you canmerge the Background copy with theBlack and White and the Posterizeadjustment layers. Then add colorsindividually to gray areas. Select the firstgray area using the Magic Wand ( )with a tolerance of 0. Click theforeground color and select a new color.Press Option+Delete (Alt+Backspace) tofill the selection.

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1 Press D to reset the foregroundand background colors to thedefault.

2 Press Ô+J (Ctrl+J) twice to create two duplicates of theBackground layer, named Layer 1 and Layer 1 copy.

3 Click the New Layer button tocreate a new empty layer.

4 Press Ô+Delete (Ctrl+Backspace)to fill the empty layer withwhite.

5 Click and drag the white layerbelow both Layer 1 and Layer 1copy.

Change a photograph into a

PEN-AND-COLORED-WASHDRAWINGYou can transform a photograph into a pen-line-and-colored-wash drawing by applying different filters andadjustments to multiple layers. Traditional artistssometimes use India ink and a diluted ink wash tovisualize the light and shadow areas before beginninga painting. The technique is also often used in figurestudies to create expressive drawings. When appliedto a landscape or cityscape, the pen-line-and-diluted-ink wash produces an image with a unique look.

Pen-and-ink-wash drawings are similar to and yetdifferent from traditional watercolors, which generallydo not use black lines.

You start with multiple duplicates of the originalBackground layer and an added layer filled with white.You transform one of the duplicated layers into a layerof simplified outlines from the edges in the photographusing combinations of adjustment layers and filtersbefore using the Brush tool to paint in the washes.

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6 Click the top layer, named Layer 1 copy, to select it.

7 Click the Black & White button( ) in the Adjustments panel.

The image changes to agrayscale image and the Blackand White options appear in theAdjustments panel.

8 Click Auto to increase thecontrast.

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9 Press Ô+E (Ctrl+E) tomerge the Black andWhite adjustment layerwith the layer below.

0 Click Filter.

! Click Stylize.

@ Click Find Edges.

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The image changes to resemble a shadeddrawing.

# Click Filter.

$ Click Blur.

% Click Smart Blur.

The Smart Blur dialog box appears.

^ Click and drag the Radius and Thresholdsliders to soften the edges.

& Click OK.

The amount of detail is reduced. Theedges of the lines are softened.

* Click here and select Multiply for theblend mode.


Important!For more artistic results, start byreducing the size of the image.Click Image and then Image Size.Set one of the Pixel Dimensions inthe top section of the Image Sizedialog box to about 1000 pixels.The filters are more effective onthis size image, and the brushstrokes appear more liketraditional brush strokes on paper.

Change It!Change the brush tip shape beforeyou paint with white on the blackmask in step 32. With the Brushtool selected, click the Brushes in the Options bar to open thebrushes panel. Click Brush TipShape and change any of theattributes.

Customize It!You can also create a dual brushto change the brush strokes evenmore. Before step 32, click theBrushes to open the Brushespanel. Click Dual Brush and click adifferent brush sample box. Clickand drag the sliders to alter thebrush style.

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The colored photo showsthrough the line drawing.

( Click Layer 1, the second layerdown in the Layers panel, toselect it.

) Click Filter.

q Click Noise.

w Click Median.

Change a photograph into a

PEN-AND-COLORED-WASHDRAWINGThe other duplicated layer provides the base for thecolors. You first reduce the details in that duplicatedlayer using the Noise filter to give it a lessphotographic appearance. Then you paint on a layermask to make the colored washes appear. For thisdigital technique, as with a traditional watercolorpainting, you add the washes using large, lighteropacity brushes first, then increase the opacity forthe next sets of washes, and finally work with

smaller, more opaque brushes to define the details.You can modify the brush sizes and brush tip shapesfor each different wash to add variety and make theresult appear less digitally created.

You can use any photo to create the pen and coloredwash drawing; however, the results look more like atraditional pen and ink wash when the steps areapplied to a low-resolution image.

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The Median dialog box appears.

e Click and drag the Radius sliderto blur the image and colors.

r Click OK.

t Press Option (Alt) and click theLayer Mask button to add a blacklayer mask to the Backgroundcopy layer.

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The black layer mask hides the colored Layer 1 and only the outlines are visible in the image window.

y Press B to select the Brush tool.

u Click here to open the brush picker.

i Select a large ragged-edge brush.

o Click and drag the slider to increase thebrush size if necessary.

p Click the word Opacity and drag to theleft to reduce the brush opacity to 50%.

Q Click here if necessary to make sure theforeground color is white.

W Click and drag in the image painting withwhite on the mask to bring in the coloredwash.

The colors begin to appear in the drawingas large washes.

E Press the left bracket key several times toreduce the brush size.

R Click and drag in the image to paint overthe details and increase the look of thewash.

Note: Use brush strokes in the direction thatfits the objects in the image.

The colored wash appears on the image.

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Did You Know?You can make thedrawing appear to havemultiple layers of washesby starting with a verylow brush opacity in theOptions bar for the firstset of brush strokes andthen increasing theopacity as you brush asecond and third time.

Change It!You can change the blendmode of the top layerafter you finish painting instep 34 to change thefinal look of the pen-and-wash drawing. Try HardLight or Darken instead ofMultiply for totallydifferent looks.

Attention!To make the washesappear as though theywere painted by hand onwhite paper, be sure toleave some areas aroundthe edges unpainted,letting the white layershow through.

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1 Create a new empty documentthe size that you want yourcollage to be.

2 Click File and then Open AsSmart Object to open all theimages for the collage as shownin Task #21.

3 Click Window.

4 Click Arrange.

5 Click Float All in Windows tohave each image in its ownwindow.

l The images appear in separatewindows cascading on thescreen.

Compose a

PHOTO COLLAGEArtists and photographers have long been blendingseparate images into one combined finished piece.Artists may glue disparate items onto a background,hence the word collage from the French for gluing.Photographers may combine exposures on one pieceof film or combine several images in the darkroom ina photo montage, a term taken from the French formounting or assembling. Photoshop adds many newand easier techniques for creating such artisticcomposites. Instead of worrying about imageregistrations or unexpected interactions of shapes

and forms, you can now visually combine multipleimages into one by blending pixels. Starting with abasic Photoshop collage technique, you can apply somany variations that the piece can be used foreverything from advertising to fine art.

You start with one image as the background and dragother photographs and artwork onto it in separatelayers. Then you resize and adjust the position of eachlayer and add masks to blend the images together.You can add gradients and paint on the masks, oreven add masks to masks for more variations.

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6 Click the empty untitleddocument to bring it forward.

7 Double-click the Hand tool tomake the image fit the screen.

8 Click the Move tool and click anddrag the first image onto theempty document.

9 Click here to close the first image.

0 Press Ô+T (Ctrl+T).

The transformation anchorsappear on the image.

! Press Shift and click and drag thecorner anchors to resize theimage.

@ Click the commit button.206

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# Press D to reset theforeground andbackground colors.

$ Click the Layer Maskbutton.

l A layer mask is addedto the image layer.

% Click the Gradient tool.

^ Click a gradient style.

& Click and drag theGradient tool across theimage.

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The first image blends into theBackground layer.

* Repeat steps 8 to 17 until all the imagesare layers in the collage.

( Click each layer to adjust the placementof the image.

) Click each layer mask thumbnail and clickand drag with the Gradient tool tochange the look.

The images blend into one another,creating an artistic photo collage.


Important!Make sure that all yourphotos for the collage are setto the same color space orconvert them to Adobe RGBas you place them. Alsocheck the bit depth andresolution of the images andchange these as needed.

Did You Know?Opening the images as smartobjects lets you adjust thesize of the photos in thecomposite without losingimage quality.

Caution!The number of additionallayers, effects, and layer setsthat you can add to an imageis limited by your computer’smemory. Close anyunnecessary files andapplications to make asmuch RAM available aspossible for Photoshop toprocess the collage.

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1 Open an image and expand thecanvas to create a white borderaround the photo.

Note: To expand the canvas, usethe reverse-crop techniquedescribed in Task #25.

Turn a photo into a

HAND-PAINTED OIL PAINTINGYou can use the Filter Gallery and various Photoshopfilters to change any photograph into an image thatlooks like an oil painting. However, because filters areapplied evenly to the active layer of an image, theresults most often appear to be computer generatedrather than hand painted. By applying a filter to alayer and then using brush strokes of varied size topaint the filtered image onto a new layer, you cancreate an oil painting that appears to be painted onestroke at a time. This technique uses the Pattern

Stamp tool and the entire image as a pattern. ThePattern Stamp tool’s Impressionist option makes thebrush strokes appear even more traditionally painted.You can then brush the pattern onto a new emptylayer so the image appears to be painted rather thandigitally generated with a filter.

As with other digitally rendered paintings, thistechnique works best on a smaller image without toomuch detail. You can reduce the image size as a firststep.

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A white border appears aroundthe image.


3 Click Filter.

4 Click Artistic.

5 Click Dry Brush.

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The Filter Gallery appears with the Dry Brush filter applied in the Preview window.

6 Click and drag the sliders to adjust the Dry Brush appearance for your photo.

Note: The larger the Brush Size number and the smaller the Brush Detailnumber, the less photographicthe image appears.

7 Click OK.

The filter is applied to theimage.

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8 Press Ô+A (Ctrl+A) to select the entireimage.

9 Click Edit.

0 Click Define Pattern.

The Pattern Name dialog box appears.

! Type a new name for the pattern.

@ Click OK.

# Press Ô+D (Ctrl+D) to deselect the image.


Caution!Take your time to makethe image appear handpainted. Change the brushsize often. Start with largebrushes and make themsmaller as you paint indetails, deselecting theImpressionist option toemphasize the finestdetails.

More Options!If you have a digitizingtablet, you can choose alarger brush and set theShape Dynamics option ofthe brush to Pen Pressure.Press lightly with thestylus to produce smallstrokes and press harderto produce larger strokes.

Attention!When you first startpainting in step 21 using alarge brush, click thebrush instead of draggingit like a true paintbrush.The effect appears morenatural because clickingthe brush spreads thepaint unevenly.

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$ Click the New Layer button to add anew empty layer.

% Click the Pattern Stamp tool.

^ Click the Pattern thumbnail in theOptions bar.

The pattern picker opens.

& Click the pattern that you just created ofthe photo.

* Click Impressionist ( changes to ).

Turn a photo into a

HAND-PAINTED OIL PAINTINGWhen trying to replicate a traditionally paintedimage, you should start with a large brush and paintin more open areas of the photograph. Then reducethe brush size and continue painting in the details. Toemphasize a few edges and capture some finerdetail, you can deselect the Impressionist option andcontinue to paint with the Pattern Stamp tool. Youcan compare your painting and the image as youwork by clicking the visibility button on theBackground layer off and on.

You can cover the new layer to create a completelyseparate painting or use the newly painted layer incombination with the underlying Dry Brush filteredlayer, depending on the look that you want. And youcan add a Texturizer filter using a canvas textureover the painted image as a final touch. You caneven add a canvas-colored layer as a background tofill in around the edges for a more realistic look.

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( Click here to open the brush picker.

) Select a rough-edged brush and adjustthe diameter to fit your image.

q Click in the layer multiple times to paintthe image, covering every area.

w Repeat steps 19 to 21, reducing thebrush size or changing the brush shapeto paint detailed areas.

e Click Impressionist to deselect it ( changes to ).

r Click in the image to bring back a fewphotographic details as needed.

t Press Ô+J (Ctrl+J) to duplicate thepainted layer.

y Click Filter, Texture, and then Texturizer.210

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The Filter GalleryTexturizer dialog boxappears.

u Click here and selectCanvas.

i Click and drag thesliders to increase the Scaling and Relief.

Note: The preview imageshows the details at100%.

o Click OK.

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The Canvas texture is applied to thefinished painting.


Try This!You can add a canvas-colored layer as a background to fill in around theedges for a realistic look. After step 25, click the New Layer button ( ) inthe Layers panel to create a new layer. Drag the new empty layer underneaththe top painted layer. Click Edit and then Fill. Click the Contents Use arrowand click Color. When the color picker appears, select a color for the canvas,such as Red 248, Green 242, and Blue 224, which appears as a naturalcanvas color. Click OK to close the color picker and again to close the Filldialog box and fill the layer. Click the top painted layer to select it. Thencontinue with step 26 to apply the Texturizer filter with a canvas texture tothe whole image as a final touch.

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1 Open a photo and press Ô+J(Ctrl+J) to duplicate it.

2 Double-click the layer name andtype Dry Brush.

3 Click Filter.

4 Click Artistic.

5 Click Dry Brush.

Paint a

DIGITAL WATERCOLORYou can create a digital watercolor from aphotograph and make it appear like a traditionallypainted image on watercolor paper using a series offilters from the Filter Gallery on separate layers.

Traditional watercolor paintings have loosely definedshapes without black outlines, transparent colors,and minimal transitions of color tones. To make yourpainting appear hand painted you can apply theReduce Noise or the Median filter to the photo beforestarting the painting. These filters, found in the Filtermenu under Noise, eliminate some of the color

changes and sharp edges that make a photographlook like a photograph.

As with many digital art techniques, duplicating theBackground layer is the first step. You then startapplying filters. When you apply the Dry Brush filteron an image with a limited color palette, the photoalready appears more like a painting than aphotograph. You duplicate that layer and apply a blurfilter to soften the edges and blend the colors evenmore. Then add an empty layer over the other layersand fill it with a translucent white.

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The Filter Gallery appears withthe Dry Brush filter applied in thePreview window.

6 Click and drag the sliders toadjust the Dry Brush style.

7 Click OK.

The filter is applied to the layer.

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8 With the Dry Brush layer still selected, press Ô+J (Ctrl+J) to duplicate it.

9 Click Filter.

0 Click Blur.

! Click Smart Blur.

The Smart Blur dialog box appears.

@ Click and drag the Radius and Thresholdsliders to adjust the blur.

Note: The Radius slider determines howmuch blur is applied and the Threshold slidercontrols the number of tonal values that areblurred.

# Click here and select High.

$ Click OK.

% Click the New Layer button to create anew empty layer.

^ Click the word Opacity in the Layers paneland drag to the left to lower the opacityto 50%.

& Press D to reset the default foregroundand background colors.

* Press Ô+Delete (Ctrl+Backspace) to fill thelayer with white.

The top layer fills with a translucent white.

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Try This!You can make the paper look more like watercolor paper by using anoff-white color to fill the top layer. After creating a new empty layerin step 15, click Edit and then Fill. The Fill dialog box opens. Click theUse and click Color to make the color picker appear. Type 250 forthe Red data field, 246 for the Green data field, and 239 for the Bluedata field to select an off-white color for the watercolor paper. ClickOK to close the color picker and click OK again to close the Fill dialogbox. Erase carefully over just the objects that you want to show aspainted on the image. Areas left blank show through as thewatercolor paper.

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( Click the Eraser tool.

) Click here to open the brushpicker.

q Click a large chalk-style brushand adjust its diameter asnecessary using the slider.

w Click and drag in the documentusing short irregular strokes untilthe painting is visible.

e Click the word Opacity and dragto the right to increase theopacity to 100%.

Paint a

DIGITAL WATERCOLORThe white layer becomes a background for thepainting. Using the eraser set to a chalk-styled brush,you erase through the white layer, revealing parts ofthe filtered layer below. The strokes appear morerealistic if you click and drag in the document usingshort strokes, and paint vertical objects with verticalstrokes and horizontal items with horizontal strokes.You can also vary the opacity of the Eraser tool asyou paint so that the colors appear to be painted inwashes.

Traditional watercolor paintings often leave roughedges around the borders and even some blank

areas in the painting, allowing the surface of thewatercolor paper to show through the paint. You cansimulate this effect by not erasing some areascompletely, in effect making those areas appearunpainted.

Finish the painting by merging the two top layers andduplicating the merged layer. Then apply a Texturefilter to create the look of rough watercolor paper.The final step is to lighten the image by setting thelayer blend mode to Screen to brighten thewatercolor paints.

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r Press the left bracket key severaltimes to reduce the brush size.

t Continue clicking and draggingin the image to complete thepainting.

y Press Ô+E (Ctrl+E) to merge thetwo top layers.

u Press Ô+J (Ctrl+J) to duplicatethe new merged layer.

i Click Filter.

o Click Texture.

p Click Texturizer.

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The Filter Galleryappears with theTexturizer filter selected.

Q Click here and selectSandstone.

W Click and drag theScaling and Reliefsliders to look likerough watercolor paper.

E Click OK.

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The filter is applied to the top layer.

R Click here and select Screen.

The painting is lightened and looks morelike a traditional watercolor.


Did You Know?Photoshop actually includes aWatercolor filter in the FilterGallery. This filter adds toomuch black to replicate atraditional watercolor and alsodulls the colors. A truewatercolor palette includesonly gray and no black paintat all.

Change It!With the Eraser tool selected,click the Toggle the BrushesPanel button ( ) on the farright of the Options bar toopen the brushes panel. Clickthe word Texture in the brushpresets to highlight it. Makechanges to the scale, depth,or pattern to add texture toyour brush.

Important!Photoshop’s Artistic filters areapplied at a fixed size andwork best on files smallerthan 5MB. Always view yourphoto at 100% to see theeffect and wait for the effectto process when changingadjustment sliders.

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Giving Your Images a

Professional Presentation

Presentation is so important that most photosor designs can be improved when properlydisplayed or framed. For professionaldesigners, a powerful presentation can helpkeep an art director happy. For photographers,an elegant display can make all the differencein securing a new client or keeping a currentone. From displaying family snapshots topresenting your portfolio, Photoshop makes iteasy to show your images in a professionalmanner.

You can add frames to enhance any imagewith minimal effort using the one-click frameactions included with Photoshop. You can alsocreate your own frames, change the framecolors and borders, and add a matte to thephoto. Photoshop can also help you apply an

artistic edge to a photo using a sequence offilters from the Filter Gallery, or you can brushan artistic edge onto any images by handusing the Brush tool. You can create custombackgrounds to display your images or, for anovel effect, place your images into atraditional slide template. You can create acontact sheet as a visual index of all thephotos in one client folder or on one CD orDVD. You can prepare a custom slide showwith professional transitions, burn it toexternal media, or save it as a PDF documentand send it to friends or clients as an e-mailattachment. You can even use Photoshop todesign and upload your own photo gallery to aWeb site. With Photoshop CS4, you can displayall your images with a professional touch.

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Frame a Photo with Photo Corners . . . . . . . . . . . . . . . . . 218

Make a Line Frame from within a Photo. . . . . . . . . . . . . 219

Apply a Filter to Give a Photo an Artistic Edge. . . . . . . . 220

Create Your Own Custom Edge . . . . . . . . . . . . . . . . . . . . 222

Create a Custom Slide Template . . . . . . . . . . . . . . . . . . . 224

Create a Custom Color Background . . . . . . . . . . . . . . . . 226

Make a Photo Look like a Gallery Print . . . . . . . . . . . . . . 228

Make a Contact Sheet of Your Photos . . . . . . . . . . . . . . 232

Create a Slide Show Presentation . . . . . . . . . . . . . . . . . . 234

Create a Web Photo Gallery . . . . . . . . . . . . . . . . . . . . . . 236

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Frame a photo with

PHOTO CORNERS

1 Open a photo or image.

2 Press Option+F9 (Alt+F9) toopen the Actions panel.

Note: Optionally, click Windowand click Actions to open theActions panel.

3 Click the menu button on theActions panel.

4 Click Frames.

The Frames actions areautomatically loaded.

5 Click Photo Corners.

6 Click the Play button.

Photoshop plays the action andplaces photo corners on theimage.

You can add interest and give a finished look to yourphotographs by adding a digital frame to yourimages. You can apply a variety of designed framessuch as photo corners easily and quickly using anaction from the Actions panel in Photoshop. An action is a prerecorded set of commands that are automatically performed in the same sequencewhen you click the Play button.

Photoshop enables you to record your own actionsand also provides a number of predefined actionsthat are installed with the application. When you firstopen Photoshop and click the Actions panel tab, you

find a folder called Default Actions.Clicking the fly-out arrow on theActions panel opens a menu withother Actions folders. To createphoto corners or any other frames, you must firstload the Frames Actions and then play the PhotoCorners action. You can use the same steps to applya wood frame or any of the other frames included inthe now loaded actions.

Actions are stored as .atn files in the PhotoshopActions folder in the Presets folder.

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MAKE A LINE FRAMEfrom within a photoYou may have a photo with a larger background areathan necessary. Rather than crop the photo, you cantransform the excess background into a frame tohelp focus the attention on the main subject. Makinga line frame from the photograph itself is a quickway to give a classic and finished look to any image.You make a selection in the photo as if you weregoing to crop it. You then invert the selection tocreate the frame. You can even vary the frame shapeby using the Elliptical Marquee tool to select the areawith an oval frame. To create any style of line framefrom within the photograph, place the frame area on

its own layer above theBackground layer and change theblend mode to Screen to lightenthe area that will become theframe.

To separate the frame from the photo even more,stroke the borders of the new frame layer byapplying a layer style. The Layer Style dialog boxincludes a stroke option with red as the default color;however, you can change it to any color that fits yourimage. As a final touch, add a drop shadow and aninner shadow, and even a bevel and emboss look.

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1 Click the Rectangular Marquee tool.

2 Click and drag a large rectangle inthe photo to select the mainsubject.

3 Click Select.

4 Click Inverse.

5 Press Ô+J (Ctrl+J) to place theselection on its own layer.

6 Click here and select Screen.


8 Click Stroke.


9 Click the Color thumbnail.

0 When the color picker appears, setthe color to white and click OK.

! Click and drag the Size slider toincrease the stroke thickness.

@ Click any of the other layer stylessuch as Drop Shadow, InnerShadow, and Bevel and Emboss togive the frame a finished look.

# Click OK.

The layer style gives theappearance of a realistic frame.

Chapter 9

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2 Click the New Layer button.

3 Click the new empty layer anddrag it between the Backgroundlayer and Layer 1.

4 Press D to reset the defaultcolors.

5 Press Ô+Delete (Ctrl+Backspace)to fill the empty layer withwhite.

Apply a filter to give a photo

AN ARTISTIC EDGEYou can give any photo an artistic look by adding anirregular edge using the Filter Gallery and the BrushStrokes filters. By duplicating the Background layerand adding a new empty layer filled with white belowthe top layer, you can create a unique artistic edge.The Filter Gallery enables you to combine the filtersin different ways and use the same technique tocreate a variety of different edges to fit eachdifferent image. Make a selection on the top layerjust inside the edge of the photo and then add a

layer mask to delineate the borders of the photo. Theartistic edge starts from the selected area. Open theFilter Gallery and start adding different layers ofBrush Strokes filters. The Preview window of theFilter Gallery shows the edge effect in reverse. Thewhite areas represent the photo area, and the blackareas represent what will be cut away. Every timeyou change the various sliders for the Brush Strokesfilters, your edge effect changes in the Previewwindow of the Filter Gallery.

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6 Click Layer 1 to select it.

7 Click the Marquee tool.

8 Click and drag a selection justinside the edge of the image.

9 Click the Layer Mask button toadd a layer mask to Layer 1.

l The image has a small whiteborder.

0 Click Filter.

! Click Brush Strokes.

@ Click a filter; this example usesSpatter.

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The Filter Gallery opens with the Spatter edge applied.

# Click the New Effect Layer button.

$ Click another Brush Strokes filter; this example uses Crosshatch.

% Click the New Effect Layer button again.

^ Click another Brush Strokes filter; thisexample uses Sumi-e.

& Click each individual effect layer and adjustthe sliders to get the edge that you want.

* Click OK.

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The custom edge is applied to the photo.

221Chapter 9: Giving Your Images a Professional Presentation

Did You Know?Add as many Filter Effectslayers as your computer’smemory allows. Each oneyou add changes the look ofthe custom photo edge.Change the order of thelayers in the Filter Gallerydialog box, and the overallstyle of the edge changes aswell.

More Options!For a light-colored image,darken the edge for astronger effect. Click theLayer Style button (fx) in theLayers panel. Click DropShadow. Drag the Distanceslider to 0. To darken itmore, click Inner Shadowalso and drag its Distanceslider to 0.

Try This!Click the Layer Style button(fx) in the Layers panel.Click Stroke. Click the Colorthumbnail and change thedefault color to black. Clickthe Position and selectInside. Move the Size sliderto get the thickness of linethat you want.

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1 Press D to reset the foreground andbackground colors to black and white.

2 Press Ô+J (Ctrl+J) to duplicate the photolayer.

3 Click Image.

4 Click Canvas Size.

The Canvas Size dialog box appears.

5 Click Relative ( changes to ).

Note: Selecting Relative adds the exacttyped amount of width and height to theexisting image.

6 Type 2 in the Width and Height fields toadd 2 inches to the canvas in eachdirection.

l You can click in the white color box toselect a different color for the Canvasextension.

7 Click OK.

A white border appears around thephoto.

8 Double-click the Hand tool to fit theimage to the screen.

9 Press B to select the Brush tool.

0 Click here to open the brush picker.

! Click here to open the brush menu.

@ Click Large List.

The brush presets change to labeledthumbnails.

# Click a rough-edged brush such as OilPastel Large.

Create your own

CUSTOM EDGEYou can let a Photoshop filter draw an artistic edgefor you as in Task #93, or you can create your owncustom edge. You can save your custom edge andapply it to all your images as your personal digitalsignature. You paint using any rough-edged brush ona separate layer. The default brush set that installswith Photoshop includes various rough-edgedbrushes; however, you can find many more byclicking the flyout arrow in the brush picker.

To create a custom edge, put the photo on aseparate layer and then enlarge the canvas by

selecting the Relative option to add some area evenlyaround the photo for the frame. Add a transparentlayer in between the two photo layers and paint yourcustom edge on that layer, clicking and draggingaround the edges of the photo. You can paint asmuch or as little of a visible edge as you want aslong as the black edges extend underneath thephoto. Flatten the image, or save it with the layersso you can reuse your custom edge on other imagesof the same size.

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$ Click the New Layer button to add a new empty layer.

% Click and drag the empty layer between the other two layers.

^ Using the Brush tool, click and drag to paint on the empty layer along the visible edge of the photo.

Note: Make sure to paint partially over theedge of the photo. The overlap will not bevisible because the photo layer is above thepainting layer.

& Click the Brush thumbnail.

* Click another brush such as Hard Pastel onCanvas.

( Continue painting brush strokes aroundthe edge of the photo to add variety to the edge.

The photo appears with a custom border,giving it a unique look.

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Did You Know?You can change the brush angles byclicking the Toggle the BrushesPanel button ( ) in the Optionsbar and clicking Brush Tip Shape inthe Brushes panel. Click and dragon the Brush Angle and Roundnessthumbnail to narrow the circle.Change the Brush Tip Shape foreach side.

More Options!You can gradually blend the photointo the custom edge by making arectangular selection on the topphoto layer just inside the edge ofthe photo, and then clicking Selectand Inverse. Click Select, Modify,and then Feather. Type a numbersuch as 10 pixels for the FeatherRadius and click OK. Press Delete tosoften the edge of the photo andblend it into the custom border.

Try This!Save your custom edge as aseparate file. Click the Backgroundlayer, press Ô+A (Ctrl+A), Ô+C(Ctrl+C), and then Ô+N (Ctrl+N) tocreate a new same-size document.Click back on the original image.Press Shift as you click and drag theedge layer onto the new documentso it fits in the same exact position.Click File and click Save to nameand save the new custom edge file.

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1 Press Ô+N (Ctrl+N) and create anew RGB file at 300 ppi, settingboth the width and height to 5inches.


3 Click the Color panel and type241, 238, and 230 in the datafields for a light-gray color.

4 Click and hold the Rectangletool and select the RoundedRectangle tool.

5 Click the Fill Pixels button.

6 Type 40 px in the Radius datafield.

Create a

CUSTOM SLIDE TEMPLATEYou can create a template that looks like a traditionalphotographic slide mount and use it to feature yourphotos when you print them, or even use the photosmounted as slides in a PDF slide show. After youcreate the custom slide template, you can use it over and over again with any image.

You can create a slide with any color or use a gray oroff-white color similar to a traditional slide mount.

You use the Rounded Rectangle tool to create thebasic shape and the Rectangular Marquee tool to cutout the photo-viewing area. You apply a drop shadowto add depth, giving the illusion of a traditional slidemount on the photo. Save the template with both awhite Background layer and the slide layer so thatyou can sandwich an image between them for thefinal slide.

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7 Press Shift and click and drag asquare shape in the layer.

8 Click the Rectangular Marqueetool.

9 Click and drag a rectangularshape in the center of the slide.

0 Press Delete (Backspace) tocreate the hole in the slide.

! Press Ô+D (Ctrl+D) to deselect.

@ Click the Layer Style button.

# Click Drop Shadow.

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$ Click and drag the Distance and Size sliders to about 15 to give the slide depth.

% Click OK.

The design resembles a traditional slide mount.

^ Click File and then Open and open aphoto that you want to place in the slidemount.

Note: Click Window, Arrange, and then FloatAll in Windows to keep the windowsseparated.

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& Click the Move tool.

* Click and drag the photo on top of theslide template.

( Click the photo layer and move itbetween the other two layers.

) Press Ô+T (Ctrl+T) to add transformationanchors.

q Press Shift to maintain the aspect ratio ofthe image as you click and drag thecorner anchors to fit the photo inside theslide.

w Click the commit button to commit thetransformation.

The photo appears to be inside atraditional slide mount.


Try This!To add text to your slide, click theType tool ( ) and type the textabove and below the opening in thecenter. Use all caps in a commonfont such as Helvetica or Courier fora realistic effect, then lower theopacity of the Type layer to 50% oradd an Inner Bevel layer style to thetext. Press Ô+E (Ctrl+E) to mergethe type layer with the slide layer.

Customize It!You can make a customized slidetemplate for each of your clients orfriends for a unique presentation byadding the name or projectdescription to each slide.

Apply It!To use your slide on multiplephotos, drag the first photo on topof the slide file. Drag the photolayer between the slide and theBackground layer. Adjust the photousing the transformation anchorsand flatten the layers. Click File andthen Save As to save the filled slidewith a new name. Repeat thisprocess for each of the photos.

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1 Press Ô+N (Ctrl+N) to create anew document.

2 Click here and select U.S. Paperto automatically create a newdocument in RGB color mode ata resolution of 300 pixels/inch.

Note: You can create any sizedocument with a whitebackground in the RGB mode at300 ppi.

3 Click OK.

Create a

CUSTOM COLOR BACKGROUNDYou can create any number of different backgroundsfor album pages or photo layouts starting with a newwhite document, adding colors and applyingPhotoshop filters and effects. The Clouds filter foundunder the Render filters is particularly useful forcreating backgrounds because it changes the look ofthe image each time it is applied. You can make awhite document look like an old piece of parchmentby applying the Clouds filter to a white Backgroundlayer, using two shades of tan. You can then burn the

edges with the Burn tool to give the paper an agedparchment look. Save the document as a new fileand use it as a Background layer for differentphotographs, a base layer for any number of designs,or as a background for text.

You can create different variegated color backgroundsby using two different shades of any color, or eventwo different colors, for the foreground andbackground and then applying the Render filter andselecting Clouds, Difference Clouds, or Fibers.

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4 Press Ô+J (Ctrl+J) to duplicatethe layer.

5 Click in each field in the Colorpanel and type 246, 236, 216to select a light tan for theforeground color.

6 Click in the background colorswatch in the Color panel andtype 207, 177, 117 in the fieldsfor a dark tan.

Note: You can use any light anddark color to create a coloredbackground.

7 Click Filter.

8 Click Render.

9 Click Clouds.226

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The image fills with a mottled tan color.

0 Click the Burn tool.

! Click here to open the brush picker.

@ Click a large soft-edged brush.

# Click here and select Midtones.

$ Click and drag across the edges of thedocument.

% Repeat step 14 to darken some areas more.

Note: Click and drag irregularly to create aragged burned edge.

^ Click Filter, Texture, and then Texturizer.

The Filter Gallery opens.

& Click here and select Sandstone.

* Click and drag the Scaling slider and theRelief slider until the surface has enoughtexture for your project.

( Click OK.

The document looks like an old piece ofparchment.

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Try This!You can give the parchment sometorn edges. Double-click theBackground layer name and click OKin the dialog box that appears,changing the name to Layer 0. Clickthe Lasso tool ( ) and click anddrag several small irregular shapes indifferent areas of the paper edge.Press Delete (Backspace) to cut theseareas out of the parchment.

More Options!If the Background is too dark, pressÔ+J (Ctrl+J) to duplicate the layer.Change the blend mode of the toplayer to Screen. If the Background istoo light, duplicate the layer andchange the blend mode of the toplayer to Multiply. Then flatten thelayers and save the file with a newname to use it as a background.

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1 Press D to reset the foregroundand background colors to blackand white.

2 Press Ô+A (Ctrl+A) to select thephoto.

3 Press Ô+Shift+J (Ctrl+Shift+J) to cut the photo out of thebackground and place it onto its own layer.

Note: The Background layer fillswith white.

4 Click Image.

5 Click Canvas Size.

Make a photo look like

A GALLERY PRINTYou can give your photograph a professional finish bymaking it look like a gallery print. This technique iseffective for both color and grayscale photographs.Gallery prints generally have wide white, black, oreven gray borders depending on the tones in theimage. The photo is placed in the top portion of theborder or frame area, allowing the name of thegallery, artist, and artwork to fit under the image instylized type.

After making a selection of the photo and cutting itout onto its own layer, you enlarge the canvas sizeby about 3 inches using the Relative option to addthe space evenly all around the photo. You then addanother inch below the photograph, to extend thearea for the text. You can add a stroke or even adouble stroke around the outside edge of the phototo give a finished look to the gallery print. Thestrokes can be the same or different colors and eachstroke can have a different pixel width.

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The Canvas Size dialog boxappears.

6 Click Relative ( changes to ).

Note: Selecting Relative adds theexact typed amount of width andheight to the existing image.

7 Type 3 in both the Width andHeight data fields to add 3inches to the canvas in eachdirection.

8 Click here and select White.

9 Click OK.

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The image is centeredin a wide white border.

Note: Relative remainsselected.

0 Repeat steps 4 and 5 toopen the Canvas Sizedialog box again.

! Click the top centersquare of the Anchorgrid.

@ Click in the Height datafield and type 1 to add1 inch to the bottom ofthe white border.

# Click OK.

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The photo is offset in the white border.

$ Ô+click (Ctrl+click) the photo thumbnailin the Layers panel to select the photo.

% Click the New Layer button to add a newempty layer.

l The new layer is automatically selected.

^ Click Edit.

& Click Stroke.


Try This!For a realistic look, type aprint number or the wordsartist’s proof on the left sideunder the border using blackfor the color and a scriptstyled font. You can thenmake the stylized lettersappear to be written in pencilby lowering the opacity of theType layer.

Change It!Set the canvas color to blackin the Canvas Size dialog boxfor a dramatic effect. Usewhite for the inside borderstroke color and gray for theoutside border stroke colorand type the text using whiteor gray.

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The Stroke dialog box appears.

* Type 2 px in the Width datafield.

Note: Leave the default color asblack and the location set toCenter.

( Click OK.

A thin, black stroke is applied tothe image on the top layer.

) Click Select.

q Click Transform Selection.

Make a photo look like

A GALLERY PRINTBy placing the strokes on separate layers, you canadjust the opacity of each stroke individually andchange the look of the gallery print. You Ô+click(Ctrl+click) the photo layer to have an activeselection the exact size of the photo. You add a newempty layer above the photo layer and, with theselection active, apply a stroke on the new layer. Thestroke makes the photo stand out. With the selectionstill active, you make the selected area slightly widerand higher, add another empty layer, and then applya stroke on the second empty layer.

Gallery prints often have the name of the gallery setin a serif-styled font in all capital letters. Type agallery name and click Window and then Character toopen the Character panel. Use the tracking options toincrease the space between the letters for a morerealistic look. You can also type your name, yourstudio, or even the name of the image in the openarea below the photo. Select a script font to signyour work under the outside stroke and add a printnumber to complete the gallery print look.

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l Anchor points are added to theselection.

w Type 103.0% in the W data fieldand 104.0% in the H data field.

e Click the commit button tocommit the transformation.

r Click the New Layer button.

t Repeat steps 16 to 19 to add ablack stroke outside the border ofthe photo on the new layer.

y Press Ô+D (Ctrl+D) to deselectthe border.

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u Click the Type tool.

i Click here and select a font that looks likehandwriting.

o Type a font size in thedata field.

p Type your name, and press Enter(Ctrl+Enter) or click the commit button.

Q Type a name for theimage, and press Enter(Ctrl+Enter) or click thecommit button.

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W Click in the center of the gallery frameand type the name of the photo studio,gallery, or print series.

E Press Enter (Ctrl+Enter).

R Select a serif font such as AdobeGaramond and a font style such asRegular.

T Type a font size in the data field.

Y Press Enter (Ctrl+Enter) to commit thefont changes.

The image now appears like a traditionalgallery print.


More Options!The size of the stroke that you apply to the bordersdepends on the size and resolution of the image. Use athicker stroke for both the border of the photo and theoutside border if the image is large or if you want to givethe photo more of a framed look. You can also use differentcolors for the stroke for different effects. If the photo is lightin color, try using a shade of gray to stroke the inner borderinstead of black. Because each stroke border is on its ownlayer, you can also lower the opacity of the layer if the colorof the stroke appears too bold.

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1 In Photoshop, open Bridge byclicking the Bridge button ( )on the Application bar or byclicking File and then Browse inBridge.

Bridge launches.

2 Click Folders.

3 Navigate to the folder of imagesto use for the contact sheet.

4 Click Output.

MAKE A CONTACT SHEETof your photos

Your digital files are like digital negatives. Whetherthese are photos from a digital camera or scans oftraditional prints and negatives, the first filedownloaded or scanned is the original. You shouldalways keep a duplicate set of the photos on anotherhard drive or burn a CD or DVD of the originalsbefore you enhance them or use them in projects.You can create a contact sheet using the Outputmodule in Bridge CS4, which is included withPhotoshop CS4. The contact sheet helps you identifyand keep track of the images on the external drive or

other removable media. You can also create a photoindex of all the images in one project folder using thesame steps.

Use the Output button in Bridge to open theappropriate options on the right panel. Select acontact sheet template, define the layout of theimages and spacing you prefer, and select the font,size, and color of the text captions, or overlays, foreach photo on the sheet. Bridge CS4 builds thecontact sheet as an Acrobat PDF file that you cansave or print as a visual reference.

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The interface and optionschange.

5 Click PDF.

6 In the Output section, click hereto select a contact sheettemplate, such as 4*5 ContactSheet.

7 In the Document section, clickhere and select U.S. Paper.

Note: Optionally, selectInternational Paper.

8 Click here and scroll to view thenext sections.

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l In the Overlays section, you can change the font, size, and color for the file names and extensions that will print on the contact sheet.

9 Click View PDF After Save ( changes to ).

0 Ô+click (Ctrl+click) the photos in the content pane to use on the contact sheet.

l The number of items selected isupdated and the thumbnails appearin the Output Preview pane.

! Click Refresh Preview to view thecontact sheet.

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The Output Preview pane displays thecontact sheet as it will print.

@ Click Save.


# Type a name for the contact sheet.

$ Click Save.

Bridge builds the contact sheet, saves it asa PDF, and launches Acrobat or AcrobatReader to display it.


Did You Know?The size of the thumbnails is constrained by thenumber of rows and columns. More columns and rowsresult in smaller thumbnail images. You can generallyselect Low Quality in the Document section for printinga contact sheet because a higher resolution does notmake a noticeable improvement.

More Options!To make a contact sheet fit a CD/DVD jewel case, usethese settings:

In the Document section, type 4.688 inches in both thewidth and height fields. The page Preset changes toCustom.

In the Layout section, type 5 in both the Columns andRows fields. Select Use Auto-Spacing.

In the Overlays section, click the Size down arrow andselect 6-point type to fit the text under the thumbnail.

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1 Repeat steps 1 to 5 in Task #98to open the PDF Output optionsfor Bridge.

2 In the Document section, clickhere and select Photo.

3 Click here and select Landscape2 x 3 for a small slide show toattach to e-mail.

Note: Clicking a larger page sizesuch as 5 x 7 or 8 x 10 creates alarger PDF file.

4 Click here and select Black.

5 Scroll to view the next sections.

CREATE A SLIDE SHOWpresentation

If you want to e-mail photos to friends, send yourportfolio to a prospective employer, or send a clientsome images for review, you can use Photoshop andBridge CS4 to help create a slide show and save it asa PDF presentation. You can then attach the PDFslide show to an e-mail or burn it to a CD or DVD. You can use any images from Bridge to create theslide show. You determine the layout of the images,and you can add a watermark or copyright to each

image. You can select a complete folder to use as thesource images or individually select the images toinclude in the slide show. You determine the amountof time that each slide appears on-screen and decideif the slide show should stop after the last image orcontinue in a loop. You can even select from anumber of slide transitions to give your presentationa professional look.

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6 Click in both the Columns andRows fields and type 1.

7 In the Layout section, click UseAuto-Spacing ( changes to ).

8 Click Repeat One Photo per Page( changes to ).

Note: Deselect Rotate for Best Fit ifnecessary.

9 In the Playback section, select allthree check boxes.

0 Click here and select a transitionstyle, such as Fade.

! Scroll to view the next sections.

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@ Ô+click (Ctrl+click) thephotos in the contentpane to use in the slide show.

l The thumbnails of theselected images appearin the Output Previewpane.

# Click Refresh Preview.

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The Output Preview pane displays the firstslide of the slide show.

$ Click View PDF After Save ( changes to ).

% Click Save.


^ Type a name for the slide show.

& Click Save.

Bridge builds the slide show, saves it as a PDF,and launches Acrobat or Acrobat Reader todisplay it.

* When Acrobat’s Full Screen dialog boxappears, click Yes to have the slide show fillthe screen.

( You can press Esc in Acrobat to end the slide show.


Customize It!You can change the transition style from the Fade transitionto any of the other transition options in the drop-downmenu, such as Dissolve or Blinds. Some of the slidetransitions, such as Zoom In or Zoom Out, allow you todetermine the direction and speed of the transition’s effect.You can also change how many seconds each imageappears on the screen by typing the number of seconds inthe Advance data field in the Playback section. If you wantthe presentation to repeat in a continuous loop, click LoopAfter Last Page.

Did You Know?To protect the images from being printedwithout permission, click Permission Password( changes to ) in the Document section.Type the password in the data field and clickDisable Printing ( changes to ).

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CREATE A WEB GALLERY

1 Repeat steps 1 to 4 in Task #98to open the Output options forBridge.

2 Enlarge the Preview pane byclicking and dragging theseparator bar to the left.

3 In the Output pane, click WebGallery.

4 Ô+click (Ctrl+click) some imagesin the Content pane to selectthem.

The images appear in thePreview pane.

5 Click Refresh Preview.

Create a

WEB PHOTO GALLERYIn addition to PDF slide shows and contact sheets,you can build a Web gallery using Bridge CS4. Youcan easily create a Web site home page with yourimages displayed both as thumbnails and full-sizedimages. You can select from a variety of Web gallerystyles and personalize your Web page. Bridge CS4includes many different templates, including Flashand HTML galleries. The steps to creating a Webphoto gallery are similar to those for creating acontact sheet or a PDF slide-show presentation. You

select the images in Bridge CS4, determine atemplate and a style, and add a gallery name, yourname, your e-mail, and whether or not to display thefile names as image titles. You can select your ownset of colors to use on the Web gallery to customizeyour site’s appearance even more. You can previewyour Web gallery inside Bridge as you create it andalso preview how it will appear in a Web browser. Youcan even upload your Web gallery directly to an FTPserver from within the Bridge CS4 application.

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Bridge builds a Web gallery anddisplays it in the Output Previewpane.

6 Click here and select a differenttemplate such as Left Filmstrip.

7 Click here and select a style suchas Large Thumbnail.

8 In the Site Info section, click ineach text field and type all theinformation for your gallery.

9 Type your name.

0 Type your e-mail address.

! Click Refresh Preview.

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Bridge builds the Web gallery in the selected style and displays it in the Output Preview pane.

l You can click the Play button in the Output Preview pane to view the Web gallery slide show.

@ Scroll to view more options.

# In the Color Palette pane, click a color box,such as the Text color box under Title.

The Colors dialog box appears.

$ Click another color in the Colors box.

% Click OK.

^ Click Refresh Preview to view the colorchanges.

& Repeat steps 13 to 16 for any other colorto change.

* Click Preview in Browser to see how yourWeb gallery will appear in the default Webbrowser on your computer.

UPLOAD YOUR WEB GALLERY TO AN FTP SITE

( Scroll to view more options.

) Type your Gallery Name.

q Click Upload ( changes to ).

w Type your FTP server, User Name,Password, and a Folder name.

e Click Upload.

Bridge CS4 creates the Web gallery anduploads it to your FTP site.

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Try This!You can design your Web gallery andclick Save to Disk ( changes to )in the Create Gallery section to save itto your hard drive or removable mediasuch as a DVD. You can then upload itto an FTP site or publish it to aWebDAV server such as Apple’sMobileMe when you have a goodInternet connection or when it is more convenient.

Did You Know?You can include your contactinformation in the Site Info section, sothat when a viewer clicks on yourname on the Web gallery site, hise-mail client automatically launchesand opens a new mail message withyour e-mail address in the addressfield.

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Plugging in to Photoshop CS4

Although Photoshop CS4 includes a variety ofdifferent brushes, shapes, and filters andcomes with the Bridge application fororganizing and viewing images, third-partyplug-ins can help you improve your imagesmore easily, augmenting Photoshop’sfunctionality and often offering even moreediting power than using the application alone.

Plug-ins exist for nearly every project and forevery user level. With the imaginative layouts,brush sets, frames, backgrounds, ornaments,and edges from Graphic Authority, you canquickly give a finished look to your images.Alien Skin’s Blow Up plug-in enables you toresize images while maintaining the highestimage quality, and Alien Skin’s Snap Art helpsyou quickly turn any image into traditional-looking art. Akvis Coloriage enables you toaccurately colorize black-and-white photos.

Vertus Fluid Mask, a powerful masking tool,helps you make difficult selections. Using NikSoftware’s Sharpener Pro and Dfine to sharpenand reduce noise removes the guesswork fromPhotoshop’s filters. Nik Software’s Color EfexPro, Viveza, and Silver Efex Pro help youvisually adjust the colors and tones in yourphotos better than using Photoshop’s toolsalone. Kubota Image Tools offer sophisticatedactions you can run to enhance and give afinished look to all your images. AutoFX plug-ins help you selectively paint colors and tonesinto your photos. Extensis Portfolio 8.5 canhelp you organize, categorize, archive, andfind your digital images from the time you firstupload them to the computer through storingthem on external media.

Third-party plug-ins can enhance the wayeveryone uses Photoshop.

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Embellish a Photo Effortlessly with Graphic Authority. . . 240

Enlarge Images with Maximum Quality with Alien Skin Blow Up 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Change Your Photos into Art with Alien Skin Snap Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Colorize a Black-and-White Photo with AKVIS Coloriage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Make a Selection and Remove the Background with Vertus Fluid Mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Control Digital Noise with Nik Dfine. . . . . . . . . . . . . . . . 250

Sharpen Photos with Finesse Using Nik Sharpener Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Apply Photo Filters Digitally Using Nik Color Efex Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Enhance Colors and Light Selectively with Nik Viveza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Create a Dynamic Black and White Image with Nik Silver Efex Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Transform an Image with an Action from Kubota Image Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Explore Colors Visually with AutoFX Software . . . . . . . . 262

Enhance Your Portraits with Imagenomic Portraiture. . . 264

Travel Beyond Bridge with Extensis Portfolio . . . . . . . . . 266

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1 Open both the photo file and aGraphic Authority layout orframe.

2 Set the desired dimensions ofboth files using the Image Sizecommand as in Task #32.

3 Click the Move tool.

4 Click and drag the photo ontothe frame image.

Note: You can open or place thephoto as a smart object topreserve the image’s sourcecontent.

Embellish a photo effortlessly with

GRAPHIC AUTHORITYYou can easily frame a photo or create a completepage layout using design elements fromGraphicAuthority.com. Graphic Authority products arenot actually plug-ins, but rather multilayeredtemplates for page layouts, creative custom brushes,and professionally designed backgrounds, papers,edges, frames, and vector ornaments, which all workwith any version of Photoshop. You can place yourphotos into pre-designed album pages or anassortment of different frames, or simply add vectorornaments to embellish the edges of an image for aunique look.

You can select a Graphic Authority template or anindividual edge and a background, such as an antiquepaper, as the base layer. Adjust the size of theseelements to fit the photo’s dimensions and yourdesign. With all the parts open and resized, you simplyclick and drag the photo onto the Graphic Authoritydocument, adjust the placement of the layers, andmodify the overall appearance by turning off thevisibility of any of the layers. You can customize anydesign more by adding decorative vector ornaments.At www.graphicauthority.com, you will find a variety of products and tutorials.

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5 Click and drag the photo layerbelow the Your Image Here layer.

6 Click the visibility button to hidethe Your Image Here layer.

7 Close the photo file.

l With Graphic Authority’smultilayered designs, you canclick other visibility buttons tohide other layers and alter thelook.

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l The photo layer appears recessed in the Layers panel.

8 Use the Move tool to adjust the photo in the frame.

9 Click the Custom Shape tool.

0 Click here to open the custom shape picker.

! Click here to open the menu.

@ Click Load Shapes.

# When the Load dialog box appears, navigateto the Graphic Authority DVD and click thePhoto Ornaments Custom Shapes.csh file.

$ Click Load.

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Graphic Authority’s photo ornaments nowappear in the Custom Shape Presets.

% Click a Custom shape.

^ Click and drag in the photo frame file toadd the ornament.

& Repeat steps 15 and 16 if desired.

l You can click the Shape layer thumbnailto change the color of the ornament tomatch a color in the image.

l You can click the Layer Style button toadd a layer style such as a Bevel andEmboss effect.

The photo is now framed with anornamental edge.

241Chapter 10: Plugging in to Photoshop CS4

More Options!Copy the custom shapes andbrushes from the GraphicAuthority DVD to your computerand load them from the copiedfile. If you upgrade or reinstallPhotoshop later, you can reloadthe shapes more quickly from alocation on your hard drive thanfrom the DVD.

Did You Know?With Graphic Authority’s products,you will not have to pay toupgrade a plug-in when youupgrade your version ofPhotoshop. Graphic Authority’sbackgrounds, edges, and framesare multilayered Photoshop files,and the brushes and ornamentscan be used with any version ofPhotoshop CS.

Try This!Adjust the edges layer even withthe clipping mask applied byclicking the layer and pressingÔ+T (Ctrl+T). Press Ô+0 (Ctrl+0)to see the anchors. Click and dragthe anchor points until the edgeslook the way you want.

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1 Open the photo to enlarge.

2 Click File.

3 Click Automate.

4 Click Alien Skin Blow Up 2.

ENLARGE IMAGESwith maximum quality with Alien Skin Blow Up 2

To change image size in Photoshop, you select aninterpolation method such as Bicubic Smoother orBicubic Sharper for resampling the pixels. Resizedimages often lose image quality, most noticeably whenenlarged. They can display a stair step or halo aroundsome edges, often referred to as fringe artifacts. AlienSkin’s Blow Up 2 is a plug-in for enlarging imagesusing an interpolation method which increases the sizeof the image while maintaining smooth, sharp edges.

You can enlarge 8-, 16-, and 32-bit images in almostany color space, including CMYK and Lab, making

this plug-in perfect for both amateur and professionalphotographers as well as graphic designers.

You can automatically create a duplicate of the imagebefore resizing and even control the amount of photograin that appears in the enlarged image. Blow Up 2includes over 100 presets for preparing photos forprint, saving you time and numerous calculations ofthe dpi and aspect ratio involved in resizing imagesfor print. You can download a demo version atwww.alienskin.com.

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The Alien Skin Blow Up dialogbox appears.

5 Click the Settings tab.

The list of presets for resizingimages for specific sizes andoutput destinations appears.

6 Click the arrow by an output size,such as Large Photo Paper.

A set of paper sizes and typesappears.

7 Click an output size and papertype such as 16x20 (300 dpi),Inkjet Luster.

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A crop rectangle appears on the photo.

Note: Blow Up 2 attempts to center the subject inside the crop rectangle.

8 Click and drag inside the crop rectangle to frame the photo if necessary.

9 Click the Controls tab.

The Controls options appear.

0 Click Duplicate Image Before Resizing ( changes to ).

! Click OK.

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A progress bar appears.

l Blow Up enlarges a duplicate of the imageand assigns the same name as the originalbut with the word copy.


Attention!Use Blow Up’s SharpenEdges slider carefully toavoid making the enlargedphoto appear too smooth.You can also sharpen theoriginal first withPhotoshop’s Sharpen filters.

More Options!You can use Blow Up’s Add Grain slider to visuallyrestore overly smooth details by applying artificialfilm grain. For extremeenlargements, however, youmay need to use Alien Skin’smore powerful Exposureplug-in to add the correctamount of grain.

More Options!Blow Up 2 also includes abatch processing functionwhich enables you to resizemultiple images from asource folder and place theresized images into adestination folder with oneclick.

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CREATE A PEN-AND-INK DRAWING


2 Click Filter.

3 Click Alien Skin Snap Art.

4 Click a filter such as Pen and Ink.

CHANGE YOUR PHOTOS INTO ARTwith Alien Skin Snap ArtTurning a photograph into a fine art piece such as apainting or sketch using Photoshop’s actions andbrushes can be fun but time-consuming. By using theSnap Art plug-in from Alien Skin Software, you cantransform a photograph into art that looks as thoughit was done with traditional art tools with just a fewclicks. You can apply the Snap Art filter settings andthen move the various sliders and controls and viewyour painting or sketch as it builds in the largepreview window.

The Snap Art dialog box includes several split screenpreviews so that you can see both your photo as areference and the effects as you apply them. Byapplying different types of art media filters on multiplelayers and changing the blending modes, you cancompletely alter the results and make your artworkunique. The Alien Skin Web site (www.alienshin.com)includes more downloadable settings you can apply toincrease the amount of detail in your finished art.

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The Alien Skin Snap Art dialogbox for that media appears.

5 Click the Basic tab.

6 Click here to apply the filter to a separate layer ( changes to ).

7 In the small preview window,click and drag the red box overthe main subject.

8 Click here and select a previewsplit.

9 Click and drag any of the slidersto adjust the look.

A progress bar appears briefly,and the large preview imagedisplays the results.

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l The filter is applied to a new layer named for the type of filter, Pen and Ink in thisexample.

CHANGE THE LOOK BY

ADDING ANOTHER FILTER

! Click Layer 1 to select it.

@ Click Filter.

# Click Alien Skin Snap Art.

$ Click another filter suchas Oil Paint.

% Repeat steps 5 to 10 toapply the other art mediafilter on a separate layer.

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l The filter is applied to a new layer namedfor the type of filter, Oil Paint in thisexample.

^ Click the top layer to select it.

& Click here and select a layer blend modesuch as Overlay.

* Click the layer opacity and drag slightly tothe left.

Note: Optionally, to vary the effect more,repeat steps 11 to 18 using different AlienSkin Snap Art filters in step 14.

The final image looks more like artworkthan a photograph.


Did You Know?Snap Art uses edge detection to outlinethe objects in the photo. It uses thisoutline to place the natural mediastrokes and fill areas with colors. SnapArt uses an advanced paint engine totransform your photo into an artisticcomposition, preserving enough detailwhile giving the piece a loose andartistic appearance.

Try This!Each filter in Snap Art has many slidersand options. Move a slider to try adifferent look. To undo a change, pressÔ+Z (Ctrl+Z) or, to redo the change,press Ô+Y (Ctrl+Y). You can return tothe default settings anytime by clickingthe Settings tab in the Snap Art dialogbox and clicking Factory Default or bypressing Ô+R (F5) to reset the filter tothe original settings.

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2 Click Filter.

3 Click AKVIS.

4 Click Coloriage.

COLORIZE A BLACK-AND-WHITEphoto with AKVIS Coloriage

You can add color to a grayscale photo in Photoshopusing adjustment layers, masks, and brushes; however,the Coloriage plug-in from AKVIS makes colorizing ablack-and-white photograph quick and automatic. Youcan easily add color to a variety of images fromantique photos to hand-drawn sketches and cartoonsand still maintain a very natural look. You can even useColoriage to replace the colors in a color image.

Your image must be in RGB mode for the Coloriagefilters to be applied. Click Image in the menu, andthen click Mode and RGB before selecting AKVISColoriage from the Photoshop filters.

You can colorize an image with Coloriage by clickingdifferent colors from the Colors palette or using theColor Library for difficult colors such as skin, hair,and lips. Paint over the areas in the photo with loosebrush strokes. When you click the green forwardbutton, the software determines the borders of thevarious areas and applies the color based on thegrayscale values.

You can find Coloriage along with other AKVIS filtersat http://akvis.com.

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The Coloriage dialog boxappears.

5 Click and drag the slider toreduce or enlarge your preview.

6 Click a color you want to applyto one area, such as the skin inthis example.

7 Click the Pencil tool to make thesize slider appear.

8 Click and drag the slider toadjust the pencil size.

9 Click and drag to draw in theimage with the first color.

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0 Repeat steps 5 to 9 to set all the colors to be used.

! Click the Eraser tool.

@ Click and drag tocorrect any stray marks.

# Click the Run button tosee a preliminarycolorization.

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l AKVIS determines the blends, and thecolorized image appears in the After tab.

$ Click the Before tab and repeat steps 6 to12 to change any colors as needed.

% Click the Run button again to view thecorrections.

^ Click the Apply button.

The final colorization is applied to theimage.

Note: If the colors are too vibrant in theBackground copy layer, you can lower theopacity of the layer.


Did You Know?If you want to changeone particular color in acolor image and not alterthe rest of the colors, usethe Pencil tool and drawon the object. Then usethe Keep-Color Penciltool and draw a closedoutline around theobject.

Try This!When you colorize ablack-and-whitephotograph, select theless saturated colors inthe Colors palette tomake the colorizationappear more natural. Theless saturated colors areat the bottom of thepalette.

More Options!You can save the colorstrokes to edit colorslater or vary differentcolorization schemes.Click the Save buttonafter drawing all thestrokes but beforeapplying them andclosing the dialog box.

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1 In Photoshop, click Filter, Vertus, andthen Fluid Mask.

The Fluid Mask dialog box fills thescreen, and Fluid Mask automaticallyplaces blue outlines, dividing the imagebased on areas of contrasting values.

2 Click the Delete Local brush.

3 Click and drag in the image over areasto remove.

The areas turn red.

4 Click and drag the slider to adjust thebrush size.

5 Click the Delete Exact brush.

6 Click and drag to paint over detailedareas to be removed.

7 Click the Keep Local brush.

8 Click and drag in the image over areasto keep.

The areas turn green.

Note: You can also click Image and thenAuto-Fill with Keep to fill the keep areaswith green.

MAKE A SELECTIONand remove the background with Vertus Fluid Mask

Making selections so that you can cut out or replacebackgrounds in Photoshop can be difficult and isoften incomplete, especially when selecting hair, fur,or trees. Using Photoshop’s selection tools and RefineEdge command may work on some photographs butnot all, and not always easily. You can makeselections or masks more effectively with a tool fromVertus Tech called Fluid Mask. This plug-in useshighly advanced technology that mimics the way theeye and brain look at objects.

Fluid Mask automatically detects edges in the imageand outlines them in blue. Depending on thecomplexity of your photo, you can increase or reducethe number of objects Fluid Mask outlines byincreasing or decreasing the edge sensitivity. You paintover the objects to be removed with the Delete Localmask brushes and fill areas to keep with Keep maskbrushes or the Keep mask auto fill command. You canpreview your work using the Test Render tool.

You can even find easy-to-follow tutorials andsamples online at www.vertustech.com.

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Did You Know?You can click the Zoom tool and click in theimage to enlarge delicate edge areas. Thenpaint with the Delete Exact brush anddouble-click the Hand tool to return to thefull view. You can also use the Blend Exactbrush, the fourth brush down, to paint overareas with complex edges such as hair tofurther refine the selection.

9 Click the Preview Cutout tool.

0 Click and drag over an area to preview the cutout in the selected area.

The selected area in the Preview area displays the kept object(s) against a blue background.

Note: You can change thebackground color by clicking thecolor patch in the Vertus toolbar.

! Click the Create Cut-out button tocreate the cutout.

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Fluid Mask replaces the background withthe preview color in the color box.

@ Click File and then Save and Apply to remove the background from thephoto on the duplicated layer.

Vertus Fluid Mask removes thebackground and leaves the extractedforeground on a transparent layer inPhotoshop.


More Options!You can save the extracted area so you can reselect it quicklylater by storing it as an alpha channel. An alpha channel inPhotoshop is a black-and-white channel in which the whiteareas represent the selection. Ô+click (Ctrl+click) the extractedlayer thumbnail in the Layers panel to select it. Click Select andthen Save Selection. Give the channel a name in the SaveSelection dialog box and click OK. The layer is saved as a newalpha channel. You can then reload the alpha channel at anytime by clicking Select and then Load Selection and selectingthe alpha channel.

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1 Click Filter.

2 Click Dfine 2.0.

3 Click Dfine 2.0.

CONTROL DIGITAL NOISEwith Nik Dfine

Digital noise is inherent in digital photographs. Noise can appear as bright, colored specks calledchrominance noise or as dark spots called luminance

noise. Various factors can affect or create noise,including the light, length of exposure, andtemperature when the photo is taken, as well as thepeculiarities of individual cameras and sensors. Youmay also see more noise in photos taken using highISO speeds and in low-light situations. Although youcan reduce digital noise in a general manner with thebuilt-in filters in Photoshop CS4, using Nik Dfine

enables you to control how you reduce the noise andoptimize the detail. Dfine reduces luminance noise,chrominance noise, and JPEG artifacts; improvescontrast; and adjusts colorcasts while taking intoaccount the effects of the noise reduction. You canreduce the noise for the whole image, for specificcolor ranges, or by setting control points. The largepreview screen enables you to see the improvementsas you try them. You can try Nik Dfine on your ownimages by downloading the trial software fromwww.niksoftware.com.

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The Dfine dialog box appears.

4 Press Ô+Option+0 (Ctrl+Alt+0)to view the image at 100%.

5 Click and drag the resize corner ifnecessary, to get the most screenspace.

6 Click the Pan tool.

7 Click and drag in the image toview different areas.

l You can click and drag the rednavigator box over differentareas to view the noise.

8 Click one of the two Splitpreview buttons to view a splitpreview either horizontally orvertically.

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Nik Dfine 2.0 automatically measures thenoise in the image, creates a profile for it,and reduces the noise in the preview.

Note: In the figure shown here, the bottomsplit displays the results of applying the NikDfine filter.

! Click OK.

A progress bar appears as Nik Dfine 2creates a new layer and applies the noisereduction filter.


More Options!Instead of clicking OK in step 11, clickBrush. The Dfine dialog box disappears,and a layer mask is added to the Dfinelayer. Click Paint in the Dfine palette. Clickthe Brush tool and paint in your image toselectively reduce noise. Use a pressure-sensitive pen tablet for the most controlwith Dfine Selective.

Did You Know?Noise reduction is more effective whenapplied early in the image-editingworkflow. Apply Dfine right afterimporting or converting from the RAWformat. Because in-camera sharpeningincreases noise structures in images, youcan more precisely reduce noise andpreserve details with Nik Dfine by turningoff noise reduction and sharpening onyour camera.

l A red line splits the preview.

9 Click here and selectAutomatic.

0 Click Measure Noise.

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1 Click Filter.

2 Click Nik Software.

3 Click Sharpener Pro 3.0 (2)Output Sharpener.

SHARPEN PHOTOSwith finesse using Nik Sharpener Pro

Sharpening is an essential step in digital imaging.Photoshop’s built-in filters apply the sharpening basedon the screen image. The various output methods anddevices, such as displays and different types ofprinters and papers, require specific kinds ofsharpening. Using Nik Sharpener Pro, you can sharpenyour images for all types of output. Sharpener Proanalyzes the image and sharpens according to thetype of detail in the image and the output device.

You can sharpen the whole image or applysharpening to specific areas using Nik’s Selective tooland a Photoshop brush to paint over areas or usingNik’s U Point technology. With U Point technology,

you place points called control points directly on anarea you want to edit. Then you click and drag thepoints to change specific sharpening attributes thatNik calls output sharpening strength, structure, localcontrast, or focus sharpening.

You can also use Nik Sharpener Pro for a creativeeffect. For example, you can use a Nik control pointand increase the Focus sharpening amount to slightlysharpen a particular area and draw the viewer’s eyeto that point.

You can find tutorials and trial software atwww.niksoftware.com.

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The Sharpener Pro dialog boxappears.

4 Press Ô+Option+0 (Ctrl+Alt+0)to view the image at 100%.

APPLY GENERAL OUTPUT SHARPENING

5 Click here and select a type ofoutput, such as Inkjet.

6 Click here and select Auto.

7 Click here and select a paper,such as Glossy.

8 Click here and select theresolution of your printer, such as2400 x 2400.

9 Scroll down.252

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APPLY CREATIVE

SHARPENING

0 Click Add Control Point.

! Click an area in the image.

A control point is added.

@ Click and drag the top line to control thesize.

# Click the triangle to expand the controls.

$ Click and drag each of the control pointlines to change the type of sharpening.

Note: Structure sharpens areas of textureunder the control point. Local Contrastsharpens small edges or details under thecontrol point. Focus adapts to sharpen areasthat are out of focus more than the areas infocus under the control point.

l You can also deselect Selective Sharpeningand move the Creative Sharpening slidersto sharpen the overall image.

% Click OK.

l Nik Sharpener Pro adds a layer with thespecific type of sharpening applied.

l In this image, the woman looking throughthe window is highlighted by the creativesharpening.

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Important!The order in which you apply image enhancementsaffects the quality of the final print. Apply noisereduction first, adjust the image for tone and color,and then resize the image. Output sharpening shouldbe the final step in the editing process to avoidintroducing unwanted details in the image.

Did You Know?Although JPEG and TIFF images have somesharpening applied automatically when the cameraprocesses the capture, RAW files do not. SharpenerPro includes a RAW Presharpening filter to sharpenRAW image files at the beginning of the editingprocess, without increasing noise or introducingartifacts. Be sure to turn off any sharpening in thecamera’s settings and in the Camera Raw processingsoftware. Apply Nik’s RAW Presharpener so you canbetter view your photos on your monitor.

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1 Click Color Efex Pro 3.0 Complete inthe Selective palette.

Note: If the Selective palette is notopen, click File, Automate, and then NikSelective Tool.

2 Click the L-S tab.

3 Click Sunshine.

Note: Optionally, you can click Filter,Nik Software, and then Color Efex Pro3.0 to open the Nik Color Efex Prodialog box.

APPLY PHOTO FILTERSdigitally using Nik Color Efex Pro

Professional photographers often carry a selection oflens filters and light reflectors to take advantage ofevery lighting condition they might encounter. Youcan achieve similar effects using Color Efex Pro fromNik Software. Nik filters can help you enhanceimages better than using Photoshop alone. Based onphotographic filter technology, these filters calculatethe existing color and light in an image and apply the effect accordingly. The filters can adapt to anyprevious adjustments in the photo, so you can applymultiple filters in a different order and achieve morenatural-looking photographic enhancements. Color

Efex Pro can also be applied to a smart object photolayer so you can readjust images even after theeffects have been applied. You can even save yoursettings to apply them to a range of photos for aconsistent workflow and increased productivity.

The Sunshine filter shown in this task is just one ofthe many traditional-styled filters. It transforms thegrayed colors from a photo shot on an overcast dayinto a bright colorful scene, yet in a very natural way.You can see samples of the many Color Efex Profilters at www.niksoftware.com.

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The Sunshine filter dialog boxappears.

4 Click the Lock Loupe Position buttonto lock the position of the loupe.

5 Click and drag the SaturationCorrection slider to control theintensity of the colors.

6 Click and drag the Cool ColorReduction slider to manipulate theblue colors.

7 Click the Light thumbnail and selectthe type of sunlight to add.

8 Click either the Split preview buttonor the Side-by-side preview button toselect a before and after preview.

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9 Click and drag the Light Intensity slider to control the amount of added light.

0 Click and drag the Radius slider to control the increased detail smoothing.

! Click the Select Prefilter thumbnail and select a color contrast filterto enhance different colors and objects.

@ Click and drag the Prefilter Strength sliderto change the amount of the prefilteradded to the image.

# Click OK.

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Color Efex Pro applies the filter to aseparate layer.

$ Click the visibility button for theBackground copy layer on and off tocompare the results with the original.


Try This!You can click Brush instead of OKin step 13 and paint any filter intoyour image using a brush to easilycontrol the location and amountof the effect. The filter isautomatically applied to a layerwith a layer mask so you can paintthe effect directly on the photo.Use a pen tablet for even greatercontrol.

More Options!In addition to applying the filter tothe entire image, you can also clickBrush in the Color Efex Pro dialogbox after selecting the settings andpaint the filter effect onto specificareas using Photoshop’s Brushtool. For even more control, youcan apply the filters to specificareas using Nik’s patented U Pointtechnology, as in Task #107.

Did You Know?Nik Color Efex Pro complete has52 filters, including conventionalfilm emulation filters, as well asspecial effects filters andretouching tools. Other editionsinclude either 15 filters or 35filters.

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1 Click Filter.

2 Click Convert for Smart Filters.

l The Background layer is changed toa smart object layer.

Note: The Brush option is deactivatedwhen using a smart object layer.

3 Click Viveza in the Selective palette.

Note: If the Selective palette is notopen, click File, Automate, and thenNik Selective Tool.

Note: Optionally, you can click Filter,Nik Software, and then Color Efex Pro3.0 to open the Nik Color Efex Prodialog box.

ENHANCE COLORS AND LIGHTselectively with Nik Viveza

You can edit the color and light in your images usingPhotoshop’s filters; however, to do so to specificareas requires selections, feathering, layer masks,and an in-depth knowledge of the tools in Photoshop.You can easily enhance the color and light in yourimages and do so with greater control using NikSoftware’s Viveza plug-in. You can darken thebackground and lighten the main subject, or modifythe tones in specific areas visually using interactivesliders. Like other Nik plug-ins, Viveza includes the UPoint technology so you can create multiple controlpoints in the image and change how the filter is

applied to each area individually. As you move thepoint sliders to control the brightness, contrast, andsaturation, Viveza edits the colors of the objectsunder the points and automatically blends the tonalchanges as it applies them. You can also choose topaint the edits directly on the image using the Brushoption in the dialog box.

If you apply Viveza to a smart object layer, you canfine-tune any edits after they have been applied. Youcan find many examples, tutorials, and download atrial version at www.niksoftware.com.

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The Viveza dialog box appears.

4 Click the Side-by-side previewbutton to select a before andafter preview.

l You can also click the Splitpreview button to display a splitpreview.

5 Click Add Control Point.

6 Click an area to adjust in thephoto.

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l A control point appears.

7 Click and drag the top slider to adjust thecircle so it covers thearea to be changed.

8 Click and drag theBrightness, Contrast,and Saturation sliders toadjust the tones in thearea.

9 Repeat steps 5 to 8 toadd more adjustmentpoints.

0 Click OK.

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Viveza applies the changes to the colorsand light in the image as a smart filter.

l You can double-click the Viveza smartfilter to reopen the dialog box andreadjust the sliders.


Did You Know?When you view the full imagein the preview window, theLoupe tool shows the image at100%. When you click theZoom tool to preview theimage at 100%, the Loupe toolshows the whole image andacts as a navigator.

More Options!You can click the Settingsbutton in the Viveza dialog boxto set how the interfacefunctions. You can select thedefault zoom size, change thedefault preview style, changethe control point size and thetypes of sliders, and choose toalways have the filter appliedto a separate layer.

Try This!Add a control point and clickthe arrow below the fourthslider. More lines are added tothe control point so you canindividually adjust the hue, red,green, blue, and warmth of theselected area.

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1 Click Silver Efex Pro in the Selectivepalette.

Note: If the Selective palette is not open,click File, Automate, and then NikSelective Tool.

Note: Optionally, you can click Filter, NikSoftware, and then Color Efex Pro 3.0 toopen the Nik Color Efex Pro dialog box.

CREATE A DYNAMICblack-and-white image with Nik Silver Efex Pro

Photoshop CS4’s Adjustments panel includes manypresets and adjustments for converting a color phototo black and white non-destructively. Nik Software’sSilver Efex Pro is a sophisticated and easy-to-usetool for converting color images to grayscale and re-creating the different techniques for traditionaldarkroom photographic film processing. As with otherNik plug-ins, Silver Efex Pro enables you toselectively control the tones and contrast in theimage with the U Point technology. Silver Efex Proconversions have the look of traditional film black-and-white images because the Nik plug-in re-creates

the film grain from the pixels in the photo, instead ofoverlaying a grain pattern as with other digitalconversions. You can also select a black-and-whitefilm type so your final image more closely emulatesthe look of a grayscale photo shot with film.

Silver Efex Pro includes a number of presets, such as tints and toners, so you can vary the resultingconversion in numerous ways. You can add a vignetteor burned-in edges, and you can even save your ownsettings as presets. You can download a trial versionto use with your images at www.niksoftware.com.

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The Silver Efex Pro dialog box appears.

2 Click and drag the resize corner so thedialog box fills the screen.

3 Click any of the preset styles in the leftpanel to view the preset conversion inthe main preview window.

4 Click and drag any of the sliders toadjust the overall tones in the image.

Note: Increasing the Brightness sliderincreases the lightness of the image.Increasing the Contrast slider increases thecontrast in the image. Increasing theStructure slider makes finer details morenoticeable. Decreasing the structure slidergives the area a smoother appearance.

l You can click Add Control Point; click inthe image to add a control point anddrag the sliders as in steps 7 and 8 ofTask #109 to adjust the tones in aspecific area.

5 Click the Show Image Only button tohide the style browser and make theimage in the preview area larger.

6 Click a color filter, such as the red filter.258

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The preview enlarges and the color filter changes the grayscale composition.

7 Scroll to view more options.

8 Click Stylizing.

9 Click Toning.

0 Click here to view thepresets.

! Move the cursor over eachpreset to view the results.

@ Click a preset to apply it.

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# Click Vignette.

The Vignette options appear.

$ Scroll to view the sliders.

% Click and drag the Amount and Sizesliders to adjust the vignette.

^ Click and drag the slider under Rectangleto create a rectangular vignette as in thisexample, or under Circle for a circularvignette effect.

& Click OK.

The black and white filter is applied to theimage as a separate layer.


Did You Know?You can select a differentlocation for the center of thevignette by clicking the PlaceCenter button in the Vignettepane and then clicking theimage in the area you wantfor the center.

More Options!Stylize a black-and-whiteimage by clicking one of thepresets, such as the CopperToner as in step 12. Thenmove the Strength, Balance,and Paper Toning sliders tocustomize the look.

Try This!Click Burn Edges at thebottom of the Stylizing pane.Click one of the four edgebuttons to adjust the left,top, right, or bottom edge.Then click and drag theStrength, Size, and Transitionsliders to digitally burn oneedge of your image for aunique look.

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APPLY A STARBURST VIGNETTE WITH AN

ACTION

1 Load the Kubota actionsfollowing the step-by-stepinstructions on the DVD.


3 Click Scripts.

4 Click Kubota Action Dashboardto bring up the Dashboard.

5 Scroll to view the action choices.

6 Click an action such as StarBurstvignette.

7 Click Apply & Close.

TRANSFORM AN IMAGEwith an action from Kubota Image Tools

Kubota Image Tools designs image enhancing tools to help photographers process images quickly. Thevarious tool packs include an assortment ofPhotoshop actions you can use to change an imagewith one click. You can increase the strength of thecolors, add overall contrast, or even add an etherealglow to an image without working through the stepsin Photoshop. Kubota Image Tools also includes easy-to-apply standard frames so you can quickly give anyimage a finished look. Because actions are a series ofprerecorded steps, some actions stop and ask you to

adjust a selection for your photo or enter values in adialog box before the transformation is complete.

Installing actions differs from the installation of plug-ins. Once copied to the hard drive, you load theactions using Photoshop’s Actions panel. To apply aKubota Image Tools enhancement you can then clickthe desired action in the Actions panel and click thePlay button. You can process multiple images with asingle action using the batch command in Photoshopto increase your productivity. You can view theresults of many of Kubota Image Tools actions atwww.kubotaimagetools.com.

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8 Click Continue in the dialog boxdescribing the action.

The action creates a customshape layer and stops so you canadjust the starburst shape to fityour photo.

9 Click and drag the anchors toadjust the shape.

0 Click and drag the shape intoposition over the main subject, ifnecessary.

! Press Ô+Return (Ctrl+Enter) orclick the commit button.

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l The action applies a blended starburst vignette-shaped layer and mask to the photo.

APPLY A BORDER WITH AN

ACTION

@ Repeat steps 2 to 5 to open and view the actions in the Kubota Action Dashboard.

# Type a word, such as Border, into thesearch field.

The corresponding actions are listed in themenu.

$ Click a border, such as Border Black withWhite vertical.

% Click Apply.

l The action applies a new layer with ablack frame and a white keyline on thephoto.

l Depending on the action selected, adialog box may appear with moreinstructions. Close the dialog box byclicking Stop.

^ Click Close to close the Kubota ImageTools Action Dashboard.

& Click Layer and then Flatten Image tofinish the enhancement.

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Important!Kubota’s Action Paksinclude the ActionDashboard utility. Theinstructions on theDVD show you howto create a keyboardshortcut to bring upthe Action Dashboard.

Did You Know?Kubota actions createsnapshots of yourimage before applyingcomplex sets oflayers. You can easilyclick Undo on theDashboard or use theHistory panel torestore the previousimage.

More Options!The Production ToolsPak includes actionsfor resizing images to standardphotographic sizes,creating black orwhite borders, andautomatically placingyour logo on yourphotos.

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2 Click Filter.

3 Click AutoFX Software.

4 Click Mystical Tint • Tone •Color.

EXPLORE COLORS VISUALLYwith AutoFX Software

The colors in your images can express moods andmessages that transcend the subject matter.Although you can change the colors and tones inPhotoshop, using software plug-in filters such asMystical Tint, Tone, and Color from AutoFX Softwarecan help you explore color tones and reinterpret yourimages in an artistic way. Mystical Tint, Tone, andColor includes 38 different visual effects with over400 presets. You can make overall changes to yourimages or brush over the specific areas of colors andtones you want to change. You can try the layer

presets from a visual gallery or explore the resultswith any number of the individual special effects,experiment with various settings, and watch theresults in a large display. You can also combinemultiple effects and still control the settings for eachone. When you see the results you want, you applythe filters to the image. The following task uses onlytwo of the effects to enhance the photograph.

You can find other visual imaging solutions forcreative effects on the gallery pages atwww.AutoFx.com.

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The Mystical interface fills thescreen.

5 Click Special Effects.

6 Click Soft Saturation.

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l The Soft Saturation controls appear.

7 Click and drag theSaturation slider to theright to increase thesaturation.

8 Click Special Effectsagain.

9 Click Over Exposed.

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l The Over Exposed controls appear.

Note: The image temporarily appears overexposed.

0 Click and drag the Exposure slider to lighten theoverall image.

! Click the Mode pull-down menu.

@ Click Brush On.

The overall effect reverts to the previous look.

# Click the Brush button.

$ Click the Brush Size controls and drag thebottom slider to increase the brush size.

% Click and drag in the image over dark areas tolighten them.

^ Click OK to apply the filters.

The Mystical dialog box closes and the imagereopens in Photoshop with the filter applied toLayer 1.


Did You Know?You can add multipleeffects on various layersby clicking Special Effectsand selecting differentfilters each time. You canuse the floating layerspalette in the Mysticaldialog box to deleteeffect layers or even toadd others.

Try This!Apply an effect in theGlobal mode. Click theEraser tool. Change theSize, Feathering, andOpacity using the slidersin the thumbnail belowthe Eraser. Click and dragin the image to removethe effect in specificareas.

More Options!Click the View pull-downarrow in the Mysticaldialog box and click Fit inWindow. You can alsouse the Zoom tool toview specific areas as youadd the effects. PressOption (Alt) and click theZoom tool to zoom out.

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1 Click Filter.

2 Click Imagenomic.

3 Click Portraiture.

ENHANCE YOUR PORTRAITSwith Imagenomic Portraiture

Retouching portraits in Photoshop involves manydifferent tools and techniques. Softening the skin caninvolve multiple masks and many tedious steps. Youhave to make detailed selections of areas such ashair and eyelashes to protect them when you applysoftening effects to the skin. You can useImagenomic’s Portraiture plug-in to smooth skin andremove imperfections without making selections ormanually creating masks.

Portraiture’s algorithms work differently compared tostandard Photoshop tools. The plug-in includes anAuto Mask feature that automatically selects only the

range of skin tones in the image so you can build aneffective mask without selecting the hair, eyelashes,or other detailed areas. You can adjust the auto maskand then select from different tones to give yourparticular image the most natural-looking results.

Portraiture includes presets you can apply or use as astarting point. You can refine the corrections usingthe Enhancement sliders. You can also tailor anypreset and save the modified version as your owncustom preset to fit your photos and speed up yourprocessing time. You can download a trial versionfrom www.imagenomic.com.

33

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The Portraiture interface fills the screenand the default smoothing is applied.

l Imagenomics remembers the lastsettings you applied. You may need toclick here and select Auto if it is notselected.

4 Click a Split Preview Window button tosee a before and after preview.

5 Click here and select 100%.

6 Click Accurate to see the most accuratepreview.

7 Click here and select New Layer.

8 Click Create Transparency Mask to applythe adjustments on a transparent layer.

9 Click and drag the Detail Smoothingsliders to increase or decrease the effect.

l You can click here to select anotherpreset, such as Smoothing: Normal.

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0 Click White to see the current Auto Mask.

! Click and drag the Hue, Saturation, Luminance, and Latitude sliders completely to the left.

@ Click the left eyedropper.

# Move the cursor over the skintones to see the mask selectionsin the Mask Preview window.

$ Click the most representativearea of skin in the image.

l A new mask appears in the afterview.

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% Click None to hide the mask and showthe preview of the smoothed image.

^ Click OK.

The smoothing appears on a separatelayer above the Background layer inPhotoshop.


Try This!You can applyPortraiture’s auto maskeven when batch-processing images. Themasks are built based oneach image’s unique skintone range, so even in agroup of photos everyskin type is handledindividually.

More Options!You can add a glamoureffect to a portraitquickly by using thesliders underEnhancements to changethe sharpness, softness,warmth, brightness, andcontrast for a differenteffect.

Did You Know?The area on the foreheadbetween the twoeyebrows is generally agood representation ofthe overall skin tone inthe portrait and a goodarea to select from withPortraiture’s eyedroppertool.

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CREATE A CATALOG OF IMAGES

1 Insert a digital media card intoyour card reader.

2 Control+click (right-click) thedigital media icon on thedesktop.

3 Click More.

4 Click Add To Portfolio.

5 Click New Catalog.

TRAVEL BEYOND BRIDGEwith Extensis Portfolio

Extensis Portfolio is a unique tool for organizing andmanaging all kinds of digital files. Portfolio enablesyou to categorize and store files in a variety of ways,including creating searchable CDs or DVDs. You canquickly find a specific file whether it is stored on yourcomputer or on any external drive, CD, or DVD.Because of its added functionality, Portfolio goesbeyond the capabilities of Bridge and many otherapplications for managing digital assets. Use Portfolioto download your photos to your computer, rename

the files, and include any EXIF, XMP, or catalog datayou want. Portfolio adds thumbnails and screenpreviews to the database. You can burn a CD or DVDfrom within Portfolio’s dialog box and include not onlythe original images but also Portfolio’s read-onlybrowser application. This browser allows you toquickly search through the CD/DVD media wheninserted into any computer. Portfolio’s powerfuldatabase tracks your files and gives you a visualpreview of any image wherever it is stored.

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Portfolio opens a Save dialog boxfor the new catalog.

6 Type a name for the catalog.

7 Click here and select the locationto save your catalog.

8 Click Save.

l The New Catalog dialog boxappears with Enable ScreenPreviews selected by default.

9 Click a Catalog Type such asPhoto Library.

0 Click Continue.

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SET THE CATALOG

OPTIONS

A new catalog and the Cataloging Options dialog box appear.

! Click Assign Properties ( changes to ).

The Cataloging Options dialog box expands.

@ Click Copy or Move Files to a Location( changes to ).

The dialog box expands again.

# Click Rename Files ( changes to ).

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The dialog box expands again.

$ Click the Description tab.

% Type descriptive words for your images inthe field.

^ Click Make a Copy of the Originals ( changes to ).

& Click the Folder button.

* Navigate to the location for the catalog inthe dialog box that appears and clickChoose.

l The location appears in the field.


Try This!Burn a DVD of the original images. From the menu, click Gallery and thenclick Burn to Disc. Type a name for the disc in the Volume Name field. Click Original Files and click Link Paths in Catalog to Files Burned to Disc.You can now search the Portfolio catalog on your computer and identifythe specific DVD that includes those photo files. Type a folder name for theoriginal files or previews and click Organize Files into Matching FolderHierarchy. Click Create a Catalog and type a catalog name. Click Include theMacintosh (Windows) Browser Application and click Burn. Portfolio copiesthe files, prepares the catalog, and automatically launches the disc-burningapplication on your computer.

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( Click here and select Text.

) Type a name in the data field.

l You can repeat steps 19 and 20to set the middle part of the filenames.

q Click here and select NumberFrom.

w Type a starting number for theimages in this catalog.

e Click the Keywords tab.

TRAVEL BEYOND BRIDGEwith Extensis Portfolio

Portfolio can catalog almost any type of digital file.You can add individual files, folders, or completevolumes such as a DVD or a hard drive by simplydragging the file, folder, or disk icon into an opencatalog window. However, using the InstantCataloging feature described in this task offers moreoptions and control over the way Portfolio stores theinformation. By entering descriptions, keywords, orinformation in the custom fields, you can organizeyour files more easily. You can then customize

Portfolio to display images in galleries and to viewimages as thumbnails, lists, or individual items withall the stored data. To find a particular file, you cansearch with Portfolio’s Quick Find, located on thetoolbar, using any words or phrase you entered whencataloging the file. You can also search using the Findcommand and search for specific criteria associatedwith the file.

You can learn more about Portfolio and download atrial version at www.extensis.com.

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The Keywords pane of the dialogbox appears.

r Type a keyword here.

t Click the plus sign to add thekeyword to the list below.

l You can click the Fields tab andselect the data to edit.

y Click OK.

268

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l A progress bar appears.

Note: The time required to copy, catalog, and renameyour files depends on the number and size of the files, as well as the speed and type of connection of the card reader.

l Portfolio displays apartial catalog as itcompletes the process.

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VIEW AN IMAGE AND ITS PROPERTIES

u Click an image thumbnail.

i Click the Preview button.

l Portfolio displays a larger preview of thephoto.

o Click the Properties button.

l Portfolio displays the details of the image data.

CUSTOMIZE THE CATALOG

p Click the Customize button.

Q In the dialog box that appears, select the typeof information to display with the thumbnails,such as the file name and camera model. Youcan also change the size of the thumbnails andthe font size for the field names.

W Click Apply to apply the changes and thenDone to close the dialog box.


Did You Know?Portfolio includes a separate application called Portfolio Express that enablesyou to find cataloged files without launching the complete application. Afteryou launch Portfolio Express, you can keep it running in the background andhide or show the palette using a hot key. The compact Portfolio Expresspalette floats above other document windows. Use the QuickFind featurefrom the palette to find a particular image and double-click a thumbnail inthe Portfolio Express palette to edit the original image. You can also dragand drop the thumbnail onto an alias (shortcut) of Photoshop to open it.You can even drag a thumbnail directly into an e-mail message to send acopy of the original file as an attachment.

12_442548-ch10.qxp 12/16/08 11:16 PM Page 269

Index

270

A

Acrobat program, 235action, 14–15, 260–261Action Dashboard utility, 261Actions panel, 218active layer, 31Add a Layer Style button, 189Add Control Point setting

Silver Efex Pro dialog box, 258Viveza dialog box, 256

Add Grain slider, Alien Skin Blow Up 2, 243Add Open Files setting, Load Layers dialog box, 141Add to Selection tool, 40Adjustment Brush tool, 119Adjustment layer, adjusting photos with, 32–33Adjustments panel

colored-pencil illustrations, 197converting images to black and white, 159grayscale images, 108pen-and-ink drawings, 190pen-line-and colored-wash drawings, 202photo filters, 126shadows, 181tooth whitening, 97Warhol-style images, 199

Adobe Acrobat, 235Adobe RGB, 4Advance data field, 235Airbrush button, 82, 99, 110AKVIS Coloriage plug-in, 246–247Alien Skin Blow Up 2 plug-in, 242–243Alien Skin Snap Art plug-in, 244–245Alien Skin Web site, 244Alpha channel, 136, 138, 249Amount slider

Lens Correction dialog box, 127Smart Sharpen dialog box, 94

anchor point, 57Application section, 23Arrange Documents button, 25Artistic filter, 197, 199, 215artwork

Alien Skin Snap Art plug-in, 244–245collages, 206–207colored-pencil illustration, 196–197high contrast stylized images, 194–195oil painting, 208–211overview, 184–185pen-and-colored-wash drawing, 202–205pen-and-ink drawings, 190–191posterizing for Warhol-style image, 198–201signatures, 188–189sketches, 186–187watercolor look, 212–215woodcut look, 192–193

.atn files, 218Attempt to Automatically Align Source Images setting

Load Layers dialog box, 140Merge to HDR dialog box, 133

Auto Blend tool, 140–143Auto Mask feature, 264Auto-Align Layers command, 143Auto-Align Layers dialog box, 130, 142Auto-Blend Layers command, 142–143Auto-Enhance option, Options bar, 41AutoFX Software plug-in, 262–263Automate command, 60Automatically Align Source Images setting, LoadLayers dialog box, 143

Auto-Select check box, Options bar, 147

B

background, 144, 248–249Background Color box, toolbox, 57background color swatch, 226Background layer, 30–31, 181, 193Balance slider

Camera Raw dialog box, 123Vignette options, 259

barrel distortion, 66Basic tab, 244Bend slider, Warp Text dialog box, 171Bevel and Emboss layer effect, 177, 183Bicubic Sharper and Smoother, 70–71bit depth, 133Black & White button, 197–198, 202Black and White adjustment layer, 33, 108, 110, 201Black and White preset, 190black layer mask, 205black shadow slider, Layer Style dialog box, 179black stroke, 230black-and-white photos

colorizing, 106–107, 110–111, 246–247Nik Silver Efex Pro plug-in, 258–259

Blade Curvature setting, Lens Blur dialog box, 139blemishes, removing, 74–77Blend Images Together setting, Photomerge dialog box, 69blending mode, 151Blending Options sliders, Layer Style dialog box, 178Blinds drop-down menu, 235Blow Up 2 plug-in, 242–243blur filter, 128Blur Focal Distance slider, Lens Blur dialog box, 138borders, with action, 261bounce flash, 80Bridge, 10–11, 132, 232, 234, 266–269Brightness slider

Adjustments panel, 181Silver Efex Pro dialog box, 258

Brightness/Contrast Adjustment button, 32, 181Brown, Russell, 154Browse in Bridge setting, File menu, 5Brush Angle and Roundness thumbnail, 223Brush drop-down arrow, Options bar, 187Brush Hardness slider, Brush tool, 92Brush Name dialog box, 16, 189

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271

Brush options menu, 17Brush Picker menu, 187Brush Size controls, 263Brush Strokes filter, 220–221Brush thumbnail, 223Brush Tip Shape setting, Brushes panel, 89–91, 203, 223Brush tool, 92, 106, 111, 202, 216brushes, customizing, 16–17brushes folder, 17Brushes panel, 89, 91, 99Brushes Preset Picker, 17Brushes Presets, 35Burn Edges button, 259Burn tool, 22, 201, 226burning photo, 112–113Button Mode, 15

C

calibrating monitor, 20–21Camera Raw, 58–59, 81, 116–117, 120–123Canvas Size dialog box, 222, 228Catalog options, 267catalogs of images, 266–269catch light, 92–93Channels tab, 137Character panel, 173, 175, 177–178, 230chromatic aberration, 67chrominance noise, 250Cintiq, 22Click Threshold slider, Tablet preferences, 22clipping mask, 176Clone Source feature, 154–155Clone Stamp tool, 22, 74, 154–155Close Tab Group, 28Clouds filter, 226Collage and Reposition option, Photomerge dialog box, 69collages, 206–207color backgrounds, custom, 226–227color calibration, 21Color Efex Pro plug-in, 254–255Color Intensity slider, Match Color dialog box, 105Color Library, 246Color Overlay layer effect, 162Color Palette pane, 237Color panel, 107, 224Color Picker dialog box, 37, 83, 106, 163Color Preview box, Color Picker dialog box, 106Color Replacement tool, 83Color Settings dialog box, 4–5Color slider, Color Picker dialog box, 106Color thumbnail, 18, 221colorcast, removing, 104–105color-coding layers, 29colored shadows, 180–181colored-pencil illustration look, 196–197Coloriage plug-in, 246–247

colorimeter, 20colors

black-and-white photos, 106–111, 246–247Camera Raw, 116–123dodging and burning, 112–113enhancing, 256–257exploring, 262–263overview, 100–101removing colorcast, 104–105text, 162–163underexposed photos, improving, 102–103Vibrance adjustment layer, 114–115

Colors dialog box, 237Colors palette, 247commit button, 53, 65composition, improving, 52–53Conner-ziser, Jane, 76, 92contact sheets, 232–233Content panel, 10–11, 236Contents Use arrow, 211Contour pane, 166Contract/Expand slider, Refine Edge dialog box, 43Contrast slider

Refine Edge dialog box, 42Silver Efex Pro dialog box, 258Viveza dialog box, 257

Control Panel, 22control point, 252Controls tab, 242Convert for Smart Filters setting, Filter menu, 256Cool Color Reduction slider, Sunshine filter dialog box, 254Create Clipping Mask setting, Layer menu, 176Create Cut-out button, 249Create Gallery section, 237Create Plane tool, 149, 152Create Transparency Mask, 264Creative Sharpening sliders, Nik Sharpener Pro, 253Creative Suite 4, 5, 10Crop and Straighten Photos command, 60–63Crop tool, 69, 131cropping photos, 50–53, 56–59, 62–65Crosshatch setting, Filter Gallery, 196Curves adjustment layer, 86Custom Crop dialog box, 59Custom Shape tool, 62, 167–168, 183, 241Customize button, 269customizing Photoshop

actions, 14–15Bridge, 10–11brushes, 16–17Color Settings dialog box, 4–5gradients, 18–19keyboard shortcuts, for filters, 12–13monitor, calibrating and profiling, 20–21overview, 2–3panels, moving, 8–9pen tablets, 22–23Preferences menu, 6–7


Index

272

customizing Photoshop (continued)tools, moving, 8–9window views, 24–25

Cylindrical option, Photomerge dialog box, 69

D

dark vignette effect, 127Darken slider, Red Eye Removal tool, 81Darker Color blending mode, 151, 195DataColor, 20Default Actions folder, 218Default Colors icon, 38, 44, 56, 76, 110Define Brush Preset setting, Edit menu, 189Delete Exact brush, 249Density slider, Photo Filter options, 126depth of field, 136–143Description tab, 267Detail Smoothing sliders, Split Preview Window, 264Dfine plug-in, 250–251Diameter slider

Brush tool, 188Healing Brush tool, 78Quick Selection tool, 40

Digital Art School, 76digital noise, 250–251Displace filter, 156–158displacement map, 156–159Dissolve drop-down menu, 235distance slider, Motion Blur dialog box, 128Dither and Transparency button, 84Dodge tool, 22, 201dodging photos, 112–113double-neon glow, text, 164–165Dry Brush filter, 208–209, 212–213Dry Media Brushes setting, Brush Picker menu, 187Duplicate Image Before Resizing setting, Controls tab, Alien Skin Blow Up dialog box, 243

dynamic range, 132

E

edges, 220–223Edges Only mode, 190Edit Blending Options button, 49Edit menu, 172Edit Plane tool, 149, 153Elliptical Marquee tool, 219Enable Screen Previews, 266Enhancement sliders, Portraiture, 264enhancing portraits, 264–265enlarging photos, 242–243Eraser Feel slider, Eraser preferences, 22Eraser tool, 111, 186, 215, 247Exclude Overlapping Shape Areas button, 182–183

Exposure sliderCamera Raw Basic tab, 118–119HDR Conversion dialog box, 133Over Exposed controls, 263

ExpressKeys Preferences, 23Extensis Portfolio plug-in, 266–269Eyedropper tool, 54, 265eyes

adding catch light to, 92–93adding depth to, 88–91changing color, 82–83lightening irises, 84–85lightening whites, 86–87removing red eye, 80–81sharpening to add focus, 94–95

F

Feather dialog box, 87Feather Radius field, 96Feather Selection dialog box, 96, 180Feather slider, Refine Edge panel, 43Fields tab, 268File and Browse setting, Bridge, 10Fill dialog box, 186, 213Fill Light slider, Camera Raw, 119Fill Pixels button, 62, 224Fill slider, Layers panel, 167Fill with Overlay-neutral color setting, New Layer dialog box, 76Filter Effects layers, 221Filter Gallery, 196, 208–209, 212, 215filters

Alien Skin Snap Art plug-in, 245applying, 48–49, 126, 254–255graduated, improving sky with, 120–121hand-painted oil paintings, 208keyboard shortcuts for, 12–13Lens Blur, 136–139pen-and-ink drawings, 190pen-line-and-colored-wash drawings, 202–205split-neutral density, 134–135steps to add, 245straightening buildings with, 66–67Vanishing Point, 148–151

Find Edges filter, 190flatbed scanner, 60Flatten Image setting, Layer panel, 72, 91, 153Fluid Mask plug-in, 248–249focus, 94–95, 127Folders tab, 10Foreground Color box, 37, 82, 163Frames Action, 15framing, 218–219Freeform Pen tool, 174fringe artifact, 242f-stop number, 140Full Screen dialog box, 235


273

Full Screen Mode With Menu Bar setting, View menu, 8function key, 13Functions tool, 22

G

gallery print look, 228–231Gamma slider, HDR Conversion dialog box, 133Gaussian Blur dialog box, 93, 98, 193Gaussian Blur filter, 99, 128, 159General Preferences dialog box, 6Gradient Editor, 18, 199–200Gradient Fill dialog box, 37, 38, 195gradient layers, 38–39, 84–85Gradient Map adjustment layer, 198–199Gradient Map thumbnail, 200Gradient Overlay layer effect, 162Gradient tool, 135, 137, 162–163gradients, 18–19, 147graduated filter, improving sky with, 120–121Graphic Authority templates, 240–241Gray Point eyedropper, 105Grayscale image, 106, 108–109Group Layers menu, 29group shots, 130–131

H

Hand tool, 25, 206Hard Pastel on Canvas brush, 223Hardness slider

Brush tool, 82, 89–90Healing Brush tool, 78

HDR (high dynamic range) image, 132HDR Conversion dialog box, 133Heal mode, 153Healing Brush tool, 78–79, 85, 152high contrast stylized look, 194–195high dynamic range (HDR) image, 132High Pass filter, 193Highlight Clipping warning triangle, 118Highlights Hue slider, Camera Raw dialog box, 123Histogram panel, 105History Brush tool, 94–95History panel, 94–95, 183, 261horizons, 54–55Horizontal Distortion slider, Warp Text dialog box, 171Horizontal scale field, 157Horizontal Type Mask tool, 176HSB/Grayscale tab, 123HSL/Grayscale tab, 109Hue slider

Black and White pane, 109Color Picker dialog box, 83Portraiture interface, 265

Hue/Saturation adjustment layer, 86–87, 97Hue/Saturation button, 96, 193

I

i1 Colorimeter, 21ICC (International Color Consortium), 20Image Effects, 15Image menu, 32Image Tools plug-in, 260–261Imagenomic Portraiture plug-in, 264–265Impressionist option, Options bar, 210Inkjet Luster, 242Inner Bevel setting

Layer Style dialog box, 166Type tool, 225

Interactive Layout setting, Photomerge, 68International Color Consortium (ICC), 20interpolation methods, 70

J

JPEG image, 116–117

K

Keep-Color Pencil tool, 247keyboard shortcuts, 12–13keystone distortion, 63Keywords pane, 268Keywords tab, 10, 268Kubota Image Tools plug-in, 260–261

L

Lasso tool, 86, 144, 227Latitude slider, Portraiture interface, 265layer blend mode, 192, 245layer mask, 34–35, 48, 138, 207Layer Mask button, 131, 155, 204Layer Opacity slider, Layers panel, 93, 155Layer Properties dialog box, 29Layer Style dialog box, 164–165, 178–180Layer Style drop shadow, 180layer visibility button, 85layers

Adjustment, 32–33Background, 30–31color-coding, 29custom shape, 36–37dodging and burning with, 112–113gradient fill, 38–39


Index

274

layers (continued)Layers panel, 28–29overview, 26–27renaming, 28smart objects, 46–47steps to color-code, 29steps to rename, 28Vibrance adjustment, 114–115

Layers tab, 137, 139Layout section, 233Lens Blur filter, 136–139Lens Correction filter, 66–67, 127Levels command, 105Light Intensity slider, Sunshine filter dialog box, 255Light thumbnail, 254lightening eye, 84–87Lighter Color blend mode, 194–195Lightness slider, Hue/Saturation panel, 97line frame, 219line screen, 71Linear gradient, 135Link Layers button, 181Load dialog box, 241Load Layers dialog box, 140–141Lock Loupe Position button, 254Loop After Last Page setting, Output panel, 235Loupe tool, 257lpi (per linear inch), 71luminance noise, 250Luminance slider

Match Color dialog box, 105Portraiture interface, 265

M

Magic Wand tool, 191, 201Maintain Aspect Ratio button, 154Make Work Path dialog box, 174Manage Settings menu button, 67Marquee tool, 55, 220Mask Preview window, 265masks, 26–27, 34–35, 44–45Master Diameter slider, Brush tool, 44, 89, 186–187Match Color command, 104Match Location setting, Window menu, 25Match Zoom setting, Window menu, 25Median dialog box, 196, 204Median filter, 196, 212Merge to HDR command, 124, 132–133metadata, 117Midpoint slider, Lens Correction dialog box, 127monitor, 20–21motion blur effect, 128–129Mystical dialog box, 263

N

neutral density filter, 38New Action dialog box, 14New Adjustment Layer button, 181, 194New Brush button, 16New Brush Preset dialog box, 89New Catalog dialog box, 266New Channel button, 136New Effect Layer button, 196, 221New file dialog box, 15New Fill or Adjustment Layer button, 38New Group button, 29New Guide dialog box, 52–53New Layer button, 74–76, 82–84, 98–99New Layer dialog box, 52New Smart Object via Copy setting, Layer menu, 135New Tool Preset button, 53New Workspace dialog box, 10Nik Color Efex Pro plug-in, 254–255Nik Dfine plug-in, 250–251Nik Sharpener Pro plug-in, 252–253Nik Silver Efex Pro plug-in, 258–259Nik Viveza plug-in, 256–257Noise filter, 204nondestructive image editing, 30North America Prepress 2, 4

O

oil painting look, 208–211Oil Pastel Large brush, 222opacity, 31Opacity data field, 88, 91Opacity slider, Layers panel, 75, 102, 167Open As Smart Object setting, File menu, 134Open Image button, 59, 123Open preferences dialog button, 119Options bar, 16, 82, 167Organize Files into Matching Folder Hierarchy setting, Portfolio catalog, 267

Out of Gamut indicator, 145Outer Glow setting, Layer Style menu, 164Output button, 232Output Preview pane, 235–236Overlay Blend mode, 113overlays, 232

P

paint quick mask, 44–45panels, moving, 8–9panoramas, 68–69


275

Paper Brightness slider, Colored Pencil tool, 197Paper Toning slider, Vignette options, 259Patch tool, 74, 78, 152Path Selection tool, 182–183paths, for text, 174–175Paths or Fill Pixels button, 167Pattern Name dialog box, 209Pattern Stamp tool, 208, 210Pattern thumbnail, 210PDF Output options, 234Pen Pressure tool, 23Pen tab, 22pen tablet, 22–23, 79Pen Tilt tool, 23Pen tool, 168, 174pen-and-colored-wash drawing look, 202–205pen-and-ink drawing look, 190–191, 244–245Pencil tool, 246–247Pencil Width slider, Colored Pencil tool, 197per linear inch (lpi), 71Permission Password, 235perpendicular plane, 149perspective, 64–65, 148–153, 172–173Perspective function, Transform submenu, 172Perspective option, Photomerge dialog box, 69photo corners, 218Photo Filter adjustment layer, 126Photo Ornaments Custom Shapes.csh file, 241photographers’ rules, 52–53Photomerge command, 68, 142Photoshop Actions folder, 218Photoshop bar, 25Photoshop Secrets videos, 164pincushion distortion, 66Pixel Dimensions, 203pixel layer, 162Place Center button, 259Place Your Eye-One on the Monitor screen, 21plug-ins

AKVIS Coloriage, 246–247Alien Skin Blow Up 2, 242–243Alien Skin Snap Art, 244–245AutoFX Software, 262–263Extensis Portfolio, 266–269Graphic Authority, 240–241Imagenomic Portraiture, 264–265Kubota Image Tools, 260–261Nik Color Efex Pro, 254–255Nik Dfine, 250–251Nik Sharpener Pro, 252–253Nik Silver Efex Pro, 258–259Nik Viveza, 256–257overview, 238–239Vertus Fluid Mask, 248–249

polarizing filter, 38Portfolio Express palette, 269Portraiture interface, 264

posterizing, 198–201Preferences dialog box, 23Preferences menu, 6–7Prefilter Strength slider, Sunshine filter dialog box, 255presentation

color backgrounds, 226–227contact sheets, 232–233edges, 220–223framing, 218–219gallery print look, 228–231overview, 216–217slide shows, 234–235slide templates, 224–225Web photo galleries, 236–237

Presets folder, 218Preview panel, 10–11Previous State button, 115Production Tools Pak, 261profiling monitor, 20–21progress bar, 143, 269Pupil Size slider, Red Eye Removal tool, 81

Q

Quick Mask Mode button, 44–45, 96Quick Selection tool, 40–41QuickFind feature, 269Quit Photoshop, 7

R

Radial gradient, Options bar, 84Radius field, 190Radius slider

Refine Edge pane, 42–43Sunshine filter dialog box, 255

rasterized type, 160RAW format, 58, 117, 135Record button, 14Recovery slider, Camera Raw, 118Rectangle tool, 62, 168, 224Rectangular Marquee tool, 55, 189, 224Red Eye Removal tool, 83red eye, removing, 80–81Red Eye tool, 80, 85Reduce Noise filter, 212Refine Edge button, 174Refine Edge command, 248Refine Edge dialog box, 97Refine Edge floating panel, 42–43, 45reflections, 154–155Refresh Preview pane, 233Relative Colorimetric setting, Color Settings dialog box, 5Relief slider, Filter Gallery, 227


Index

276

removingbackgrounds, 248–249blemishes, 74–77colorcast, 104–105red eye, 80–81

Render filter, 226Repeat Edge Pixels setting, Displace dialog box, 157Resample Image check box, Image Size dialog box, 70resizing photo, 50–51, 70–71retouching photo portraits

adding catch light to eyes, 92–93adding depth to eyes, 88–91blemishes, 74–77changing eye color, 82–83eyes, 84–87overview, 72–73removing red eye, 80–81sharpening to add focus, 94–95skin, 74–77soft-focus effect, 98–99teeth, 96–97wrinkles, 78–79

Return to Adjustment List arrow, 32reverse cropping, 56–57RGB image, 142RGB setting, Color Settings dialog box, 5RGB sliders, Color panel, 107rocker switch, 79Rotate Canvas dialog box, 54Rotation setting, Lens Blur dialog box, 139Rounded Rectangle tool, 224Ruler tool, 54

S

Sample All Layers button, 106saturation, 114–115Saturation Correction slider, Sunshine filter dialog box, 254Saturation slider

Hue/Saturation panel, 86Viveza dialog box, 257

Save Workspace dialog box, 9Scaling slider, Filter Gallery, 227Screen blend mode, 99scrubby slider, Layers panel, 186Seamless Tones and Colors setting, Auto-Blend Layers dialog box, 143

Select All button, 59Select Prefilter thumbnail, 255Select Shadow Color dialog box, 165Select stop color dialog box, 200selections

overview, 26–27quick masks, 44–45Quick Selection tool, 40–41Refine Edge, 42–43Vertus Fluid Mask plug-in, 248–249

Selective palette, 256Selective Sharpening setting, Sharpener Pro dialog box, 253Set Foreground Color box, 107Settings menu, 5, 67Settings tab, Alien Skin Blow Up dialog box, 242Shadow Clipping warning triangle, 118Shadow Color dialog box, 165Shadow/Highlight adjustment, 48shadows, colored, 180–181Shadows Hue slider, Camera Raw dialog box, 123Shadows Saturation slider, Camera Raw dialog box, 123Shadows slider, Shadows/Highlights dialog box, 103Shadows/Highlights adjustment, 119Shadows/Highlights command, 103Shape Dynamics option, brush, 209shape layer, 36–37, 63Shape Layer button, 167Shape tool, 36, 167, 174shapes, with text, 168–169Sharpen Edges slider, Alien Skin Blow Up 2, 243Sharpen filters, 243Sharpener Pro plug-in, 252–253sharpening

eyes, 94–95photos, 252–253

Sharpness slider, Filter Gallery, 196Show Image Only button, 258Show More Options setting, Shadows/Highlights dialog box, 103Show Overlay setting, Camera Raw, 121Show Transform Controls check box, Options bar, 147Show Transform Controls setting, Move tool, 146shutter speed, 132Side-by-side preview button, 254signatures, 188–189silhouettes, 144–147Silver Efex Pro plug-in, 258–259simulated motion blur, 128–129Size slider, Stylizing pane, 259sketch look, 186–187skin, 74–79sky, 120–121slide shows, 234–235slide templates, custom, 224–225Smart Blur dialog box, 190, 203, 213Smart Blur filter, 190–191Smart Filter dialog box, 49smart filters, 48–49, 127, 129smart objects, 46–47, 134–135Smart Sharpen dialog box, 94Smart Sharpen filter, 71, 94–95Smith, Colin, 164Smooth slider, Refine Edge pane, 43Snap Art plug-in, 244–245Soft Light Blend mode, 112–113Soft Saturation controls, 263soft-edge brush, 95soft-focus effect, 98–99Spatter edge, 220


277

special effectsadding simulated reflection, 154–155applying filters, 126dark vignette effect, 127depth of field, 136–143displacement maps, blending images with, 156–159group shots, 130–131merging multiple photos to 32-bit HDR, 132–133overview, 124–125silhouettes, 144–147simulated motion blur, 128–129split-neutral density filter using smart objects, 134–135Vanishing Point filter, 148–153

Special Effects setting, Mystical interface, 263spectrophotometer, 20–21specular highlight, 92Spherical option, Photomerge dialog box, 69Split preview button, 254Split Preview Window button, 264split tones, 122–123split-neutral density filter using smart objects, 134–135Spot Healing Brush tool, 74, 76, 80–81, 85Spray Radius slider, Filter Gallery, 196Square Thin Frame shape, 62sRGB color space, 4Stamp tool, 153starburst vignettes, 260–261Stop Recording button, 15Straighten tool, 58straightening photos, 50–51, 54–55, 58–61, 66–67Strength slider

Filter Gallery, 196Stylizing pane, 259

Stretch To Fit setting, Displace dialog box, 157stroke border, 231Stroke dialog box, 230Stroke Length slider, Filter Gallery, 196Stroke Pressure slider, Colored Pencil tool, 197Structure slider, Silver Efex Pro dialog box, 258Stylizing pane, 259Stylus Wheel tool, 23Subtract from Selection tool, 40Summarize option, Keyboard Shortcuts, 13Sunshine filter, 254Switch Colors icon, 34–35, 45, 88–89, 110, 129Synchronize button, 59System Preferences, 22

T

Tablet Preferences, 22–23teeth, whitening, 96–97Test Render tool, 248text

adding double-neon glow to, 164–165adding perspective to, 172–173

applying to silhouettes, 147blending into photos, 178–179colored shadows, 180–181creating photo-filled, 176–177custom watermarks, 166–167filling shapes with, 168–169making follow paths, 174–175overview, 160–161painting colors into, 162–163warping, 170–171weaving text and graphics, 182–183

Text color box, 237Texture Elements pattern, 183Texturizer filter, 210–211, 215Threshold slider

Adjustments panel, 194Smart Blur dialog box, 203, 213

thumbnails, 233TIFF image, 116–117Tilt Sensitivity slider, Tablet preferences, 22Tint check box, Black and White pane, 109Tip Feel slider, Tablet preferences, 22Toggle the Brushes Panel button, 215, 223Tolerance field, 174tone

Camera Raw, 116–123changing color photo to grayscale, 108–109colorcast, removing, 104–105colorizing black-and-white photos, 106–107, 110–111dodging and burning, 112–113overview, 100–101underexposed photos, 102–103Vibrance adjustment layer, 114–115

Tool Preset picker, 57Touch Strip Preferences, 23Touch Strip tab, 23Transform submenu, 172Transform tool, 151Transformation control, 147Transition slider, Stylizing pane, 259Type layer, 162, 229Type tool, 35, 180, 225

U

underexposed photos, 102–103Underlying Layer white slider, Layer Style dialog box, 179Unsharp Mask filter, 94

V

Vanishing Point filter, 148–153Vanishing Point Stamp tool, 150, 153Variations adjustment, 48vector mask, 172–173


Index

278

vectors, 160Vertical Distortion slider, Warp Text dialog box, 171Vertical Perspective slider, Lens Correction dialog box, 66Vertical scale field, 157Vertical Type Mask tool, 176Vertical Type tool, 176Vertus Fluid Mask plug-in, 238, 248–249Vertus toolbar, 249Vibrance adjustment layer, 114–115Vibrance slider, Adjustments panel, 114View menu, 8View Previous State button, 33, 109, 115vignetting, 67, 127, 259–261visibility button, 77, 95Viveza plug-in, 256–257

W

Wacom driver, 22Wacom Intuos, 22Wacom pen tablets, 22–23Warhol-style images, 198–201Warp Text feature, 170warping text, 170–171

Watercolor filter, 215watercolor look, 212–215watermarks, 166–167weaving text and graphics, 182–183Web photo galleries, 236–237white layer, 186, 214White Point Preview adjustment, 133whitening teeth, 96–97whites of eyes, 86–87window views, 24–25woodcut look, 192–193workspace, 9Workspace menu, 9wrinkles, reducing, 78–79

X

XRite, 20

Z

Zoom tool, 74, 82, 121, 249


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